Editorials
![To Touch at the Edge. Open Call EEP Berlin x KO-OP Sofia]()
![Dialog between Generations. Belarusian Female Artists]()
!["Everybody Strike!" by Masha Svyatogor at KVOST SchauFenster]()
!['The Truth is in the Soil' Solo Exhibition by Ioanna Sakellaraki]()
![Dealing with Memory | Exhibition with OSTLOOK at FRAPPANT Hamburg]()
![Mikhailov, Melnitchenko, Ballen | Mironova Gallery at Photo LA 2020]()
![Staged Realities | Exhibition with Ostlook, Volksbühne & POSTWEST Festival]()
![#donotkillyourdarlings | OPEN CALL with MACARONIBOOK & SPECTRUM]()
![Trauma in the Work of Marta Zgierska (PL)]()
![Potentials of the Visual. In Conversation with Aleksandra Vajd]()
![“Death is Just One More Hashtag” – Interview with Ihar Hancharuk]()
![Alexis Vasilikos: Dark Matter(s)]()
![Numerical Harmony in 'Consonance' by Dmitrii Vasilev]()
![ZINE: 'Revisiting the Roots' by Kristina Sergeeva & Michaela Nagyidaiová]()
![Atanasov: How to Forget Your Past Fast?]()
![Vytautas Kumža: How much space can a photograph take?]()
![City Studies]()
![Waterproof Heart]()
![Surveillance]()
![YOU BELONG TO ME]()
![Gimtoji]()
!["Amateur Botanist" by Kotryna Ūla Kiliulytė]()
![Defying Authority | Interview with Şeyda Özdamar]()
![Kirill Kovalenko | Boundaries of Meaning]()
![The Queen | Interview with Hristina Tasheva | Part 1]()
!["Variations on a Portrait of Two Ladies" by Oğulcan Ekiz]()
![Through Time. An Interview with Tadas Kazakevičius]()
![Contact and Mutability. Interview with Anna Belozerova]()
![Situations. A Conversation Victoria Pidust]()
![The Archive of Zaharia Cuşnir (1912-1993)]()
![Work in Progress by Jan Jurczak]()
![Summer Camp | Interview with Svetlana Bulatova]()
!["End of Love" by Michał Narożny]()
![Listen to the Space. Interview with Alena Zhandarova]()
Listen to the Space. Interview with Alena Zhandarova
'I wouldn’t want my photos to be read superficially, so that the mind would cling to a familiar link and say ‘Okay, now everything is clear.’ I don’t want everything to be clear, I don’t want it to be understandable, because you can understand something only with your mind, and I want the viewer to turn it off and feel.'Read more →![In Conversation with Agnieszka Sejud]()
![Coming from different worlds. An Interview with Zuza Krajewska]()
Coming from different worlds. An Interview with Zuza Krajewska
'There’s a characteristic sense of self-consciousness when we look at things that are outside of our idealized world of perfection as it has been formulated by the media, where there’s little room for people’s true stories, their bodies, emotions, where showing your true self is often considered a sign of weakness. I like to make the viewer feeling a bit uncomfortable and observing their reaction.'Read more →![My own and other people’s, places. An Interview with Petar Petrov]()
My own and other people’s, places. An Interview with Petar Petrov
'I feel very attracted to the idea of memories. My own, other people’s, places that have that 'look' when you feel certain electricity in the air and you know that significant events have taken place there. Even if they are not historically significant, most certainly they are personally significant to someone.'Read more →![Video Installation 'Moscow-NYC' by Naum Medovoy]()
Video Installation 'Moscow-NYC' by Naum Medovoy
We're excited to announce our screening of the video installation 'Moscow - NYC' by artist and filmmaker Naum Medovoy (b. 1937, Odessa), which was presented as part of his exhibition 'The Last March' last year at the Moscow MOMA.Naum Medovoy (b. 1937, Odessa) is an artist and documentary filmmaker. He’s perhaps best known for his 1973 film 'The Missing' ('The Last March'), which combines World War II archival photographs and film from the Central Documentary Archive, located near Moscow, with his own 35mm footage to reveal the fate of Soviet soldiers in World War II, captured as prisoners of war. Soviet surrender codes at the time stipulated it was better to die than be held in enemy captivity, thus large swaths of servicemen in camps were deemed missing in action and left to die. When they did return to the USSR, they were considered traitors and sent to Gulag work camps. These men are considered something of a lost generation.Read more →
