In a powerful statement against authoritarianism, the Belarus Free Theatre (BFT) is set to unveil their ambitious installation, *Official. Unofficial. Belarus.*, at this year’s Venice Biennale. The project, which encapsulates the harrowing experiences of political prisoners and the pervasive grip of totalitarianism in Belarus, marks a poignant moment for artists exiled from Europe’s last dictatorship. The installation will open on 9 May and run through 22 November, allowing the world to engage with the chilling realities of repression.
A Disturbing Artistic Journey
In a modest studio located on a quiet street in Warsaw, former political prisoners are hard at work, crafting an installation that will showcase the grim realities of life under dictatorship. Among their creations is a monumental sphere constructed from books banned in Belarus—titles ranging from *Harry Potter* to Nobel laureate Svetlana Alexievich. This 90cm ball of literature lies precariously on a bulldozer’s claw, symbolising the destruction of knowledge and freedom of expression.
The project, spearheaded by co-founders Natalia Kaliada and Nicolai Khalezin, diverges from BFT’s traditional theatrical performances. Instead, they have collaborated with a diverse array of artists—including painters, composers, and even Rasmus Munk, a two-Michelin-star chef—to create an immersive experience that engages multiple senses. Munk’s contribution, a dish that evokes the taste of detention, along with a fragrance designed to mimic the scent of a freshly dug grave in Belarus, aims to confront attendees with the visceral nature of oppression.
A Legacy of Pain and Resilience
For the Kaliada family, this endeavour is deeply personal. Daniella Kaliada, aged 26, has taken the helm of the project, navigating the complexities of working with seasoned artists while grappling with her own harrowing history. She recalls the day Belarusian authorities arrested her mother during a protest—an event that left an indelible mark on her childhood. “When the doorbell rang at 5 a.m., I knew something was wrong,” she recounts, her voice thick with emotion.
Her mother, Natalia, has endured her share of trauma, having been detained for 20 hours and threatened with violence during her activism. “You go numb,” she says, reflecting on the loss of control in such harrowing circumstances. Together, mother and daughter weave their narratives of survival into this installation, capturing the fear and numbness experienced by countless individuals under authoritarian rule.
Art as a Form of Protest
The Venice Biennale offers a unique platform for BFT to highlight not only their own struggles but also the broader implications of surveillance and repression that resonate globally. “Belarus is a unique authoritarian combination,” Daniella notes, emphasising that the themes of their installation extend beyond national borders. In a world increasingly defined by digital surveillance, their work serves as a reminder that the fight for freedom is universal.
The installation, while not part of an official pavilion, is positioned as a “collateral event” at the Chiesa di San Giovanni Evangelista. This decision underscores the challenges faced by artists under oppressive regimes, where government approval is often contingent on adherence to state-sanctioned narratives.
As the Biennale features Russia’s first official pavilion since the invasion of Ukraine, the Kaliadas express concern about the implications of legitimising a regime that embodies the very essence of repression. “It’s a failure of international law and institutions,” Natalia asserts, highlighting the need for a reevaluation of the Biennale’s policies regarding participation.
The Soundtrack of Suffering
Composer Olga Podgaiskaya, whose husband was detained and tortured, adds another layer to the installation with her haunting organ piece, a composition of alarms and silences that reflects the trauma endured by those living under threat. “Evil lives very close by,” she states, capturing the pervasive sense of dread that permeates life in Belarus.
As the installation takes shape, Daniella and her team are not merely creating art; they are crafting a dialogue about the importance of resilience in the face of oppression. Each element—from the golden wheat stems to the striking visual displays—serves as a testament to a community that refuses to be silenced.
Why it Matters
*Official. Unofficial. Belarus.* is more than an exhibition; it is a clarion call to the world. In an era defined by tightening borders and escalating authoritarianism, the voices of those who resist oppression must be amplified. The installation challenges viewers to confront uncomfortable truths about freedom, surveillance, and the human spirit’s capacity to endure. It serves as a reminder that the fight against tyranny is not confined to the borders of Belarus but resonates across the globe, urging us all to reflect on our responsibility to uphold the values of democracy and human rights.
