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 The ethnic and religious war has been replaced by a new culture war.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.

A new milestone in Ukraine's public diplomacy began in late March when the foreign ministry approved, for the first time in history, a public diplomacy strategy. The document calls for efforts to form and promote a positive international image of Ukraine at a strategic level and defines the concept of public diplomacy, filling a conceptual void that had existed for many decades.

After Ukraine’s declaration of independence in 1991, public diplomacy in the official Ukrainian public and academic discourse was practically absent. Existing initiatives in this field were mostly isolated, lacked complexity, strategic vision and adequate financial support. For some time, the duties of public diplomacy were assigned to so-called cultural and information centres, which operated at foreign diplomatic missions. These centres were responsible for disseminating information about Ukraine abroad, acquainting foreign audiences with Ukrainian history and culture, and informing them about Ukraine's tourism opportunities and attractions.

“Not only is Manizha not Russian, but she’s not even a person, she’s… salt!” declared the professor, as he revealed the result of an experiment conducted on the pop star’s skeleton. The research was ordered following widespread public discussion about who exactly Russia was sending to this year’s Eurovision Song Contest in Rotterdam.

Political cartoons by New Eastern Europe's illustrator Andrzej Zaręba.

The film Nova Lituania, explores a geographer's idea of a "reserve Lithuania" on the eve of the Second World War.

Interview with Belarusian filmmaker Vlada Senkova. Interviewer: Kateryna Pryshchepa.

Young Ukrainians tend to put the values that are related to their lives first. These include family, health, well-being and love. They also value clear conscious, service to the homeland and having open debates on social issues. Over half declare that they feel responsible for the future of their state and want to contribute to it.

The first 25 years of independent Ukraine is already behind us. In attempts to help understand the changes that have occurred over this time, there are countless political, economic and social analyses, commentaries, recommendations and prognoses. The vast majority of them have referred to this period as one of wasted opportunities. In our research, which we have been carrying out in this regards, we focus on the role the youth has played in the democratic transformation and its future potential.

On June 26th Moscow’s Meshchansky District Court announced that theatre director Kirill Serebrennikov and his colleagues would face a suspended sentence along with a series of fines. The case of the alleged fraud of the theatre company Sedmaya Studia reverberated throughout the entire cultural community in Russia and abroad.

On June 26th the international theatre community awaited the decision of the Moscow Court regarding the fate of Kirill Serebrennikov. Serebrennikov, a leading director in Russia, was accused of committing large-scale fraud. If found guilty, he could be sentenced to over five years in prison. His case was covered by major European newspapers, from The Guardian to Der Spiegel and Le Monde, and was commented on by various celebrities, both in Russia and abroad. Even those unfamiliar with the case became suspicious when a director with numerous awards, whose work have been shown at festivals in Avignon, Venice and Cannes, was accused of stealing government money, particularly in a country ranked 149th out of 180 in the Press Freedom Index.

Maciek and Adam are back in the latest episode of Talk Eastern Europe! This episode is dedicated to the upcoming POSTWEST Transcultural Festival which will take place in Berlin 27-31 of May.

A debate during the 34th Days of Contemporary Art in Białystok with Edwin Bendyk, Alex Freiheit, Father Wojciech Lemański, Tomasz Sikora, Joanna Wichowska and Serhiy Zhadan. Moderated by: Anna Łazar