{"id":3672,"date":"2022-07-11T11:51:49","date_gmt":"2022-07-11T08:51:49","guid":{"rendered":"https:\/\/pastfutureart.wpengine.com\/?page_id=3672"},"modified":"2026-03-03T18:13:54","modified_gmt":"2026-03-03T15:13:54","slug":"texts","status":"publish","type":"page","link":"https:\/\/pastfutureart.org\/en\/texts\/","title":{"rendered":"Texts"},"content":{"rendered":"\r\n
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Texts<\/h1>\r\n
\r\n \"Slash\r\n \n\"\"\n\n\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n
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We analyse artistic memory-related practices, Ukrainian regional identities, and ways of representing the past in public spaces. The articles are created by the project team with reliance on our research findings<\/h2>\n <\/div>\r\n <\/div>\r\n \r\n\r\n <\/section>\r\n\n\n\r\n
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7 minutes<\/h6>\r\n <\/div>\r\n \r\n
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Defense Intelligence Operatives Memorial: a conversation with sculptor Nazar Bilyk<\/h4>\r\n <\/div>\r\n \r\n
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Commemorative space created using contemporary language of memory<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n

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9 minutes<\/h6>\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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Curator and researcher Lizaveta German reflects on the redefinition of Ukraine’s South during Russia’s full-scale invasion<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n

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19 minutes<\/h6>\r\n <\/div>\r\n \r\n
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ART RESISTANCE IN KHERSON: IN THE FOOTSTEPS OF THE RESIDENCY IN THE OCCUPATION<\/h4>\r\n <\/div>\r\n \r\n
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Art critic Yuliia Manukian on how the works of Kherson artists have become a symbol of resistance to Russian occupation<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n

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8 minutes<\/h6>\r\n <\/div>\r\n \r\n
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The House of Alevtina Kakhidze\u2019s Mother<\/h4>\r\n <\/div>\r\n \r\n
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The monument to all who did not partake in the war but became its participant<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n

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4 minutes<\/h6>\r\n <\/div>\r\n \r\n
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DISTANT AND NEAR: CRIMEA IN THE PRACTICE OF UKRAINIAN ARTISTS<\/h4>\r\n <\/div>\r\n \r\n
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How \u201cmemories of Crimea\u201d become thoughts about the future<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n

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4 minutes<\/h6>\r\n <\/div>\r\n \r\n
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FINLAND AND UKRAINE: TWO CENTURIES, TWO WARS<\/h4>\r\n <\/div>\r\n \r\n
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Why do Ukrainian artists remember the Finnish War?<\/p>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":true,"footnotes":""},"class_list":["post-3672","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nTexts - Past\/Future\/Art<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pastfutureart.org\/en\/texts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Texts - Past\/Future\/Art\" \/>\n<meta property=\"og:url\" content=\"https:\/\/pastfutureart.org\/en\/texts\/\" \/>\n<meta property=\"og:site_name\" content=\"Past\/Future\/Art\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/past.future.art\/\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-03T15:13:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/pastfutureart.org\/wp-content\/uploads\/2022\/10\/share-02-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"2501\" \/>\n\t<meta property=\"og:image:height\" content=\"1313\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/pastfutureart.org\\\/en\\\/texts\\\/\",\"url\":\"https:\\\/\\\/pastfutureart.org\\\/en\\\/texts\\\/\",\"name\":\"Texts - 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