So much of what’s going on - in Belarus, the US, and elsewhere - boils down to a battle for culture.
I’m actually wary of didactic ‘activist art’ and even the old warhorse ‘creating awareness’. We are usually all too aware already, the question is what to do. For me, there are ways to make a difference as an artist: how you portray human values, do you elevate and energize people or demoralize them, do you plant the right seeds in the right places, can you take an interest - even a passionate one - in something outside yourself. In a way, through art we help create the world we want to live in.
I’ve always tried to uphold all that in my own work, and nowhere more than in Belarus. People ask me why, do I have ancestry there or something? (No) As I told Tikhanovskaya, I went there because I was curious, I kept going because I started to care, and I made my book because I wanted other people to care.
And for Belarusians to feel seen and to see themselves. It was like discovering a place that hadn’t been shown a mirror before, and the blinds were drawn on the windows.
Besides photographing there on several trips from 2000-2009, my Belarus-related collabs include:
2001 - Exhibition in Minsk with Czech photographer Karel Cudlin as part of our ‘Seeing-Eye’ project, and a workshop that focused on developing Belarusian documentary photography which barely existed then (it does now). The importance of the critical observer in repressive societies.
2003 - Second exhibition in Minsk on an ArtsLink grant, showing my work from Belarus and the US. Interestingly, I got some state media coverage, which generally seemed to see my work as warmer toward Belarus than toward the US.
2006 - Curated and co-organized the Chernobyl20 exhibition, featuring the some of the best photography about the human aftermath of the 1986 nuclear disaster. We had Paul Fusco, Lucian Perkins, Robert Knoth, Gabriela Bulisova, and more. The show opened at the UN on the day of the 20th anniversary, after a special UN assembly on Chernobyl. Then a second opening at the Rayburn building on Capitol Hill.
2008 - Helped bring Belarusian artist Zoya Lucevich to the US for a residency, where she made a body of work that showed at the UN, a first for an artist from Belarus. Zoya has a close ancestral link to Belarus most famous national poet, Yanka Kupala, whose real name was Ivan Dominikovich Lutsevich. (If I recall correctly, her great-grandfather was Kupala’s brother.)