Ukraine’s recent Eurovision victory has shown the world its vibrant music industry. This is especially true given the ongoing Russian invasion, with the contest providing a platform for the country to promote its own unique identity.

On the morning of February 24th, Kate woke up to the sound of explosions and air-raid sirens. She nudged her boyfriend to wake up and start packing: "The war had started". It felt like she had never been more afraid of anything in her life.

In post-war Sarajevo a war is waged to win the future which had been taken away by the living ghosts of the past. The frontlines are nonetheless changing and now different people are pushed underground, stigmatised and treated as if they do not belong to the community. The ethnic and religious war has been replaced by a new culture war.

Some time ago, when the bloody Balkan war was still raging in Sarajevo, poet Izet Sarajlić, editor Čedo Kisić and professor Zdravko Grebo were explaining their world to me. None of them is alive anymore. Neither is Isak Samokovlija, a prominent Bosnian Jewish writer, whose stories took me to the most hidden corners of Sarajevo’s historical centre, Baščaršija, as well as the Grbavica and Bentbaša districts. I was listening to the stories of the writers and artists who had left Sarajevo, but who were still under its influence. They included Dževad Karahazan in Graz, Josip Osti in Ljubljana, Miljenko Jergović in Zagreb, and Nino Žalica in Amsterdam…

A conversation with Grzegorz Kwiatkowski, a Polish poet, and Trupa Trupa, songwriter, vocalist and guitarist. Interviewer: Jacek Hajduk

JACEK HAJDUK: During the 2019 SXSW Music Festival you dedicated the performance of your group, Trupa Trupa, to the memory of the late Gdańsk mayor, Paweł Adamowicz. Let us then start with Gdańsk. How much of this city is with you today? And how was it before? Which faces of this multi-layered urban centre are close to your heart?

GRZEGORZ KWIATKOWSKI: Today, Gdańsk is a big part of me, unlike in the past. Back then I was more interested in self-isolating myself and creating a kind of enclave in one of its districts – Gdańsk Wrzeszcz. This actually is still my ideal, but now I also understand the impact that this city has on me and my poetry. This is mainly because of my family stories.

An interview with Prof. Dr. Klaus Albrecht Schröder, the long serving director of the Albertina Museum in Vienna. Interviewers: Bartosz Panek and Jarosław Kociszewski.

Soviet mosaics as artwork can tell a lot about Georgia’s recent history and its socio-cultural transformation. Reducing them to communist propaganda to erase their artistic value is a destructive attempt to wipe out the legacy of the Soviet past from cultural memory.

The style of the late Moldovan artist Mark Verlan is not easy to classify. According to his nephew, the artist created a style that cannot be found in any other movement. He coined the term “ultra-stiobanism” to describe his uncle’s artistic approach.

Talk to anyone who met Mark Verlan and they will have a story to tell. Like that time when the famous Swiss curator, Harald Szeemann, travelled to Chișinău just to meet him and offer him the opportunity to exhibit his work in BLUT & HONIG (Blood and Honey), a retrospective hosted by the Vienna Essl Collection. During the time that Szeemann spent in Chișinău, Verlan was nowhere to be found, but 25 of his paintings (more than any artist’s present at the exhibition) made it to the retrospective. His friend and fellow artist Pavel Brăila recalls that, at the same exhibition, someone asked Verlan why he did not speak English and the artist sarcastically replied: “It was already difficult for me to learn Russian.”

A conversation with Nini Palavandishvili, a curator and researcher involved in the process of documenting and mapping Soviet-era Mosaics in Georgia. Interviewer: Natalia Mosashvili

NATALIA MOSASHVILI: Can you say a few words about the meaning of Soviet-era mosaics and why they are often reduced to propaganda of the Soviet system?

NINI PALAVANDISHVILI: I would like to start by saying that my position is the following: of course, these mosaics were created during the Soviet times, but they are not necessarily “Soviet” mosaics. During this period mosaics were created in Mexico, America, France, Spain, Portugal, and many other places. Emphasising them as "Soviet mosaics" is not right.