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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. 

8th March 2019

Artist Portrait: Salome Dumbadze



23rd April 2019

Artist Portrait: Anastasia Akhvlediani


The Russian missile destroyed at least five floors of the building in Kyiv

It is not the “Ukrainian issue”

Olexii Kuchanskyi

2nd March 2022

A letter from the civil body with some observations on cultural production and war

*Vzhvzhvzhvzhvzhvzhvzhzvzhvzhvzhvzhvzhvzhvzhvzhvzhvzh* — what is that? Sirens? Grads?(1) Russian air forces? Oh, it is a refrigerator. Awakening, the third day of Russian invasion all over Ukraine. 3 hours of sleep.


The Russian missile destroyed at least five floors of the building in Kyiv




The first day was with real sirens.*Uuuuuuuuummmmmm* — “I have no shelters nearby. I better stay home”. Tried calling my partner, who was in another city. *U-u-u-u-u-u - no answer - u-u-u*.


*Vzhvzhvzhvzhvzh*. Next two secs: I saw a Russian airplane from the window. Third sec: explosion on the horizon. Vibrating walls. Frustrated, went to bed as nothing had happened. Still keeping my phone. *U-u-u*. “Hello…”. Huh.





On the very day of the invasion, I intended to clarify the topic of my future article that I was preparing for a Russian magazine on contemporary art and theory.  The issue was going to be focused on decoloniality. How ironic.



When leaving in a hurry…






(Have to answer queer refugees from Ukraine to link them to comrades from Europe).



When leaving in a hurry, I took a random book from my table, at least something. Not one on decoloniality. I won’t discuss that text now, but there is an observation to be mentioned. What if there is something else, which is a significant feature of decoloniality itself, besides (not instead of) just the arguments and concepts from books?



Maybe decoloniality is not necessarily related to good libraries of great institutions. Such institutions in Moscow and Saint-Petersburg remain open now. Well, a whole lot is different in Kyiv, Odesa and Donetsk. There are explosions (not of texts on the decolonial turn, but literally explosions) in each of these Ukrainian cities. Just like everything and everybody else, universities, theory, museums, artists and art are under fire. Maybe decoloniality is related to that one thing one has about her/his/their current condition(s). A condition(s) with which one engages without preaching to the choir about the same cliches of "inclusivity." Why does that trick with cliches always work?






(My sweetheart is also awake. S/he spent a night in the metro that currently serves as a shelter. I ask,

“How are you?”. Answer: “I’m fi… Oh, sirens, again”).



There is probably something fundamentally wrong with all those “progressive” institutions, new institutionalities, etc, if they are so easily captured by Putinism – a very specific form of imperialism that plays an essential role in the global capitalist order. Many of such cultural institutions live in harmony with Putinism and the global art and theory market. So this is not surprising, they cannot even react to the brutal Russian invasion of Ukraine. 



I mean not only Russian institutions, but all of those, who pretend that art and culture are not a global market and a giant network of practices with a long history of acting transversely as artistic, theoretic and political praxis. Those institutions pretend that art and culture are powerless entertainment, just as La Biennale di Venezia did. This type of domesticated actors discuss the “anthropocene” yet ignore Russian militants capturing the Chernobyl nuclear power plant. Yeah, it is unoriginal but this silence is our sirens, explosions, shots and cries. I can hardly see the difference between conformism and “decolonisation of imagination” isolated from its own political and social conditions. Probably, this isolation is the main ingredient of Putinist cultural production – it is generally fine but this is a crucial issue. It also seems to be the most effective way to keep critical discourses being...



*Vzhvzhvzhvzhvzhvzhvzh* — what is that? A car. Huh.



… to keep critical discourses being useless fetishes.



Now, there is no possibility for me to work on the “clear” concepts, so implications and metaphors are my only means. You see, there are no libraries here, only one book, sirens and explosions. By Putinism, I mean that strange kind of huge non-human war technology predicated on the merger of legal neopatriarchy, racist violence, neoliberalist capitalism, political isolationism, disinformation and the latest surveillance equipment. Gas, oil, weapons and human flesh to die for nonsense automated war, heteronormative fascism to reproduce human resources. Even that fascist himself is just a fleshy component of that mechanism. His pseudo historical narratives of the “great Russian empire” is a click of a weapon — it is load. Human rights are ignored. Putinism is the dark trajectory of posthumanism in a condition of global capitalism and “carbon democracies''.



I capitalized “Putinism” not in order to honor, but because I believe it will end soon and will never happen again. It is a name, not a notion. No one can foresee what this non-human technology may do for peoples worldwide, for the planet. Because it may even do “what anyone has ever done in history,” as that fascist said, suggesting a nuclear attack.



Nuclear power plants and radioactive waste storage sites are at risk. This is not paranoia. Russian militants have already jeopardized them.



The war in Ukraine is not the “Ukrainian issue”. “Planetary” is not an accurate concept here, but it fits here much better than in announcements of projects of institutions that ignore war initiated and led by the same sources of their “criticism”.



And yet many people from the Russian Federation have been fighting against Putinism not only nowadays but every day for a long time as cultural and political activists, artists, curators, researchers, volunteers, trade union activists, feminist media activists, environmentalists and many others with uncompromising political overviews, many of those I know personally. Just as many of those who do this on a regular basis in Belarus, Kazakhstan, Georgia, and all the indigenous peoples of RF. Putinism may be seen as a network of social, political, administrative, economic and affective (based on fear and frustration) relations. The dreadful international crime that started in the early morning, Feb 24, which was illustrated with my own experience above, might become not only a huge tragedy, but also an opportunity to consolidate in order to rearrange those relations.



It is absolutely inconceivable, but it seems to be the time when binary opposition is useful. See the difference, neither Russians—Ukrainians nor Russia—NATO. The opposing sides are Putinism, that is force that kills civilians and the environment in order to kill more, — and a transnational network of those, who believe in futures, which are alternatives to this creepy destructive alienated war technology. For sure, it is a strategic simplification.



That only book I’ve taken is The Right to Truth: Conversations on Art and Feminism, edited by Oksana Bryukhovetska and Lesia Kulchynska, published in Kyiv, 2019. In one of the conversations, artist and activist Dana Kavelina said that empathy is a means of struggle. It is a weapon which cannot be used by Putinism. And in current conditions, it seems to be no less critical than cerebral books and con…  





Siren. I should go. Not really a good time for writing.



Briefly from the shelter:



Solidarity is a way to neutralize Putinism as technology. 



But there is no solidarity without a clear understanding of which side you are on.



Cultural criticists, leftists, feminists, eco-activists worldwide, those who read this, it is not the “Ukrainian issue”. It is the issue of fighting global capitalism, patriarchy and saving the environment.









Edited by Tamara Khasanova.



This text can be republished open access and online.



(1) BM-21Grad is a soviet multiple rocket launcher



Olexii Kuchanskyi is an independent researcher, art & queer writer, whose main interests lie in the experimental moving image art, its ecological impact, and critical cultures of nature. S/he was born in Vinnytsia, Ukraine. S/he lives in Kyiv. His/her works have been published in Prostory, Your Art, TransitoryWhite, Political Critique, East-European Film Bulletin, Arts of Working Class, Moscow Art Magazine, and others.

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