{"id":599864,"date":"2026-11-06T16:53:55","date_gmt":"2026-11-06T13:53:55","guid":{"rendered":"https:\/\/reform.news\/?p=599864"},"modified":"2026-11-06T17:19:17","modified_gmt":"2026-11-06T14:19:17","slug":"belarusian-artist-volia-sasnouskaya-presents-performance-dedicated-to-2020-protests-in-wroclaw-photo-report","status":"publish","type":"post","link":"https:\/\/reform.news\/en\/belarusian-artist-volia-sasnouskaya-presents-performance-dedicated-to-2020-protests-in-wroclaw-photo-report","title":{"rendered":"Belarusian Artist Volia Sasnouskaya Presents Performance Dedicated to 2020 Protests in Wroc\u0142aw \u2013 Photo Report"},"content":{"rendered":"
<\/div>\n

A performance by Belarusian artist, researcher and curator Volia Sasnouskaya<\/b> (Olia Sosnovskaya<\/b>) took place in Wroc\u0142aw as part of the International Performance Festival \u201cNowe Spojrzenia\u201d (Mi\u0119dzynarodowy Festiwal Performansu \u201eNowe Spojrzenia\u201d). She presented a performative work titled \u201cCiting Sources\u201d.<\/p>\n

The performance was based on the artist’s reflections on materials from the National Library of Belarus, where she explored the concept of the \u201csocialist holiday\u201d through books, texts and images. This archival layer is juxtaposed with her personal experience of the protests in Minsk, particularly her memories of evenings in residential districts such as Anharskaya, where the sounds of road blockades and car horns merged with a sense of an unfinished movement.<\/p>\n

\"\"
Photo: Reform.news.<\/figcaption><\/figure>\n

As the accompanying description explains, the work explores the relationship between language and movement, event and document, affect and politics. In Volia Sasnouskaya’s work, text serves not merely as a carrier of information but as a stage, a prop, a witness and an instruction \u2013 a score through which human bodies can train their political imagination.<\/p>\n

Through collective reading and bodily tracking of the geometry of lines, the artist effectively draws the audience into the revolutionary process. The performance rejects the idea of revolution as a one-off explosion in the streets and instead proposes viewing it as an ongoing affective connection that remains unfinished and relevant to this day.<\/p>\n

The artist reflects on understanding oneself as a political subject in motion \u2013 in a march, in space and in the imagination. \u201cI realise that political movement, in the most literal sense, \u2018needs to be learned, practised… acquired as a skill and tested. Again and again, with each new repetition, bringing it back to life anew\u2019.\u201d<\/i><\/p>\n