{"id":175454,"date":"2026-10-25T11:43:32","date_gmt":"2026-10-25T09:43:32","guid":{"rendered":"https:\/\/tie2.lt\/?p=175454"},"modified":"2026-10-25T11:59:40","modified_gmt":"2026-10-25T09:59:40","slug":"ukrainian-art-manager-gennadiy-kozub-we-dream-of-the-day-when-art-will-once-again-be-born-not-in-spite-of-war-but-thanks-to-peace","status":"publish","type":"post","link":"https:\/\/tie2.lt\/en\/ukrainian-art-manager-gennadiy-kozub-we-dream-of-the-day-when-art-will-once-again-be-born-not-in-spite-of-war-but-thanks-to-peace\/","title":{"rendered":"Ukrainian Art Manager Gennadiy Kozub: \u201cWe Dream of the Day When Art Will Once Again Be Born Not in Spite of War, but Thanks to Peace\u201d"},"content":{"rendered":"

Kostiantyn Doroshenko<\/em><\/p>\n

This year marks the 20th anniversary of the Biruchiy International Contemporary Art Symposium (Biruchiy Contemporary Art Project), one of Ukraine\u2019s leading artist residencies. On its anniversary, the project finds itself cut off from the place where it was founded and where, year after year, it brought together artists, musicians, curators, researchers, and audiences from Ukraine, Lithuania, France, the Netherlands, Italy, Spain, Montenegro, Bosnia and Herzegovina, Belarus, and other countries.<\/strong><\/p>\n

The Biryuchyi Island Spit on the Sea of Azov, as well as the town of Prymorsk, where the last Biruchiy residency before Russia\u2019s full-scale invasion took place in 2021, are now under temporary occupation. Nevertheless, the institution continues its work at other locations in Ukraine and Europe. Thanks to the efforts of Gennadiy Kozub, co-founder and commissioner of the symposium, the Zaporizhzhia Biruchiy Art Centre opened in his hometown of Zaporizhzhia, a city near the front line, in 2025. A new branch of the residency, Biruchiy Cortemilia, was also established in Italy.<\/strong><\/p>\n

\"\"
Zhanna Kadyrova. Red Carpet, installation at the Biruchiy residency, 2013.<\/figcaption><\/figure>\n
How did the idea for the Biruchiy<\/a> residency come about, and how different are its current practices from those at the beginning?<\/strong><\/h5>\n

In 2006, together with artist Volodymyr Gulich, we founded the Biruchiy International Contemporary Art Symposium. At the time, we wanted to create an independent environment for artists, open to experimentation, the free exchange of ideas, and new artistic practices. We chose Biryuchyi Island on the Sea of Azov, a place far from major cities, with a distinctive natural landscape where artists could temporarily step outside their familiar surroundings and focus on their creative work.<\/p>\n

The first symposium was titled Landscape for a Hero. In many ways, this title defined the project\u2019s original concept: what happens to an artist when they find themselves in an environment where familiar reference points disappear and nature becomes not merely a backdrop but an active participant in the creative process?<\/p>\n

Biruchiy expanded with each passing year. We experimented with formats, invited curators, musicians, and representatives of other artistic disciplines, and developed publishing activities. New thematic editions emerged, including Who Are You?, The Fourth Dimension, Survival Zone, EcoBiruchiy, and Neoshamanism: The Power of Ritual. Exhibitions beyond the residency and international exchanges also became an important part of our work.<\/p>\n

From 2015 onwards, we began expanding the project\u2019s geographical reach within Ukraine, particularly through the Irshansk. Recreation residency. In 2016, we launched activities in Poland, followed by collaborations with artistic communities in the United States, Montenegro, and France. Gradually, we moved away from the model in which all events had to take place in one location.<\/p>\n

The full-scale war made this process unavoidable and much more complicated. Our traditional location came under occupation, and we had to find new ways to continue our work. In a sense, however, this became a test of everything we had built over the preceding years.<\/p>\n

Today, Biruchiy is no longer simply an artist residency. It is an international art platform engaging with different places, historical contexts, and communities. Its geography and circumstances have changed, but its central purpose remains the same: to create space for artistic experimentation, interaction, and freedom of expression.<\/p>\n

\"\"
Volodymyr Gulich, Dmytro Dulfan, Anastasiia Loiko, Oleksii Chepyhin, Alina Yakubenko. Hallelujah, installation at the Biruchiy residency, 2014.<\/figcaption><\/figure>\n
Since the beginning of Russia\u2019s full-scale war against Ukraine, Biruchiy\u2019s international activities have intensified. Which projects implemented during this period do you consider the most important? Which were the most challenging?<\/strong><\/h5>\n

One of our first crucial decisions was not to suspend the project, even when continuing our work on the Sea of Azov became impossible. In June 2022, we organised the Biruchiy. Zakarpattia 022. Art War residency in Nyzhnie Selyshche. It brought together 40 artists from ten countries. For me, this was important confirmation that Biruchiy is, above all, a community and a way for artists to interact.<\/p>\n

The next stage was the Biruchiy Borowiec 433\u2013447 residency, held in Poland in 2023. Artists from Ukraine, Poland, and the Czech Republic explored the local context, shared history, collective trauma, and visions of a post-war future. The numbers in the title referred to the days of the full-scale war that had elapsed by the time the residency took place. It was a way of recording time not only through the calendar but also through artistic reflection on the experience we were living through.<\/p>\n

In 2024, we implemented the projects Lublin Triangle and Ecology of Solidarity in Poland. They focused on cultural connections between Ukraine, Poland, and Lithuania, historical memory, the relationship between people and place, and opportunities for dialogue between different communities. That same year, the Lima of Love residency took place in France, a project whose title brought together the image of a border and the idea of love as a means of overcoming it.<\/p>\n

I would also highlight the development of Biruchiy Cortemilia in Italy. In 2025, we established a permanent residency in the Piedmont region. For me, this is more than just a new location. It is an opportunity to develop the international project over the long term, engage with the local cultural environment, and maintain our connection with Ukraine.<\/p>\n

The most difficult part was accepting that we could no longer work in the place where everything had begun. For many years, Biruchiy developed through its relationship with the distinctive landscape of the Azov coast. That place was part of its identity. Relocating our activities to other countries could therefore never be a simple organisational decision.<\/p>\n

At the same time, we did not want the project to become solely a testimony to war. For us, it is important not only to speak about what has happened to us but also to continue creating new works, new connections, and new opportunities for art. I consider this ability to keep working without losing our openness to the world one of the most important achievements of recent years.<\/p>\n

\"\"
From the exhibition Records of Resistance \/ Testimonies of Resistance at the kitev \u2013 Kultur im Turm sociocultural centre, Oberhausen, Germany, 2023.<\/figcaption><\/figure>\n
You began introducing Zaporizhzhia audiences to exhibitions by Biruchiy residency participants even before the full-scale invasion. Since June 2022, you have been presenting the Wartime Posters initiative in Zaporizhzhia, and in 2025 you opened a gallery. How are these initiatives being implemented in a city so close to the front line?<\/strong><\/h5>\n

Wartime Posters began in June 2022 in response to the need to speak about the war through the language of art. We started exhibiting artists\u2019 works outdoors in Zaporizhzhia, and the project subsequently expanded beyond the city and Ukraine. Posters became a means of communicating directly with society about the war, people’s experiences, resistance, and the changes taking place around us.<\/p>\n

The first volume of the book Wartime Posters 2022\u20132023 brought together 453 graphic works presented in 19 exhibitions. We are now working with Olena Speranska, with the support of the Ukrainian Cultural Foundation and the Department of Culture and Tourism of the City of Zaporizhzhia, to prepare a second volume for publication. It will include materials from another 24 art projects implemented in Zaporizhzhia between 2023 and 2026. This is not merely documentation of exhibitions but also an attempt to preserve the visual history of the war and record how artists have responded to events.<\/p>\n

Between the summer of 2023 and the autumn of 2026, we organised 42 outdoor exhibitions. In 2025, we opened the Zaporizhzhia Biruchiy Art Centre. It means a great deal to us that artistic life in the city continues, that artists have opportunities to work, and that audiences can encounter art even under difficult circumstances. We wanted to establish a permanent space where we could present exhibitions, introduce audiences to artists, and create opportunities for professional dialogue.<\/p>\n

\"\"
From the exhibition Neoshamanism: The Power of Ritual at the gallery on the Biryuchyi Island Spit, 2018.<\/figcaption><\/figure>\n
What makes Biruchiy Cortemilia distinctive?<\/strong><\/h5>\n

Biruchiy Cortemilia represents a new chapter in our history, which began in the summer of 2025 among the hills of the Langhe region. We established a permanent residency that allows artists to work in a different cultural and natural environment, engage with the local community, and explore the surrounding area through art.<\/p>\n

It was important to me that this should not simply become a relocation of a Ukrainian project to Italy. We want the residency to be open to the local context, history, and cultural traditions of the region while preserving Biruchiy\u2019s international character.<\/p>\n

The residency\u2019s first projects have already demonstrated how differently artists can respond to this place. In 2025, Viktor Pokydanets presented the exhibition Holy Kitsch, followed in 2026 by Allegro & Borscht by Andrii Bludov and Nataliia Karpinska. These exhibitions demonstrate that the residency does not impose a single theme or style but instead creates conditions for individual artistic expression.<\/p>\n

Biruchiy Cortemilia also opens up opportunities for collaboration with European cultural institutions, artists, and curators. For Ukrainian artists, it offers the chance to work in an international context. For local audiences, it provides an opportunity to discover Ukrainian art not only through the lens of war but as an independent, diverse, and integral part of the international cultural landscape.<\/p>\n

I do not see this residency as a replacement for the Azov coast, but rather as the project’s development under new circumstances. Every place has its own characteristics, and it is important not to transplant an existing model mechanically, but to allow it to evolve through interaction with a new environment.<\/p>\n

Looking back at Biruchiy\u2019s projects before the full-scale war, which do you now consider major milestones?<\/strong><\/h5>\n

The history of Biruchiy is a series of experiments, each of which challenged our understanding of what an artist residency could be.<\/p>\n

The early editions \u2014 Landscape for a Hero, Hippies Exist, and Who Are You? \u2014 laid the foundations of the project. They explored identity, the relationship between people and nature, and the possibilities of artistic creation outside the predictable conditions of urban life.<\/p>\n

An important milestone was the 2013 project Survival Zone, followed by a change in format the next season, when we began developing an experimental platform involving several curators. This allowed us to move beyond a single curatorial perspective and introduce different approaches to working with art.<\/p>\n

In 2015, we organised EcoBiruchiy, which broadened our understanding of the relationship between art and the environment. That same year, Biruchiy expanded beyond its original location through the Irshansk. Recreation residency. This was a step towards cultural decentralisation, demonstrating that artistic processes can emerge not only in major cities or traditional cultural centres.<\/p>\n

In 2016, we organised the From a Common Root residency in Poland. Artists explored historical memory and complex questions surrounding relations between countries. This experience demonstrated that art can create space for dialogue where history often becomes a subject of political manipulation.<\/p>\n

I also remember our international exchanges with Italy, particularly our collaboration with the RES\u00d2 network and the Cittadellarte \u2013 Fondazione Pistoletto residency in Biella. These helped us develop lasting professional relationships and better integrate Ukrainian artists into the international art scene.<\/p>\n

Projects in the United States in collaboration with Flux Factory were also important, followed by residencies in Montenegro and other international initiatives. They demonstrated that Biruchiy could engage with different cultures and social contexts without losing its own identity.<\/p>\n

If we consider the most significant achievement of the pre-war period, it was not any single exhibition or residency. It was the creation of an international network built on experience and trust, which enabled us to continue working after the beginning of the full-scale war. Thanks to this foundation, we were able to relocate our activities to other countries while maintaining our connection with Zaporizhzhia.<\/p>\n

\"\"
From the exhibition Records of Resistance \/ Testimonies of Resistance at the kitev \u2013 Kultur im Turm sociocultural centre, Oberhausen, Germany, 2023.<\/figcaption><\/figure>\n
Have you thought about the theme of the Biruchiy residency when it returns to its original home on the Sea of Azov after the territory is liberated from occupation?<\/strong><\/h5>\n

Yes, I have thought about it. For me, Biruchiy\u2019s return to the Sea of Azov would mean more than simply reopening its former location. It would be a reunion with a place we know and love, but one that, after occupation and war, we will never be able to see in quite the same way.<\/p>\n

I would not want to define a specific theme for the future residency at this stage. I think it is important to give artists the opportunity to respond for themselves to what this return will mean, how our perception of the territory, memory, landscape, and our own history will have changed.<\/p>\n

Biruchiy has always been a space for experimentation, and I would like to preserve that freedom. During the war, we have gained experience working in different countries, with different artists and cultural communities. This experience will inevitably influence the project’s future format. I therefore see our return as a new chapter in which our history, the experience of forced change, and the opportunity to work once again on our home territory will come together.<\/p>\n

It is important that the return should be more than symbolic. I would like to invite artists from different countries, restore the opportunity to work directly with the Azov landscape, and once again make this territory a place of encounter.<\/p>\n

Incidentally, a group exhibition organised by our Italian residency is currently taking place in a new space in the municipality of Pezzolo Valle Uzzone. The exhibition, titled Return, features artists from Ukraine, Poland, the Czech Republic, and Italy.<\/p>\n

The works on display emerged from a particular state of mind \u2014 a return to silence, to the possibility of working, thinking, and feeling like a free artist. Each artist experiences this in their own way: through memory, observation, hope, or anticipation of the future.<\/p>\n

We dream of the day when returning home becomes possible for everyone, and when art will once again be born not in spite of war, but thanks to peace.<\/p>\n","protected":false},"excerpt":{"rendered":"

Kostiantyn Doroshenko This year marks the 20th anniversary of the Biruchiy International Contemporary Art Symposium (Biruchiy Contemporary Art Project), one of Ukraine\u2019s leading artist residencies. On its anniversary, the project finds itself cut off from the place where it was founded and where, year after year, it brought together artists, musicians, curators, researchers, and audiences […]<\/p>\n","protected":false},"author":4,"featured_media":175422,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[55,54,58],"tags":[],"class_list":["post-175454","post","type-post","status-publish","format-standard","has-post-thumbnail","category-culture","category-interview","category-world"],"yoast_head":"\nUkrainian Art Manager Gennadiy Kozub: \u201cWe Dream of the Day When Art Will Once Again Be Born Not in Spite of War, but Thanks to Peace\u201d - Tie 2<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tie2.lt\/en\/ukrainian-art-manager-gennadiy-kozub-we-dream-of-the-day-when-art-will-once-again-be-born-not-in-spite-of-war-but-thanks-to-peace\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ukrainian Art Manager Gennadiy Kozub: \u201cWe Dream of the Day When Art Will Once Again Be Born Not in Spite of War, but Thanks to Peace\u201d\" \/>\n<meta property=\"og:description\" content=\"Kostiantyn Doroshenko This year marks the 20th anniversary of the Biruchiy International Contemporary Art Symposium (Biruchiy Contemporary Art Project), one of Ukraine\u2019s leading artist residencies. 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