Slavoj Žižek, Event: A Philosophical Journey Through a Concept (Melville House, 2014), 5.
See →.
Neda Atanasoski and Kalindi Vora, “(Re)thinking Postsocialism,” interview by Lesia Pagulich and Tatsiana Shchurko, Feminist Critique, no. 3 (2020) →.
José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (NYU Press, 2009), 179.
Alena Minchenia and Nadzeya Husakouskaya, “For Many People in Belarus, Change Has Already Happened,” Open Democracy, November 19, 2020 →.
Olia Sosnovskaya, “Future Perfect Continuous,” Ding, no. 3 (2020) →.
Valeria Graziano, Towards a Theory of Prefigurative Practices (MDT, 2017), 181.
Stephen M. Norris borrows this term from Thomas Sherlock, Historical Narratives in the Soviet Union and Post-Soviet Russia: Destroying the Settled Past, Creating an Uncertain Future (Palgrave Macmillan, 2007).
Stephen M. Norris, “From Communist Museums to Museums of Communism: An Introduction,” in Museums of Communism: New Memorial Sites in Central and Eastern Europe, ed. Stephen M. Morris (Indiana University Press, 2020), 4.
Michael Bernhard and Jan Kubik, “Introduction,” in Twenty Years after Communism: The Politics of Memory and Commemoration, ed. M. Bernhard and J. Kubik (Oxford University Press, 2014), 4.
Ірина Склокіна, “Локальні музеї у динамічному світі: (пост)радянська спадщина та майбутнє,” Open Place, November 2015 (in Ukrainian) →.
Н. Чичасова, “Музейное «не так»,” BOHO, April 20, 2021 (in Russian) →.
Saidiya Hartman, “Venus in Two Acts,” Small Axe 12, no. 2 (2008). My exercise in critical fabulation ended up in a collective exhibition called “A Secret Museum of Workers Movements” with works by Gleb Amankulov, Uladzimir Hramovich, Marina Naprushkina, Olia Sosnovskaya, and Valentin Duduk, at Hoast, Vienna in 2021.
Gerald Raunig, “The Molecular Strike,” trans. Aileen Derieg, Transversal, October 2011 →.
From The Museum of Stones newspaper. Translation mine.
The video is part of the “Armed and Dangerous” series curated by Ukrainian artist Mykola Ridnyi.
The notion of partisanship is important here. Partisanship, as a mode of political and creative organization, is also deeply inscribed in the history of Belarusian art—both in socialist realism and contemporary art. For example, in his 1997 photographic series Light Partisan Movement, Ihar Tishin subverted existing narratives by showing partisan bodies in idle yet alert postures. In 1999, the prominent contemporary art magazine Partisan (now called Partisanka to emphasize the role of women in the resistance) was launched.