Elena Ishchenko

@beyond_n_between

No peace on stolen land 🇺🇦🇵🇸 🫧Nomadic Curator w/ @polu.provodnitsa at @vleeshal@typography_worldwide 💥Killjoy in TG @empireswilldie
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Weeks posts
Remember this faces…
73 0
16 days ago
Why are battles over remembering the past also struggles for the future? This question lies at the heart of the curatorial and research practice of Elena Ishchenko. Her project “Counter-Memory: Soviet Repressions against Indigenous Peoples and Its Reflection in Contemporary Art” was presented at the ANAMNESIA conference in Paris (November 2025) with support from the Eastern Academic Alliance by akno e.V. Between 1939 and 1945, over 3.5 million people were repressed in the Soviet Union solely because of their ethnicity. Some nations were forcibly deported in full from their Indigenous lands to Siberia and republics of Central Asia. Among them are Ingrian Finns, Karachays, Oirtat Kalmyks, Chechens, Ingushes, Balkars, Crimean Tatars and Meskhetian Turks, as well as non-Indigenous Koreans and Germans. Autonomies of their republics and regions were dismantled, and for decades, fear and silence clouded the memory of this violence. Elena Ishchenko’s work explores how contemporary Indigenous artists engage in counter-memory: practices that resist state-driven erasure, reclaim suppressed histories, and affirm the right to their own pasts and futures. In today’s Russia, where remembrance of these repressions remains politically dangerous, such artistic and scholarly work becomes an act of courage, healing, and resistance. Supporting this work means supporting voices that help envision a safer, more truthful, and more hopeful future. On the photos: “Motherland” by Victoria Sarangova @aethyka : installation at the exhibition Өмә (2023, photos Alexander Anufriev); a series of embroideries, 2018–ongoing. The project is realised by Victoria independently, without the support of akno e.V.
55 0
2 months ago
League of Tenders curator Elena Ishchenko geeft in deze video een kijkje in de ideeën achter de tentoonstelling ‘Tatar* Kiss’. Ze vertelt hoe de kunstenaars nieuwe verhalen en ervaringen zichtbaar maken, van persoonlijke geschiedenissen tot tastbare texturen en geluiden, en nodigt je uit om het zelf te ontdekken. De vleeshal is geopend van woensdag t/m zondag. Zie onze website voor meer informatie en tickets. 🇬🇧 League of Tenders curator Elena Ishchenko gives in this video a glimpse into the ideas behind the exhibition ‘Tatar* Kiss’. She explains how the artists make new stories and experiences visible, from personal histories to tangible textures and sounds, and invites you to discover it for yourself. Vleeshal is open from Wednesday to Sunday. See our website for more information and tickets.
215 11
6 months ago
I want to keep these moments here. Middelburg hugged us with unexpected sun and warmth, and became a place where so many beautiful people met, which is so rare (not everyone is in the photos)! We opened the exhibition 𝙏𝙖𝙩𝙖𝙧* 𝙆𝙞𝙨𝙨, an important point in our curatorial journey with my darling @polu.provodnitsa . We even managed to celebrate it together, despite a really difficult personal situation. Thank you to the entire @vleeshal team — especially @roeliena_ , @pilar_matadupont , and @vivian_ziherl — for your care and support! @gortzakroos thank you for your trust and invitation to plot this story! And endless love to all the artists — @aryatsagan @aethyka Yaniya Mikhalina @hmot.club @lakisha_apostel @ziliae_ and @milana_khalilova ✨❤️‍🔥🌸 I’m already busy preparing for two performances this week, part of our International Nomadic Program and its special project 𝙋𝙖𝙩𝙝𝙨 𝙤𝙛 𝙈𝙚𝙢𝙤𝙧𝙮, dedicated to exploring who has the authority to erase and preserve memories, and in what other ways we can remember. 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟭𝟴, 𝟭𝟲:𝟬𝟬 — @aethyka will present a lecture performance 𝘼𝙪𝙩𝙝𝙚𝙣𝙩𝙞𝙘𝙞𝙩𝙮, 𝙉𝙤𝙫𝙚𝙡𝙩𝙮, 𝙖𝙣𝙙 𝙐𝙣𝙞𝙦𝙪𝙚𝙣𝙚𝙨𝙨 at @spore.initiative in Berlin. 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟭𝟵, 𝟭𝟰:𝟬𝟬 — @lakisha_apostel , together with performers Shaydiyah Granviel and Aïshah Granviel, will walk through Middelburg, starting at the pier close to Balkengat 35, and continue at Vleeshal. I hope to make it to both (despite travelling with Deutsche Bahn 🤞🤞🤞). The entire project 𝙋𝙖𝙩𝙝𝙨 𝙤𝙛 𝙈𝙚𝙢𝙤𝙧𝙮 is especially important to me as a researcher and curator, as it departs from the idea of the monument itself and two particular (slavery) monuments in Middelburg. While working on this project, we’ve been speaking a lot with artists about how we can trace enslavement and colonialism within city- and landscapes, who has the authority to shape our memory, and how else we can re-member to reclaim our right to produce history — and our future. Check out the texts for the entire project and each event on Vleeshal’s website and come the events if you’re in Berlin and Middelbrug or around. ✨
256 23
7 months ago
On Silencing and Remembrance AUTHENTICITY, NOVELTY, AND UNIQUENESS Join us for a lecture performance reconstructing the silenced voices of Kalmyk people displayed at so-called ethnological exhibitions in Berlin. By Victoria Sarangova. October 18 4 – 7 pm Open for all In English The event is realized as part of the project Paths of Memory, dedicated to Indigenous and non-western ways of remembering, curated by League of Tenders. The lecture performance will be preceded by Kalmyk traditional snacks and tea and followed by a discussion. * The Kalmyk people, Indigenous to the steppe region of the lower Volga River and colonized by the Russian Empire, participated in the ethnological exposition for the first time in 1883 at the Berlin Zoo. The show was so popular that it traveled to Dresden, Paris, and Hamburg. But the entertainment industry of such Völkerschauen—people’s shows—was integrated into a broader paradigm that produced racialized and subjugated Others. Victoria attempts to trace a path back from this dehumanizing paradigm. By clearly vocalizing the names of Kalmyk participants of the Völkerschauen, she recalls their lives and the hardships that led them to these shows. Her project asks how artistic practice can help us move from methods of ethnological museums, which still hold fragmented traces of our peoples, to sustainable ways of remembering. It invites us to hang together in the critical field of gaps and questions. * For more info visit our website (link in bio) * You are warmly invited to visit our exhibitions during our regular opening hours: ‚aʿmāl al-‘arḍ – Landworks, Collective Action and Sound Unsettled Earth Welto and the Sacred Bush Thursdays – Fridays: 3 pm - 8 pm Saturdays – Sundays: noon - 8 pm * The Bewegungsbaustelle, an offer for young visitors, is open Thursdays to Sundays from 3:30 – 6:30 pm *
223 6
7 months ago
Afgelopen zaterdag werd Tatar* Kiss geopend met een performance van @hmot.club and @ziliae_ . Tatar* Kiss belicht persoonlijke verhalen van collectief verzet, vreugde en liefde, en stelt vragen over de erfenis van culturele uitwissing en kolonialisme. Te zien t/m 14 december in de Vleeshal! Meer informatie en tickets vind je op onze website. Curatoren: League of Tenders (Elena Ishchenko en Maria Sarycheva) 🇬🇧 Tatar* Kiss opened last Saturday with a performance by @hmot.club and @ziliae_ . Tatar* Kiss highlights personal narratives of collective resistance, joy and love, and addresses the legacies of cultural erasure and colonialism. On view until 14 December at the Vleeshal! For more information and tickets, visit our website. Curated by League of Tenders (Elena Ishchenko and Maria Sarycheva) @beyond_n_between @polu.provodnitsa @lakisha_apostel @milana_khalilova @aryatsagan @ziliae_ @aethyka
207 1
7 months ago
Throwback to the very first project of Vleeshal’s International Nomadic Program 2024–2025: ‘Her Gaze: Moving Image from Central Asia’. This program featured a series of film screenings by Central Asian women artists, co-curated by Dilda Ramazan and DAVRA Collective. ‘Her Gaze’ foregrounded the lived experiences of women–as mothers, daughters, and sisters, in the broadest sense, within domestic spaces, in the workplace, in their struggles for emancipation, and efforts to make other women visible. This project launched the first season of our 2024-2025 International Nomadic Program, titled ‘Repetition is a Form of Changing’, curated by League of Tenders (Maria Sarycheva and Elena Ishchenko). ‘Her Gaze’ was part of the first season of this program, titled ‘Her Right’. ‘Her Right’ revisits the immersive 1980 exhibition ‘International Feminist Art’ at Vleeshal, questioning its Western-centric narrative and expanding the frame to include voices long overlooked. 🇳🇱 Terugblik op het allereerste project van Vleeshals internationale nomadisch programma 2024-2025: ‘Her Gaze: Moving Image from Central Asia’. Dit programma bestond uit een reeks filmvertoningen met werk van vrouwelijke kunstenaars uit Centraal-Azië en is mede ontwikkeld door Dilda Ramazan and DAVRA Collective. ‘Her Gaze’ liet de perspectieven en de levenservaring zien van vrouwen–moeders, dochters en zusters in de breedste zin van het woord– en toonde hoe zij zich bewegen in de huiselijke sfeer, op werkplekken, in hun strijd voor emancipatie en in hun pogingen om andere vrouwen zichtbaar te maken. Dit project vormde de lancering van het eerste seizoen van het internationaal nomadisch programma 2024-2025, met als titel: ‘Repetition is a Form of Changing’,samengesteld door League of Tenders (Maria Sarycheva en Elena Ishchenko). ‘Her Gaze’ was onderdeel van het eerste seizoen van dit programma, getiteld ‘Her Right’. Het blikt terug op de tentoonstelling ‘International Feminist Art’, die in 1980 bij de Vleeshal plaatsvond en stelt de westerse focus van dat narratief ter discussie. Tegelijkertijd verruimt het de blik door ruimte te geven aan stemmen die lange tijd over het hoofd zijn gezien.
185 6
11 months ago
Safe and sound. I was always attracted to that phrase. It is a thing which you write to your friends to communicate that you are not in dander, not harmed. Just a quick update. Me and Lena @beyond_n_between , we have been struggling with the title for the second season of Nomadic program by League of Tenders for Vleeshal @vleeshal . This season consist from three commissions by amazing artists of non-western origins. It is the season dedicated to the language, score and the beauty of diasporic connections. Each work will be presented at Nero magazine @nero_editions and each week we suggest you to immerse into rituals, poetics and struggles of the language. The first piece Minii Ger made by Natalia Papaeva @aryatsagan is already online. Please be safe and sound. Link in the bio. The image: a photo of Open Studio of Natalia during the Amsterdam art week when we first met.
137 3
1 year ago
Here’s League of Tenders tenderly hugging local beauty at Framer Framed in Amsterdam. It was a spontaneous meeting following our conversation with the dearest @framerframed team, where we agreed to held there a listening session and talk with Lucia Kagramanyan @luciaelhuron (on the photo, she is in the Armenian puppet theater in Vienna). At that time Lucia has begun her research of Armenian lullabies for the Nomadic Program of @vleeshal , 𝘙𝘦𝘱𝘦𝘵𝘪𝘵𝘪𝘰𝘯 𝘪𝘴 𝘢 𝘍𝘰𝘳𝘮 𝘰𝘧 𝘊𝘩𝘢𝘯𝘨𝘪𝘯𝘨, which we’re curating. Now, we’re excited to invite you to 𝘏𝘦𝘳 𝘝𝘰𝘪𝘤𝘦: 𝘉𝘦𝘩𝘪𝘯𝘥 𝘈𝘳𝘮𝘦𝘯𝘪𝘢𝘯 𝘓𝘶𝘭𝘭𝘢𝘣𝘪𝘦𝘴 at Framer Framed on November 5 at 18:30! Lucia will present her in-depth research, playing a collection of these beautiful, distinct lullabies, including one her mother sang to her as a child. It’s been a meaningful journey since our first meeting with Lucia, where we discussed the non-institutionalized, oral music traditions of Armenian women. Then, the unexpected meeting at Framer Framed with @zaruhihi , who introduced us to the work of Melissa Bilal on the Armenian lullabies in Turkey as a tool for knowledge transmission about the genocide. This project, 𝘏𝘦𝘳 𝘝𝘰𝘪𝘤𝘦, unfolds in several stages. It began with a special program of Lucia’s Panorama Yerevan on @nts_radio (link in highlights), continues with an in-person listening session at Framer Framed, followed by a podcast, and will conclude with a research program on @radioalhara . Collaborating with this Palestinian radio is especially important for us given Lucia’s work. In her project, she’s talking not just about the very first bodily experience of music but also about ways of transmitting oral histories of the people as a form of resistance against oppression. In Palestine today, particularly in Gaza, where the very conditions of motherhood and childhood are threatened by Israel’s genocidal state, lullabies embody strength and resistance. Even amid the ruins of their homes, mothers’ voices won’t be silenced.
259 5
1 year ago
What political narratives are generated through the formation of collective memory? Starting from a research-based practice, Jeanna Kolesova and Elena Ishchenko examine the consequences of Russia's colonial and imperial policies in their performance lecture 𝘞𝘩𝘦𝘯 𝘵𝘩𝘦 𝘱𝘢𝘴𝘵 𝘣𝘦𝘤𝘰𝘮𝘦𝘴 𝘢 𝘸𝘦𝘢𝘱𝘰𝘯 𝘵𝘩𝘦 𝘧𝘶𝘵𝘶𝘳𝘦 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘴. They explore the question of how a repressive politics of memory contributes to demonstrating state sovereignty and justifying ongoing expansion and wars. In their performative video lecture, Kolesova uses the experience and memory of their grandmother about the Second World War. They show how the individual memory that holds the weight of war within it, has been erased by the bravado of victory. Kolesova uses children’s games of burying and excavating memory rituals and digital changes of soviet monuments to deconstruct memory manipulations. In her lecture, Elena Ischenko will elaborate on how monuments are widely used by both the USSR and contemporary Russia as a tool to construct national and cultural memory. Ubiquitous Second World War memorials, which the Russian state constructs with renewed vigour following the annexation of Crimea and the war in Ukraine, help turn the idea of war into a ‘stable reference.’ In English. 20:30–22:00 19th of September Kunstraum Kreuzberg Mariannenplatz 2 As a part of the exhibition program 𝘐 𝘰𝘯𝘭𝘺 𝘸𝘰𝘳𝘬 𝘸𝘪𝘵𝘩 𝘭𝘰𝘴𝘵 𝘢𝘯𝘥 𝘧𝘰𝘶𝘯𝘥 – 𝘎𝘰𝘭𝘥𝘳𝘢𝘶𝘴𝘤𝘩 2024. @kunstraumkreuzberg @goldrausch_kuenstlerinnen
93 0
1 year ago
We are excited to share ‘Her Gaze: Moving Image from Central Asia’ on our webpage! This screening program, co-curated by Dilda Ramazan @arty.ninja , Davra Collective @davracollective , and League of Tenders @beyond_n_between @polu.provodnitsa , is part of Vleeshal’s @vleeshal Nomadic Program 2024-2025. Watch the program on ruyojournal.com from August 5th to September 15th. With the films by: @saodatismailova @aida_ae @nazirakar @madikendraws @dariakimdariakimdariakimdaria @myodium @zuma.mir Link in bio. Enjoy! 🌟 Image credits: Aïda Adilbek ‘Alaqan’
248 4
1 year ago
We are delighted to invite you to the screening of “Her Gaze: Moving Image from Central Asia” in Dushanbe. Thursday, August 1, 19:00 Monee Art Gallery @monee.gallery Free entry The screening is co-curated by Dilda Ramazan @arty.ninja , DAVRA Collective @davracollective , and League of Tenders @beyond_n_between @polu.provodnitsa , as a part of Vleeshal’s @vleeshal Nomadic Program 2024–2025, entitled ‘Repetition is a Form of Changing’. Vleeshal is a centre for contemporary art in Middelburg, the Netherlands, recognized for versatile, vibrant and vital projects presented both within the walls of its unique Gothic exhibition space and beyond.  TJ: Мо бо камоли хушнудӣ шуморо ба барномаи намоишӣ даъват мекунем - “Her Gaze: Moving Image from Central Asia” Панҷшанбе, 1 август, соати 19:00 Monee Art Gallery Вуруд бепул Намоиш дар якҷоягӣ аз ҷониби Дилда Рамазон, DAVRA Collective ва League of Tenders пешбарӣ мураттаб шудааст, он дар доираи Nomadic Program Vleeshal 2024-2025 таҳти унвони ‘Repetition is a Form of Changing’ амалӣ мешавад. Vleeshal як маркази санъати муосир дар Мидделбурги Нидерландия мебошад, ки барои лоиҳаҳои гуногунҷанбҳа, пурқувват ва ҳаётан муҳим, ки ҳам дар дохили деворҳои намоишгоҳи беназири Готикии он ва ҳам берун аз он мегузарад, эътироф карда шудааст. RU: Мы рады пригласить вас на показ Her Gaze: Moving Image from Central Asia. Четверг, 1 августа, 19:00 Художественная галерея Мони Вход свободный Image credits: ‘Her Right’ Saodat Ismailova
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1 year ago