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We're a team of eight artists, curators and critics with a broader network of art professionals on the post-soviet, post-communist and diasporic spaces. With our ability to grasp, to describe and to invert the sensable, we might be your best collaborator.

How to contact us

Mission

 

TransitoryWhite is a journal of overlapping and intermittent discourses of the local and global artistic periphery. Launched in 2017 as an association of curators, art specialists and artists from Eastern Europe and Central Asia living in Berlin, London and Vienna, the project aimed to create an intersectional platform for discussing decolonization, neoliberal post-traumatism and the possibility of a dispersive view of the so-called post-communist world.

Since 2019, the platform has also operated in the trajectories of migrant and post-displacement discourse, expanding its activities from the geographical pole "East" to the global.  Thus, TransitoryWhite emphasizes the productive interaction between different multitudes rather than dualities. 

Crucial to TransitoryWhite of is furthermore, the representation of artists and theoreticians from with different identities and fantasies about future, as an opposition to the accumulating national discourse. We're dedicated to exploring transnational visions within and on the borders.

 TransitoryWhite understands white as a metaphor for coloniality, as a white, self-contained exhibition space where the hierarchy of discourses and images is defined from the beginning. In contrast, we turn to White Noise - a signal, constant disturbance, cacophony, turbulence, restlessness, fluctuating and transiting our perspectives all the time.

Contributors

Laura Arena

Laura Arena is a Level 3 Reiki practitioner certified and licensed in the state of New York. She's a graduate of the Art of Energetic Healing School located in Manhattan with spiritual teacher and master healer Suzy Meszoly. Next to being a Level 3 Reiki practitioner, Laura is a multidisciplinary artist, activist, designer, and curator based in Brooklyn, New York. Arena’s work encompasses photography, video, installation, writing, and social interventions with a focus on storytelling, human rights causes, gameplay, race, and identity. She has exhibited in galleries and festivals worldwide and has participated in events in North America, Europe, and the Middle East. Arena has attended residencies and workshops in Greenland, Iceland, Romania, Hungary, Palestine, Turkey, and the United States. 

In 2021 she will be mapping the Chakras of Berlin as an artist in resident at Z/KU (Center for Art and Urbanistics).

Read her article: CHAKRAS OF TBILISI

Ina Hildebrandt

Ina Hildebrandt is an art historian and cultural journalist. Born in Kazakhstan, she grew up as a so-called Russian-German in the south of Germany. After spending years of total assimilation she developed a strong interest in her cultural roots. Several long travels and stays took her to Easter-Europe over Russia to Central-Asia. Thereby she started to focus more on those regions also as art historian and journalist. She lives and works in Berlin. 

Read her articles and interviews: ON THE LOOP

Anna Kamay

Anna Kamay is an independent curator and cultural manager hailing from Yerevan, Armenia. Anna organizes community-based art projects with the goal of using public space and art to meet local needs and manages Nest Artist Residency and Community Center at the Institute of Contemporary Art in Yerevan.

Read her article: JUGGLING DINOSAURS, 2019 CURATOR'S CHOICE

Ira Konyukhova

Ira Konyukhova is an artist, writer, curator, feminist activist and the founder of TransitoryWhite. In her practice, she explores the connection between female sexuality, pop-resilience, death as well as colonial technological practices. As an artist, her works have been presented on various international festivals and exhibitions, including DocLisboa, Athens Biennale, Teneriffa Espacio del Arte, Exground Film Festival e.t. Her latest article on the early 2000s Russian lesbian stars T.a.T.u. And their influence on queer politics has been recently published by Pop-Zeitschrift by University Siegen. Ira was a grantee of BS Projects Artist-in-Residence scholarship Programm and lives and works in Berlin.

Read her articles and interviews: INTERVIEW MIT CHINARA MAJIDOVA, INTERVIEW MIT SAMVEL SAGHATELIAN, THERE IS SEX AFTER SOVIET UNION!, FAIG AHMED, INTERVIEW WITH ELENE ABASHIDZE, INTERVIEW WITH ANNA VAHRAMI

 

Victoria Kravtsova

Victoria Kravtsova has studied International Relations in St. Petersburg and Berlin. In Berlin she is active in NGO projects in Eastern Europe, co-organizing seminars and exchange programs in the fields of environment, human rights, gender equality and civic education. Victoria receives a scholarship from Heinrich Böll Foundation and is engaged in writing her thesis “Between the ‘posts’, out of the void” where she traces the travels of the contemporary feminist discourses to and from Central Asia.

Read her articles and interviews: EMBRACE YOUR ANTITHESIS, WANDERING POETICS OF CENTRAL ASIAN MESTIZAS, WHERE THE ROSES GROW, Interview with Madina Tlostanova Part I and  Part II

Daria Prydybailo

Daria Prydybailo is a curator, researcher, founder of the TRSHCHN platform and co-founder of the NGO Art Matters Ukraine. Her background includes +7 years in leading cultural institutions of Ukraine such as National museum complex Art Arsenal and CCA PinchukArtCentre, as well as independent curatorial practice with a strong focus on the body in contemporary art, sensual turn, sound art, and in-situ projects. She worked on large-scale international projects such as International forum Art Kyiv, the First Kyiv Biennale of contemporary art ARSENALE 2012, and Ukrainian Pavilion at the 55th Venice Biennale. During 2013-2015 she curated online-platform & collective of artists, curators and writers  (wo)manorial, who contemplate the ever-changing concept of femininity. Her latest research is focused on love and intimacy in the context of emotional capitalism. Originally from Kyiv currently she lives and works in Berlin. 

Read her article: 2019 CURATOR'S CHOICE

Thibaut de Ruyter

Thibaut de Ruyter is a French curator and critic who lives and works in Berlin since 2001. In the last ten years, he has organized exhibitions at Kunstmuseum Bochum, Museum Kunstpalais Düsseldorf, Museum of Applied Arts in Frankfurt, HMKV in Dortmund, EIGEN + ART Lab and CTM in Berlin, Muzeum Sztuki in Łódź and CRP / in Douchy-les -Mines. One of his latest projects is a travelling exhibition co-curated with Inke Arns for the Goethe-Institut: The Frontier that calls into question the dividing line between Asia and Europe in the former Soviet states. Since 2017 this exhibition has been exhibited in St Petersburg, Moscow, Tashkent, Almaty, Krasnoyarsk (u.A.) and will open in Erevan in May 2019. His areas of interest range from new media to spiritualism to "exhibitions that are not exhibitions". Most of his projects are related to everyday, pop or underground culture. He has been the German correspondent for the French magazine artpress since 2003.

Read his articles: EAST WIND - ART IN THE FORMER SOVIET REPUBLICS, UNFORTUNATELY, WE CANNOT PAY FOR YOUR FLIGHT AND ACCOMMODATION, ARTIST PORTRAIT: ALISA BERGER

Asli Samadova

Asli Samadova is a Milan/Baku-based curator and museum specialist experienced working with leading cultural institutions in Europe and the USA on cultural diplomacy, education and exhibition projects. She is the founder of Ta(r)dino 6 alternative art space that promotes contemporary art from Azerbaijan and beyond and is a platform for experiments. Ta(r)dino 6 Venice project brought Turandokht. Radio Riddles to Venice and was the first to present contemporary art from Azerbaijan in a non-institutional environment during the 58th Venice Biennial 2019.

Read her articles: WHEN THERE ARE NO OPPUTURNITIES, CREATE YOUR OWN GIARDINI, INTERIORS, 2019 CURATOR'S CHOICE

Saltanat Shoshanova

Saltanat Shoshanova is currently pursuing her Master's degree in History of Arts at the Free University Berlin. Her research interests include art in connection to queer and feminist theory, queer migration, decoloniality and post-Soviet space. She is an activist and co-organized several queer feminist conferences in Vienna and Berlin.

Read her article: ON LANGUAGE OF SUPREMACY: MEDINA BAZARGALI IN CONVERSATION, 2019 CURATOR'S CHOICE

Julia Sorokina

Yuliya Sorokina is freelance curator of contemporary art, lecturer, tutor, author of texts, lives and works in Almaty, Kazakhstan. Born in 1965 in Shchuchinsk (Kazakhstan) In 1987 graduated from the Artistic-drawing faculty of the Kazakh Pedagogical Institute named after Abai (Almaty). In 1992 she also completed post-graduate course in cinematology at the All-Union State Institute of Cinematography (Moscow) and courses in art-management in 1998-1999 at European Summer Academy for Culture & Management (Salzburg) and at Institut fur Kulturwissenschaft (Vienna) Austria. Since 1999 she is chair-person of the Board of “Asia Art+” Public Foundation, which she co-founded in 1996. Major exhibitions & projects 2007 - “Muzykstan: Media generation of contemporary artists from Central Asia”. Central Asia Pavilion at the 52. INTERNATIONAL ART EXHIBITION LA BIENNALE DI VENEZIA. Associazione Culturale Spiazzi, Venice, Italy (Commissioner and curator) 2007 – Central Asian Project.

Read her article: 2019 CURATOR'S CHOICE

Antonina Stebur

Antonina Stebur is eine Kuratorin und Forscherin. Studium der Bild- und Kulturwissenschaften an der European Humanities University (Vilnius, Litauen) und an der School of Engaged Art der Kunstgruppe “Chto Delat?” (Sankt Petersburg, Russland). Sie ist Mitglied der Künstlergruppe #damaudobnayavbytu (“Frau, die bequem im Alltag ist”), die die feministische Agenda im russischen und weisrussischen Kontext untersucht. Sie war Kuratorin einer Reihe von Ausstellungen in Belarus, Russland, Polen, Frankreich und China. Ihre Forschungsgebiete und kuratorischen Interessen sind: Gemeinschaft, Um-Zusammenstellung alltäglicher Praktiken, feministische Kritik, neue Sensibilität, Basisinitiativen.

Read her articles: ICH LIEBE DICH!, ANOTHER PRODUCTION DRAMA, МЫ СЁННЯ ЗНАХОДЗІМСЯ Ў ІНШАЙ ВЫТВОРЧАЙ ДРАМЕ, 2019 CURATOR'S CHOICE

Annika Terwey

Annika Terwey is a German-Italian new media designer & artist. She studied visual communication at the Berlin University of the Arts and graduated from the new media class. In her work she is exploring new forms of communication through interaction design, video installation and exhibitions. Her interest range from environmental science, new technologies and human perception.

Read her article: ON LANGUAGE OF SUPREMACY: MEDINA BAZARGALI IN CONVERSATION

 

Alex Ulko

Alexey Ulko was born in Samarkand (Uzbekistan) in 1969. After graduating form Samarkand University with a diploma in English he obtained an MEd TTELT degree from the University of St Mark and St John (UK). Since 2003 he has been working as a freelance consultant in English, Culture Studies and Art for various cultural organisations. Has been making experimental films since 2007 and is an active writer about Central Asian contemporary art. His current artistic interests: experimental cinema, photography, visual poetry. Member of the European Society for Central Asian Studies, the Association of Art Historians (UK) and the Central Eurasian Studies Society (USA).

Read his article: 2019 CURATOR'S CHOICE

Lolisanam Ulug

Lola Ulugova (Lolisanam) has been an activist in Tajikistan since 2000. Her last working assignment as an Arts and Social Activism Program Coordinator at Open Society Institute Assistance Foundation (OSIAF) in Tajikistan, 2014-2019, was a recognition of her skills and passion towards development of the Tajik youth, arts and activism at a professional level. She also was the founding director of Tajik Bio-Cultural Initiatives a non-governmental organization dedicated to Tajik arts and environmental issues. In 2013, she wrote and produced the nation's first 3-D animation film, a short designed to promote awareness of environmental issues among children. Previously, she has produced several cultural DVDs archiving Tajik dance and biocultural diversity; was a Field Production Manager on the documentary Buzkashi! By Najeeb Mirza (Canada); from 1999-2005 was the manager of Gurminj Museum, an important musical instrument museum in Dushanbe; has been involved in the administration of multiple government and NGO research projects and publications in Tajikistan; and has been the organizer of several important art exhibitions. She holds a Master’s degree from the University of Turin, Italy and an undergraduate degree in Russian Language and Literature. She was a Global Cultural Fellow at the Institute for International Cultural Relations of the University of Edinburgh during academic year 2017-18 and participated in Central Asian-Azerbaijan (CAAFP) fellowship program at the George Washington University at Elliott School of International affairs for Fall 2019.
She has co-produced “After the Curtain” documentary along with Emelie Mahdavian (USA), covering the intimate stories of a few Tajik women dancers, also a “Youth for Laws Supremacy” performance that indicated her protest torture and violence.

Read her article: 2019 CURATOR'S CHOICE

Katharina Wiedlack

Katharina Wiedlack is a Post-Doctoral Research Fellow at the Department of English and American Studies, Humboldt University Berlin. Her research fields are primarily queer and feminist theory, popular culture, postsocialist, decolonial and disability studies. Currently, she is working on a research project focused on the construction of Russia, LGBTIQ+ issues and dis/ability within Western media. http://katharinawiedlack.com

Read her article: IT IS MORE IMPORTANT TO MAKE FILMS QUEERLY THAN TO MAKE QUEER FILMS

 

People

Ina Hildebrandt

Ina Hildebrandt is an art historian and cultural journalist. Born in Kazakhstan, she grew up as a so-called Russian-German in the south of Germany. After spending years of total assimilation she developed a strong interest in her cultural roots. Several long travels and stays took her to Easter-Europe over Russia to Central-Asia. Thereby she started to focus more on those regions also as art historian and journalist. She lives and works in Berlin. 

Irina Konyukhova

Ira Konyukhova is an artist, writer, curator, feminist activist and the founder of TransitoryWhite. In her practice, she explores the connection between female sexuality, pop-resilience, death as well as colonial technological practices. As an artist, her works have been presented on various international festivals and exhibitions, including DocLisboa, Athens Biennale, Teneriffa Espacio del Arte, Exground Film Festival e.t. Her latest article on the early 2000s Russian lesbian stars T.a.T.u. And their influence on queer politics has been recently published by Pop-Zeitschrift by University Siegen. Ira was a grantee of BS Projects Artist-in-Residence scholarship Programm and lives and works in Berlin.

Pavel Metelitsyn

Pavel Metelitsyn is a software engineer and developer focusing on interactive data presentation, user interfaces and web technologies. He is driven by the idea of making the information more accessible through interactivity and gamification. Working together with creative agencies he implemented interactive multimedia stations for Neues Historisches Museum, Frankfurt/Main, made a kiosk app for a permanent exhibition at Deutsche Nationalbibliothek, Frankfurt/Main. Besides that, he works with a wide range of clients from FinTech Startups to national research institutions, helping them to collect, process and present the business information. Pavel holds an M.Sc. in Mathematics.

Daria Prydybailo

Daria Prydybailo is a curator, researcher, founder of the TRSHCHN platform and co-founder of the NGO Art Matters Ukraine. Her background includes +7 years in leading cultural institutions of Ukraine such as National museum complex Art Arsenal and CCA PinchukArtCentre, as well as independent curatorial practice with a strong focus on the body in contemporary art, sensual turn, sound art, and in-situ projects. She worked on large-scale international projects such as International forum Art Kyiv, the First Kyiv Biennale of contemporary art ARSENALE 2012, and Ukrainian Pavilion at the 55th Venice Biennale. During 2013-2015 she curated online-platform & collective of artists, curators and writers  (wo)manorial, who contemplate the ever-changing concept of femininity. Her latest research is focused on love and intimacy in the context of emotional capitalism. Originally from Kyiv currently she lives and works in Berlin. 

Sascia Reibel

Sascia Reibel is a graphic and product designer. Her focus lays on printed matter, especially books and posters, with a strong dedication for typography. She engages in projects within the field of culture, art, and education. She studies communication design at the University of Art and Design Karlsruhe and has also studied in the design master program of the Central Academy of Fine Arts in Beijing, China. Her work has been honoured with several awards, including «Most Beautiful Swiss Books», «Most Beautiful Books from all over the world», «Bronze Nail, ADC», as well as the «Badge of Typographic Excellence, TDC New York.

Kundry Reif

Kundry Reif grew up in Vienna, Austria. Whilst studying cultural studies at university in Berlin she started to work in art collectives and galleries. Last year she went to work at the Goethe Institute in Tashkent, Uzbekistan for a year. Having never heard a lot about Central Asia before, this year abroad sparked her interest. Being back now, she misses Central Asian Kurt, and has decided that her favorite museum of all times is the Sawitsky Museum in Nukus, Uzbekistan. 

Willi Reinecke

Willi Reinecke is a film director, writer, and researcher on Lev Vygotsky's Psychology of Art at the Institute for East European Studies (Freie Universität Berlin). He is teaching at Szondi-Institute for Comparative Literature and Institute for East European Studies. He worked as assistant director of the documentary film "Familienleben" which premiered at Berlinale 2018. The film was nominated for German Documentary Film Award and was awarded prizes at Saratov Sufferings Festival (RU) and Neisse Filmfestival (GER). He's currently working on documentary films for Institute of Contemporary Art Yerevan and Deutsche Gesellschaft e.V.

Thibaut de Ruyter

Thibaut de Ruyter is a French curator and critic who lives and works in Berlin since 2001. In the last ten years, he has organized exhibitions at Kunstmuseum Bochum, Museum Kunstpalais Düsseldorf, Museum of Applied Arts in Frankfurt, HMKV in Dortmund, EIGEN + ART Lab and CTM in Berlin, Muzeum Sztuki in Łódź and CRP / in Douchy-les -Mines. One of his latest projects is a travelling exhibition co-curated with Inke Arns for the Goethe-Institut: The Frontier that calls into question the dividing line between Asia and Europe in the former Soviet states. Since 2017 this exhibition has been exhibited in St Petersburg, Moscow, Tashkent, Almaty, Krasnoyarsk (u.A.) and will open in Erevan in May 2019. His areas of interest range from new media to spiritualism to "exhibitions that are not exhibitions". Most of his projects are related to everyday, pop or underground culture. He has been the German correspondent for the French magazine artpress since 2003.

4th February 2020

Embrace Your Antithesis

interview

Interview with Slavs and Tatars
en

1st February 2020

Chakras of Tbilisi

article

Laura Arena
en

29th January 2020

2019 Curator's choice

article

en

17th January 2020

On the loop

interview

en

23rd December 2019

"Мы сёння знаходзімся ў іншай вытворчай драме"

interview

Работай Больше! Отдыхай Больше!
by

5th December 2019

Another production drama

interview

Interview with WORK HARD! PLAY HARD! working group
en

20th November 2019

Wandering poetics of Central Asian mestizas

interview

Interview with Krëlex Zentre
en

6th November 2019

Conversation with Julieta Aranda and Anna Kamay

interview

en

29th October 2019

Where the roses grow

interview

Interview with Almagul Menlibaeva
en

25th October 2019

On language of supremacy: Medina Bazargali in conversation

interview

en

16th October 2019

Interiors

portrait

Exhibition by Xenia Fink In Ta(r)dino 6 Baku
en

10th October 2019

Madina Tlostanova on decolonizing the post-Soviet, exotization and political imagination(s)

interview

part two
en

1st October 2019

There Is Sex After Soviet Union! (German)

article

Ira Konyukhova
de

26th September 2019

Madina Tlostanova on feminism, coloniality, returned pasts and reimagined futures

interview

part one
en

6th September 2019

It is more important to make films queerly than to make queer films

interview

en

12th July 2019

When there are no opputurnities, create your own Giardini

article

Asli Samadova
en

1st July 2019

Juggling Dinosaurs

article

The precariousness of motherhood in arts
Anna Kamay
en

24th June 2019

Interview with Elene Abashidze

interview

en

14th June 2019

Unfortunately, we cannot pay for your flight and accommodation

article

Thibaut de Ruyter
en

28th May 2019

Ich liebe dich!

article

Antonina Stebur
de

17th May 2019

Interview with Anna Vahrami

interview

en

23rd April 2019

Artist Portrait: Anastasia Akhvlediani

portrait

en

13th April 2019

Artist Portrait: Alisa Berger

article

Thibaut de Ruyter
en

21st March 2019

Faig Ahmed

interview

de

18th March 2019

There Is Sex After Soviet Union!

article

Irina Konyukhova
en

11th March 2019

Interview mit Samvel Saghatelian

interview

de

8th March 2019

Artist Portrait: Salome Dumbadze

portrait

en

4th March 2019

Interview mit Chinara Majidova

interview

Klang des Brunners vor einer Fassade
de

26th February 2019

East Wind - Art in the Former Soviet Republics

article

Thibaut de Ruyter
en
Elene Abashidze at Museum für Angewandte Kunst, Frankfurt-am-Main
Photo by Andro Eradze
Danarti Issue 5 - Georgia 1990's Tips on Survival presented on "Lara protects me", Museum für Angewandte Kunst, Frankfurt-am-Main
Photo by Andro Eradze
Danarti Nr 9, Tbilisi Style, November 2018
Page from the Magazine
Danarti presentation at Maudi, Tbilisi
Photo by Andro Eradze
Danarti presentation at Maudi, Tbilisi
Photo by Andro Eradze

Elene Abashidze is an independent curator and since 2011 a publisher of Danarti Magazine, together with Ana Chorgolashvili and Irine Jorjadze. Some of her recent curatorial works include Safe Words, with Cristine Brache and Penny Goring, an inaugural exhibition for E.A. Shared Space, ongoing; Twelve Women Gone Missing, a group exhibition with ten emigrant female artists of Georgian descent, in the frames of Tbilisi Art Fair public program 2018.

TransitoryWhite

Dear Elene, thank you for finding time for this talk. We know each other through your husband, Andro Eradze, who is an artist and photographer and whom we met during our stay in Tbilisi last year. This is how I was introduced to the magazine you’re curating, Danarti. Considering how many art and art-related journals existing right now in Georgia, what prompted you to create your own magazine?

Elene Abashidze

Hi Ira! Yes, its thanks to Andro that we met!🌟

Danarti is a series of research-based thematic issues. Ran by three art historians/curators it operates as a curatorial platform. It contributes to the contemporary art discourse, but itself it rarely publishes contemporary art itself. For instance, we have no exhibition reviews. On the contrary, it is a multi-disciplinary magazine, which focuses on a theme, a sensation, a historical moment at a time - which is essential for the contemporary art scene of Georgia of the moment and tries to unpack these subjects as generously and widely terms of humanitarian disciplines, as possible.

Elene Abashidze at Museum für Angewandte Kunst, Frankfurt-am-Main
Photo by Andro Eradze

All of the issues differ from one another, thematically and structurally. They come out on an occasional basis. We are lucky to collaborate with the fantastic institution Kunsthalle Zurich, who support us financially and never put pressure on our production system.

We are bilingual, and yes we have some international audience, but first of all, we work for the development of the local culture. Culture production here is slow and detached from the crazy capitalistic ways of making. So, we are privileged to be slow too.

 

The lack of critical thought oriented magazines prompted us to create one of our own. Back then, it was cheap to produce a printed newspaper. We started with printed and Georgian only issue. From 2016 we are also online, where we upload and archive all content and distribute for free. 

We save our limited number of printed issues for various institutional exhibitions, etc.

TransitoryWhite

Once in a conversation we had over Facebook, you mentioned that you’re not satisfied with the hip designation of Tbilisi as a new Berlin. Would you please explain why?

Elene Abashidze

Tbilisi as some new Berlin is a branding of the city I would not agree with for various reasons. Firstly, it is created for the Western Gaze. To be more precise, it is created by Western European media for the Western European tourism and understanding, it is the Western European-centric branding, which we have seen happening earlier to other non-Western cultures and it has never worked as a good sign. For this only reason, I as a local person, would withdraw and ask others too to oppose this tag. 

Danarti Issue 5 - Georgia 1990's Tips on Survival presented on "Lara protects me", Museum für Angewandte Kunst, Frankfurt-am-Main
Photo by Andro Eradze

Another reason is simple - it is not valid. New Berlin in terms of what? Culture - it is very different, Economy? Tbilisi is way poorer than the poor Berlin itself. Nightlife? But is that all there is to either Berlin or Tbilisi?

TransitoryWhite

Many Georgian artists who studied abroad have adopted a certain kind of aesthetics which appeals to the European collectors and visitors. Speaking about their work, we cannot understand it while putting it in a national or any other geographical or identitarian context. It appears to have a very international, cosmopolitan look. How do you see this development from your perspective as Tbilisi-based curator?

Elene Abashidze

Let’s not forget that Contemporary Art was coined in the Western part of the world. It followed up with post-Modernism. Today there is a debate, and for good, on what constitutes the term? Especially after the East/West divide no longer exists, or so it claims. 

So there is no surprise some of the artists of Georgian decent adopt the former “Western” language of Contemporary Art and translate their non-Western background to the “universal”(Western) language.

But I see changes in the newer generation, which is one younger than me. I see a weak tendency of opposing this pressure of adapting to one particular style, and on the contrary, bring one's own language at play. This is a tide I noticed not only in the Caucasus but among other non-Western artists. With my most profound respect and admiration towards the Western European and American culture, I very much look forward to witnessing the tide become a strong wave.

Danarti Nr 9, Tbilisi Style, November 2018
Page from the Magazine

TransitoryWhite

What does it mean for Georgia to restore its identity in the context of youth culture?

Which way are the artists of Georgia moving in? What are their prospects and ambitions?

Elene Abashidze

Identity politics is still an issue in Georgia. There is no official cultural policy available in the country which at one hand is still “fighting against” it’s Soviet heritage and opens it’s doors to the “Western” narratives, and on another hand is creating a history of its own. 

Danarti presentation at Maudi, Tbilisi
Photo by Andro Eradze

With its unstable governments, it demolishes Soviet Architectural icons (Andropov's Ears, etc.) and takes down the Soviet symbols, but on the other hand, never changes the narrative in Stalin’s Museum in Gori. Lustration never happened here. It is an odd place - Georgia; you never know what to expect. So the youth is stuck in between blind admiration and blind opposition of its recent past. I guess this is the position to depart from.

 

Danarti presentation at Maudi, Tbilisi
Photo by Andro Eradze

This Interview is a part of the first TransitoryWhite publication, supported by Freie Universität Berlin, Ost-Europäische Institut. 

 

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