Antonina Stebur

This issue is a year-long, translocal editorial process. The journal was conceived as rethinking of how solidarity is often discussed — abstracted from the infrastructures that produce and sustain colonial violence. Developed in close collaboration with Mycelium [Грыбнiца], the issue follows a decolonial methodology attentive to infrastructures, asymmetries, and practices of care. This issue insists that solidarity cannot be separated from understanding of extractive systems, militarised logistics, and their reprressive mechanism, regimes of dependency. Here, solidarity is not approached as abstraction and universal value, but as a fragile, contested, and materially grounded relation, one that emerges within conditions of inequality and ongoing imperial violences Contributors: Ana Laura Cantera; Youngsook Choi & Jessica Wan; Espen Johansen; Victoria Jolly; Sofiya Sadouskaya; Olga Shparaga; Tanja Sokolnykova & Mariia Vorotilina; Aruna D’Souza & Asia Tsisar; Antonina Stebur; Lizaveta Stecko; Poornima Sukumar; Aigerim Tleubay; Darya Tsymbalyuk; Dzina Zhuk Created by Stichting antiwarcoalition.art and Mycelium [Грыбнiца] — decolonial research lab The publication has become possible due @filia.die_frauenstiftung

different colours of @korkut.tselinny Sonic Arts Triennale Thanks @sadybekova @hmot.club and Änuar Düisenbinov

trip to Balkhash Lake amidst this beauty present traces of slow violence, environmental terror, extractivistic practices and still infrastructure of care and hope thanks to @artcom.platform @aigerimkapar @lihooneeyed @aqtorgyn and Acell Shaldibayeva

We are grateful that Sense of Safety has received the House of Europe Award for Best International Cultural Cooperation. The exhibition took place in Kharkiv in collaboration with the Yermilov Centre and antiwarcolition.art in a city continuing to live at the frontline of the full-scale invasion. We would especially like to thank all participating artists. This project existed because of your trust and generosity. Thank you as well to our partners, collaborators, and everyone who helped sustain the project. We warmly congratulate the curatorial team: Tatiana Kochubinska @kochunia33 Aleksander Komarov @aleksanderkmrv Maryna Koneva @marynakoneva Antonina Stebur @a.stebur Maxim Tyminko @maxim.tyminko

What Are Our Collective Dreams? Global Connections — Abandoned Friendships 17.10.2025 – 08.02.2026 Zachęta – National Gallery of Art Artists: Aravani Art Project, Arpilleras, Oliwia Bosomtwe, Oksana Briukhovetska, Colectivo Punto Espora, Ciudad Abierta (Victoria Jolly, Sebastián de Larrechea, Javier Correa), Minerva Cuevas, GALAS (Vladyslav Gryn), Nadira Husain, Hamlet Lavastida, Marysia Lewandowska, Ibrahim Mahama, Amy N. Muhoro, Marina Naprushkina, Thục Linh Nguyễn Vũ, Ahmet Öğüt, Alicja Rogalska, Marta Romankiv & Weronika Zalewska with Alaksandr Belaruski, Takunda Charlton Dzikiti, Eshwet Dube, Syed Talha and Mubashir Hussain, Laila Shawa, Janek Simon photo by Daniel Rumiancew

„Naszym zadaniem kuratorskim było spojrzenie na tę zapomnianą historię w całej jej złożoności i zastanowienie się nie nad tym, czego nie możemy przywrócić, lecz nad tym, jak poprzez tę historię możemy spojrzeć na współczesność” – Antonina Stebur 🟤 współkuratorka wystawy „O czym wspólnie marzymy? Globalne związki — porzucone przyjaźnie”. 💬 Dołączcie do oprowadzania kuratorskiego w sobotę (7.02) o godz. 12:15. ⏳ Ekspozycja trwa jeszcze tylko do końca tego tygodnia, do 8 lutego. 📷 HaWa #Zachęta

⏳ Wystawę „O czym wspólnie marzymy? Globalne związki — porzucone przyjaźnie” możecie zobaczyć jeszcze przez niecałe trzy tygodnie — do 8 lutego. Tak o ekspozycji pisze @maxcegielski w recenzji dla @magazynszum ⬇️ 🔷 „(...) Narracja zespołu kuratorskiego (Joanna Kordjak, Antonina Stebur, Taras Gembik) świetnie wpisuje się we wciąż niewystarczająco rozwijane w Polsce badania nad historią sztuki jako analizą nie tyle samych dzieł, ile wystaw i ich zmieniających się w czasie znaczeń. Kuratorki z Polski i Białorusi oraz kurator z Ukrainy otwierają więc archiwa Centralnego Biura Wystaw Artystycznych, które w PRL odpowiadało nie tylko za wystawy w samej Zachęcie i innych galeriach sieci BWA, lecz także za import oraz eksport ekspozycji, ich światowy obieg. Przeszłość zostaje skonfrontowana tu z teraźniejszością, by dokonać krytycznej refleksji związanej z zapomnianym rozdziałem polityk kulturalnych PRL z udziałem Globalnego Południa (Afryka, Meksyk, Chile, Kuba, Indie, Wietnam, Palestyna), a także rolą instytucji kultury dzisiaj”. 🎫 W każdy czwartek wstęp do Zachęty jest bezpłatny. 📷 Bartosz Góka #Zachęta

INTERVIEW: Antonina Stebur (@antanina_s ), transmediale 2027 Exhibition Curator: Activism, Digital Culture & Infrastructural Imagination 🎙️ Antonina Stebur has been appointed curator of the transmediale 2027 exhibition, bringing a deeply political, feminist, and infrastructural approach to one of the most influential festivals of art and digital culture. In conversation with Call for Curators, Stebur reflects on her curatorial journey, shaped by activism, philosophy and media art, and on how contemporary art can function as social and political infrastructure. Throughout the interview, she speaks about the impossibility of separating politics from curatorial practice, and why infrastructures — especially their disruption and “ruins” — are central to imagining futures today. Drawing on experiences from Belarus, post-Soviet contexts, and international collaborations, Stebur frames transmediale not as a site of representation, but as a framework for grounded, non-heroic imagination. Antonina Stebur is a curator and researcher whose practice explores contemporary art as a tool for infrastructural and political imagination. She is Editor-in-Chief of AWC Journal and founder of Mycelium [Грыбнiца], and curator of the transmediale 2027 exhibition marking the festival’s 40th anniversary. Read the full interview on our blog — link in bio 🔗 #AntoninaStebur #transmediale2027 #DigitalCulture #ArtAndActivism #FeministInfrastructures #MediaArt #CuratorialPractice #ArtInterview #CallForCurators #CuratingToday #ArtAsInfrastructure

This year I started to work as a curator on transmediale 2027, so we’re moving to Berlin. And, like many others, we’re now looking for an apartment. We’re looking for a 3-room apartment in Berlin, ideally central or well-connected (Schöneberg, Moabit, and nearby areas close to S- or U-Bahn). We’re two people, no kids, no pets. Andrew (my husband) is an IT designer, working remotely, and we’re hoping to find a calm place to live long-term. If you know someone, have a lead, or can share this post, we’d be incredibly grateful. Personal connections really do work miracles 🤞

This year was very intense, like being on an emotional roller coaster almost all the time. It often felt as if I had lived several lives at once. I’m really grateful to my friends and close ones who were there with me through all of it. The year started with a walk by the winter sea and ended with a napping practice at Zachęta. Everything in between feels like a few different lives in between.

Colonial violence organised through infrastructures that normalise dependency. Chervivy Minsk was presented at Zachęta, in the hospitable space of Aravani Art Project. It is important to see how Mycelium continues to grow and give rise to new experimental forms of decolonial, sharply political satire that do not illustrate reality, but intervene in it. Tanks @lashden for this reminder and Cervivy Minsk and @marie.manushka for moderation

🍄 13 снежня, субота (16:00–17:30) 🍄 Zachęta, пакой Aravani Art Project plac Stanisława Małachowskiego 3 🍄Удзельнi:цы: тоні лашдэн, Марыя Манушка Як можна асэнсоўваць каланізацыю праз літаратурныя практыкі? І ці можна думаць пра каланізацыю без слёз? У цэнтры сустрэчы — газета “Червивый Минск”, створаная тоні лашдэн у межах дэкаланіяльнай лабараторыі Mycelium. Гэта гарадскі хтанічны веснік, якi аналізуе нядаўна створаныя інфраструктурныя сувязі паміж Беларуссю і Расеяй, парушаныя стасункі з іншымі краінамі і ролю медыя ў нармалізацыі палітычных залежнасцей. На мерапрыемстве можна будзе бясплатна набыць газету “Червивый Минск”. Падрабязнасці на сайце