2024
2023
2022
2021
2020
2019
2018
2017
2016
2015
2014
2013
2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
1993
1992
1991
1990
1989
1988
1987
1986
1985
1982
1977
1976
1974
1972
1971
1970
1969
1962
1960
1958
1956
1954
1953
1952
1937
1932
1930
1927
1925
1921
1920
1919
1912
1891

2024

Belarusian art: the future, armed with tools from the past

"Artists and journalists are so dangerous to the regime because they teach critical thinking." How to talk about important things through art now

publication

"Фатаграфія — гэта лад жыцця". Вытрымкі з інтэрв’ю Уладзіміра Парфянка і фатаграфіі ягонага аўтарства

publication

Sergey Shabohin

Milestones in Pinhole Photography

lecture

2023

Belarusian National Arts Museum

"Butterfly with Flame Wings" phenomenon of creativity of the Belarusian artist Zinaida Astapovich-Bocharova

publication

Reform.by

"Я расказваю і пра тое, што цяпер адбываецца ў калоніях і турмах": мастачка Марына Напрушкіна аб сваёй выставе ў Берліне

publication

Andrei Dureika

Belarusian Art Abroad: April 2023

цикл "Беларусское искусство за рубежом"

Andrei Dureika

Belarusian Art Abroad: March 2023

publication

Andrei Dureika

Belarusian Art Abroad: May 2023

publication

Status, Дита Войт

Mimicry. Almost white, but not white

publication

Chrysalis Mag, Пелагея Кудин

Zakhar Kudin

publication

2022

Reform.by, Светлана Станкевич

"Волонтеры для них в диковинку". Специальный репортаж Reform.by о беларусских "стюардессах" и украинских беженцах на польской границе

publication

Reform.by

"Ёсць тое, што нельга зруйнаваць і немагчыма адсекчы": куратар Аляксей Барысёнак – пра афекты 2020-га, палітычныя архівы і выставы-даследаванні

publication

Белсат

A sculpture exhibition in Hrodna was closed due to the denunciation of a lover of "russian world"

publication

syg.ma, Yuli Ilyushchanka (Karen Karnak)

Art that requires attention (and time), or some comments on the works of Semyon Motolyanets and Alina Khalitova

publication

Reform.by

Institutional breakdown, underground movements and international success: results of a year in art

publication

Chrysalis Mag

Is Art Brut art only for the mentally ill and marginalized? Let's look at the example of A.R.Ch's creativity

publication

FIELD, Olga Kopenkina

No Time for Art? Strategies of Negation in Belarusian Art During the 2020 Anti-Government Uprising

publication

e-flux, Aleksei Borisionok

Queer Temporalities and Protest Infrastructures in Belarus, 2020–22: A Brief Museum Guide

publication

Sasha Razor

The Code of Presence: Belarusian Protest Embroideries and Textile Patterns

publication

Chrysalis Mag

The School of Paris and modernity: how does the past become the present?

publication

Status, Olga Bubich

The story of one yard, or remember everything

publication

Chrysalis Mag, Alexei Kuzmich (junior)

Time to Act: Actionism, Performance, Activism. Part 2 Actionism vs. Performance

publication

Chrysalis Mag

Traditional art of Belarus: how it is preserved and transformed into the present

publication

Walera Martynchik. Catalogue 1

catalog

Walera Martynchik. Catalogue 2

catalog

Walera Martynchik. Catalogue 3

catalog

Walera Martynchik

Walera Martynchik. Reconstruction of events

book

Chrysalis Mag, Alexandr Adamov

Where where? In the open air! "There's Nobody Here" as part of the landscape

publication

Chrysalis Mag

Women of Belarusian art. Our past and present

publication

Уладзімір Зяленскі ў "выжыванцы" з арнаментам ад Руфіны Базловай

photo document

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

2001

2000

1999

1998

1997

1996

1995

1994

1993

1992

1991

1990

1989

1988

1987

1986

1985

1982

1977

1976

1974

1972

1971

1970

1969

1962

1960

1958

1956

1954

1953

1952

1937

1932

1930

1927

1925

1921

1920

1919

1912

1891

Performensk 2022

December 8 – 11, 2022

Brussels, Belgium

festival headquarters

Performensk 2022 focuses on the works of artists who, with the mere boundaries of their bodies and little else, summon their memories, imagine unpredictable narratives and thus, go beyond the notion that artistic practice must be subjected to the arid precision of common technological tools. The context of exile of this edition sharpens a theme of borders, more than before. Borders are inhumanely expressed on the geographic limits between states, social classes, but also in the domain of our activities as artists. This year’s Performensk strives to make apparent the silver thread existing between practices and present a series of events that will hopefully move our audiences to follow the tightrope walk of our activities.