TRY TO READ MY STONES
"Try to Read My Stones" is a work dedicated to the historical geography of a space in the formation of modern Belarus. Belarus is a country without mountains or access to the sea, located at the crossroads of cultures and religions. Its border position has profoundly influenced its development and identity.
The installation Try to Read My Stones consists of nine maps of Belarus embedded in old school chairs. Each map corresponds to a key historical period of the 20th century (1918, 1918-1919, 1919, 1920-1921, 1922-1924, 1924-1927, 1938-1940, 1941-1945). The shifting borders reflect the violent and dynamic geopolitical changes that Belarus has experienced - frequent regime changes, the collapse and emergence of political systems, wars and occupations. These events have left a deep imprint on the local culture and collective consciousness. One visible result is the eclectic nature of Belarusian visual culture, with its tendency to freely combine meanings, references and cultural codes.
Shared memories and conversations are often based on cultural references that are visible and meaningful only to us. This installation functions as a classroom of historical inquiry - open to multiple interpretations and perspectives. It reflects a process that is still ongoing. Our history is fragmented and dispersed - carried by people rather than institutions - and the transmission of knowledge is often horizontal, through art or self-organised initiatives. We must remember everything—so as not to disappear at the crossroads.
The installation Try to Read My Stones consists of nine maps of Belarus embedded in old school chairs. Each map corresponds to a key historical period of the 20th century (1918, 1918-1919, 1919, 1920-1921, 1922-1924, 1924-1927, 1938-1940, 1941-1945). The shifting borders reflect the violent and dynamic geopolitical changes that Belarus has experienced - frequent regime changes, the collapse and emergence of political systems, wars and occupations. These events have left a deep imprint on the local culture and collective consciousness. One visible result is the eclectic nature of Belarusian visual culture, with its tendency to freely combine meanings, references and cultural codes.
Shared memories and conversations are often based on cultural references that are visible and meaningful only to us. This installation functions as a classroom of historical inquiry - open to multiple interpretations and perspectives. It reflects a process that is still ongoing. Our history is fragmented and dispersed - carried by people rather than institutions - and the transmission of knowledge is often horizontal, through art or self-organised initiatives. We must remember everything—so as not to disappear at the crossroads.
