Alena Chekhovich, a lawyer from a Belarusian human rights organization Human Constanta, examines the Culture Code in detail, discussing in simple terms the concepts of cultural and creative workers, registration and taxation of the activities of creative workers, the process of obtaining a certificate of a creative worker and much more.
Belarusian artist Uladzimir Hramovich talks about his experience in obtaining the official status of a cultural worker – a forced reaction to the Belarusian law on “not employed in the economy”. The artist describes the process of collecting documents for the commission, the committee meeting at the Ministry of Culture and shares his reflections upon the state of Belarusian contemporary art as well as his civic position.
Using her project Sauna for the Unemployed as an example, Swedish artist Frida Klingberg talks about her experience in working with self-organized initiatives, comparing and contrasting it to the traditional art world hierarchy, which praises individualism.
Photojournalist and visual artist Maxim Sarychau reflects on financial insecurity and exploitation in the field of art and photojournalism. Are we free fuel? Or did we learn how to say no? “It seems that no state union or existing independent organization can defend our rights today. We all found ourselves in a crystal clear situation: self-organize or die.”
Independent researcher Elisabeth Kovtiak presents the results of the workshop of the STATUS project, Designing the Parallel Society, which was led by two Swedish artists John Huntington and Lars Noväng in Minsk. As a response to the problematic aspects of the Ministry of Culture and the KGB, and a wider problem within Belarusian official discourse, the workshop team invented the Ministry of Uncertainty – a space to train one’s ability to become an active member of society and to enjoy it.
Curator and researcher Tania Arcimovich presents the final version of the essay, based on a collection of personal reflections from the everyday life of cultural workers from Belarus. She questions why non-public and non-visible lives full of anxieties and affects hardly could be found in artistic bios and CVs.
November 23, 2019 in Minsk will host the Congress-performance of cultural workers initiated by the members and participants of the project “STATUS: The role of artists in changing society” (Belarus and Sweden). During the one-day event, there will be discussions and conversations, workshops and performances, as well as presentations of the artworks related to the issues of working conditions and legal status of artists in Belarus and Sweden, defending rights, equality, gender and age. Congress invites professionals from the field of culture and arts, as well as anyone interested in the stated topics.
In early 2019, as a response to a request made by the Belarusian Union of Designers, the Belarusian Ministry of Culture officially proclaimed ‘exhibition activities’ (or, in other words, exhibition-making) neither an intellectual, nor an artistic practice, provoking public outrage and mockery. Using this episode as a case study, researcher Anton Barysenka reflects upon the current status of an artworker in Belarus, and comments on the structural decay and tensions within current Belarusian culture politics.
Researcher and curator Tania Arcimovich presents an essay on the social and economic status of Belarusian artists. In the frame of her mini-research, she compares local experiences within the art field with transformations happening in the global sphere of culture.
Curator and researcher Antonina Stebur reflects on institutional critique in Belarus and studies a case of censorship within the exhibition Nevidivizm by Kirill Diomchev that took place at the Art Museum in Vitebsk.