{"id":11019,"date":"2024-10-28T19:20:37","date_gmt":"2024-10-28T16:20:37","guid":{"rendered":"https:\/\/pastfutureart.org\/?page_id=11019"},"modified":"2026-03-03T18:20:24","modified_gmt":"2026-03-03T15:20:24","slug":"media-about-us","status":"publish","type":"page","link":"https:\/\/pastfutureart.org\/en\/media-about-us\/","title":{"rendered":"Media about us"},"content":{"rendered":"\r\n
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media about us<\/h1>\r\n
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Read our articles and publications about us in the international media. You can see the Ukrainian press clipping here<\/a><\/span><\/h2>\n

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2026<\/h2>\r\n <\/div>\r\n \r\n
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No Memory Is Final<\/h4>\r\n <\/div>\r\n \r\n
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Curator and researcher Lizaveta German reflects on the artistic practice of Vitaliy Kokhan<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n MOST Magazine \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n
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2025<\/h2>\r\n <\/div>\r\n \r\n
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The South of Exhaustion<\/h4>\r\n <\/div>\r\n \r\n
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On the redefinition of Ukraine’s South during Russia’s full-scale invasion<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n e-flux \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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Nowa rzeczywisto\u015b\u0107 \u2013 nowe instrumentarium badawcze<\/h4>\r\n <\/div>\r\n \r\n
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Glossary: Ambicoloniality<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n University of Warsaw \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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\u201cI\u2019m from a country that used to be against nuclear bombs\u201d<\/h4>\r\n <\/div>\r\n \r\n
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Artist Alevtina Kakhidze discusses Malta Biennale, context differences, and decolonization<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n ArtsLooker \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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Ukrainian Field Notes XXXVII<\/h4>\r\n <\/div>\r\n \r\n
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Kateryna Semenyuk’s interview<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n A Closer Listen \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n
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2024<\/h2>\r\n <\/div>\r\n \r\n
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Nights of Malta<\/h4>\r\n <\/div>\r\n \r\n
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About the Alevtina Kakhidze’s happening among other performances and parties of the inaugural maltabiennale.art<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n Artforum \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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From South to North<\/h4>\r\n <\/div>\r\n \r\n
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At maltabiennale.art the Ukrainian Pavilion addresses the theme of decolonization<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n Juliet Art Magazine \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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Olena Zelenska addressed the participants of the Malta Biennale<\/h4>\r\n <\/div>\r\n \r\n
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A message from the First Lady of Ukraine on the occasion of the opening of the Ukrainian pavilion<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n Official website of the President of Ukraine \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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La memoria fuori dal campo di battaglia<\/h4>\r\n <\/div>\r\n \r\n
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Interview with Ukrainian artist Alevtina Kakhidze and two curators Kateryna Semenyuk and Oksana Dovgopolova<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n il manifesto \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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From South To North, alla Biennale di Malta l\u2019Ucraina rovescia i paradigmi<\/h4>\r\n <\/div>\r\n \r\n
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Interview with the curators of the Ukrainian Pavilion at the Malta Biennale<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n INSIDEART \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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Odessa capitale del Mediterraneo nel padiglione ucraino a Malta<\/h4>\r\n <\/div>\r\n \r\n
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The project created by artist Alevtina Kakhidze tells the country’s story from a new perspective<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n Artribune \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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In Melitopol bl\u00fcht noch kein Weizen<\/h4>\r\n <\/div>\r\n \r\n
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Article about the Past \/ Future \/ Art<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n der Freitag \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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Art-making in Kyiv\u2019s Warped Present<\/h4>\r\n <\/div>\r\n \r\n
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How artists and curators buckle down in rewriting history, memorializing the right now, and prefiguring life after war<\/p>\r\n <\/div>\r\n \r\n\r\n

\r\n Spike Art Magazine \u2192<\/span>\r\n <\/div>\r\n\r\n <\/div>\r\n \r\n
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