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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.


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

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.

Read her articles and interviews: ON THE LOOP

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.

Read his article: THE LAST SPARKS

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.

Read his article: (IT WOULD BE) NICE TO MEET YOU, TOO

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.

Read her poetry: LEAH PEIRCE

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

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

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

Read her article: 2019 CURATOR'S CHOICE

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.

Read her articles: I am not toilet paper, ARTISTS FROM CENTRAL ASIA (EDITORS PICK)


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.

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.

Iryna Dzhava

Iryna Dzhava is a teacher, translator, cultural project manager and marketing specialist. Her vision is better and accessible education to everyone. She is emphasizing the importance of the Humanities in our education. Iryna is interested in art and literature. She is the one to show you, how to create your very first etching picture and to inspire you to look deeper into the biographies of some famous people of the last century. Iryna was collaborating with TransitoryWhite as a UX- and marketing adviser between January and October 2020.


Chinara Majidova

Chinara Majidova graduated from the International Law Department of Baku State University in 2010 and has since worked as a writer, painter and video artist. She has been a contributing photojournalist and writer for the Ajam Media Collective, working on projects such as Mehelle charting the disappearance of the historic Baku district called Sovetski, and for Chai Khana, a multimedia platform covering diverse events and issues in the South Caucasus. She has also participated in a number of local and international group exhibitions spanning art and journalism and is currently pursuing a master’s degree in Cultural Heritage Policy and Management at the Central European University in Vienna. Chinara was doing an internship at TransitoryWhite in July 2020.

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. Daria was working with TransitoryWhite as an editor and advisor on Ukrainian art scene since December 2019 till October 2020.

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. Willi was collaborating with TransitoryWhite as editor and adviser since March 2019 till July 2020.

Sholpan Zhanuzakova

After a 20 year career in the global corporate sector, Sholpan gained an MA Degree in Contemporary Art in 2017. She is based in London and is currently an independent researcher. Her trans-disciplinary research interests include Industrial Colonization of Kazakhstan and The Effects of Colonialism on Language. Sholpan holds an MBA Degree and consults in Art & Business Strategy & Communications. She worked at the Education Department of documenta 14 in 2017. Sholpan holds a university degree in Language Studies as well. Sholpan was helping with sales strategy in November 2020.

You are looking for: Marifat Davlatova  

29th January 2020

2019 Curator's choice


Stop kadras iš „Tommy Cash“ muzikinio vaizdo įrašo „Surf“ (2017)
Režisierius Tommy Cash, prodiuseris Anna-Lisa Himma
Stop kadras iš „Tommy Cash“ muzikinio vaizdo įrašo „Surf“ (2017)
Režisierius Tommy Cash, prodiuseris Anna-Lisa Himma
**Šis tekstas yra žurnalo „TransitoryWhite“ Nr. 2 NE RYTAI dalis, kurį galite užsisakyti šiuo el. paštu. Leidinyje rasite tekstų ir poezijos penkiomis kalbomis, taip pat Sašos Kurmazo fotografijos darbus. Leidinį remia Maskvos Goethe institutas. O dabar - smagaus skaitymo!**

Stop kadras iš „Tommy Cash“ muzikinio vaizdo įrašo „Surf“ (2017)
Režisierius Tommy Cash, prodiuseris Anna-Lisa Himma


Norint kultivuoti šią regioninę egzotiką, svarbu suprasti, apie kokią konkrečią vietą yra kalbama. O kalbėti apie Rytų Europą, kaip apie vieną homogeninį kraštą, sunku.Nors ir apibūdinamas geografiniais terminais (šiaurė, pietūs, rytai, vakarai), Europos suskirstymas yra veikiau simbolinis, politinis, kultūrinis ar ekonominis nei geografinis. To pavyzdžiu galėtų būti 2017 metų Jungtinių Tautų sprendimas Lietuvą, Latvją ir Estiją priskirti Šiaurės Europai. Arba tai, jog labiau vakaruose už Vieną esanti Praha yra laikoma Rytų Europos miestu, o Viena ne. Tokia, simbolinė Vakarų ir Rytų Europos skirtis, egzistavo dar iki Antrojo Pasaulinio karo, tačiau šiuolaikines savo ribas galutinai įtvirtino Sovietų Sąjungos suformavimu ir jos įtakos zonų apibrėžimu. Po Sovietų Sąjungos griūties šis atskyrimas išliko, o regionas tapo Rytų Europa, Rytų bloku, Buvusiais Rytais, Naująja Europa ar Naujaisiais Rytais. Tačiau, nors ir vadinamas vienu vardu, regionui stinga tvirtų, aiškiai jį vienijančių bruožų, dėl to priklausymas Sovietų Sąjungai ar jos įtakos zonai dažnai užpildo šį vakuumą, tapdamas Rytų Europos identiteto pamatu.


Tokį regioninį nestabilumą geriau suprasti gali padėti Edward Said „įsivaizduojamų geografijų“ prizmė. Knygoje Orientalizmas (1978) Said terminą „įsivaizduojamos geografijos“ naudojo Artimųjų Rytų, kaip vietos, sukurtos stereotipų ir išankstinių nusistatymų pagrindu, kontekste. Jis išryškino žmonių tendenciją įsivaizduoti vietoves, remiantis apibendrinimais, o ne sudėtingomis variacijomis. Taigi, kokie yra Rytų Europos stereotipai? Dažniausiai jog tai varganas, korumpuotas, grubus, gražių moterų, alkoholikų, pigios darbo jėgos ir sovietinės praeities persekiojamas kraštas. Taip pat tai yra Europa, kuri turi „pasivyti“, kuri būtų tokia ar bent labai panaši į Vakarų Europą, jei ne Sovietų Sąjunga, beveik pusei amžiaus nuklaidinusi ją aplinkeliais. Taip Vakarų Europa tampa ne tik pavyzdžiu, kaip formuoti savo ateitį, bet ir paralelinės praeities vizija. Tarsi „kas būtų, jeigu būtų?“ vizualizacija. To pasekoje, sovietinis palikimas ir istorija tampa lyg dėme, neleidžiančia pilnai asimiliuotis į Europą. Tačiau jau nuo pat 90-tųjų ima daugėti menininių šią „dėmę“ naudojančių savo naudai.

Stop kadras iš „Tommy Cash“ muzikinio vaizdo įrašo „Surf“ (2017)
Režisierius Tommy Cash, prodiuseris Anna-Lisa Himma


Sovietmečiu unikalumas ar išskirtinumas nebuvo skatinami. Mene, egzistavo aiškūs rėmai, kuriuose reikėjo veikti. Tačiau po Sovietų Sąjungos griūties, regionui atsivėrus pasaulinei rinkai, menininkams greitai tapo aišku, kad būtent unikalumas yra viena labiausiai vertinamų savybių. 2006 metais duotame interviu Deimantas Narkevičius detalizavo: „Kada 1990-aisiais staiga mus užgriuvo (aš dar buvau studentas) 50-ties metų istorijos palikimas (turiu galvoje Vakarų meno raidos palikimą nuo 1930 m. pab. iki 1990 m. pr.), niekas nežinojo, kaip save reflektuoti. Atrodė, kad tu nieko naujo nebegali padaryti, nes ten, Vakaruose, už sienos, viskas jau seniai padaryta. Ten taip toli nueita, kad bet koks formų, strategijų kartojimas ar mechaniškas reflektavimas niekur nebeveda. Europos muziejams, kolekcininkams ar galerijoms pakartojimų nereikia. Taigi turi atsirasti tai, ko dar nėra, ko dar nebuvo. Turi atsirasti kultūroje kažkoks teiginys, kuris nebuvo pasakytas.“

Tokiu, po-sovietinio Rytų Europos ir savęs egzotizavimo vardan unikalumo, pavyzdžiu gali būti estų muzikantas ir menininkas Tommy Cash (TOMM¥ €A$H). Turintis estų, rusų, ukrainiečių ir kazachų kraujo, jis pirmiausia save laiko estu, po to — Rytų Europiečiu. Būtent pastaroji tapatybė yra ryškiai juntama jo dainų tekstuose ir ypač vaizdo klipuose, kuriuos dažnai pats ir režisuoja. Pavyzdžiui, muzikiniame klipe „Surf“ (2017) sovietiniai blokiniai namai, interjerai, pionierių uniformos, nukelia žiūrovą tarsi į siurrealistinį erotinį sovietinį sapną. Griežtų uniformų frigidiškumas kontrastuoja su seksualumu, o sovietiniai artefaktai tampa estetizuotu fasadu, hipnotizuojančiu reginiu ir pramoga. Video klipas „Euroz Dollaz Yeniz“ (2014) yra tarsi sukurtas pagal Rytų Europos stereotipų sąrašą: skustagalviai, dėvintys Adidas sportinius kostiumus, blokiniai namai, kilimai ant sienų, degtinė ir rauginti agurkai. Tačiau, nepaisant to, jo formulė yra perimta iš stereotipinių Holivudo hip-hopo, repo muzikinių klipų: dominuoja pinigai, merginos, striptizo klubai, šokėjos. 


Toks, Rytų ir Vakarų stereotipų mišinys, puikiai atsispindi varde, kuriuo save kartais saviironiškai vadina pats Tommy Cash — „Kanye East“. 2018 metais interviu, duotame Vogue žurnalui, Tommy Cash sakė: „Čia mes neturime Pablo gyvenimo [nuoroda į Kanye West albumą „Life of Pablo“ (lt. „Pablo gyvenimas“, 2016)], bet galime turėti Pavelo gyvenimą.“ Tarsi negalint įpirkti prabangių dizainerių rūbų visuomet galima jų kopijų gauti turguje, arba, negalint gyventi prabangaus muzikos žvaigždės gyvenimo Holivude, jo versiją galima susikurti ir po-sovietiniame Taline. Tačiau sėkminga tarptautinė Tommy Cash   karjera puikus įrodymas kaip tokia imitacija galiausiai tampa tvirtu originalu.


Pastaraisiais metais stiprėja diskursas, kvestionuojantis šią tariamą hierarchiją (Rytai imituoja Vakarus) ir raginantis iš naujo permąstyti europinę centro-periferijos dinamiką. Viena tokių iniciatyvų — „BAK“ („basis voor actuele kunst“) organizuojami „Buvusieji Vakarai“ („Former West“). 2008-2016 metais jie per paskaitas, seminarus, parodas ir leidinius nagrinėjo Europą po 1989 metų, svarbiausią dėmesį skirdami Rytų-Vakarų dinamikai: „Jeigu po Šaltojo Karo, 1989 metais, atsirado „Buvusieji Rytai“, jų vakarietiškoji geo-politinė atsvara, apakinta neoliberalaus kapitalizmo pergalės, nesugebėjo pripažinti šių didelių pokyčių įtakos sau. Vadinamieji Vakarai toliau mąstė ir elgėsi, tiek simboliškai, tiek realistiškai, tarsi “pirmi” tarp tų, kurie turėjo tapti lygiavertėmis, jei nevienalytėmis pasaulio provincijomis. Kyla klausimas kodėl, jeigu egzistuoja „Buvusieji Rytai“, nėra „Buvusiųju Vakarų?“ (vert. aut.). 

Taigi Rytų Europa lėtai įgauna balsą pasaulinėje rinkoje kaip unikalus, savitas ir sudėtingas regionas. Po Šaltojo karo, radęs save nevienalytėje Europoje, bet Rytų-Vakarų dualume, paremtame stereotipais bei tariama hierarchija, kurios struktūros ne visuomet arba vangiai kvestionuojamos, kraštas sunkiai susigyvena su savo po sovietiniu palikimu. Nors atsiranda iniciatyvų ir praktikų, besistengiančių nuodugniai apmąstyti šį palikimą, kartais komerciškai užtikrintesnis yra savęs egzotizavimas. Tačiau tokia praktika turi dvejopą įtaką: per apibendrinimus ir stereotipus ne tik sukuriamas unikalus „aš“, tačiau tuo pačiu „aš“ išskiriamas kaip „kitas“. O toks „kito“ sukūrimas realiais Europines problemas nustumia į paraštes, nes Europos akyse jos yra kažkur ten, egzotiškuose Rytuose, o ne čia pat, Europoje.



Dovilė Aleksandravičiūtė (Vilnius, LT) yra menininkė ir rašytoja, dirbanti tarp vizualaus meno, literatūros ir akademijos. Nors tekstas yra itin svarbus jos praktikoje, ji kuria daugybe skirtingų medijų: erdvinės instaliacijos, audio įrašai, taip pas skulptūros bei 2D darbai. Aleksandravičiūtė domini tapatybėmis ir subjektais, kurie randasi tarpinėse erdvėse. Tarp fizinio kūno ir minties, Vakarų ir Rytų, matomo ir nematomo, tarp priklausymo ir buvimo pašalaičiu. Šis “buvimas tarp” yra traktuojamas ne kaip abstrakti laikina būsena ar erdvė, bet kaip būsena ar erdvė, kuri nuolatos juda tarp pastovaus ir laikino.


Redaktoriai: Ira Konyukhova ir Tamara Khasanova

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