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kochunia33

@kochunia33

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Art historian, curator, writer.
Editor-in-chief of “Sense of Safety: Art in a Time of War”
Curator @antiwarcoalition.art
Now @delfinafdn

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Запрошуємо на публічну дискусію «Як говорити про війну через мистецтво?», що відбудеться в межах виставки Аліни Клейтман @kleytman_alina «Межа чутливості»!

24 жовтня о 17:00 у просторі ЄрміловЦентру мистецтвознавиця та незалежна кураторка Тетяна Кочубінська й культурна менеджерка та кураторка Катерина Семенюк зустрінуться, щоб поговорити про те, як сучасне мистецтво працює з досвідом російсько-української війни. Модеруватиме розмову Наталія Іванова.

Як змінюється наше сприйняття образів війни, коли вона триває роками? Де проходить межа між свідченням і художньою інтерпретацією? Хто має право говорити про війну та яку відповідальність несе мистецтво за її репрезентацію?

Тетяна Кочубінська @kochunia33 — мистецтвознавиця, незалежна кураторка, авторка текстів про мистецтво і лекторка. У своїй діяльності зосереджується на сучасному мистецтві, дослідженні українського мистецтва 1990-х років і темах пам’яті в пострадянському суспільстві. Співкураторка низки міжнародних проєктів, зокрема «Калейдоскоп історій. Українське мистецтво 1912–2023» (Дрезден, Німеччина, Зволле, Нідерланди, 2023), «Відчуття безпеки» (Харків, 2024) та «Парне катання: Борис Михайлов і Вольфґанґ Тільманс» (Харків, 2025). Головна редакторка книжки «Відчуття безпеки. Мистецтво у часи війни» (DISTANZ, 2026). З 2022 року входить до кураторської команди antiwarcoalition.art.

Катерина Семенюк @katya_semenyuk — культурна менеджерка та кураторка, співзасновниця платформи культури пам’яті «Минуле / Майбутнє / Мистецтво», голова ГО «Культурні практики». Продюсерка та співкураторка проєктів «From 1914 till Ukraine» у Kunstmuseum Stuttgart (2023), Національного павільйону України «From South to North» на першій Мальтійській бієнале (2024) та виставки «What We Talk About When We Talk About Crimea» у Замку Уяздовському у Варшаві (2026).

Модераторка — Наталія Іванова, директорка ЄрміловЦентру.

Дискусія відбудеться в межах виставки Аліни Клейтман «Межа чутливості» в ЄрміловЦентрі. Проєкт реалізується за підтримки Українського культурного фонду @ucf.ua

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Олег Голосій — одна з найяскравіших постатей у українському мистецтві кінця 1980-х — 1990-х років, життя та творчість якого значною мірою пов’язані з історією сквоту на вулиці Паризької Комуни в Києві. Голосій став натхненником митців сквоту й загалом спільноти того часу, де працював разом з митцями та мисткинями Валерією Трубіною, Олександром Гнилицьким, Юрієм Соломком, Наталією Філоненко та іншими.

Голосія часто зараховують до українського трансавангарду — напряму, пов’язаного з поверненням до експресивного живопису, міфологічних сюжетів, фігуративності та вільного поєднання різних культурних джерел. Голосій не стільки відмовлявся від радянського канону, скільки показував, яким широким може бути саме уявлення про те, що здатен робити живопис.

В новому дописі Інвентаризації читайте більше про життєвий і творчий шлях художника, який надихає не одне покоління митців та мисткинь.

Фото: Микола Трох.

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SENSE OF SAFETY
Art in a Time of War

Book presentation with Tatiana Kochubinska (@kochunia33) and Alona Karavai (@karavaikaravai)
with a DJ set by Anton Lapov (@ercolebambucci)

Friday, October 16th 2026, 19:00
at < rotor >, Volksgartenstraße 6a, Graz, Austria 8020

This publication follows the international art project Sense of Safety, which took place at YermilovCentre in Kharkiv, Ukraine, and across Europe through an open network of cross-institutional events entitled Bridges of Solidarity. Realized just 30 km from the Russian border, in close proximity to the front line, the project resisted the reproduction of hackneyed images of war and ruins. Instead, it asserted creation as a form of resilience, transforming a site of war into one of cultural growth.
Emerging from an inherently unsafe environment, the project proposed rethinking safety as an achievement of civilization that can be easily undone — one of the defining global challenges of our time.

Extending these reflections, the publication explores the possibilities of art in a time of war and its capacity to foster care and solidarity. By featuring new texts from contributors who experienced the project both on site and from afar, the publication invites readers to reconsider what safety means today—individually and collectively—and how art can serve as a cohesive force in a fragmented world.

The event is part of the accompanying artistic programme of the international conference Networks of Cooperation: Sustainable Structures for Ukrainian Cultural Actors in Europe and Beyond which takes place on 15–16 October 2026 in Graz, Austria. The conference is organized as a joint initiative of the Austrian Federal Ministry for Housing, Arts, Culture, Media and Sport (@kunstkulturministerium), the Creative Europe Desk Austria, Office Ukraine (@office.ukraine), tranzit.at (@tranzit.at) and < rotor > (@rotor.contemporary), and the conference is held in cooperation with Kunsthaus Graz (@kunsthausgraz) and the Creative Europe Desk Ukraine (@ced.ukraine) and the Institute for Human Sciences.

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WORKSHOP PART II
In the second part of Curatorial Lessons 2026, we focused on site specificity together with Tatiana Kochubinska @kochunia33 and discussed the text from Miwon Kwon „One Place After Another: Site-Specific Art and Locational Identity“.
We explored how places carry histories, relationships, conflicts and traces; and how careful observation can become the starting point for a curatorial idea. What do you notice in Graz, what remains unnoticed? Who uses a space, who doesn‘t? What traces, boundaries, histories and relationships can you discover?

As part of the Public Lecture, @antiwarcoalition.art was introduced as an international network connecting artists, researchers and cultural practitioners working around war, repression, resistance and solidarity.

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PUBLIC LECTURE WITH TATIANA KOCHUBINSKA
Tuesday, 29 September
18:00
ZIEGEL, Strauchergasse 6, 8020 Graz

As part of Curatorial Lessons 2026, we are happy to invite you to a public lecture with Tatiana Kochubinska @kochunia33 , dedicated to antiwarcoalition.art.

Tatiana Kochubinska is an independent curator, art historian, writer, and lecturer focusing on contemporary art, memory, and the legacies of the 1990s in post-Soviet society. She has co-curated major international projects, including Kaleidoscope of (Hi)stories: Ukrainian Art 1912–2023 (Dresden, 2023), Landscapes of an Ongoing Past (Essen, 2024), Sense of Safety (Kharkiv, 2024), and Pairs Skating: Boris Mikhailov and Wolfgang Tillmans (Kharkiv, 2025).
Since 2022, she has been part of the curatorial team at antiwarcoalition.art.

antiwarcoalition.art was founded in 2022 as a cultural and political response to Russia’s full-scale invasion of Ukraine, in which Belarus also served as a platform for military aggression. Emerging from a context of war, repression, and displacement, the initiative began as an urgent call for solidarity, using art as a space of resistance, reflection, and transnational connection.
Over the past three years, antiwarcoalition.art has evolved into a growing international network that brings together artists, researchers, and cultural practitioners committed to confronting war, authoritarianism, and systemic violence.

The lecture takes place within Curatorial Lessons 2026, organised by ACE – Association for Curatorial Education.

Curatorial Lessons 2026 is part of the educational program of @steirischerherbst. With kind support of City of Graz and Die Grünen-ALG Gemeinderatsklub.

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TODAY WE MAKE NOISE

TODAY. Come and make noise with us.

Bring a pot. A tin. A bucket. A lid. Anything that makes sound.

Come to @ndsm , take your place, and become part of an artwork that only exists because people decide to participate.

Today, you are not the audience. You are the piece.

@ndsm , Amsterdam

Participants arrive from 14:30
Performance 16:00

See you there.

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Tomorrow, don’t just watch. Come make noise with us.

Maksim Znak @znak131225 knows what it means to have your freedom taken away. The Belarusian lawyer and writer spent more than five years in prison after being sentenced to 10 years; he was released in December 2025.

Tomorrow at NDSM, we turn solidarity into something physical: 1200 people, everyday objects, one collective sound…

While wearing the faces of Belarusian political prisoners.

No musical skills. No rehearsal. Just your presence.

19 September | @ndsm , Amsterdam

Performance: 16:00

Join us → MakeNoise.art

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DF Summer Season: From Our Residents 💫

📷 When a residency season at Delfina ends, you never have just a few photos to share… you have hundreds!

For our final send-off to the summer 2026 season, we asked for pics from the people who knew it best: our residents.

💕 Thank you to our summer 2026 residents for an amazing season, and for giving us a glimpse into the past three months.

We’ll be photo-ready when you come back to visit!

🧳 Our summer 2026 residency partners and supporters include: Rambourg Foundation (@rambourg.foundation); Artus Peru (@artus_conexionglobal); EACHEVE (@eacheve); The Brooks International Fellowship Programme in partnership with Tate; Ministry of Culture, Taiwan (R.O.C.); Kiran Nadar Museum of Art (@knmaindia); The British Council (@britishcouncil) and Ukrainian Institute (@ukrainian_institute); Cheng-Lan Foundation (@chenglanfdn) through the Harbour Exchange Fellowship Programme, in partnership with Para Site (@parasite.hk); and Delfina Foundation’s regional networks of patrons for Asia-Pacific, Latin America & the Caribbean, and the Middle East, North Africa and South Asia.

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Some people disappear from public life long before the world notices.

A name becomes a number.
A face becomes a photograph.
A person becomes “one of many”.

But no one is “one of many” to the people who love them.

This work is an attempt to close that distance — between here and there, between freedom and its absence, between knowing something happened and actually allowing yourself to feel it.

For a moment, someone else’s face becomes impossible to look away from.

19 September · NDSM, Amsterdam

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Right now, it’s empty. 🖤

In only 2 DAYS, every place here can become a voice for someone who was silenced. 🔊🔥🔥🔥

Take your place. Make noise with us. ✊

📍 19 September · NDSM

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Help us bring 1200 people together on 19 September.

At NDSM Amsterdam, they will create A Percussion Piece – one collective artwork built through sound, presence and solidarity.

Our fundraising goal is €1200 — one euro for every participant.

𝐃𝐨𝐧𝐚𝐭𝐞 𝐢𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧. 𝐒𝐡𝐚𝐫𝐞 𝐢𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧’𝐭.

Help us complete the artwork.

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Sep.5, a sold-out audience gathered at De Balie in Amsterdam for Inside the Lukashenko Prison System, a Freedom Lecture with Nobel Peace Prize laureate and human rights defender Ales Bialiatski and philosopher and researcher Olga Shparaga.
Organised by antiwarcoalition.art, the event was part of the programme leading up to Maxim Tyminko’s A Percussion Piece for Two Thousand and Nine Players, which will take place in Amsterdam on 19 September.
The evening began with an artistic programme bringing together video works by artists from the antiwarcoalition.art platform, readings and music addressing imprisonment, control, memory and resistance. It included stories from Zekameron by Maxim Znak, and music connected to Music for Belarus.
The artistic programme was followed by lectures by Ales Bialiatski and Olga Shparaga.
Bialiatski spoke about the reality of Belarusian political imprisonment and the system surrounding it: isolation, pressure on prisoners and their families, and the consequences of prolonged repression for Belarusian society.
Olga Shparaga spoke about feminist solidarity, care and artistic resistance as forms of political and social resilience within the Belarusian democratic movement.
For us at antiwarcoalition.art, the evening was ultimately not only about witnessing repression, but about a more difficult question: what do we do with this knowledge? How can attention become solidarity, and solidarity become collective action?
This question continues on 19 September at NDSM-Werf in Amsterdam with Maxim Tyminko’s A Percussion Piece for Two Thousand and Nine Players.
1,200 people will come together in a collective performance, creating sound with everyday objects while wearing the faces of Belarusian political prisoners.
At De Balie, we listened, watched and spoke together.
Registration and full information via the link in bio.
Inside the Lukashenko Prison System was organised by antiwarcoalition.art in collaboration with De Balie, with the participation and support of Pavetra e.V., PEN Nederland, Libereco and MÀRA, and with support from Vfonds.
Photos: Viktoryia Kharytonava

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