Exploring the region of the Polish-Belarusian border, the book looks at the moment of change when the most idyllic scenario becomes a horror of a political regime. From picking apples in the orchard to tear gas on the street, it combines photographic material and texts that revolve around the permanent in-between state that is inseparable from the notion of migration.

A cultural and educational place in Warsaw dedicated to Belarusian community, where they can organise language classes, concerts or exhibitions. It’s the first informal activity as such undertaken in Poland. The informal pin on the map that marks the location of the Square is the sculpture Ў, a form of the Belarusian character that distinguishes the Belarusian alphabet from other alphabets of the East Slavic group.

The work reveals the diachronic timeline of Bosnia and Herzegovina. The viewer gets an insight of how someone born in Bosnia and Herzegovina recognises time. The chronological line is broken into pieces, scattered before, during and after the Balkan War in the 90s. The ones who lived those chapters, or still are immersed in them, might name the three times as : “the time of organised sacrifice”, “time before the end”, and “time of hope”. The decomposition of chronology makes the experience of people from Bosnia more familiar to the viewer, and most importantly reveal how the community there, or any community can grow strong together and, on the other hand, segregate and isolate each other easily due to political power struggle.

A series of cyanotypes showing the remains of the concentration camps Gusen in Austria. Operating since 1940, it was the first and biggest subsidiary camp of Mauthausen, called by many Germans "the extermination camp for the Polish Intelligentsia." Prussian Blue, the synthetic pigment that gives cyanotypes their distinctive hue, is a chemical by-product of hydrogen cyanide or "prussic acid" which was used in Nazi German concentration camps during World War II to kill en masse as part of their genocide program.