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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.
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TransitoryWhite is a journal of overlapping, multi-voiced accounts documenting peripheral artistic productions.

The project was launched in 2017 by a group of curators, art specialists and artists from Eastern Europe, Caucasus and Central Asia living in Berlin/Vienna. 

We aimed to create an intersectional platform for discussing decolonization, post-neoliberalism trauma and the possibility of dispersive views on the so-called post-communist territories.

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. In response to the growing nationalistic discourse, it is crucial for our investigation to represent artists and theorists with different identities and ideas for the future. In this way, TransitoryWhite emphasizes the productive interaction between different multitudes rather than dualities. 

TransitoryWhite understands whiteness as a metaphor for colonialism, or as a white, self-contained exhibition space where the hierarchy of discourses and images is prejudiced. Instead, we turn to the idea of White Noise; a signal or constant disturbance, something cacophonic, turbulent and restless which fluctuates and transforms our perspectives.

TransitoryWhite e.V. is a registered association whose permanent members are Ira Konyukhova, Thibaut de Ruyter, Ina Hildebrandt, Pawel Metelitsyn, Willi Reinecke, Nataliia Zviagintseva and Barbara Breitenfeld.

The magazine ceased operations at the beginning of 2022. We would like to thank everyone who has supported us during the time since March 2019 (the launch of the website) sending articles, helping with translations and proofreading, and everyone who has read, distributed and appreciated us.


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).

Mariya Dmitrieva

Mariya Dmitrieva is an artist, independent curator, and cyberfeminist. She is a co-organiser of Studiya 4413 in St. Petersburg, Russia, a self-regulated, artist/activist-run platform functioning as an intersection of diverse social strata, queer-crip optics, artistic mediums, contemporary critical thinking, and adequate political action; Maria is a member of N i i c h e g o d e l a t ‘ (Donoothing), a network of flickering, horizontal laboratories of political imagination researching and redescribing ideas around work ethic, machine vs human relations, and connectivity between utopian and real, and initiator of Free mapping project, a digital platform calibrating alternative culture-political landscape of self-organised liberal associations/projects, and coordinator of p2p&hackercare, a translocal agency.

Ina Hildebrandt

Ina Hildebrandt is an art historian and cultural journalist.

Ivan Isaev

Ivan Isaev is an independent curator, based in Moscow. He curated platform Start, Winzavod, season 2014-15, and “Leaving Tomorrow” exhibition (2015, Moscow), participated at Infra-Curatorial Platform at 11th Shanghai Biennale (2016). He is a co-founder of «Triangle» curatorial studio (Moscow, 2014-2016) and later initiated platform blind_spot. Ivan Isaev is now a curator of Garage Studios program at Garage MCA, Moscow.

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.

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.

Melikset Panosian

Melikset Panosian is a writer and translator from Gyumri, Armenia. He participated in artistic projects focusing on the troubled past of Gyumri, borders, conflicts and consequent traumas since 2012. Panosian contributed to a number of literary magazines in Armenia such as Queering Yerevan, Gretert and Yeghegan Pogh. He also participated in the translation of Hannah Arendt’s “We refugees” into the Armenian language. Melikset Panosian’s published works include art book “Out In Head” (2012), “Silent Stroll”, a novella he authored in 2014, and the Armenian translation of Kardash Onnig’s “Savage Chic: A Fool's Chronicle of the Caucasus” published in 2017.

Leah Peirce

Leah Peirce (b. 2002 in Berlin, Germany) is a Berlin-based poet, with Georgian and English background.  She works with words, sound, images and performative art. Her multilingual poems explore the fluidity of languages, the barriers they bear, how language holds culture and visa versa.

Daria Prydybailo

Daria Prydybailo is a curator, researcher, founder of the TRSHCHN platform and co-founder of the NGO Art Matters Ukraine.

Thibaut de Ruyter

Thibaut de Ruyter is a French curator and critic who lives and works in Berlin since 2001.

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.

Julia Sorokina

Julia Sorokina is freelance curator of contemporary art, lecturer, tutor, author of texts, lives and works in Almaty, Kazakhstan. 

Antonina Stebur

Antonina Stebur is a curator and researcher. She studied visual and cultural sciences at the European Humanities University (Vilnius, Lithuania) and at the School of Engaged Art of the art group "Chto Delat? (Saint Petersburg, Russia). She is a member of the artist group #damaudobnayavbytu ("Woman comfortable in everyday life"), which examines the feminist agenda in the Russian and Belarusian context. She has curated a number of exhibitions in Belarus, Russia, Poland, France and China. Her research areas and curatorial interests are: community, re-composition of everyday practices, feminist critique, new sensibility, grassroots initiatives.

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.

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).

Lolisanam Ulug

Lola Ulugova (Lolisanam) has been an activist in Tajikistan since 2000.  She 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. 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 in 2017-18 and participated in Central Asian-Azerbaijan (CAAFP) fellowship program at the George Washington University at Elliott School of International affairs in 2019.

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.

Олексій Кучанський

Олексій Кучанський - дослідник і критик експериментального кіно та відео-мистецтва, есеїст. Живе і працює у Києві. Цікавиться політиками комунікативного експериментування, екософією Ф. Ґваттарі, не-есенціалістською екологічною теорією, постгуманістичним фемінізмом, процесуально-орієнтованою філософією. Колишній учасник активістської ініціативи Occupy Kyiv Cinemas - руху проти комерціалізації і знищення комунальних кінотеатрів Києва. Співавтор художнього проекту komaxa. щоденник резистентності - лабораторії молекулярного страйку в умовах цифрової праці.


Kundry Reif

Kundry Reif is an aspiring curator, artist and cultural sciences academic.


Ira Konyukhova

Ira Konyukhova is an artist, writer and instagram feminist activist. She studied Physics in Moscow and fine art in Mainz, Reykjavik and Media Art and Media Theory at Karlsruhe University of Arts and Design (HFG), which she finished with diploma in 2017. In her practice, she explores the connection between female sexuality, pop-resilience and colonial technological practices which are embodied mainly but not only in video, sculpture and installation. Her works have been presented on various international festivals and exhibitions, including DocLisboa, Athens Biennale, Teneriffa Espacio del Arte, Exground Film Festival e.t. Konyukhova was a grantee of Rhineland-Palatinate Media and Film Promotion Prize, BS Projects Residence Program as well ifa travel grant.

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. 

Tamara Khasanova

Tamara Khasanova is an emerging art professional and aspiring young curator. Born in Ukraine into a Ukrainian-Uzbek family, and later moving to the UK and the US early in life, she was exposed to various social dynamics while perceiving everything through the lens of her cultural legacy. This experience led her to question ideas surrounding cultural hegemony, national identity, and globalisation in the context of Post-Socialist states. In her professional and academic practice, she is concerned with a lack of representation of Eastern European and Central Asian regions on a large scale and committed to developing a sustainable dialogue between parts of the world so dear to her heart. Currently, she is doing a Post-Baccalaureate Diploma in Studio Art in San Francisco, CA. She starts her M.A. program in Curatorial Practice at the School of Visual Arts, New York this Fall.

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.

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.

Lina Iliaeva

Lina Iliaeva (born in Moscow, Russia) is a student of the Faculty of Cultural Studies of the Russian State University for the Humanities. Previously studied Theatre, Film and Media Studies at the University of Vienna. Lina joined TransitoryWhite in March 2021 and now working as an editor on the website. Area of research interests: art culture of the twentieth and twenty-first century, public art, cultural and visual studies, corporeality, new techniques and technologies in art, digital art.

Thibaut de Ruyter

Thibaut de Ruyter is a French architect, 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 Border », that calls into question the dividing line between Asia and Europe in the former Soviet states. Since 2017 this exhibition was exhibited in St Petersburg, Moscow, Tashkent, Almaty, Krasnoyarsk (u.A.) and ended its trip in Erevan in 2019. His areas of interest range from new media to spiritism via "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.

Former Collaborators

During the existence of the magazine, many wonderful people collaborated and facilitated the development of the journal. Among them are: Iryna Dzhava, Chinara Majidova, Daria Prydybailo, Willi Reinecke, Sholpan Zhanuzakova. 

2nd March 2022

It is not the “Ukrainian issue”


Olexii Kuchanskyi

7th January 2022

The Friendship Garden


Olga Grotova

21st October 2021

Набег на кремль


Интервью с художником Чингизом Айдаровым

26th July 2021

Розмова з авторами "Чорнобильдорф" Романом Григорівим та Іллею Разумейком



30th June 2021

Schreiben gegen die Gleichgültigkeit


Ina Hildebrandt

14th June 2021

I am out of politics?


Art activism in Russia during the pandemic
Antonina Stebur

28th May 2021

Этот переход закрыт


Ира Конюхова

22nd May 2021

Such a distant home



19th May 2021

Неотчужденный интернациональный труд как самая большая утопия


Бермет Борубаева

5th May 2021

Метаболічне Зображення



29th April 2021

Каталогизация неофольклора


Интервью с Фархадом Фарзалиевым

21st April 2021

Лаборатории komaxи


Nastey Teor и Алексей Кучанский

9th April 2021



Dovilė Aleksandravičiūtė

5th April 2021

Экспонируя территорию


музей между локальной историей и дискурсом современности
Татьяна Бурлаченко

18th March 2021

Революция в будуаре


Анастасия Патапкина

15th March 2021

You are not alone in your monologue


Vica Kravtsova and Kira Shmyreva

23rd February 2021

Ортостатичний колапс


Олексій Кучанський

29th January 2021

Das junge Herz des Protestierenden


Anastasia Kalk

26th January 2021

Бороться за воздух, деревья, слова


Интервью с коллективом БиШСИ

19th January 2021

Looking to the horizon


Kateryna Iakovlenko

12th January 2021

Вирус независимости варшавского арт-сообщества



4th January 2021

Манипулятивный конструкт


Анастасия Бергалевич

26th October 2020

Тайный музей профсоюзного и рабочего движения


Алексей Борисёнок

8th October 2020

Надия Кааби-Линке. Возвращение к себе



1st October 2020

Aqil Abdullayev ilə müsahibə



28th September 2020

Snap Out of The Past


Interview with Agil Abdullayev

24th September 2020

Unfinished protest



8th September 2020

День имеет право на конец


Вика Кравцова

26th August 2020

Центр постсовесткой реабилитации



18th August 2020

Belarus streikt - Brief an die Arbeiter*innen


Anatoli Ulyanov

15th August 2020

Зварот культурных работніц і работнікаў Беларусі



14th August 2020

Within the borders


Olga Davydik

13th August 2020

Спусковой механизм


Антонина Стебур

6th August 2020



Галина Рымбу и Алина Копица

23rd July 2020

Adieu, Utopia


Interview with Diana U

14th July 2020

Solidarity Asunder


Alex Fisher

8th July 2020

The Presence of Absence


Nadia Tsulukidze

1st July 2020

The reality of real bodies


Sasha Shestakova

30th June 2020



Thibaut de Ruyter

26th June 2020

18 мая


Рух Зильберштерн

18th June 2020

The Other East


Alexey Ulko

15th June 2020

Бумеранг колонизации


Виктория Кравцова

9th June 2020

Hiding in a plain Sight


Sasha Shestakova

7th June 2020

Не-чужеродность чужих


Ира Конюхова

6th June 2020

Аварийное оповещение


Тамара Хасанова

5th June 2020

Вагітні революцією, взаємопов'язані та взаємозалежні


Дар'я Придибайло

28th May 2020



our very special and very well selected editors pick

21st May 2020

Zero Line Of Sight


Interview with Bella Sabirova

14th May 2020



By Meder Akhmetov, Darina Manasbek, Philipp Reichmuth

5th May 2020



Alex Fisher

30th April 2020

I am not toilet paper


Conversation with Moldavian artist Tatiana Fiodorova

21st April 2020

Nude Art as a Mirror of Society


Lolisanam Ulugova

14th April 2020

Камуфляж. Педагогіка ксенофілії


Олексій Кучанський

7th April 2020

The last sparks


Ivan Isaev

6th April 2020

Leah Peirce



29th March 2020

Трансграничная миграция заботы


пандемия после 8 марта
Мария Дмитриева

25th March 2020

Transboundary migration of care


pandemia after 8th of March
Maria Dmitrieva

9th March 2020

(It would be) NICE TO MEET YOU, TOO


Anna Kamay and Melikset Panosian

5th March 2020

Open Letter by PinchukArtCentre Trade Union members



26th February 2020

The shift of the paradigm in modern Central Asian art


Alexey Ulko

4th February 2020

Embrace Your Antithesis


Interview with Slavs and Tatars

1st February 2020

Chakras of Tbilisi


Laura Arena

29th January 2020

2019 Curator's choice



17th January 2020

On the loop


Interview with Gago Gagoshidze

23rd December 2019

"Мы сёння знаходзімся ў іншай вытворчай драме"


Работай Больше! Отдыхай Больше!

5th December 2019

Another production drama


Interview with WORK HARD! PLAY HARD! working group

20th November 2019

Wandering poetics of Central Asian mestizas


Interview with Krëlex Zentre

6th November 2019

Conversation with Julieta Aranda and Anna Kamay



1st November 2019

Über die Sprache der Vorherrschaft


ein Gespräch mit Medina Bazargali

29th October 2019

Where the roses grow


Interview with Almagul Menlibaeva

25th October 2019

On language of supremacy: Medina Bazargali in conversation



10th October 2019

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


part two

1st October 2019

There Is Sex After Soviet Union! (German)


Ira Konyukhova

26th September 2019

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


part one

6th September 2019

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



1st July 2019

Juggling Dinosaurs


The precariousness of motherhood in arts
Anna Kamay

24th June 2019

Interview with Elene Abashidze



14th June 2019

Unfortunately, we cannot pay for your flight and accommodation


Thibaut de Ruyter

28th May 2019

Ich liebe dich!


Antonina Stebur

17th May 2019

Interview with Anna Vahrami



23rd April 2019

Artist Portrait: Anastasia Akhvlediani



13th April 2019

Artist Portrait: Alisa Berger


Thibaut de Ruyter

21st March 2019

Faig Ahmed



18th March 2019

There Is Sex After Soviet Union!


Irina Konyukhova

11th March 2019

Interview mit Samvel Saghatelian



8th March 2019

Artist Portrait: Salome Dumbadze



4th March 2019

Interview mit Chinara Majidova


Klang des Brunners vor einer Fassade

26th February 2019

East Wind - Art in the Former Soviet Republics


Thibaut de Ruyter
Silicone toy, 2019. Photo by Coco Schwarz
Alina Kopytsa. Courtesy of the Artist
Flower VII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist
Act drawing, ink, paper, 2020
Alina Kopytsa. Courtesy of the Artist
Flower II, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist
Flower VII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist
Let it flow, watercolor, ink, paper, 2017
Alina Kopytsa. Courtesy of the Artist
Flower VIII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist
Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist
Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist
Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist
Act drawing, watercolor, ink, paper, 2020
Alina Kopytsa. Courtesy of the Artist


Галина Рымбу и Алина Копица

6th August 2020

TransitoryWhite публикует стих поэтессы Галины Рымбу Моя вагина, написанный в поддержку активистке Юлии Цветковой, которой предъявили обвинение по статье о распространении порнографии в России, а также другие произведения на русском, английском и румынском. Поэзия Галины Рымбу рождается не на кончиках пальцев, но под кожей - в самих внутренностях и смело заявляет себе, захватывая и погружая читателя в свою интимную историю с политическим посылом. Ее поэзия свободна и чувственна, при этом наполнена силой и революцией. 


Но мне нравится мыслить её политически,

это заводит, качает танцпол старых идей,

даёт надежду в отсутствии новых

активистских методов.

Делать революцию вагиной.

Делать свободу собой.


Мы также представляем работы украинской художницы Алины Копицы, которая в своем творчестве исследует гендерные отношения, сексуальное поведение, фетишизм, создавая текстильные объекты, скульптуры и перформансы. Произведения художницы переступают через социальные табу и приглашают исследовать желание, расширяют границы восприятия и создают пространство свободное от гендерно-политических отношений и общественных ожиданий. Произведения Галины Рымбу и Алины Копицы пересекаются в размышлениях о самоидентификации, близости, удовольствии и объединяются в едином порыве - дать свободу женскому телу, его репрезентации, раскрепощают и выступают против любой цензуры.



Silicone toy, 2019. Photo by Coco Schwarz
Alina Kopytsa. Courtesy of the Artist



Моя Вагина


17 мая 2013 года под музыку группы «Смысловые галлюцинации»

из моей вагины вышел сын,

а затем — плацента, которую акушерка держала, как мясник —

взвешивая на ладони. Доктор положил мне сына на грудь

(тогда я ещё не знала имени сына)

и сказал: ваш сын. И сын тут же описал мне грудь и живот,

а мир стал саднящей вагиной, сыном, его горячей струйкой,

его мокрой тёплой головой, моим пустым



Flower VII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist


Потом мою вагину зашили,

она изменила форму. Стала узкой и стянутой

вагина-тюрьма, вагина-рана. На мне тогда были

белые компрессионные чулки — все в крови,

дешёвое красное платье-халат, купленное в китайском павильоне,

а на нём — две женщины, держащие кроны деревьев,

и звери, держащие женщин.

Без трусов, без поддержки, с запутанными волосами

я шла после операции по солнечному коридору роддома

забирать сына. Я взяла его и подумала:

его пальцы похожи на маленькие мармеладные червячки.


Теперь моя вагина — это норка

для твоего коричневого зверька с большой красной головкой.

куда он иногда проскальзывает, чтобы набраться сил. Это ямка

для твоего нежного языка, для твоих тонких крепких пальцев, похожих на письменные принадлежности

из прошлого века.

Моя вагина сжимается сейчас, рядом с нею, чуть выше — набухает клитор,

он похож на бусинку и завернут в нежный

складчатый капюшончик, который иногда можно снять

под слепым дождем лёгких прикосновений.

Ты можешь… Аккуратно…



Act drawing, ink, paper, 2020
Alina Kopytsa. Courtesy of the Artist



Когда мне было 13, я пыталась засунуть туда дачный

огурец: хотела понять, что такое секс.

Тогда я ещё не знала, что это не только

пенетрация. Я часто смотрела на свой клитор в маленькое

разбитое зеркальце, которое папа использовал для бритья.

Я была сухим деревом, которое горело

с каждым днём всё сильнее.


Я жила в мире школьной литературы, где всё видно только мужским

взглядом, в мире районных разборок и падиков, набитых потными

парнями в чёрных куртках и рваных ботинках.

Я любила сидеть на кортах, любила

обтягивающие джинсы, сдавливающие клитор

и большие губы.


Тогда я ещё не знала, что до моей вагины всем есть дело:

государству, родителям, гинекологам, незнакомым мужчинам,

православным батюшкам, у которых под рясой погоны,

а на рясе — женская кровь,

работодателям, эшникам, военным, нацикам, миграционным службам,

банкам, консервативным критикам «развратного образа жизни»,

патриотичным деятелям культуры, юзающим традиционные ценности

под коньячок.



Flower II, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist


Из моей вагины раз в месяц идёт кровь,

и тогда мой любимый идёт в магазин за прокладками

(мне нравятся тонкие, с запахом ромашки).

Иногда кровь вываливается сгустками, похожими

на круглые шлемы маленьких астронавтов.

Мой менструальный космос в миниатюре: планета матки,

кометы яичников, млечная галактика припухшей вульвы.

Иногда кровь льётся, как водка,

из специального узкого горлышка сувенирной бутылки.

Иногда её нет.

Мне нравится заниматься сексом во время месячных,

всё тело становится супер-чувствительным.

Люблю, когда твой член весь в моей крови,

и люблю представлять, что у тебя тоже месячные,

что солёная тёплая кровь капает из маленькой дырочки

на твоей головке.

Люблю, когда твои руки липкие от моей крови,

когда она засыхает на твоих ногтях и заусенцах,

люблю чувствовать, как пульсирует матка в моём животе,

словно второе сердце, как набухает грудь и становится горячей,

как будто оттуда вот-вот польётся молоко.

Я дам тебе его пить, любимый, оно зальёт твое лицо,

твои нежные розовые соски (почти как у девочки),

сделает мокрыми твои волоски на груди,

твою шею, животик, в котором,

я мечтаю, ты когда-нибудь сможешь выносить нашу дочь.



Flower VII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist


Люблю, когда ты говоришь о моей вагине,

и когда мы вместе её обсуждаем,

пока ты сидишь на мне сверху

в моей футболке и зелёных серёжках,

которые я тебе подарила,

Люблю, когда ты легонько шлёпаешь меня по губам.

Как хорошо, что ты делаешь это не в России,

где Юлю Цветкову хотят отправить в тюрьму за нежные

рисунки вагины,

где мои подруги боятся целоваться на улице,

где мы с Катей после школы подолгу лежали на ковре

у неё дома и трогали друг друга, превращались в одно

солёное море, а потом

боялись об этом говорить.



Let it flow, watercolor, ink, paper, 2017
Alina Kopytsa. Courtesy of the Artist


Наши вагины и вульвы называют кисками,

но у меня скорее не киска, а домашняя декоративная мышка,

маленькая, пушистая, беспокойная.

Она умрёт раньше времени?

Она умрёт в клетке?


Однажды я трогала свою мышку на лекции в универе,

трогала её в пустом автобусе, ползущем по ночному городу

от заводов к панелькам, от кладбищ к торговым центрам.

Я трогала её за гаражами, осенним утром,

сидя на ржавой трубе,

трогала в машине скорой помощи, которая везла меня

на операцию, и трогала после операции,

когда в уретре стоял катетер, когда из уретры текла кровь,

трогала, когда мой живот был огромным, в душном

отделении роддома,

когда писала в баночку в поликлинике,

когда писала и плакала ночью в старом дачном саду,

полном кузнечиков и ночных мотыльков,

когда писала на иртышской набережной прямо в штаны

для прикола, когда писала на снег

у проходной завода,

когда писала в общаге в горшок сына,

когда писала после пива в парке культуры, а неподалёку

бродили менты,

трогала в летнем лесу, пока меня облепляли насекомые,

обнимали деревья.

Трогала её после того, как случайно порезала бритвой губы и клитор,

после ссоры с другом и после


после поездки в онкоцентр и после

ареста, на съёмной квартире,

после акций протеста на Болотной площади

и после акций протеста на Марсовом поле.

трогала, читая Николая Кузанского,

читая Гастева,


Эрнста Блоха,

«Этику» Алена Бадью,


учебник по физике,

антологию немецкой поэзии,



(я их захватила!).

Я трогала мою мышку, когда плакала и хотела от тебя уйти,

трогала, когда плакала и хотела от тебя ребёнка,

трогала, сидя у тебя на лице,

и трогала, прижимаясь лицом

к твоей тёмной промежности,

и просто — глядя тебе в глаза.

И  всё равно до сих пор не знаю, не понимаю её до конца,

мою мышку,

боюсь и стесняюсь.




Flower VIII, porcelain, 2019
Alina Kopytsa. Courtesy of the Artist



Но мне нравится мыслить её политически,

это заводит, качает танцпол старых идей,

даёт надежду в отсутствии новых

активистских методов.

Делать революцию вагиной.

Делать свободу собой.



Я думаю, а что, может, и правда вагина погубит это государство,

прогонит незаконного президента,

отправит в отставку правительство,

отменит армию, налоги для бедных,

фсб как структуру самой гнусной власти и подавления,

разберётся с полицией,

консерватизмом и реваншизмом,

расформирует несправедливые суды, освободит

политических заключенных,

сделает невозможным тухлый русский национализм,

унижение угнетённых, сфабрикованные дела,

разъебёт олигархат и патриархат,

парализует войска, движущиеся в чужих государствах —

всё дальше и дальше:

в пизду милитаризм!



Моя вагина — это любовь, история и политика.

Моя политика — это тело, быт, аффект.

Мой мир — вагина. Я несу мир,

но для некоторых я — опасная вагина,

боевая вагина. Это мой монолог.


Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist



Sex is a Desert


I’m screaming

lying alone

in this settlement



everything empty only emptiness

sex – is a desert




coming home from work

desiring on the shopfloor

or in the machine

or at some other labour of language

feel it: there’s nothing there only

a desert



coming home from work

I’m writing a letter to the first boy

why’d you deceive me, you know there’s nothing there



only a desert



I’m in the desert alone

and desire fades

laying sex bare like vision

like trembling

on the horizon is the body of a dry old man

this is my sex

this is my future



hundreds of animals will come and hump me

a tiger’s sperm leaps toward the clouds

monkeys lick my clitoris

but none of them will say:

‘sex is a desert’



Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist



in the garden of atavisms

lifting my skirt, leaning on the barbed-wire fence

barely discerning the face

in the wilds of bloody tears

I, weeping, will say: ‘look at what we were struggling for,

marching naked past parliaments,

penetrating with phalluses the offices of government.

no, there’s nothing there,

sex is a desert’



I love you

and your dead sex

still moves me

but when I love you

I feel: only a desert



the smooth temple of marriage bathed in wine gone bad

the raw looks of new lovers

the embraces of boys, covered with feces, tears

girls with black scars and bright dildos

baring their breasts before the river

of people dying



what were we struggling for?

why all these poems?



the dying camp of peoples in the depths of the analyst

you die with them, too, analyst,

saying: ‘Desert’

because there is no hidden pleasure in the desert



only sand

only heat

masturbation and solitude



only womanhood

only the desert



crowds of furious men, turning in their zinc coffins

crowds of men fondling, flying on a varnished bomb

the industry of depravity in space stations, the science of art in the bathhouse

all for nothing, procreation is only part of the desert



Kathy, Kathy, wanking off death,

I can’t see your face, there’s no dialogue, no strength to tell you how things stand

for you, you’re not here, Kathy, the body has no identity in the bitter printed word



the rod in a thrown open bible,

student marches little puddles of blood in a dark toilet,

where my farewell lament

addressed faded out

to the dead students and their movement




with knives stuck in the hips

with the tender kisses of events

I want to say: here is the event

sex, sex is dead, it’s leaving us

in the heat of sex, in the atavism of desire



on the tip of lilies unzipped in shuffled tarot cards

we lay in solitude

to count the money we got

for sex, for pain, for death,

to count the bites and bruises from dead lovers



armies of little neomorts,

storming the beds of our mothers and our children

with a shaved crotch, almost blind



Come to me, ink, paper, 2015
Alina Kopytsa. Courtesy of the Artist



I lie alone

in this settlement



the dead cock that protrudes from every philosophy

Alain Badiou fucking theories, numbers,

a weeping member, the cock of greasy philosophy

what are you good for, if you could only save us



in the depth of short orgasms, waiting: where is the network of pleasure?

on the seashore in a billboard I don’t fucking care I’ll stay

with my beloved with biceps and seagulls, with a silk dress and a rose in my hair

if only I don’t have to see this



how in the desert they eat my body

sex-objects, workers and liars,

and writers with open skulls,

retromodernists, writing shrill messages,

I want to say that my pus pain and blood

are not your pus pain and blood

I request that you do not confuse these aesthetics, these worms, these beds



little stars of little doctors

little empty illnesses

knife wounds inside the rendezvous

feeding feeding feeding

at the edge of love

rome rome rome with a price tag with a shrill libido



o, who could

guess these

are caravans of slaves coming to meet us?



like a feminist sad sticking out of a camel’s ass

confusing all the arts without desire without aim you left us

you burned down a pair of sex shops you’re crying in the autumn park with a bottle of cheap wine in your hand

because it’s all for nothing because sex is a desert



because you can’t say no



even if women piss on all the cathedrals

and men fuck themselves with a machine gun



there will be death there will be sex there will be poetry



there will be roses enflamed



there will be cocaine in paper wrappers and breakfasts



in the barn in bed



thin nets with a baby



rubbers with toys



you, my love,



texts with confessions



I am masturbating






sand in our bodies,



age, wind,



cleansing, hallucinations,



and you, you, you,



my love, who lies:



‘youth, fury, knowledge’



the contemplating anus

the furious anus minimalism of forms

for Russians who are still being flogged

and who are happy because they were born dead

and what else are the dead to do, there is time and it will hurt



but there is also a lyrical line:

I’m screaming

lying alone in this settlement

you borrow money from your comrades to get here

but there’s no road that will take you

fuck her and him, fuck others, but you won’t find your way to this settlement

talk to me through the wind through time but you’re not there

fuck me and you’re not here in this settlement

I’m lying alone

screaming: ‘sex is a desert’



the pluralism of opinions, contemplating: this is war,

crowds of people standing in front of the screen, where I say to you:

‘sex is war’,

but stay there alone and you will feel: sex is a desert



we fell dead

into the body of the enemy

of the lonely, at the edge, in the village



we grew up

into industry

into no one



So huge, this desert is so huge



Act drawing, watercolor, ink, paper, 2020
Alina Kopytsa. Courtesy of the Artist



În ovarul meu locuiește un monstru


în ovarul meu locuiește un monstru; complicat, dar din țesuturi simple

de embrioni. el îmi dă de știre nopțile

și eu mă trezesc, și vreau să fac ceva cu mine.


dacă aș avea încrederea că pot să lupt moartă,

micul meu geamăn, care a concrescut cu micul organ, s-ar elibera

în pământ sau în organicitatea cenușei...


cred că putem mângâia pietrele și ne putem arunca ochii asupra copacilor,

doar atunci când nu suntem.


timpul tace, întors în sine.

și bulevardul Cosmic vuiește după geam,

scuipând pe cei beți pe cărările noroioase. visez

că sânul meu putrezește, că, într-un sfârșit, am devenit femeie...


și că toate animalele lumii se lasă mângâiate de mine.


înainte de culcare fiul meu mi-a luminat burta cu lanterna telefonului mobil.

el consideră că vom putea construi o rachetă ca să zburăm în cosmos,

iar eu nu îi pot explica – cosmosul există pentru cei aleși,

nici chiar acum, ci într-un viitor posibil.


că locuințele cosmice, care există deja aici pe pământ,

și expozițiile de roboți care îi plac atât de mult,

și gadgeturile complexe pentru producerea poeziei automatizate la noii poeți

sunt create pentru cei aleși, în numele celor aleși

care nu mai sunt oameni, nici materie, ci un roi tulbure de sisteme

care cresc, ca niște tumori, în mediile noastre.


ce sunt oamenii care nu pot obține un pașaport,

ce sunt oamenii care nu pot pleca nicăieri,

ei stau culcați ca niște monștri bolnavi, în gropile dense ale muncii și foamei

și vorbesc puțin.


că grămezile de guverne – ca niște grămezi de gunoi pe Pâmântul nostru,

că mai există ceva, în afară de timpul împins în cameră,

că în corpuri mai există ceva în afară de cuvinte și gânduri...




Tatăl meu doarme pe dușumea


tatăl meu doarme pe dușumea și noi îi așteptăm

salariul ca pe o minune, ca pe mesia, ca în copilărie, ca sfârșitul lumii,

când vom mânca prea mult împreună și vom muri

și vom vedea strălucirea lumii fără timp – iată așa așteptăm

serile privind apăsat la singurul nostru geam din singura noastră cameră

acoperit cu staniolul gri de soare;


tatăl meu doarme pe dușumeaua

din bucătărie, iar eu cu mama și cu fiul meu suntem în cameră și pare că respirăm simultan

iar noaptea, trezindu-ne, ne auzim unii pe alții;


la CET-5 iarăși destupă țevile și se aude zgomotul lor, iar uneori chiar urletul țevii celei mari împrăștiat prin cartier – așa de parcă ar sări din cer

și aleargă pe pământul nostru putred ca un spirit rău. și august

își fugărește taurii albaștri pe cerul întunecat, pe dealurile nervoase ale gunoiștelor,

prin lacurile cu stufării și prin palatele supermarketurilor din suburbii

spre comunitățile noastre complicate adunate toate într-o casă, într-un singur roi al minții,

care spală pământul cu lacrimi proaste,

când așteptăm salariul lui tata și înjurăm?

căci el nu vine și noi nu putem să-l omorâm, să-l rugăm să plece

pe cel care e vinovat de aceasta; iată de ce uneori ne dorim pur și simplu să ne ucidem unii pe alții,

când august ne rupe creierii cu strălucirea lui neagră,

când arborii devin vii și îmbrățișează pe cei beți în suburbii,

îi leagănă ca pe niște copii mici, lăsându-i apoi încet lângă tomberoane,

când motanul cel bătrân roade la bucătărie mărar uscat și plânge nu se știe de ce așa cum o face doar un animal;


vrem să ne omorâm între noi ca între rude, dar adromim din nou,

și chiar în somn așteptăm cu mama salariul tatei,

ca să ne luăm șampon și gel de duș, ca să îl plimbăm pe fiul meu cu barca,

să luăm un maxi-taxi și să mergem în centru la expoziția de flori,

dar și pentru ca într-un sfârșit să mâncăm ceea ce ne dorim, să mâncăm, să tot mâncăm,

până se va termina timpul; iar tata doarme la bucătărie și tușește,

plămânii lui nu se deschid ca o floare purpurie, ca în poezie, ci plioscăie înăuntru în surdină,

pielea e chinuită de un miros al nopții;

el doarme și nu știe nimic despre salariul său,

el vorbește în vis moldovenește cu fratele.


Галина Рымбу (р. 1990) родилась в Омске, и на данный момент проживает во Львове. Она издавала свою поэзию в российских журнал таких как "Новое литературное обозрение", "Воздух", "Шо" и "Транслит". Ее эссе о кино, литературе, и сексуальности опубликованы на таких интернет порталах как SÉANCE, COLTA и MILK AND HONEY. В переводах на английский язык стихи Галины Рымбу появлялись в международной периодике, в том числе в изданиях N+1, Arc Poetry, The White Review, Berlin Quarterly, Music&Literature, Asymptote, Powder Keg и др. Стихи также переводились на немецкий, испанский, шведский, нидерландский, итальянский, польский, латышский,  румынский, украинский языки.


Алина Копица (р. 1983), родилась в пгт. Полесское Киевской области, живет и работает в Цюрихе, Швейцария. Копица получила диплом по специальности графика в Киевском политехническом институте. С 2008 года работает с искусством апсайклингу, участвовала в Международном каталонском фестивале переработки мусора в Барселоне и фестивале On the Street в Стамбуле. Гендерные отношения, сексуальное поведение и фетишизм становятся объектами текстильных работ, скульптур и перформансов Алины Копицы. Через неосложненный юмористический подход ее работы обращаются к социальным табу, раскрывая возможность страстного сексуального влечения, свободного от гендерно-политических отношений и общественных ожиданий.


Joan Brooks is a writer and translator based in Pittsburgh, PA. Their interests include queer and trans theory, political theology, and Russophone culture, philosophy, and politics. They have translated numerous contemporary Russian authors, particularly leftist and queer-feminist poets. Full length books include Roman Osminkin, Not a Word about Politics! (Cicada, 2016), Galina Rymbu, White Bread (AfterHours, 2016), and Nikolay Oleynikov, ed., Sex of the Oppressed (PS Guelph, 2016). Individual translations have appeared in White Review, N+1, Asymptote, Sinister Wisdom, Lana Turner, and many other print and online journals. Brooks contributes regularly to The Russian Reader translation blog ( They are also the author of Greetings, Pushkin!: Stalinist Cultural Politics and the Russian National Bard (Pittsburgh UP, 2016) and numerous scholarly articles and book chapters.


Ivan Pilchin (born in 1983) is a poet, translator and researcher. He graduated from the Faculty of Foreign Languages and Literatures and the Faculty of Law of the State University of Moldova. He worked as an university lecturer at the Department of Universal and Comparative Literature, State University of Moldova (2005-2019). He is currently translator on Radio Free Europe, the Chișinau Bureau, and the head of the Studies and Research Section, the Municipal Library „B.P. Hasdeu”, Chișinau. He has published several articles and studies in the field of literary science, 3 textbooks of world literature for the high school (in collaboration), numerous literary translations from and into Russian and Romanian. The author of the volume of poems “Человек-аквариум” [“Human-aquarium”] (Arc Publishing House, 2018). Member of the Writers’ Union of Moldova and of the Writers’ Union of Romania. Holder of several literary awards. Scholarship holder in two literary translation programs (ICR, National Museum of Romanian Literature Iași).


Редактор Дарья Придыбайло. Перевод Joan Brooks и Ivan Pilchin.


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