APPROPRIATING PHOTOGRAPHY: IN SEARCH FOR THE AUTHOR

The history of the appropriation strategy in art and literature dates back to more than a century, but its use in the field of photography has not become everyday practice yet and from time to time opens up new debates. Artists appropriate or, in other words, borrow any artifacts of the real world: from objects […]

BELARUSIAN PHOTOGRAPHY IS ALL RIGHT!

On October 15, 2015 as a part of the second «Month of Photography in Minsk» a round table was held dedicated to the issues of photographic field economy. The photographers from Belarus, Russia, Ukraine and Poland took part in the discussion which turned out to be rather versatile: the problems touched upon ranged from the […]

АNDREI KUDZINIENKA: CHALLENGING THE NEW WORLD

Аndrei Kudzinienka speaks about his idea, the project, experiments and in general about new Belarusian cinema

«ANATOMIA. PERFECT BODY»: FINDING ANSWERS WHEN SEARCHING

Just a couple of days ago at Ў Gallery of Contemporary Art the group exhibition «The Dimension of Emptiness» opened, being another example of «АRТ-SOC-LAB» project activities. Maksim Bahdanovič Literary Museum positively surprises with its courageous cooperation with contemporary art. And the Center of Contemporary Art not for the first time welcomes in its halls Dzina Daniłovič’s long-term project «Anatomia».

ART AS ANTHROPOLOGY: COOKING TOGETHER

This year in June the artistic residence at «Ў» Gallery of Contemporary Art in Minsk welcomed the artists from Georgia — Nini Palavandishvili and Data Chigholashvili. As a result, in the gallery backyard they set up a public kitchen — anyone could bring their own home recipes and together with the artists and other citizens cook, treat and exchange with one other one’s culinary experience, and most importantly — their stories associated with these recipes

MUSEUM: LOOKING FOR IDENTITIES

On June, 18 in CECH art-space the discussion «Museum of the Former Soviet Union: Time for Change?» was held on the occasion of the publication of a new issue of the «pARTisan» almanac dedicated to the theme of the museum in the former Soviet Union

MENTAL FORCE: FOR THE SAKE OF MUSICAL-VISUAL EXPERIENCE

On May 22-23 2015 in Minsk space «Studio67», the electronic music & live video performances festival Mental Force — the first in the series of upcoming events — took place featuring such world-renowned audiovisual artists as Robert Henke’s solo project Monolake (Germany) and Tarik Barri (Netherlands/Germany)

NOT LEGITIMATION, BUT — IMITATION

What is happening with contemporary art in Belarus: does it use guerrilla tactics or is it becoming colonized, being transformed into local «mainstream»?

WAR WITNESS’ ARCHIVE

The project «War Witness’ Archive» emerged as a response to the global trend of referring to history, of reinventory of the memory about the last century events rich in wars, disasters and conflicts. When getting acquainted with photographic and historical archives of World War I (the Great War) visitors become participants of a talk about tragedies of the past and present. They form their attitude, interpretation and evaluation of the events which both date back one hundred years and happen presently

MAXIM TYMINKO: TRANSFORMATION INTO A VISUAL STEAM

Belarusian artist Maxim Tyminko left the country in the mid-1990s. In 2005 he graduated from the Academy of Media Arts in Cologne (Germany), and has been living abroad since then. Now you can find him in Cologne and Amsterdam: living between several cities is an ordinary practice for contemporary Western artists. However, whenever Maxim is invited to come to Belarus, he accepts the proposal even despite of the lack of the due conditions.

EXPOSITION OF THE «XXY» ART PROJECT

Art Project «XXY» is a collaborative project of Contemporary Art Gallery Y, multimedia magazine 34mag.net and media project «pARTisan». The main topics are gender and sexuality. The date: 13.09.-2.10.2014

NOT WHAT WE THINK WE OUGHT TO SEE FROM BELARUS

Many foreign audiences assume all Belarusian artists make political work, often inserting political discourses into pieces that aim to explore other subjects with different metaphors. Below is an interview with members of an independent Belarusian theater company that you probably haven´t heard of yet, that hopes to create performances that have nothing to do with politics. If Korniag Theatre is not interested in discussing Lukashenko or «the last dictatorship in Europe», like we expect, then what is their work about?

FREEDOMS AND MYTHS OF «BELARUSIAN CLIMATE»

«Why do people create myths? Well, people do not exist in this reality, in principle!» — Philip Chmyr concludes, giving me a cunning look across the table in a busy café. Next to him there is one more protagonist of the Belarussian art-irreality sitting — Ihar Korzun, for more than an hour braiding an infinitely intricate and controversial story of the rise and dissolution of the art group «Belarusian climate»

SUBVERSIVE PRACTICES OF CONTEMPORARY ART IN BELARUS

To counter the dominance of ideology in the public consciousness, the Belarusian independent community more and more often articulates the idea of having a public platform where agonistic competition among different discourses would be possible. The rivalry among them would thus generate new meanings. Contemporary art becomes one of such platforms. This kind of intervention can be seen if one looks at three events in Belarusian contemporary art: the art of the painter called A.R.Ch (A.R.Č)., the project by Marina Naprushkina (Maryna Napruškina) «Anti-propaganda Bureau», and the exhibition of Zhanna Gladko (Žanna Hładko) works «Inciting Force»

ZHANNA GLADKO: THE RIGHT OVER ONE’S OWN BODY

Identity and its numerous manifestations became an object of attention of curators and participants of the art project «XXY», which opened in early September 2014 in the Minsk gallery «Ў». Not for the first time within this gallery’s space we can find the works of a contemporary Belarusian artist Zhanna Gladko

MARINA NAPRUSHKINA: IT IS A PARALLEL WORLD

A year ago Marina Naprushkina, a Belarusian artist and author of the project Office for Anti-Propaganda who has been living and working in Berlin for a few years, launched a campaign Neue Nachbarschaft//Moabit. This is a volunteer initiative which works with refugees and protects their rights. Marina Naprushkina dwells on the campaign’s history, activities, outcomes and prospects

#SEX #GENDER #ART: «MY RIGHT FOR PORNO»

On September 2014 the discussion «#Sex #Gender #Art in the Post-Soviet Space» was held. It’s a part of XXY art project about gender and sexuality. The participants: A.Belov (UA), Zhanna Gladko (BY), Michaił Hulin (BY), Sergey Shabohin (BY)

MANIFESTA 10: IN FACT THEY’RE COLONIZED

On June 28, 2014 The European Biennial of Contemporary Art Manifesta10 was launched in St. Petersburg, according to some opinions — the biggest and most controversial art event of the year (according Russian media). St. Petersburg was selected as the venue for this year’s Biennale, partly due to the 250th anniversary of the Hermitage. Tania Arcimovič (critic, «pARTisan» media project editor,), Alaksiej Barysionak (critic, «ArtAktivist» editor) and Volha Šparaha(philosopher, «New Europe» editor) share their impressions about the Biennale, about the strategy of (non) participation (if we can use such tactics speaking about Belarus?), also trying to reflect on the reasons why Belarus is not present in Manifesta

MEMORY WHICH LACKS SPACE

The performance «Chernobyl» of the independent theatre group «Kryly Halopa» («Slave’s Wings») from Brest is the first part of the project «Stories of Belarus», originally conceived as a theatrical multi-volume project with every part being dedicated to the events of the country’s contemporary history. Finally the Belarusian public was able to watch the performance, too — during the theatre-ecological festival «Pryzba»

THE GIEDROYC AWARD IN MONOPOLIZED SPACE

On July, 8 the discussion on the topic «The Giedroyc Award: is There a Strategy?» took place in «ŁohvinaŬ» (Logvinau publishing house) bookshop in Minsk. Did the years of the award’s existence lead to enhancing of the presence of the Belarusian literature in the book market? Why, then, did the largest literary prize go unnoticed by mass media and received no due resonance? Can we name as a cause of such neglect only those conditions in which independent literature has to survive in our country?

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