Across the former Soviet Union and Eastern Bloc, architectural and physical nostalgia connects citizens who share the same socialist history. The afterlives of Modernity reflects on these shared values and routines of citizens today.
Aikaterini Gegesian’s film My Pink City offers a portrait of a post-Soviet Yeravan adapting to the transition. The film depicts the militarisation of public space and the gendered divisions within the city through the perspective of a female narrator.
With the Russian-backed war in eastern Ukraine, the country’s government has responded with laws designed to rid Ukraine’s public spaces of communist relics. Their destruction proclaims a deep desire to change the cultural narrative. Monumental Propaganda is a series by Donald Weber documenting the sites these monuments stood on and the empty pedestals that remain today.
For Dmytrij Wulffius’ Traces on Concrete, the artist photographed his hometown of Yalta in Crimea from 2009 to 2013. The series is an exploration of the utopian architectural landscape of the post-Soviet world from the perspective of modern youth.
Re:centering Periphery: Post Socialist Triplicities by Ogino Knauss documents the post-socialist backgrounds of Berlin, Belgrade and Moscow, exploring what is left of the architectural vision in the cities and what this legacy has left citizens. Three metropolises, three political visions, three historical trajectories; in each of these cities, it is modernity which triggered a blossoming of utopian visions for radical transformation of the everyday.