Tłumacz Migam - Międzynarodowe Centrum Kultury

"In search of the Jewish style. Archaeology of the Lviv Modernism" Żanna Komar

The established belief that Jewish architecture was imitative and traditionalist discouraged researchers from asking the question about the Jewish idiom in this field, which made it impossible to capture the Jewish specificity in searching for forms and to properly evaluate the great contribution of the Jews in the development of architecture.

"Unrequited Love" Mykola Riabchuk

Weather maps in newspapers are the major source of common wisdom about Europe today. The continent’s truncated body ends somewhere at the eastern borders of the EU, leaving a good one-third of Europe out. But Western Ukraine is always there – on both geographic and mental maps.

"The European code of Ukraine’s cities" Żanna Komar

At the beginning of the 21st century Western Europe revisited the concept of the city, identified the problems facing metropolises, and devised ways to overcome them.

"A burden or an easy loot? The Ukrainian museum crisis" Żanna Komar

Directors of the most important Ukrainian museum institutions are being frantically replaced.

"Notes from a journey (1)" Mykola Riabchuk

Some time ago, riding a train from Budapest to Belgrade, I involuntarily overheard a conversation between two other passengers. One of them was Bulgarian and the other Serb, both were speaking their own language and to make communication easier, they supplemented their words with dynamic gestures, thanks to which I could understand them too.

"Notes from a journey (2)" Mykola Riabchuk

When my son was seven, he kept a diary. Because his elder sister did too. When he noticed once that she was lavished with praise for a poem she had composed, he also took to writing poetry. As a consequence the following entry appeared in his diary: “I wrote nineteen poems today. It’s so easy!”

"Myth Made Cheesy" Katarzyna Kotyńska

Yuri Vynnychuk, Танго смерти (The Tango of Death), Folio Publishers, Kharkiv 2012

"Double Palimpsest" Katarzyna Kotyńska

“Ukraiński palimpsest. Oksana Zabużko w rozmowie z Izą Chruślińską” (Ukrainian Palimpsest. Oksana Zabuzhko in conversation with Iza Chruślińska) Kolegium Europy Wschodniej im. Jana Nowaka-Jeziorańskiego, Wrocław 2013.

"The Fourteenth Worst Place" Mykola Riabchuk

We can easily recognise that the essential divide in the country is not between the proverbial East and West, or ethnic Russians and ethnic Ukrainians, or Russophones and Ukrainophones. It is primarily between the past and the future, Soviet and anti‑Soviet, patron‑clientelistic and civic.

"Reinventing Galicia" Mykola Riabchuk

A simple glance at the Google references to the word Galicia reveals nearly 700,000 entries for “Galicja” in Polish and Галичина in Ukrainian, and three times fewer for Galizien in German – even despite the fact that the German web is generally richer than the Polish, let alone the Ukrainian. These findings roughly reflect the topicality of the term in different national discourses – relatively high, if asymmetrical, in the Ukrainian and Polish, and rather low, though still significant, in the German / Austrian.

"Two Weekends: Lviv and Kraków" Miljenko Jergović

Every journey has its unexpected culmination – the moment when everything acquires its true reason and goal, frequently having nothing in common with the intentions of the traveller and the reason for the travel itself.

"Ukraine Two Years after the Maidan Revolution: Lessons for Culture and Society" Kateryna Botanova

Devising a new vision of Ukraine has become something in between a life necessity and a fashionable trend. Behind all such visionary pursuits there is a vital need to reflect on the past – which has provoked and made possible a war in the country; the present – where the society is divided into many camps depending on ideology and values; and the future – in which it will be possible to assuage these divisions and to overcome a sense of alienation and mutual stigmatisation.

"IZOLYATSIA: Ukrainian art in exile" Katarzyna Jagodzińska

In 2010, in the territory of a former factory in Donetsk, an independent platform for contemporary art IZOLYATSIA emerged. Starting in the mid–twentieth century, the factory employing over 1,000 people produced mineral wool boards and other insulation products. The collapse of the Soviet Union brought about a slow decline of the factory.

"Galicia’s Mystifier. On Vlodko Kostyrko" Żanna Komar

“In order to create a topic – one must create a work of art” – says Vlodko Kostyrko.

"On the periphery" Katarzyna Kotyńska, Tomasz Zarycki

The tension between centre and periphery in the case of Galicia recurred constantly in the 20th century, starting with the tensions between Vienna and Lviv. For the land owners in Eastern Galicia, Lviv was unquestionably a centre, for the Austrian officials it was a place of exile to the most remote peripheries. The musty province was hence a cultural mecca. This tension is finally present in the project of Kyiv’s urbanisation, in the opposition between the Galician province and the Kyiv centre at the time of independent Ukraine.

"The Visible and the Invisible in Chernobyl" Andriy Lubka

We find the bones of lizards below the rocks of bygone ages, In the cemeteries of our towns, one day they will find metal bones. Bohdan Ihor Antonich (1909–1937), Ukrainian poet hailing from Lemkivshchyna

“Spetsfond” – the prohibita from 1937–1939 at the National Art Museum of Ukraine" Yulia Lytvynets

“The Spetsfond 1937–1939 exhibition, devoted to a terrible chapter in the history of the museum, the existence of a special, secret collection of prohibited items, namely the spetsfond, was open from 23 January to 24 May 2015 at the National Art Museum of Ukraine. It invited the viewers to discover the works of Ukrainian artists repressed by the Soviet power. Many were made available to visitors for the first time since they were included in the spetsfond.

"Postcards" Mykola Riabchuk

Bloody Europeans “Oh, those bloody Europeans!” my friend says as we cross the flower-strewn, ash-covered Maidan. “They’d still be dithering to this day if Yanukovych’s henchmen hadn’t shot so many people.”

"Halychyna in Ukraine..." Taras Voznyak, Mykola Riabchuk, Pawel Kowal, Yurko Prochasko

Galicia’s uniqueness is seen, first and foremost, in language and cultural categories, and to some extent in religion. This works well in everyday life, at the level of anecdotes and stereotypes. However, in a crisis situation it seems that more important are values, such as an independent state, a common past, freedom, independence, and of course democracy, because Ukraine – including also Galicia – is building and demanding democracy, and defines itself at the discourse level as a European democracy.

“Poisoned” with the West: Popular Music Posters from Soviet Ukraine Vasyl Kosiv

Despite some censorship and the party committees’ involvement, Ukrainian music posters were given leeway, which would have been unacceptable for other genres. “Antagonistic” Western styles were combined with Ukrainian content.

“Splice experts”. Women of the Lviv avant-garde Małgorzata Radkiewicz

In Lviv, programmes and manifestos did not seem necessary, because intellectual and artistic cooperation was based on intensive social contacts, ensuring a sense of co-belonging and community.

“And dresses, bright dresses, will remain after me” Ostap Slyvynsky

Is there an even worse instance, even more inconvenient from the point of view of “survival in historical memory”, than simply being a woman in a patriarchal society? Yes. It is being a female who represents a cultural or religious minority, a woman associated with a hostile ideology or – perhaps the worst possibility – living at a juncture of cultures, nationalities, religions or ideas.

"Transcarpathia – the edge of all countries" Andriy Lyubka

Multiethnicity and multilingualism are the foundation of Transcarpathia’s greatest myth, which is nice to brag about every chance one gets – the myth that so many nations live here, such a multitude of ethnicities and traditions, that we are multicultural! However, the close proximity of many cultures doesn’t necessarily equal multiculturalism.

"Nostalgias, utopias and quagmires" Anna Łazar

In Ukraine, the attitude towards the heritage of the USSR is very complicated. On the one hand, the war with Russia favours its identification with the Soviet Union and the need to reject the communist heritage, while on the other hand, it is impossible to erase nearly seventy years of history.

"The Invisible Power of Salt" Andriy Lyubka

To understand how important salt was for the Transcarpathian region, all it takes is one look at its current coat of arms. It features a bear that symbolises the wild, forest-covered, impenetrable land it guards. There were never any big cities here, no industry, no advanced infrastructure.

"On the Bridge" Tania Maliarchuk

Austria is the best country to escape one’s self. It doesn’t meddle with your guilt, it doesn’t want to domesticate you or soothe your fear of forgetting your native language.
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