Review of Belarusian Culture: Art (November-January '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
REVIEW OF BELARUSIAN CULTURE: ART (NOVEMBER-JANUARY '23)
Belarusian Art: Redesigning Creativity
The Main Trends of the Season:
Belarusian Art: Redesigning Creativity
The Main Trends of the Season:
- Persecution of Belarusian artists continues, with Aleś Puškin still in detention
- Emergence of professional transnational art activist platforms drawing inspiration from the 2020 Belarusian protest tactics
- Proliferation of art residencies in Germany and Poland as a sign of international support and solidarity with the exilic art community from Belarus
- Increase in collective and individual exhibitions by Belarusian artists
- Activation of independent art projects within Belarus
- Limited and inconsistent media coverage of Belarusian contemporary art and art criticism.
Mapping Meanings: Contemporary Art at Home and Abroad
Mapping Meanings: Contemporary Art at Home and Abroad
Abroad
Belarusian contemporary art in the Winter of 2022–2023 experienced a significant period of transformation and introspection. As the trends from the previous year continued, amateur protest art exhibitions experienced a decline while simultaneously, Belarus saw a massive creative migration due to the repressions within the country and the ongoing Russian-Ukrainian war. This war's first anniversary on February 24, 2023 serves as a time for reflection on Belarusian art accomplishments in the face of these challenging circumstances.
In light of these events, many Belarusian artists found themselves in a precarious situation as dissidents and exiles but also as people who remain connected to the country through their citizenship. When confronted with discrimination and scrutiny in the EU, where reports of such unfair treatment towards Belarusians remain prevalent, they must navigate the complex identity crisis of being a migrant from the aggressor state in the middle of a military conflict, constantly negotiating their stance.
As a response to Russia's unjustified military aggression in Ukraine in 2022, the International Coalition of Cultural Workers Against The War in Ukraine was formed, acting as a hub for exchanging digital art from around the world. Led by seven curators with five Belarusians and two Ukrainians at the helm, this initiative has made a significant impact, participating in major exhibitions like Documenta & Manifesta, Venice Biennale, and more. The solidarity practices which were formed during the Belarusian protests, provided a solid foundation to support their mission objectives, demonstrating that many countries are willing to come together through art to address important issues.
The Winter of 2022–2023 also saw the emergence of a strategic effort to support refugee artists. New art residencies and programmes, such as PerspAKTIV, have come to fruition, offering temporary residencies to artists-in-exile. Launched in Berlin in the summer of 2022, with support from Ambasada Kultury and Razam-Kunst, this residency has made a significant impact in the winter season, showcasing individual exhibitions by artists from Belarus such as Alaksandr Bielski and Taša Kacuba.
These residency networks are complex, and it takes a lot of sustained effort on the artists part to be able to navigate them effectively. Many of these artists have had to move from one country to another, packing their suitcases multiple times within just a few weeks. As a result, creative migration from Belarus has seen a surge in activity in recent years, with several prominent residency programmes taking shape. These include ABA (Air Berlin Alexander Platz) founded by an artist from Belarus, Alaksandr Kamaroŭ, American non-profit CEC ArtsLink, and the Berlin-based Slavs and Tatars residency programme. Poland and Germany continue to be key destinations for artists seeking creative opportunities. In conclusion, the winter of 2022–2023 was a season of change, reflection and hope for Belarusian contemporary art, despite the challenges it faced.
In Belarus
Belarusian contemporary art scene presents a unique window into the political and social divides that exist within the country. This divide is manifested in two of the most prominent events in the art world – the highly controversial Triennale of Young Artists and the groundbreaking new group exhibition at Minsk's Vershy Art Platform. These events serve to illustrate the role that art plays in shaping the discourse and attitudes of Belarusian society.
Despite the achievements of Belarusian artists in Europe, the local art scene is still struggling to catch up with international trends in contemporary art. The Triennale of Young Artists, held at the National Centre for Contemporary Arts, aims to showcase the works of 50 young and talented local artists who have honed their skills within traditional art education institutions such as the Belarusian Academy of Art. However, this pro-regime attempt to institutionalize contemporary art has yet to successfully bridge the gap between local and international art networks.
The independent art scene in Belarus is not entirely suppressed, as evidenced by the group show at the Vershy Art Platform, titled "Under the Sign of Void." This exhibition features emerging young artists who are producing innovative works despite the challenges they face, including the political and social pressures that exist in the country. This show marks an important milestone in a time when many Belarusian artists are choosing to leave the country, and it serves to demonstrate the resilience and determination of those who remain and continue to create new ideas and perspectives.
Despite the difficulties that the independent art scene faces, it remains an important source of hope for those who appreciate the power of art and its ability to shape society and bring about change. The artists who continue to work in Belarus, despite the challenges, are a testament to determination, resourcefulness, and passion that exist within the country's cultural landscape.
Belarusian contemporary art in the Winter of 2022–2023 experienced a significant period of transformation and introspection. As the trends from the previous year continued, amateur protest art exhibitions experienced a decline while simultaneously, Belarus saw a massive creative migration due to the repressions within the country and the ongoing Russian-Ukrainian war. This war's first anniversary on February 24, 2023 serves as a time for reflection on Belarusian art accomplishments in the face of these challenging circumstances.
In light of these events, many Belarusian artists found themselves in a precarious situation as dissidents and exiles but also as people who remain connected to the country through their citizenship. When confronted with discrimination and scrutiny in the EU, where reports of such unfair treatment towards Belarusians remain prevalent, they must navigate the complex identity crisis of being a migrant from the aggressor state in the middle of a military conflict, constantly negotiating their stance.
As a response to Russia's unjustified military aggression in Ukraine in 2022, the International Coalition of Cultural Workers Against The War in Ukraine was formed, acting as a hub for exchanging digital art from around the world. Led by seven curators with five Belarusians and two Ukrainians at the helm, this initiative has made a significant impact, participating in major exhibitions like Documenta & Manifesta, Venice Biennale, and more. The solidarity practices which were formed during the Belarusian protests, provided a solid foundation to support their mission objectives, demonstrating that many countries are willing to come together through art to address important issues.
The Winter of 2022–2023 also saw the emergence of a strategic effort to support refugee artists. New art residencies and programmes, such as PerspAKTIV, have come to fruition, offering temporary residencies to artists-in-exile. Launched in Berlin in the summer of 2022, with support from Ambasada Kultury and Razam-Kunst, this residency has made a significant impact in the winter season, showcasing individual exhibitions by artists from Belarus such as Alaksandr Bielski and Taša Kacuba.
These residency networks are complex, and it takes a lot of sustained effort on the artists part to be able to navigate them effectively. Many of these artists have had to move from one country to another, packing their suitcases multiple times within just a few weeks. As a result, creative migration from Belarus has seen a surge in activity in recent years, with several prominent residency programmes taking shape. These include ABA (Air Berlin Alexander Platz) founded by an artist from Belarus, Alaksandr Kamaroŭ, American non-profit CEC ArtsLink, and the Berlin-based Slavs and Tatars residency programme. Poland and Germany continue to be key destinations for artists seeking creative opportunities. In conclusion, the winter of 2022–2023 was a season of change, reflection and hope for Belarusian contemporary art, despite the challenges it faced.
In Belarus
Belarusian contemporary art scene presents a unique window into the political and social divides that exist within the country. This divide is manifested in two of the most prominent events in the art world – the highly controversial Triennale of Young Artists and the groundbreaking new group exhibition at Minsk's Vershy Art Platform. These events serve to illustrate the role that art plays in shaping the discourse and attitudes of Belarusian society.
Despite the achievements of Belarusian artists in Europe, the local art scene is still struggling to catch up with international trends in contemporary art. The Triennale of Young Artists, held at the National Centre for Contemporary Arts, aims to showcase the works of 50 young and talented local artists who have honed their skills within traditional art education institutions such as the Belarusian Academy of Art. However, this pro-regime attempt to institutionalize contemporary art has yet to successfully bridge the gap between local and international art networks.
The independent art scene in Belarus is not entirely suppressed, as evidenced by the group show at the Vershy Art Platform, titled "Under the Sign of Void." This exhibition features emerging young artists who are producing innovative works despite the challenges they face, including the political and social pressures that exist in the country. This show marks an important milestone in a time when many Belarusian artists are choosing to leave the country, and it serves to demonstrate the resilience and determination of those who remain and continue to create new ideas and perspectives.
Despite the difficulties that the independent art scene faces, it remains an important source of hope for those who appreciate the power of art and its ability to shape society and bring about change. The artists who continue to work in Belarus, despite the challenges, are a testament to determination, resourcefulness, and passion that exist within the country's cultural landscape.
Challenges
Challenges
The Belarusian art community has been facing a number of challenges and difficulties in recent months. The community has been dealing with a series of significant losses, as three of its leading figures from the older generation – Vital Čarnabrysaŭ, Aleś Rodzin, and Lenina Mironava – have passed away, leaving behind a rich legacy for future generations.
All three artists were instrumental in shaping the Belarusian art scene in their own unique ways. Vital Čarnabrysaŭ was known for his sculptures, while Aleś Rodzin was a multi-talented artist who organized the Daсh festival, and Lenina Mironava was an architect and art historian whose work left an indelible mark on the country's cultural landscape. Their influence is undeniable, as it can be seen in the response by the artistic community across a wide range of social media platforms.
In light of these losses, it is now up to the members of the art community to ensure that this heritage is not lost or forgotten. It is crucial that their memory is preserved so that their legacy will endure despite the current hardships. The art community has the responsibility to keep their memory alive by showcasing their works and sharing their stories with future generations.
Another important challenge facing the Belarusian art community is the lack of sustained effort to write critical reviews and comprehensive event coverage. This dearth of information and analysis makes it difficult for artists to gain recognition within Belarus and the diasporas and for audiences to fully understand the context and significance of their work. Despite these challenges, there are some notable exceptions, such as Reform.by, which stands out as a prominent source of information. However, even their work cannot fully compensate for the lack of discussions and critical evaluations of new exhibitions or works.
All three artists were instrumental in shaping the Belarusian art scene in their own unique ways. Vital Čarnabrysaŭ was known for his sculptures, while Aleś Rodzin was a multi-talented artist who organized the Daсh festival, and Lenina Mironava was an architect and art historian whose work left an indelible mark on the country's cultural landscape. Their influence is undeniable, as it can be seen in the response by the artistic community across a wide range of social media platforms.
In light of these losses, it is now up to the members of the art community to ensure that this heritage is not lost or forgotten. It is crucial that their memory is preserved so that their legacy will endure despite the current hardships. The art community has the responsibility to keep their memory alive by showcasing their works and sharing their stories with future generations.
Another important challenge facing the Belarusian art community is the lack of sustained effort to write critical reviews and comprehensive event coverage. This dearth of information and analysis makes it difficult for artists to gain recognition within Belarus and the diasporas and for audiences to fully understand the context and significance of their work. Despite these challenges, there are some notable exceptions, such as Reform.by, which stands out as a prominent source of information. However, even their work cannot fully compensate for the lack of discussions and critical evaluations of new exhibitions or works.
Art in Focus
Art in Focus
The distinction between contemporary art exhibitions in Belarus and those held internationally, as well as between group and solo exhibitions, is an important factor to consider. There are two types of exhibitions in Belarus: regime-sponsored and independent; independent exhibitions usually take place with very little budget, if any. When considering exhibitions abroad, group exhibitions are typically the result of careful curatorial planning by multiple organizations, while solo exhibitions often showcase the results of an artist's residency programme, with a few exceptions. Despite the difficulties faced by contemporary artists in Belarus both domestically and abroad, there are several noteworthy projects that are worth mentioning.
The Antiwar Coalition's international tour showcases the solidarity of Belarusian and Ukrainian communities through exhibitions and public engagement. The platform's collection, currently displayed at Dymchuk Gallery in Kyiv, on show January 20 – March 3, 2023, not only creates a visually dynamic experience but also serves as a chance to donate for generator equipment needed for charging phones during blackouts. The momentum will continue with exhibitions in Dusseldorf in February and New York City by March 2023, offering a greater appreciation for art inspired by the peace effort amid the turmoil of war.
"The Concrete Trampoline," curated by Vasil Matalaniec, took place from September 9 to December 30, 2022 and sparked a major controversy in the Belarusian art community due to its venue at the Marina Gisich gallery in Saint Petersburg. During the war in Ukraine, some artists expressed strong disapproval of any association with or events held in Russia due to their involvement in the conflict, while others called for understanding and support as they lacked opportunities for international exposure. This divisive issue brought up questions of morality, as conflicting ideologies of pro-Western versus pro-Russian attitudes debated the best way to promote artistic expression from within Belarus.
From December 10, 2022 to January 29, 2023, BY LAW, a collaboration between artists Lesia Pčołka and Uładzimir Chramovič, was held at the Museum of Emigration in Gdynia, Poland, curated by Maksymilian Bochenek. BY LAW is part of the SUPPLEMENT series of artistic interventions, which address the theme of assimilation in migration. Lesia and Uładzimir, both social activists from Belarus, use objects and video projections to examine the difficulties they faced in obtaining permission to marry in Poland as migrants. Through highlighting their own bureaucratic struggles, they raise a larger question about the meaning of marriage in a time of mass migration and the challenges that migrants face navigating complex bureaucracy across multiple countries.
From December 13, 2022 to January 8, 2023, Alaksandr Bielski presented his solo exhibition "Nemesish". The exhibition was a visually striking commentary on the recent events in Belarus and the beginning of the war in Ukraine in 2022. Bielski explored the theme of art and visual culture in Eastern and East-Central Europe and its confrontation with contemporary monstrosity. The works on display, including paintings and multimedia pieces, were created during his residency at Schloss Wiepersdorf as part of the "PerspAKTIV" programme, showcasing his exceptional artistic skills and the ability to produce thought-provoking pieces. The exhibition was financially supported by the Federal Ministry of Foreign Affairs of Germany, highlighting the significance of the topics explored and the importance of cultural exchange between nations.
The solo Taša Kacuba's exhibition "The Weight of Memories" was curated by Volha Mželskaja and held at Galeria Promocyjna in Warsaw from January 18-28, 2023. The show explored the effects of personal and collective memories on identity, with a particular focus on the violence and repression in Belarus, as reflected in Kacuba's paintings and installations. The artist, currently residing in Poland, used her art to chronicle her own experiences of war and migration and to shed light on the suppressed memories and emotions associated with these events. Through her diary-style narrative, Kacuba aimed to convey the common pain faced by individuals who have lost their homes and loved ones during war and migration.
"Under the Sign of Void," curated by Julij Iljuščanka, took place from January 21 to March 21, 2023 at the "Vershy" creative space in Minsk, Belarus. The exhibition showcased works by three Belarusian artists, Siamion Matalaniec, Alena Tałobava and Maryja Panamarova, who are all based in Belarus. Iljuščanka aimed to bring together artists, collectors, and audiences through this exhibition, as indicated in its social media promotions. This exhibition marked the inaugural opening of the "Vershy" creative space and became the start of a promising venture. Iljuščanka also made sure to have the artists' discussions published on Sygma, a Russian-language platform focused on contemporary culture.
Belarusian artists Nadzia Sajapina, Jaŭhien Bułdyk, Lesia Pčołka, Siarhiej Šabochin, Varvara Sudnik, and Žana Hładko participated in the ECLAT 2023 festival in Stuttgart, Germany. The five-day culture festival, curated by Christina Fischer, was designed to provide a platform for artists to freely express their ideas without any predetermined themes or ideologies, featuring such mediums as music, poetry, and art. The works were presented within PlatformB, a digital production and discourse space for artists in exile representing a diverse group of artists from such countries as Ukraine, Belarus, and Russia. Experimenting with digital formats of sound, image, text, and video design, PlatformB provides a hybrid art space for artists. Fischer, a colleague of renowned Belarusian activist and musician Maryja Kaleśnikava, has been a consistent supporter of Belarusian artists in exile.
The Antiwar Coalition's international tour showcases the solidarity of Belarusian and Ukrainian communities through exhibitions and public engagement. The platform's collection, currently displayed at Dymchuk Gallery in Kyiv, on show January 20 – March 3, 2023, not only creates a visually dynamic experience but also serves as a chance to donate for generator equipment needed for charging phones during blackouts. The momentum will continue with exhibitions in Dusseldorf in February and New York City by March 2023, offering a greater appreciation for art inspired by the peace effort amid the turmoil of war.
"The Concrete Trampoline," curated by Vasil Matalaniec, took place from September 9 to December 30, 2022 and sparked a major controversy in the Belarusian art community due to its venue at the Marina Gisich gallery in Saint Petersburg. During the war in Ukraine, some artists expressed strong disapproval of any association with or events held in Russia due to their involvement in the conflict, while others called for understanding and support as they lacked opportunities for international exposure. This divisive issue brought up questions of morality, as conflicting ideologies of pro-Western versus pro-Russian attitudes debated the best way to promote artistic expression from within Belarus.
From December 10, 2022 to January 29, 2023, BY LAW, a collaboration between artists Lesia Pčołka and Uładzimir Chramovič, was held at the Museum of Emigration in Gdynia, Poland, curated by Maksymilian Bochenek. BY LAW is part of the SUPPLEMENT series of artistic interventions, which address the theme of assimilation in migration. Lesia and Uładzimir, both social activists from Belarus, use objects and video projections to examine the difficulties they faced in obtaining permission to marry in Poland as migrants. Through highlighting their own bureaucratic struggles, they raise a larger question about the meaning of marriage in a time of mass migration and the challenges that migrants face navigating complex bureaucracy across multiple countries.
From December 13, 2022 to January 8, 2023, Alaksandr Bielski presented his solo exhibition "Nemesish". The exhibition was a visually striking commentary on the recent events in Belarus and the beginning of the war in Ukraine in 2022. Bielski explored the theme of art and visual culture in Eastern and East-Central Europe and its confrontation with contemporary monstrosity. The works on display, including paintings and multimedia pieces, were created during his residency at Schloss Wiepersdorf as part of the "PerspAKTIV" programme, showcasing his exceptional artistic skills and the ability to produce thought-provoking pieces. The exhibition was financially supported by the Federal Ministry of Foreign Affairs of Germany, highlighting the significance of the topics explored and the importance of cultural exchange between nations.
The solo Taša Kacuba's exhibition "The Weight of Memories" was curated by Volha Mželskaja and held at Galeria Promocyjna in Warsaw from January 18-28, 2023. The show explored the effects of personal and collective memories on identity, with a particular focus on the violence and repression in Belarus, as reflected in Kacuba's paintings and installations. The artist, currently residing in Poland, used her art to chronicle her own experiences of war and migration and to shed light on the suppressed memories and emotions associated with these events. Through her diary-style narrative, Kacuba aimed to convey the common pain faced by individuals who have lost their homes and loved ones during war and migration.
"Under the Sign of Void," curated by Julij Iljuščanka, took place from January 21 to March 21, 2023 at the "Vershy" creative space in Minsk, Belarus. The exhibition showcased works by three Belarusian artists, Siamion Matalaniec, Alena Tałobava and Maryja Panamarova, who are all based in Belarus. Iljuščanka aimed to bring together artists, collectors, and audiences through this exhibition, as indicated in its social media promotions. This exhibition marked the inaugural opening of the "Vershy" creative space and became the start of a promising venture. Iljuščanka also made sure to have the artists' discussions published on Sygma, a Russian-language platform focused on contemporary culture.
Belarusian artists Nadzia Sajapina, Jaŭhien Bułdyk, Lesia Pčołka, Siarhiej Šabochin, Varvara Sudnik, and Žana Hładko participated in the ECLAT 2023 festival in Stuttgart, Germany. The five-day culture festival, curated by Christina Fischer, was designed to provide a platform for artists to freely express their ideas without any predetermined themes or ideologies, featuring such mediums as music, poetry, and art. The works were presented within PlatformB, a digital production and discourse space for artists in exile representing a diverse group of artists from such countries as Ukraine, Belarus, and Russia. Experimenting with digital formats of sound, image, text, and video design, PlatformB provides a hybrid art space for artists. Fischer, a colleague of renowned Belarusian activist and musician Maryja Kaleśnikava, has been a consistent supporter of Belarusian artists in exile.
Summary & Predictions
Summary & Predictions
- Persecution of Belarusian artists in Belarus will persist, making it difficult for artists residing in Europe to return safely
- Despite this persecution, independent art projects will continue to reemerge in Belarus, leading to a new phase of domestically-produced Belarusian art with new names, ethos, concepts, and visual aesthetics
- Antiwar Coalition of International Art Workers Against the War in Ukraine will gain further recognition, leading to stronger projects and raising the professional level of Belarusian contemporary art
- In the future, more Belarusian artists will be able to participate in international collaborative projects, which will enable them to diversify their art practices and integrate into the global art scene
- The expanding network of art residencies will lead to more exhibitions, increasing the visibility of Belarusian art abroad and requiring documentation and preservation of this newly-emerging scene
- Belarusian artists in exile will have to seek long-term migration options, which would potentially impact their ability to continue producing art and shift their focus towards securing steady income
- Continued need for revenue will lead to a more planned art sales strategy with the potential to redefine Belarusian contemporary art and its trends in the art market
- With the proliferation of exhibitions and new art produced by Belarusian artists in exile, the community of art workers from Belarus will need to come forward with a plan for marketing, archiving and covering this emerging scene, as well as producing critical texts to help assimilate this new experience discursively.