A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
Issue 2025, 2: Download.
Edward Kasinec is a Research Associate, Harriman Institute, Columbia University and, since 2014 Visiting Fellow, Hoover Institution, Stanford University. His career includes service as Reference Librarian/Archivist and Staff Advisor in Exhibitions in several prestigious institutions. Since 1969, Kasinec has published more than two hundred refereed articles and books.
Nathaniel Knight is a Professor of History and Chair of the History Department at Seton Hall University. Has published extensively on issues of ethnicity, race and the history of the human sciences in Imperial Russia.
Reindeer herding Sami won huge success when the Supreme Court last year gave the Sami village Girjas the right to decide on hunting and fishing within the village boundaries. Now the Sami hope to have a greater influence over land use also in other areas, such as mining and construction of wind farms. But the prospects there are not as good.
The economic development in four Post-Soviet countries; Russia, Belarus, Ukraine and Kazakhstan were compared and discussed during this Roundtable. From the late 1990s new opportunities for growth emerged, but this growth was both temporarily and unstable is here argued. The role of the state is also elaborated.
Preliminary Programme (links, dates, and hours to be specified, all subject to eventual changes) In December 1991, the Soviet […]
When we look at our monuments, why is there so much presence and, at the same time, so much absence? Or is there not enough presence and not enough absence? Or is there too much presence and not enough absence? Or is there not enough presence and too much absence? And what can we do about this (dis)balance?
In this article the author, a multidisciplinary artist, reflects on the process of making the video project Red, 2015, (21:45 min.) and a sound installation The White Wall, 2015 (9:30 min.) about post-Soviet times and transgenerational silence about experiences with the Soviet Union.
The narrative in this article is based on a reconstruction of my personal curatorial experience while working on the exhibition “A Difficult Age: Vilnius, 1939–1949”. The exhibition’s chronological framework – 1939 to 1949 – was established with a focus on historical realities and aimed to frame the narrative of the guest exhibition. The public knowledge of the history of multi-national Vilnius is full of conscious and unconscious omissions, in large part caused by oblivion, but no less by the unwillingness to remember, ignorance, and the refusal to know or even fear of finding out. The narrative based on the history of visual art and artists’ lives is a way to bring up controversial topics and open new perspectives.
In his book of reportage: Białystok. White Power, Black Memory Marcin Kącki documents oblivion and denial of the memory of the former Jewish inhabitants of the city; paradoxically, it is also a call for this memory to be restored. In other words, we are dealing here with the two basic attitudes and forms of remembering historical trauma, distinguished by LaCapra: The first results in the process of “working-through”; the other is based on denial and results in “acting-out”.
This article addresses the problem of the underrepresentation of the traumatic past in the example of the official commemoration of the Holocaust in Belarus. The silenced memories hinder the process of reconciliation and have real consequences for urban planning and cultural life. Thus, in order to address the tragedy that has been excluded from the official commemoration in Belarus, artists and journalists have created projects to fill the void in remembrance. The article describes how art and media projects have resolved the problem of the underrepresentation of certain events in the official culture and make vernacular memory available to many people.
The documentary film Liebe Oma, Guten Tag! What we leave behind (2017) by sisters Jūratė and Vilma Samulionytė tackles persistent silences within one family in Lithuania in a telling way for how sensitive the past is in the Baltic and East European context.
This article focuses on the site-specific exhibition “Displaced Time: 10 Photographs from Restricted Collections” as a model of remembrance and an act against oblivion. The article analyses “Displaced Time” as part of ongoing memory work that aims to explain and understand the mechanisms of the Soviet period and its influence on contempora ry society. In order to analyze the power relations between photographs and archives, this article also explores the power relations between the photographer and the subject – the photographic gaze – as well as the power relations between the photograph and the reader – the agency of images.