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Mission

 

TransitoryWhite is an online platform for the connectivity of intersected discourses of local, regional, and global perspectives on art, design and activism. TransitoryWhite is about contemporary art from the blind spots (“white spots”) from Central Asia, Caucasus and Eastern Europe.
 
Despite the territories heterogeneous cultural, historical and religious diversity, the respective countries share a fundamental experience of a realised utopia, which lasted over more than 70 years. In the turbulent time of the 20th century, the political events taking place were differing from those in Europe, which also resulted in an original set of cultural and aesthetic questions. The uniqueness of these questions was underlined by the particular term “Post-Soviet” which was coined to describe the political, economic and artistic transition from the communist regime to the democratic states. While we don’t deny that the initial generalisation was making sense, we claim for the new discussions and discourses for the art from these regions which are not tied by the restrains of its brand. We would love to show video art, bio art, art on the edge of science, communal projects, feminist initiatives, new media performances and much more on our platform and give the possibility for discovering the transnational connections and influences of the artists from these countries. Apart from that, we aim to translate and to publish the new and old texts written by the local art historians, art theoreticians and curators, which are usually expelled from the contemporary art discourse.
 
Crucial to our investigation of those regions is furthermore, the representation of artists and theoreticians from any ethnic, religious, sexual and even political minorities as an opposition to the accumulating national discourse. We’re dedicated to exploring any transnational networks as well as limits of connection within and on the borders.
 
TransitoryWhite is the White Noise of the post-post-Soviet, a constant disturbance, a random signal, cacophony, turbulence, restlessness, which - contrary to the musical White Noise - is not constant, but is in fluctuation and transition.

Contributors

Alex Ulko, art critic and art historian. Lives and works in Tashkent, Uzbekistan.

People

Irina Konyukhova

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

Lene Vollhardt

Lene Vollhardt-Wongrowska is an artist, filmmaker, triple Gemini, and speculative pragmatist based in Berlin and London. Through various media, her work undermines the classical juxtaposition between conceptuality and corporeality. Fascinated by the cultural signification of the female body as a processing site for transfer of value and valuation, she conceives shapeshifting, liquid counter-processes in alliance with people across various backgrounds – philosophers, human rights activists, intuits, sex workers, economists, and so on.
Vollhardt's interest in the implied aesthetic of political negotiation and its proprietary tactics of performative gaslighting is reflected in her works. She explores this in transposition with the embodiment of herself as an environment and remote viewing the weather. She has exhibited and screened at many institutions: LOOP Barcelona, Vitra Museum Basel with BlessBerlin, Athens Digital Arts Festival, European Days of Culture Karlsruhe, and Toronto Arthouse Film Festival. She has received the scholarship from the German National Foundation and the Art Foundation Baden-Wuerttemberg, and her works have received the Nikolaj Kunsthal Fokus Award (DK) and Hong Kong Arthouse Award (HK).

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.

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.

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

Lioudmila Voropai

Lioudmila Voropai is a curator, art critic and media artist. She studied philosophy at the Russian State University for the Humanities (RGGU) in Moscow and New Media Art at the Academy of Media Arts (KHM) in Cologne. Her curatorial and artistic projects are mainly focused on issues related to institutional critique and fake as an artistic strategy. As an art critic, she contributes to XZ Moscow Art Magazine, Art Issue, Logos and other periodicals. She is also a translator and editor of the Russian translations of Jürgen Habermas (Legitimation Crisis), Slavoj Zizek (Parallax View), Giorgio Agamben (State of Exception), Michael Walzer (The Company of Critics) among others. Lioudmila Voropai is an adjunct professor for Media Theory and Philosophy at Karlsruhe University of Arts and Design.

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. 

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This document was last updated on March 10, 2019

You are looking for: installation  

23rd April 2019

Artist Portrait: Anastasia Akhvlediani

portrait

8th March 2019

Artist Portrait: Salome Dumbadze

portrait

Anna Vahrami Portrait, 2018
by Anna Vahrami
To liberate from the history of a history of contemporary art, 2017
Photo by Armenak Grigoryan
I’m tired, performance, 2016
Photo by ACCEA Yerevan
Take it Easy, video installation, 2019
Video
(Lo)(u)ser experience, lightbox installation, 2018
Photo by Anna Vahrami
Timewave, audio-visual performance, with musician Vardan Harutyunyan, 2018
Photo By Sona Andreasyan

Anna Vahrami is one of the young generation of Armenian artists. In her installations, public interventions and videos she raises the questions of gender inequality, social injustice and complicity of the art system with patriarchal and corrupt power structures.

Anna Vahrami Portrait, 2018
by Anna Vahrami

TransitoryWhite

Let's have a look at your work “To liberate from the history of the history of contemporary art”, a wrapped sculpture of Armenian Artist Yervand Kochar. The title lets me think about a gesture from once upon a time when Russian Avantgardists and Italian Futurists called for liberation from history from the past. In their case, this was due to massive changes in society, with the desire to create a new aesthetic. What motivated you to do this work, situated in the main exhibition space of the festival?

Anna Vahrami

The context of the ACCEA, the Armenian Center for Contemporary Experimental Art centre is crucial for this work. Armenak Grigorian decided to raise this issue in the context of the «Alternative Art Festival” which is held every year. 

In Yerevan, the same people usually go to exhibitions, mostly artists, leaving me with a sense of stagnation and repetition. As a response, I decided to work outside of the actual space Yervand Kochar’s statue which is situated in front of ACCEA is a replaced, big version of the original sculpture and was made specifically for that place. So, for me, I decided to liberate Contemporary Experimental Art centre from “history of a history of Contemporary Art” in the act of veiling, as it is also a means of exposing its origin. Passers-by thought that there was a reconstruction of the sculpture or there would be a new one.

To liberate from the history of a history of contemporary art, 2017
Photo by Armenak Grigoryan

TransitoryWhite

Another early work that you presented at the performance festival is called “I am tired”. An Atmosphere of introspection is visible in your other artworks, expressed here in your posture and low exposure light. The work itself, however, addresses a political and social issue. Do you understand political in personal ways, qualities that you “metabolise” and express internally?

Anna Vahrami

The idea of work came after the mass protests in Yerevan, which took place in 2015, known as “Electric Yerevan”. Protests were against raising prices for public transport (minibus) and electricity. Regular demonstrations had failed. By the end of the demonstrations, 200 peaceful demonstrators were detained from the centre of Baghramyan Avenue. Police used water cannons to protest, which sent 25 people to the hospital. 

The public faced massive disappointment and fatigue. On several streets of the city, street art pieces showed the inscription "I'm tired”. My response to the situation was to make a performance piece. Take general fatigue and put it in one square meter to provoke actions. The viewer should have felt himself in one square meter. People create a society, they generate authorities and heroes, so politics cannot be separated from personal life. 

I’m tired, performance, 2016
Photo by ACCEA Yerevan

TransitoryWhite

What role does language play in the reception of a work of Art and the conceptualisation of it? (following the collaborative work with DienstagAbend)

Anna Vahrami

It was my first collaboration with one of the band members, Feidhlim McConigly. We talked about territorial boundaries and moved to language barriers. Then he proposed to work with the text on this topic. Texts in two languages, written on top of each other turned into a graphic drawing.

TransitoryWhite

A scope on feminist and political questions are essential to your work. How would you describe your approach to politics?

Anna Vahrami

“Politics is not a woman’s business,” is the meme of a patriarchal society. In Armenia, a woman is considered an object for worship (mother, sister), and on the other hand, as a sexual object. The body of a women serves husbands, fathers and children, but not herself. A woman who has sex for pleasure, a woman who does not marry, a woman who has an abortion, a woman who prefers a woman, in one word an emancipated (liberated) woman is an outcast of society, a whore. During the revolution, the significant role played by the active participation of women. I hope that the situation is changing and a new wave has broken out on the path of the woman’s liberation.

My works, in general, are autobiographical. They reflect my experience of relationship with my body and with the patriarchal society. The female body changes very often, and you do not have time to accept it, it has already changed. How to interact with this fact? Body as a sex object. Sexuality as a stigma or taboo. It is always an act of liberation.

TransitoryWhite

Your last work is called "take it easy", the sentence the people saying to reassure and to relax, the other person, but at the same time it is superficial, and neglects to the complexity of the human psyche and human relationships. How is it for you?

Take it Easy, video installation, 2019
Video

Anna Vahrami

The visual part of the work was formed after the poem, which I wrote in Armenian, then translated into English. Literally, the name translates "calm down." And I see it as an appeal to the patriarchal system, which is in the process of losing its power. This work is from a new period “holls and balls”.

TransitoryWhite

You have now won a stipend of the women’s office in Cologne (Congratulations!). Which project are you planning to do there?

Anna Vahrami

Thanks!Now I am doing second work from the "holes&balls" cycle, called "com(e)fort(h)". This is my first residence experience in Europe. My current calmness and fearlessness are strange to me as if I fell into the trap of a comfort zone. In Armenia, I have never felt like that, and it is exciting for me to observe myself from the outside and try to understand the essence of what is happening. So now I'm in the process of creating work, in the position of an observer.

(Lo)(u)ser experience, lightbox installation, 2018
Photo by Anna Vahrami

Timewave, audio-visual performance, with musician Vardan Harutyunyan, 2018
Photo By Sona Andreasyan

 

Copyreader: Lene Ricarda Vollhardt

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