Migration Experience in Belarusian Art. Part 1: Theory, History, and Examples of Works Before 2010

This research-based overview by Lizaveta Stecko is dedicated to the theme of migration in art within the Belarusian context. The scope and complexity of this subject make it necessary to divide the prepared material into two interrelated texts.
The first part focuses on theoretical aspects: the definition of concepts associated with migration, the methodological challenges of studying art that reflects this experience, and the historical context—including selected examples of artworks created before 2010. This text lays a foundation for understanding the processes that influence the creative practices of individuals with migration experience from Belarus.
The second part of the text explores aesthetic approaches and artistic practices that emerged after 2010. It also references organizations that engage with both transcultural and Belarusian experiences of migration.

Theoretical Aspects of “Migration”

The term migration originates from the Latin migratio, meaning "resettlement." It also denotes movement understood as a form of spatial mobility. In the context of resettlement, migration refers to the relocation from one territory to another for a relatively sustained period of time. From a temporal perspective, migration can be classified as permanent, temporary (e.g., seasonal), or pendular (e.g., daily commuting between home and work). From a spatial perspective, it is commonly distinguished as internal (within the borders of a single state) or external (involving the crossing of national borders) [1].

Migration may also be described as voluntary or forced, although in practice this classification is rarely binary. People leave their habitual place of residence for a wide range of reasons—most often economic, political, or religious. An additional theoretical framework for addressing the condition of the “mobile subject” is nomadism—a mode of life characterized by continual movement between temporary localities across space [2].

_{© Piotr Siergijewicz , The way of life , 1934}

A person who has crossed a border for the purpose of establishing permanent or temporary residence may be referred to as a migrant or as a person with migration experience. The latter term implies that migration is one facet of a person’s identity rather than its sole defining characteristic, and emphasizes the experiential and transformative nature of migration as part of a broader life trajectory.

A person may also hold refugee status—someone who has been forced to flee their country due to the threat of persecution on the grounds of race, religion, nationality, membership in a particular social group, or political opinion. According to Article 14 of the Universal Declaration of Human Rights, everyone has the right to seek asylum in another country in cases of persecution and to enjoy the protection that asylum affords [3].

Within discourse on people with migration experience, one may encounter the term illegal migrants—a designation that is both inaccurate and ethically problematic, as human existence itself cannot be deemed illegal. Rather, individuals may lack proper documentation or legal residence status. This term is often employed by “local” political forces in relation to newly arrived individuals, serving to other and stigmatize them. The tension between "locals" and "migrants" in the European context became especially pronounced after the Second World War, as societies entered into postcolonial conditions. The tightening of migration controls—framed as a defense of national sovereignty—can be read as a continuation of colonial hierarchies and imperial practices, leading to increased conflict, deepening inequality, and the proliferation of hostility [4].

Migration, however, is a fundamental human impulse. Human beings have always moved, although migration tends to become particularly visible in moments of crisis—wars, genocides, climate disasters. For instance, in the European context, the so-called “migration crisis” of 2015–2016 became especially significant, as people from African and Middle Eastern countries arrived under dire conditions in search of asylum. According to the European Parliament, the number of individuals applying for refugee status has been increasing by at least 40% each year. Although the COVID-19 pandemic temporarily reduced levels of global mobility, the numbers have continued to rise, particularly in connection with the full-scale Russian invasion of Ukraine [5].

At the same time, migration is not exclusively a result of catastrophe—it is also linked to processes of globalization, which have made human movement more widespread and dynamic. This draws attention to the nature of contemporary societies, often marked by cultural hybridity as a key mode of identification. To understand migration today, one must consider not only physical movement, but also the development of digital environments, which enable forms of virtual migration. Digitization allows people to move within virtual space, forming new connections, identities, and communities. In a globalized and technologically advanced world, individuals may simultaneously inhabit multiple online ecosystems and cultural contexts without physically relocating—fundamentally reshaping traditional understandings of migration and identity.

Migration can be understood as an alternative to a sedentary and predominantly normative way of life—an alternative that may produce states of ambiguity, uncertainty, or disorientation. This leap, or process of exiting a familiar context, is often motivated by necessity. Beyond the profound internal transformations involved, people with migration experience undergo processes of re-socialization—or, at times, the absence thereof. Migration may be conceptualized as a spectrum in which individuals find themselves embedded in their own unique context. A common experience among migrants may be described through the concept of deprivation—a loss or lack of certain social conditions or elements of a former state of being.

Zigmunt Bauman described migration as a spectrum spanning between tourism and vagrancy. At one end of this spectrum are those who travel freely and by choice, equipped with the privileges that allow mobility for pleasure. At the other end are those compelled to migrate due to climate change, economic instability, or political upheaval in their regions of origin. These categories represent two sides of the same coin—global migration. At the same time, the statuses are interlinked: any tourist may become a refugee, and vice versa.

Despite the potential for anyone to acquire migration experience, the migrant status is often met with resistance and discomfort. In Thomas Nail’s theoretical framework, migrants are positioned as secondary or peripheral figures in societies that define themselves through place. Migration is perceived through a dualistic logic: movement from point A to point B, including in a social and cultural sense. However, it is difficult to firmly anchor the migrant within a specific place, as the very term migrant implies movement and transition [6].

Challenges in the Migration Art Studies

The theme of migration in art possesses a unique symbolic and conceptual field, yet it remains difficult to access due to a number of complexities. Chief among these is the entrenched model of art history documentation based on the framework of nation-states, where national affiliation is foundational to the visibility and recognition of artists. Artists with migration experience often have to undergo a long and difficult process in order to be acknowledged and "legitimized" within a new cultural context. For researchers, this results in a scarcity of established informational capital upon which to build. One potential response to this challenge is the concept of a pluriversal canon, a term proposed by Ruth Iskin to describe an alternative art history grounded in the principles of pluralism, heterogeneity, postcolonial critique, and globalization. This approach questions dominant Western-centric narratives in art history, advocating for the inclusion of diverse cultural and artistic practices from across the globe. It recognizes a multiplicity of voices and perspectives, enabling a broader understanding of art history—one that accounts for the interactions and mutual influences of global traditions in the context of contemporary transnational realities [7].

Researchers studying the practices of artists with migration experience often confront the lack of informational infrastructure surrounding their work. This leads to the “invisibility” of such figures in their new contexts. Moreover, the artistic output of migrant artists may be perceived less as individual expression and more as a generalized reflection of “the migrant experience.” This tendency flattens artistic identity, reinforcing stereotypical interpretations and framing the work as part of a collective narrative of displacement, rather than recognizing it as a singular creative contribution.

These reductive perceptions are amplified under conditions of globalization, where host societies may lack knowledge of the cultural, historical, and artistic contexts from which newcomers originate. Simultaneously, the creative practices of artists in migration may go unnoticed or unrecognized in their country of origin. This results in informational gaps that, over time, contribute to a fractured understanding of national art histories—undermining a nuanced grasp of the local artistic landscape in its current moment, and weakening its presence within global cultural discourse.

_{© Alina & Jeff Bliumis , CULTURAL TIPS FOR NEW AMERICANS , 2011}

Art that reflects the experience of migration may become a target of political repression, as it often addresses the causes of migration, such as wars, political violence, and social injustice. In such cases, artworks may be perceived as a threat to the stability of the existing regime, prompting reactions from state authorities. Artists, by turning to personal and collective experience, risk facing repression—thus, art becomes not only a means of documentation but also a form of resistance.

A possible response to these complexities is the concept of postmigration, which represents an approach aimed at examining migration within the multilayered and complex relations of the receiving society. In contrast to traditional perspectives that treat migration as a one-time or temporary process, postmigration shifts attention to different migratory generations and their interaction with both local and global contexts. It views society as super-diverse and emphasizes transnational connections and transcultural practices from both local and global perspectives. Postmigration also functions as a framework sensitive to antagonisms, ambiguities, alliances, struggles, and resistance in the pursuit of recognition, as well as the active and equal participation of multiple actors with diverse identities in the life of postmigration society [8].

The study of art related to migration may also be hindered by the specific nature of artists' movements, leading to fragmented information and the absence of centralized sources. This slows down the process of analyzing the legacies of artists whose places of residence and activity have changed over time. Each point of an artist’s migration involves its own system of informational networks, which differ from the previous one. For example, in the case of Polina Khentova , her work can be found under different name variants such as Polina Khentova, Polia Chentoff, Pauline Chentoff, Polia Chentov, Pauline Chentov, and Polina Chentova.

On a practical, everyday level, migration entails additional difficulties, such as financial or logistical ones. Artists are often unable to transport their works with them or to preserve them properly. As a result, artworks may end up scattered in completely different locations for unknown periods of time, which often affects their physical condition. A relevant example is the legacy of the migrating artist Alena Kish , who moved through small settlements across the territory of Belarus, leaving her works behind in exchange for food and shelter. Due to harsh storage conditions and the absence of conservation, many of her works have not survived to the present day. Marc Chagall also experienced such challenges. He lived for some time in Paris, where he left a significant number of works. Because of political circumstances, the artist was only able to return to his practice after nine years—and discovered that some of his works had disappeared [9].

The History of Migration among Cultural Figures from Belarus

Our historical narrative is shaped by the constraints under which it is created, as well as by the conditions of its contemporary production—both of which shift with each passing year, inevitably altering the perceived "truth" of history. Knowledge of migration histories serves as one of the tools for understanding historical context and current social processes. Under conditions of restricted freedoms in Belarus, such knowledge also becomes an instrument for shaping and influencing reality.

This section presents the stories of cultural figures who may not always be classified strictly as visual artists. It includes individuals born within the borders of what is now Belarus who experienced migration, and whose way of life contributed to the development of culture and the arts both within Belarus and beyond its borders.

The specificity of emigration from the territory of present-day Belarus can be divided into two particularly significant periods: prior to the 20th century—within which several major waves can be distinguished (1890–1910, the interwar period, and the postwar period)—and the 21st century.

Even as early as the 16th century, Belarusian figures of the Enlightenment, whom Belarus now celebrates, were individuals with migration experience. Franciszek Skaryna , born in Polatsk, studied at the Academy of Kraków, as well as at the Universities of Padua and Bologna in Italy. He lived in Prague, Vilnius, Moscow, Königsberg (now Kaliningrad), and even spent time imprisoned in Poznań [10, 11]. One of the first book printers and typographers, Pyotr Mstislavets, originally from Mstsislaw, lived for a time in Moscow. However, due to conflicts with the conservative clergy, he was forced to leave and continued his work in Vilnius [12]. Simeon Polotsky — a spiritual writer, theologian, poet, dramatist, and translator—received his education in Kyiv and Vilnius [13]. Ilya Kopievsky, an Enlightenment figure, publisher, translator, poet, and writer, followed a path that took him from Lyakhavichy to Amsterdam, passing through Danzig (now Gdańsk), Berlin, and Copenhagen [14].

Beginning in the 18th century, there emerged an increasing number of cases of migration motivated by personal convictions and confrontation with state authorities. The territories of present-day Belarus, which were partially part of the Polish–Lithuanian Commonwealth, were affected by the partitions of 1772, 1793, and 1795. These events provoked social unrest among the local population, including uprisings.

The poet, playwright, folklorist, and ethnographer Jan Czeczot, along with the poet, folklorist, and geologist Tomasz Zan, were subjected to repression due to their involvement in student activism. In 1824, both were exiled to the Ural region [15].

Tadevush Kosciuszko , in addition to his activities in the Polish–Lithuanian Commonwealth, also lived and worked in France, the United States, England, and Switzerland. Beyond his political and military endeavors, Kościuszko engaged in artistic practice; in France, he studied at the Royal Academy of Painting and Sculpture [16].

_{© Wincenty Dmochowski, Street in Vilna , 1850}

Many individuals from the territories of present-day Belarus took part in the November Uprising (1830–1831) and the January Uprising (1863–1864), as a result of which they faced repression and were forced into emigration. After the uprising of 1830–1831, the scholar Ignacy Domeyko lived in France and later in Chile, where he was recognized as a national hero [17]. The painter January Suchodolski lived in Rome, where he studied painting [18]. The painter, scenographer, and educator Wincenty Dmochowski moved for a couple of years to Prussia [19]. The artist, musician, composer, and teacher Napoleon Orda relocated to France. He had the opportunity to visit the territory of present-day Belarus during summer travels, where he documented local landmarks in drawings that are still used today as reference material by restoration specialists. The poet, folklorist, graphic artist, and book publisher Alexander Rypinski ended up first in Prussia and later in France following the uprising [20].

After the uprising of 1863–1864, several individuals left the territory of what is now Belarus. Among them was Valery Vroblevsky, one of the publishers of Mużyckaja praŭda and a revolutionary, who relocated to France and became a general of the Paris Commune [21]. The writer, publicist, translator, and one of the founders and canonical figures of modern Belarusian literature, Francišak Bahuševič, fled repression by seeking refuge in Ukraine (in the regions of Chernihiv and Sumy) [22]. Feliks Rožanski, a poet, co-editor of Mużyckaja Praŭda, and author of insurgent songs in the Belarusian language, moved to Galicia [23]. Vladyslav Malakhouski (who became known in exile as Leon Warnerke) emigrated to Prussia and later to England, where he engaged in photography and invention [24].

_{© Apolinary Horawski, At a cross. Death of an insurgent , 1863}

Even in those difficult times, pursuing education was an important reason for migration: Apolinary Horawski studied in Geneva, Düsseldorf, Rome, and Paris; Isaac Askanazii received a scholarship for four years of study abroad, with his journey taking him through Berlin, Dresden, Prague, Vienna, Venice, Padua, Florence, Bologna, and Rome [25].

At the end of the 19th and beginning of the 20th century, the territories of present-day Belarus were plunged into a politically and economically critical state. Lacking paid employment opportunities, people sought work in the United States, Canada, Latin American countries, and Siberia. They also left their homes to obtain education or to escape wars, revolutions, and repression. Historians identify this period as one of the largest migration waves, although precise numbers of those who left or remained are difficult to determine due to the nature of Belarus’s current migration policy [26]. 

_{© Leon Bakst, Bathers on the Lido. Venice , 1909}

In the second half of the 19th century, many individuals migrated. Among them was the zoologist, geographer, and traveler Konstantin Yelsky, who journeyed through Ukraine, Romania, Turkey, France, and the Republic of Peru [27]. The traveler, publicist, and revolutionary Nikolai Sudzilovsky lived in what is now Ukraine, as well as in Switzerland, England, Romania, Bulgaria, Greece, France, the United States, the Hawaiian Islands, the Philippines, Japan, and China [28]. The artist Zenon Lensky lived for a time in Munich. Amid the wave of political migration during this period, the poet Ciotka also left the territory of Belarus; she had lived in Vilnius, Lviv, Kraków, and Zakopane. In emigration, she was actively involved in diaspora activities. Photographer Max Penson relocated to what is now Uzbekistan. The traveler and photojournalist Anna Riwkin-Brick lived in Switzerland. Painter and graphic artist Nicolai Cikovsky moved to the United States. At the beginning of the 20th century, the tendency toward migration in search of better educational opportunities remained strong. Leon Bakst , originally from Hrodna, received his education in Saint Petersburg and later in Paris, where he ultimately settled.

_{© Eugeniy Zak, Traveler , 1924}

A native of the village of Mohilno, Eugene Zak studied in Warsaw and later in France, Italy, and Germany. Over the course of his life, the artist also undertook numerous travels throughout Italy and lived for periods in Warsaw, Berlin, and Bonn [29].

The artist Yudel Pen , before returning to Vitebsk, lived in St. Petersburg, where he studied at the Academy of Arts. There, he created the work A Letter from America , which depicts an elderly woman receiving a postcard—presumably from a loved one living abroad.

_{© Marc Chagall, Paris Through the Window (Paris par la fenêtre) , 1913}

One of the most significant groups in global art history—comprised of prominent artists who left the territory of present-day Belarus in the early 20th century—were the members of the École de Paris . This group included Marc Chagall , Haim Soutine (Chaïm Soutine) , Jacob Balgley , Pinchus Kremegne , Nadia Khodasevich Leger , Robert Genin , Zarfin Faibich-Schraga , Michel Kikoine , Ossip Lubitch , Osip Zadkin (Ossip Zadkine) , and Léon Indenbaum .

During the interwar period, Belarusian political emigration took shape. The main catalyst was the Soviet occupation and the Polish occupation that followed the signing of the Treaty of Riga in 1921, which divided the territory of present-day Belarus between Poland and the USSR [30]. This period may be seen as the beginning of the formation of the Belarusian diaspora abroad [31].

_{© Zofia Chomętowska , Traveling in Europe , 1929}

The poet Vladimir Zhilko left to study at Charles University, where he became one of the founders of the Organization of Belarusian Progressive Students. The poet Larysa Heniush found herself in Prague, where she was actively engaged in patriotic work, contributing to the development of the Belarusian national idea and assisting Belarusian émigrés. Vaclau Ivanoŭski, who at one time served as Minister of Science in the Belarusian People’s Republic (BNR), was forced to live in Lithuania and Poland. The artist Grigory Gluckmann moved to Europe in the early 1920s, where he lived and traveled until the outbreak of World War II, after which he emigrated to the United States. The photographer Zofia Chomętowska lived in Warsaw during the interwar period and, after 1947, in Buenos Aires. The artist and educator Nicolai Cikovsky emigrated to the U.S. and settled in New York.

The next major wave of migration was triggered by the Second World War. The emigration of the postwar years—and its descendants—formed the foundation of the contemporary Western Belarusian diaspora, which saw little replenishment between the 1950s and 1980s due to Soviet policies. Maintaining connections between émigrés and those who remained behind was extremely difficult. This led to a condition of isolation for contemporary culture within the country, as well as a weakening or loss of connection with global developments in the art world.

After 1940, the linguist, historian, and politician Janka Stankievič emigrated to Germany and later to the United States, where he engaged in publishing work [32]. The poet, translator, and author of the hymn Mahutny Boža, Natallia Arsieńnieva, spent some time in a displaced persons camp in Germany before relocating to the U.S [33]. The poet Michas Kavyl also eventually settled in the United States [34].

© _{Anatoly Kaplan , Pre-Easter emigration , 1960}

It was only in the 1970s–1980s that the regime began to ease, allowing for rare opportunities to emigrate. For example, Marc Klionsky was able to leave with his family—first to Rome, and then to New York—which significantly contributed to the development of his international career.

_{© Boris Zaborov, Family , 1987}

The painter, graphic artist, sculptor, and theater artist Boris Zaborov emigrated and continued his life in France. Speaking about emigration, he said: "…I did what I never could have done in Belarus: I became the artist you’re now talking to. But that doesn’t mean I forgot my childhood, my youth, and what happened… A person who loses memory, loses themselves. The worst is when someone who leaves their country has nothing to remember. Fortunately, that’s not my case" [35].

During the same period, artists Walera Martynchik , Vladimir Lappo , Genadz Khatskevich , and Oleg Murashko also emigrated.

In the era of Perestroika, one form of migration—albeit temporary—for the Belarusian artistic community became participation in the All-Union Festival of Informal Artists and Associations in Narva .

It is also worth noting the activity of the diaspora during that time. In 1971, Belarusians in London united to establish the Skaryna Library and Museum, dedicated to the study of Belarusian culture and history, as well as the expansion and preservation of museum collections [36].

Another reason for migration during this period was the environmental disaster caused by the Chernobyl nuclear accident on April 26, 1986. Around 130,000 people left the contaminated areas of Belarus.

In the 1990s, a new wave of migration emerged, connected to the collapse of the Soviet Union. The concept of borders and modes of movement began to shift. As a result of these transformations, Belarus saw an increase in internal migration between rural and urban areas. Additionally, there was a noticeable influx of migrants from other former Soviet republics into Belarus, with many settling in areas outside major cities [37].

_{© Natalya Zaloznaya, work from the series Letter from Odessa , 1999—2002}

For independent Belarus, this was a time of new freedoms—albeit brief. New non-governmental organizations, exhibitions, festivals, and collections emerged. However, after 1994, when a notoriously authoritarian politician came to power, a process of tightening freedoms began. Independent foundations working with culture and art were shut down, galleries closed, and a wave of purges in art institutions ensued. This directly impacted the level of intellectual migration. During this period, artists such as Andrey Zadorine , Natalya Zaloznaya , Igor Kashkurevich (who returned to Belarus in the 2010s), and Igor Tishin left the country. For them, migration also offered the opportunity to establish new professional networks and avenues for development.

_{© Anna Chkolnikova, Expensive , 2007}

Artists of that period sought new practices, movement, and integration into the global cultural community. As a result, many chose to pursue education abroad. In the article PRO___BEL. “Zero Radius / Radius of Zero. Ontology of Art-Zero”, Andrei Dureika provides the following list of artists who left Belarus and the schools where they studied: Alina Bliumis , Oleg Baravik , Maxim Wakultschik , Egor Galouzo , Janna Grak , Aliaksei Goubarev , Oxana Gourinovitch , Lena Davidovich , Andrei Dureika , Svetlana Zyabkina , Aleksander Komarov , Alexej Koschkarow , Witold Levchenya , Andrei Loginov , Zoya Lutsevich (returned), Mark Maksimavich , Volha Maslouskaya (returned), Vika Mitrichenko , Marina Naprushkina , Denis Ramaniuk , Anton Snt (returned later), Denis Skvarcov , Lena Soulkovskaia , Anna Sokolova , Raman Tratsiuk , Sergei Cerasiuk , Maxim Tyminko , Oleg Tcherny , Anna Chkolnikova , Gleb Choutov , Oleg Yushko , Alexey Terehoff , and others.

In Germany: Düsseldorf Academy of Fine Arts, Cologne Academy of Media Arts, Münster Academy of Fine Arts, State Academy of Fine Arts Karlsruhe, Städelschule – State Academy of Fine Arts in Frankfurt am Main, Berlin University of the Arts. In the Netherlands: Royal Academy of Art in Amsterdam, Gerrit Rietveld Academie in Amsterdam, Sandberg Institute in Amsterdam. In France: École nationale supérieure des beaux-arts in Paris, Le Fresnoy – National Studio of Contemporary Arts in Tourcoing. In Poland: University of the Arts in Poznań, Academy of Fine Arts in Warsaw, University of Warsaw. In the United States: School of Visual Arts in New York, Pratt Institute in New York. University of Applied Arts Vienna in Austria. In the Czech Republic: University of West Bohemia in Plzeň. Vilnius Academy of Arts in Lithuania, and the Royal Academy of Fine Arts (KASK) in Ghent, Belgium.

_{© Ales Pushkin , Goodbye, Homeland , 1996}

Art historians and curators who emigrated from Belarus during this period include: Alena Boiko , Olga Kopenkina , Lena Prents , Inna Reut , Cristina Stashkevich , among others. Even an academic institution migrated during this time—the European Humanities University relocated from Minsk to Vilnius in 2005. Around the same period, the following artists also left Belarus: Evelina Domnich , Irina Anufrieva , Denis Romanovsky .

The era of Belarusian independence has been closely tied to migration driven by political and economic circumstances. A significant wave was recorded following the events of 2010, during a time of civil resistance and governmental pressure. Before the 2020s, several artists left the country, including: Zakhar Kudin (later returned), Ala Savasheviсh , Uladzimir Pazniak (Ul Paźniak) , Jana Shostak , Rufina Bazlova , Maria Komarova , Sergey Shabohin , and others. Curator Andrei Dureika documented the state of Belarusian art abroad in 2018 in an exhibition symbolically titled ПРА___БЕЛ / PRA___BEL [38].

Examples of selected works from this period that reflect the theme of migration 

The work Everything Mine by Andrei Dureika reflects the artist’s personal experience of forced migration from Belarus in the late 1990s. It explores the themes of loss, inevitability, and the dual meaning of the word "everything"—as a symbol of all one possesses, and as a metaphor for a world full of potential. The installation uses the artist’s personal belongings, old photographs, and stenciled text. Symbolically depicted fireplaces represent eternal life and burning, alongside objects symbolizing human presence and memory: an armchair, a bed with a cross, toys, photographs, and names of the deceased. The work contemplates transformation, loss, and the search for meaning in personal history.

The work My Grandfather Is Missing II by Andrey Zadorine addresses memory, roots, and collective history by exploring personal connections to the past through visual imagery. The central element is a group photo—likely of the artist’s ancestors—presented with blurring and wear effects. This technique symbolizes the slippery nature of memory and attempts to preserve connection with family history, often lost through migration or historical upheaval. The image of the “missing grandfather” becomes a metaphor for lost roots and the fragments of history that can no longer be fully restored.

The work 35 gr by Aleksander Komarov investigates themes of identity and control. The artist weighs his Belarusian passport, determining its weight to be 35 grams. The piece references Duncan MacDougall’s experiment attempting to measure the soul’s weight—highlighting the paradox of quantifying the intangible. Komarov uses this symbolism to show how identification documents, in a world where migration requires bureaucratic compliance, become tangible representations of the soul. In this context, the passport becomes not only a document but also a symbol of constraint and power systems that turn the soul into an object of control.

Works by artists with migration experience often reflect a reevaluation of life in a new context—its conditions and challenges. One such challenge is assimilation and language barriers, addressed, for example, in LANGUAGE BARRIER by Alina & Jeff Bliumis .

In her diagram series My Friends Are Architects and Artists Who Left Minsk and My Friends are Architects and Artists Who Returned to Minsk , Oxana Gourinovitch visualizes the trajectory of emigration from and return to Belarus, reflecting the migratory trends of the 1990s–2000s.

The work Crisis in Paradise - 3 by Igor Tishin is a multilayered visual reflection on the abandoned home and its imagined future. Executed in oil on photo print, the piece merges real and abstract elements to create a tense, uncertain atmosphere. Tishin addresses the notion of the elusive “paradise”—a metaphorical home that cannot be preserved in an era of cultural and social transformation.

At present, following the events of the 2020s, Belarus is undergoing the largest recorded wave of migration in the history of its modern borders. The realities faced by Belarusians have positioned migration as a condition for survival—a means of preserving both physical and moral freedom. While it is difficult to determine the exact number of those who have left, estimates suggest that emigration ranges between 180,000 and 600,000 people [39, 40].

According to PEN Belarus, since 2020, no fewer than 1,900 cultural workers have been affected by repression, including administrative and criminal proceedings, persecution, killings, and property seizures. It is not possible to quantify how many have been and continue to be subjected to other forms of pressure: persecution for donating to charitable foundations, violent inspections at the Belarusian border, censorship and bans on presenting their work, defamation and slander in the media. Many cultural practitioners have gone underground, resorted to self-censorship, and were forced to leave their homes and families in Belarus [41].

The next part will explore in greater detail the aesthetics and practices in the works of people with migration experience since 2010—particularly the surge of examples that emerged after 2020. It will also examine the activities of cultural and creative organizations and trans-cultural practices.

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2.  nomadism https://www.britannica.com/topic/nomadism

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9.  https://ecoledeparis.org/ru/marc-chagall/

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15. https://bis.nlb.by/ru/documents/129146

16. https://culture.pl/pl/artykul/czy-kosciuszko-byl-artysta

17.  https://bis.nlb.by/ru/documents/135469

18. https://www.racyja.com/archivy/kultura/225-gadou-z-dnya-naradzhennya-yanuara-sukhado/ 

19.  https://pawet.net/collections/dmachowski/Вінцэнт_Дмахоўскі.html

20. https://bis.nlb.by/ru/documents/129323

21. https://www.polskieradio.pl/39/156/artykul/3080585,walery-wroblewski-awanturniczy-zyciorys-idealisty https://baj.media/be/muzhyckaya-prauda-yak-u-1862-godze-pachalasya-belaruskaya-demakratychnaya-presa/ 

22.  https://bis.nlb.by/ru/documents/128707

23. https://belsat.eu/ru/news/05-02-2023-sudba-soratnikov-kastusya-kalinovskogo-geroi-predateli-izobretatel-i-svyatoj

24. http://rntbcat.org.by/belnames/F_HTM/Malahovskij_V.HTML 

25.  https://artbelarus.by/ru/artists/1494.html 

26.  Чыкаго, Лондан, Берлін — дзе беларусам шукаць сябе? | Гістфак №4 https://www.youtube.com/watch?v=5WWHCPUsyP4

27. https://histmag.org/Konstanty-Jelski-aptekarz-z-Kajenny-13954 

28. https://mycity.by/proekty/istoriya-i-kultura/item/5927-165-god-z-dnya-naradzhennya-mikalaya-sudzilo-skaga-prezident-z-magiljova

29.  https://artbelarus.by/ru/artists/1573.html

30. https://belhistory.com/traktat-ryski-1921.html 

31. https://elib.bsu.by/bitstream/123456789/156383/1/Миграционные%20процессы.pdf

32.  https://www.radabnr.org/jan-stankievic/

33. https://www.bakupages.com/enc-show.php?cmm_id=276&id=164942&c=1752

34. https://karotkizmest.by/биографии/міхась-кавыль.html

35.  https://chrysalismag.org/project/barys-zaborau-ru

36. https://skaryna.org/about/

37. https://evolutio.info/ru/journal-menu/2000-5/2000-5-shahotko

38. Андей Дурейко, ПРО___БЕЛ. “Zero Radius / Радиус нуля. Онтология арт-нулевых”, Catalogue, Minsk, Belarus, 2013

39. https://drive.google.com/file/d/1FCW0YR93I1ylH_oVhoaSgJB99V9LaPxd/view 

40.  https://www.dw.com/ru/lis-polovina-uehavsih-iz-belarusi-posle-2020-goda-politiceskie/a-66930258

41. https://penbelarus.org/2024/07/22/4-years-of-repression-in-belarus-in-general-and-in-the-cultural-sector-in-particular-2020-june-2024.html