Slavs & Tatars
Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s practice is based on three activities: exhibitions, books and lecture performances. They have exhibited at leading institutions and lecture widely at universities across the globe. Their publications include Mirrors for Princes (JRP|Ringier / NYU Abu Dhabi, 2015), Not Moscow Not Mecca (Revolver/Secession, 2012), Khhhhhhh (Mousse/Moravia Gallery, 2012), Friendship of Nations: Polish Shi’ite Showbiz (Book Works, 2013) as well as their translation of the legendary Azeri satire Molla Nasreddin: the magazine that would’ve, could’ve, should’ve (JRP-Ringier, 2011).
Solo Exhibitions
2025
SEE-MORE–ق Survival Kit XVI, Riga (curated by)
Mayatepek, Nordenhake, Mexico
The Contest of the Fruits, esea contemporary, Manchester
Simurgh, Kunsthalle Baden-Baden
Simurgh Self-Help, The Third Line, Dubai
2024
Simurgh Self-Help, Kalfayan Galleries, Athens
Simurgh Self-Help, Raster, Warsaw
The Contest of the Fruits
Kraupa-Tuscany Zeidler, Berlin
2023
Salty Sermon, east contemporary, Milan
Pickle Bar Presents, West, The Hague
Parcours : Curated by Slavs and Tatars, Monnai de Paris (Asia Now), Paris
The Contest of the Fruits, Basement Roma, Rome.
Hang Don’t Cut (LA). Tanya Bonakdar Gallery, Los Angeles
Hang Don’t Cut, Kraupa-Tuscany, Zeidler, Berlin
Clouds, Power and Ornament – Roving Central Asia, CHAT, Hong Kong
Friendship of Nations: Polish Shi’ite Showbiz, M HKA, Antwerp
2022
Slavs and Tatars – Sauer Power Klubnacht, Humboldt Forum, Berlin
Slavs and Tatars x Giorgi Khaniashvili, Atinati, Tbilisi
MERCZbau Neubauer Collegium, Chicago, USA
La Bataille des Fruits Centre Pompidou-Metz, France
Лук Бук (Look Book) Frans Masereel Centrum, Kasterlee, Belgium
2021
Public Commission, Kunsthalle, Osnabrück, Germany
Public Commission, Hayward Gallery, London, UK
Public Commission Pinakothek der Moderne, Münich, Germany
The Contest of the Fruits, Cantor Fitzgerald Gallery, Philadelphia, USA
Long Lvive Lviv!, OP ENHEIM, Wroclaw, Poland
Bacteria Bar Twelve Gates Arts, Philadelphia, USA
2020
Régions d’être, Villa Arson Nice, France
Who are you, fanfare, Amsterdam, Netherlands
Żarty Żartami (curated by Slavs and Tatars), Ujazdowski Castle Centre for
Contemporary Art, Warsaw, Poland
2019
‘Моваланд’, Ў gallery, Minsk.
2018
‘Sauer Power’, Kunstverein Hannover.
‘Made in Dschermany’, Albertinum, Dresden (upcoming)
‘Kirchgängerbanger’, ar/ge kunst, Bolzano (upcoming)
‘Pickle Politics’, Kulturhuset, Stockholm.
Saalbadereien/Bathhouse Quackeries, Westfälischer Kunstverein, Münster.
2017
Mouth to Mouth, CAC, Vilnius.
Mouth to Mouth, SALT Galata, Istanbul.
Nose to Nose, Pejman Foundation, Tehran.
‘E-Z Chasm’, Kalfayan Galleries, Athens.
‘The Vague Space. Sammlung Christian Kaspar Schwarm’, Weserburg | Museum of Modern Art, Bremen Germany.
‘E-Z Chasm’ (solo show), Kalfayan Galleries, Athens.
Contemporary Art Center (CAC), Vilnius, Lithuania.
Pejman Foundation, Tehran
Museum of Contemporary Art, Belgrade
Salt Galata, Istanbul
2016
CCA Ujazdowski, Warsaw
Afteur Pasteur, Tanya Bonakdar Gallery, New York
Made in Germany, The Third Line, Dubai
Towarzystwo Szubrawców, Raster Gallery, Warsaw
Slavs and Tatars: Lecture-Performances 2009-2016, Villa Empain, Brussels
Mirrors for Princes, Blaffer Art Museum, Houston
2015
Stongue, Kunsthal Aarhus
Mirrors for Princes, Institute of Modern Art, Brisbane
Dschinn and Dschuice, Kraupa-Tuskany Zeidler Gallery, Berlin
Long Legged Linguistics, Trondheim Kunstmuseum
Lektor, Collective Gallery, Edinburgh
Mirrors for Princes: Both Sides of the Tongue, NYU Abu Dhabi
2014
Mirrors for Princes, Kunsthalle Zurich
Lektor, GfZK, Leipzig
Concentrations: 57, Dallas Museum of Art
The Naughty Nasals, Arsenal Gallery, Białystok
Language Arts, The Third Line, Dubai
2013
Long Legged Linguistics, Art Space Pythagorion, Samos
Behind Reason, Künstlerhaus Stuttgart (duo w/ Cevdet Erek’s Anti-Pattern)
Friendship of Nations: Polish Shi’ite Showbiz, Presentation House, Vancouver and REDCAT, LA
2012
Beyonsense, “Projects 98,” Museum of Modern Art, New York
Never Give Up the Fruit, Forever & Today, New York
Too Much Tłumacz, Raster, Warsaw
Not Moscow Not Mecca, Kraupa-Tuskany Zeidler, Berlin
Continuous Conversation (duo w/ Janek Simon), Karlin Studios, Prague
Khhhhhh, Moravia Gallery, Brno
Not Moscow Not Mecca, Secession, Vienna
2011
Friendship of Nations: Polish Shi’ite Showbiz, Kiosk, Koninklijke Academie voor Schone Kunsten, Gent
Przyjaźń Narodów: Lahestan Nesfeh-Jahan, Gdańska Galeria Miejska, Gdansk
A Monobrow Manifesto, Neuer Aachener Kunstverein
2009
Kidnapping Mountains, Netwerk Center for Contemporary Art, Aalst, Belgium
2008
Common Wealth, 032c, Berlin and Ooga Booga, Los Angeles (2010)
A Thirteenth Month Against Time, Newman-Popiashvili Gallery, New York
Group Exhibitions (selection)
2024
Never Give Up the Fruit, Tangente, St. Pölten
Pickle Bar: EUROVISION CROSSING TBILISI, Tbilisi Photography & Multimedia Museum.
2023
Pickle Bar: EUROVISION CROSSING NICOSIA, Nicosia.
COSMOS- The Volcano Lover, Fondazione Como Arte, Villa Olmo, Como.
READ ( curated by Elmgreen & Dragset), Kunsthaller Praha, Prague.
Carpet Mapping, Kulturstoftung Schloss Britz, Berlin
Typojanchi, Culture Station, Seoul.
EVA International Biennial, Limerick.
Toy to Me, Me to You, A4 Arts Foundation, Cape Town.
The Weight of Words, Henry Moore Institute, Leeds.
Mu ‘awiya’ s Thread, 32Bis, Tunis.
Asbildung, PORTIKUS, Frankfurt am Main
Pickle Bar – EUROVISION, Goethe-Institut, Athens.
Chronic Desire, European Capital of Culture, Timisoara
5th Kochi-Muziris Biennale, Fort Kochi, Kochi
2022
Dialog Between Generations. Belarusian Female Artists, KVOST, Berlin, Germany
Fruiting Bodies, Tanya Bonakdar Gallery, New York, USA
200 Revelations, Raster Gallery, Warsaw, Poland
Mirror, Mirror…, Kunstmuseum Heidenheim
Mixed Up With Others Before We Even Begin, Museum moderner Kunst Stiftung
Ludwig Wien, Vienna, Austria
Politics in Art, MOCAK, Museum of Contemporary Art in Krakow, Krakow, Poland
Backwards Ahead, ondazione Sandretto Re Rebaudengo, Turin, Italy
18th Tallin Print Triennial, Põhjala Brewery, Tallinn
ARS22 Living Encounters, Kiasma, Helsinki
2021
Pickle Bar: EVROVIZION
The Museum of Contemporary Art Vojvodina, Novi Sad
Diversity United
New Tretyakov Gallery, Moscow
The Poetry of Translation
Kunst Meran / Merano Arte, Merano
How to disappear completely and never be found, Krasnodar, Russia
Primary Forms, Museum on the Vistula, Warsaw
Eurasia, Museum van Hedendaagse Kunst Antwerpen
K60, Wilhelm Hallen, Berlin
They call me Gypsy but that’s not my name, Gdańsk City Gallery
Sweet Lies, Ludwig Forum, Aachen
Evrovizion, History Museum of Bosnia and Herzegovina, Sarajevo
Ora et lege, Broumov Monastery
A Question of Taste, Pera Museum, Istanbul
The Time Has Come to Talk of Many Things… , National Gallery, Sofia
2020
There Is Fiction The Space Between, The Third Line, Dubai, UAE
In aller Munde, Kunstmuseum Wolfsburg, Germany
Empört Euch!, Kunstpalast, Düsseldorf, Germany
Die Sonne nie świeci tak jak słońce, TRAFO, Szczecin, Poland
Meeting in Language, Städtische Galerie Delmenhorst, Germany
Kunst ⇆ Handwerk, Kestner Gesellschaft, Hannover, Germany
Kunst ⇆ Handwerk, GfZK, Leipzig, Germany
Amuse-bouche. The Taste of Art, Museum Tinguely, Basel, Switzerland
Between the Sun and the Moon, Lahore Biennale 02, Lahore, Pakistan
2019
58th Venice Biennale, main exhibition titled “May You Live In Interesting Times” curated by Ralph Rugoff.
‘Crack Up-Crack Down’: 33rd Ljubljana Biennial of Graphic Arts, MGLC, Ljubljana.Curated by Slavs and Tatars.
Akershus Kunstsenter / Lillestøm (NOR)
De Toutes Façons / Centre National du Graphisme / Chaumont (FR)
hybrID / Kunsthaus Hamburg / Hamburg (DE)
May You Live In Interesting Times / 58th International Art Exhibition Biennale Di Venezia / Ralph Rugoff / Venice (IT)
Crack Up – Crack Down: 33rd Ljubljana Biennial of Graphic Arts / MGLC / Slavs and Tatars / Ljubljana (SI)
What Are We Made Of? / Kunsthalle Darmstadt / Darmsta
2018
Survival Kit 10, Contemporary Art Festival, Riga.
Kunstverein Biel
Punk Orientalism / Mackenzie Art Gallery / Regina (CA)
Light in The Age Of Darkness / DEPART Foundation / Malibu (US)
Punk Orientalism / Mackenzie Art Gallery / Regina (CA)
Exclusively Inclusive / Gerðarsafn Kópavogur Art Museum / Kópavogur (IS)
Siah Armajani: Follow This Line / Walker Art Center / Minneapolis (US)
Mountains of Tongues / BACKLIT Studios / Nottingham (UK)
Faith Love Hope / Kunsthaus Graz / Graz (AT)
Holes in the Wall_Anachronic approaches to the here-and-now / Kunsthalle Exnergasse / Wien (AT)
I am the Mouth / Museum of Contemporary Art / Zagreb (HR)
2017
The Other Face of the Moon, Asia Culture Center, Gwangju.
Together Apart, Center for Border Studies, Cúcuta.
2nd OFF-Biennale, Budapest.
The Vague Space, Weserburg Museum, Bremen.
4th Ural Industrial Biennial of contemporary art, Ekaterinburg.
Threads Left Dangling, Veiled in Ink, Galerie Emanuel Layr, Vienna.
Half-Truth, Królikarnia, National Museum, Warsaw
Oppositions, The Luminary, St. Louis.
The Future is Certain; it’s the Past Which is Unpredictable, Calvert 22, London.
32nd Biennial of Graphic Arts, mglc, Ljubljana.
Un-Official Stories, Galleria Doris Ghetta, Bolzano.
Unknown Knowns of Polish (Post) Colonialism, SAVVY Contemporary, Berlin.
The Voice, Coreana Museum of Art, Seoul.
Frans Masereel and Contemporary Art: Resistance in Images, mu.ZEE, Oostende.
2016
Yinchuan Biennale 2016
SPRACHE, Deutsches Hygiene Museum Dresden
SONSBEEK’16: transACTION, Arnhem
Labor Relations, Wrocław Contemporary Museum, Wrocław
Metatextile: ruptured narratives, exchanged values, Edel Assanti Gallery, London
Mother lode, Hessel Museum of Art, Bard College, Annandale-on-Hudson
La memoria finalmente. Art in Poland 1989-2015, Palazzina dei Giardini, Galleria Civica of Modena, Modena
Arch of My Eye’s Orbit, Brooklyn Academy of Music, New York
Magic and Power, Museum Marta Herford, Herford
Conditions of Political Choreography, CCA Tel Aviv and NBK Berlin
2015
Preis der Nationalgalerie, Hamburger Bahnhof, Berlin
OPEN HOUSE: a group show on hospitality, Kunstverein Braunschweig
BALAGAN!!!, Stiftung Brandenburger Tor, Berlin
Contour Biennial 7, Mechelen, Belgium
Czysty język, Galeria Arsenal, Białystok
KölnSkulptur #8, Skulpturenpark Köln
Stitch In Time: The fabric of contemporary life, Lewis Glucksman Gallery, University College Cork, Ireland
more Konzeption Conception now, Museum Morsbroich, Leverkusen
2014
Rainbow in the Dark, Salt Galata, Istanbul
Into the Country, Salt Ulus, Ankara
8th Berlin Biennial
Manifesta 10, St Petersburg
As You Can See: Polish Art Today, Museum of Modern Art, Warsaw
Take Liberty!, National Museum, Oslo
Neighbours, Istanbul Modern
2013
Soft Pictures, Fondazione Sandretto Re Rebaudengo, Turin
The Assistants, David Kordansky, Los Angeles
Pataphysics, Sean Kelly Gallery, New York
Long Ago and Not True Anyway, Waterside Contemporary, London
Museum Off Museums, Bielefelder Kunstverein, Bielefeld
In the Heart of the Country, Museum of Modern Art, Warsaw
Nouvelle Vague, Palais de Tokyo, Paris
Love Me Love Me Not, Venice
L’Ange de l’Histoire, Palais de Beaux Arts, Paris
Weird Science, Jack Hanley Gallery, New York
Nouveau Festival, Centre Pompidou, Paris
2012
Traversing West Asia, Asia Pacific Triennial, Brisbane
Roundtable, 9th Gwangju Biennial, Gwangju
2nd Ural Biennial, Ekaterinburg
Etat de Veille, Galerie Jousse Entreprise, Paris
Under the Mountain, Festival of Culture, Jerusalem
On Apology, CCA Wattis, San Francisco
Migrosophia, Maraya Art Centre, Sharjah
The Ungovernables, New Museum Triennial, New York
Print/Out, Museum of Modern Art, New York
Scenarios about Europe III, GfZK, Leipzig
2011
I decided not to save the world, Tate Modern/Salt Beyoğlu
Station C, Konsthall C, Stockholm
Geopoetics, 8th Mercosul Biennial, Porto Alegre, Brazil
A Rock and a Hard Place, 3rd Thessaloniki Biennale
Melanchotopia, Witte de With, Rotterdam
Group Affinity, Kunstverein München
Friendship of Nations: Polish Shi’ite Showbiz, 10th Sharjah Biennale, UAE
Galicia. Topologies of Myth, Małopolskie Centrum Kulturz SOKOŁ, Nowy Sącz, Poland
East:Excitable Speech:West, Kerstin Engholm Galerie, Vienna
Distant Montage, École Régionale des Beaux Arts de Valence, France
Le Mont Analogue, BE Part Platform voor actuele kunst, Waregem, Belgium
ECHT? based on a true story, Kuenstlerhaus Stuttgart
2010
Between the silhouette and the background, unosunove gallery, Rome
Monobrow Manifesto, Frieze Sculpture Park, London
Salon5, ARGOS centre for art and media, Brussels
25th Nadežda Petrović Memorial, Čačak, Serbia
Correct Me if I am Critical, Felleshuset, Nordische Botschaft, Berlin
Frozen Moments, Ministry of Transport, Tbilisi, Georgia
032c Workshop # 1, BAIBAKOV art projects, Moscow
Habitat (Some Pleasures and Discomforts of Domestic Life), Twenty First/Twenty First Gallery, New York
Miseducation, Brucennial, New York
The Past is a Foreign Country, Centre of Contemporary Art ‘Znaki Czasu’ in Torun
Freischuss, Kleine Humboldt Galerie, Berlin
2009
Industrial Light Magic, Goethe Institut, New York
Wola Art Festival, Warsaw
Hymns of No Resistance, Kaai Theatre, Brussels
Betlemi Mikro-Raioni, Laura Palmer Foundation, Tbilisi
Nomadic Focus, Interzone, Studio BWA, Wroclaw
Live Archive of ‘The Generational: Younger Than Jesus’, New Museum, New York
2008
Grotto, Museum 52, London
Place it, Parallel Events Manifesta 7, Lungomare Gallery, Bolzano
Shifting Identities, Kunsthall Zürich
Pro eto, NCCA, Moscow Biennale of Young Artists
Forms of Inquiry, traveling show: Casco, Utrecht; lux, Valence; IASPIS, Stockholm; BolteLang, Zürich; Archizoom EPFL, Lausanne
Ostersund, Färgfabriken, Stockholm
2007
Left Pop, Moscow Biennial of Contemporary Art
New Multiples, Art Metropole, Toronto
NY Art Book Fair, Printed Matter, New York
Books by Artists, E:vent Gallery, London
10 Years, Colette, Paris
2006
Publish and Be Damned, Casco Projects, Utrecht
30 ANSCHLAEGE, Public Exhibition in Heidelberg
Collections:
Onassis Foundation.
Pejman Foundation, Tehran
Art Collection Telekom
Ujazdowski Castle Centre for Contemporary Art, Warsaw
Art Jameel, Dubai
Barjeel Art Foundation, Sharjah
Dallas Museum of Art
The Museum of Modern Art, New York
Sharjah Art Foundation
The Museum of Modern Art, Warsaw
Tate Modern, London
Grażyna Kulczyk Collection
Written Art Foundation
Aksenov Family Foundation
Kadist Collection, Paris
Arsenal Gallery, Białystok
Ringier Collection, Zürich
Wrocław Contemporary Museum
Fondazione Sandretto Re Rebaudengo, Turin
GfZK, Leipzig
The Schwartz Art Collection
Jankilevitsch Collection
Publications
2018
Irina Kulik, Lecture, NSK – Slavs and Tatars, Garage Auditorium, Moscow, February 15 (Russian)
2017
Pablo Larios (ed.), Slavs and Tatars: Mouth to Mouth, London: KönigBooks.
Mirrors for Princes, NYUAD Art Gallery/Ibraaz/JRP|Ringier, 2015
Naughty Nasals, Arsenal Gallery, Białystok, 2014
Friendship of Nations: Polish Shi’ite Showbiz, Book Works/Sharjah Art Foundation, 2013
Khhhhhhh, Moravian Gallery in Brno/Mousse, 2012
Not Moscow Not Mecca, Secession/Revolver, 2012
Molla Nasreddin: the magazine that would’ve, could’ve, should’ve, Christoph Keller/JRP|Ringier, 2011
79.89.09, Book Works, 2010
Love Me, Love Me Not: Changed Names, onestar press, 2010
Kidnapping Mountains, Book Works, 2009
Awards
Nominee for The Queen Sonja Print Award 2016, Norway
Audience Award, 2015, Preis der Nationalgalerie, Berlin
TV Polonia Gwarancje Kultury 2014: Visual Arts
INFORM Award for Conceptual Design 2013, GfZK, Leipzig
Prix Fernand Baudin 2011, Brussels
Prix Fernand Baudin 2009, Brussels
Prix Fernand Baudin 2008, Brussels
Grand Prix of the Brno Biennial 2008
Residencies
2016 Elson Artist-in-Residence, Princeton
Asia Art Archives, Hong Kong
NYU Abu Dhabi Art Gallery
IASPIS, Stockholm
Yale University Artist-in-Residence, New Haven
Lecture-Performances
Aksenov Family Foundation
Kadist Collection, Paris
Arsenal Gallery, Białystok
Ringier Collection, Zürich
Wrocław Contemporary Museum
Fondazione Sandretto Re Rebaudengo, Turin
GfZK, Leipzig
The Schwartz Art Collection
Jankilevitsch Collection
Publications by Artists
Crack Up – Crack Down (MGLC/Mousse Publishing, 2019)
Wripped Scripped (Hatje Cantz/Staatliche Kunstsammlungen Dresden/Kunstverein Hannover,
2018)
Kirchgängerbanger (Motto Books/Westfälischer Kunstverein, 2018)
Mirrors for Princes (JRP|Ringier/NYU Abu Dhabi Art Gallery, 2015)
Naughty Nasals (Arsenal Gallery, Białystok, 2014)
Friendship of Nations: Polish Shi’ite Showbiz, (1 st Edition: Book Works/Sharjah Art Foundation,
2013. 2 nd Edition: Book Works, 2017)
Khhhhhhh (Mousse Publishing/Moravian Gallery, 2012)
Not Moscow Not Mecca (Revolver Publishing/Secession, 2012)
79.89.09 (Book Works, 2011)
Molla Nasreddin: the magazine that would’ve, could’ve, should’ve, (1 st Edition: JRP|Ringier,
2011; 2 nd Edition: I.B. Tauris, 2017)
Kidnapping Mountains (Book Works, 2009)
Awards
Nominee for The Queen Sonja Print Award 2016, Norway
Audience Award, 2015, Preis der Nationalgalerie, Berlin
TV Polonia Gwarancje Kultury 2014: Visual Arts
INFORM Award for Conceptual Design 2013, GfZK, Leipzig
Prix Fernand Baudin 2011, Brussels
Prix Fernand Baudin 2009, Brussels
Prix Fernand Baudin 2008, Brussels
Grand Prix of the Brno Biennial 2008
Residencies
2016 Elson Artist-in-Residence, Princeton
Asia Art Archives, Hong Kong
NYU Abu Dhabi Art Gallery
IASPIS, Stockholm
Yale University Artist-in-Residence, New Haven
Lecture-Performances
Red-Black Thread
Kunsthaus, Hamburg
SUGAR Contemporary, Toronto
SAVVY, Berlin
Walker Art Center, Minneapolis
Transliterative Tease
Stanford Art Center
University of California, Santa Cruz
SUGAR Contemporary, Toronto
Gallery.TUT.by, Minsk
Kunstverein, Hannover
Forum of the Future, Rivoli Theatre, Porto
Damaskuszimmer, Dresden
OGR, Turin
University of Bolzano
Kulturhuset, Stockholm
Westfälischer Kunstverein, Münster
Bi’bak, Berlin
Goethe-Institut, Baku
2nd Off-Biennale, Budapest
Weissensee Kunsthochschule, Berlin
Pejman Foundation, Tehran
Ujazdowski Castle Centre for Contemporary Art, Warsaw
La Colonie, Paris
Fondation Boghossian, Villa Empain, Brussels
Royal College of Art, London
Asian Culture Center Theater, Gwangju
University of Houston
Kunsthal Aarhus
Institute of Modern Art, Brisbane
Kunstverein Braunschweig
Trondheim Kunstmuseum
Institute of Contemporary Art, London
Birmingham Museum of Art, Birmingham USA
GfZK, Leipzig
Dallas Museum of Art
Manifesta 10, St. Petersburg
Kunsthalle Zurich
Detroit Institute of Art
Kunstverein Bielefeld
Yale University School of Art, New Haven
Asia Society, New York
Istanbul Modern
SALT Ulus, Ankara
I Utter Other
SUGAR Contemporary, Toronto
Thalie Lab & Goethe-Institut, Brussels
Albertinum, Dresden
Kulturhuset, Stockholm
Westfälischer Kunstverein, Münster
Guggeinheim Museum, NYC
Academy of Media Arts, Cologne
Pejman Foundation, Tehran
SAVVY Contemporary, Berlin
Goethe-Institut, Prague
Cultural Institute, University of Warsaw
Steirischer Herbst Festival, Graz
West, The Hague
University of Houston
Asia Art Archive, Hong Kong
Haus der Kulturen der Welt, Berlin
SALT, Istanbul
The Tatra Museum, Zakopane
Reverse Joy
Kunsthaus Graz
Kampnagel, Hamburg
GfZK, Leipzig
New Museum, New York
SALT, Istanbul
Secession, Vienna
Moravska Galeria, Brno
Haus der Kulturen der Welt, Berlin
SFU Woodward, Vancouver
Kunsthalle, Athena
79.89.09
SUGAR Contemporary, Toronto
Kulturhuset, Stockholm
CAC, Vilnius
Stanford University
Fondation Boghossian, Villa Empain, Brussells
Asia Society Texas Center, Houston
Dallas Museum of Art
Mosaic Rooms, London
CREEES, University of Texas, Austin
REDCAT, Los Angeles
IASPIS, Stockholm
Columbia MFA, NY
Parsons, New School, NY
Cal Arts, Valencia
Neuer Aachener Kunstverein
10th Sharjah Biennale
Salon5, Argos Center for Art and Media, Brussels
Belleville Biennale, Paris
Space Studios, London
Nordic Embassies, Berlin
The Bruce High Quality Foundation University, New York
Rietveld Academy, Amsterdam
Museum of Modern Art, Warsaw
Academy of Fine Arts, Vienna
Theory and Practice, Afisha Picnic, Moscow
Cycles and Seasons, Triumph Gallery, Moscow
Al-Isnad: Chains We Can Believe In
SUGAR Contemporary, Toronto
Kunsthalle, Bremen
Albertinum, Dresden
Kulturhuset, Stockholm
ACUD Macht Neu, Berlin
Tehran Museum of Contemporary Art
West, The Hague
Princeton University Art Museum
MuMA, Melbourne
Bardo National Museum, Tunis
Centre Pompidou, Paris
Institutions by Artists, Vancouver
Museum of Contemporary Art Vojvodina, Novi Sad
Bazaristan, Wrocław
SALT Galata, Istanbul
Molla Nasreddin: Embrace Your Antithesis
SUGAR Contemporary, Toronto
Kulturhuset, Stockholm
Fondation Boghossian, Villa Empain, Brussels
Asia Society Texas Center, Houston
CAC, Vilnius
Asia Art Archive, Hong Kong
Artspace, Sydney
Gingko conference, London
NYU Abu Dhabi Institute
Meadows Museum, Southern Methodist University, Dallas
Ecole des Beaux Arts, Paris
Central Public Library, Los Angeles
Near Eastern Studies Dept, University of California, Los Angeles
Moderna Museet, Malmö
Witte de With, Rotterdam
Konsthall C, Stockholm
Serpentine Gallery, London
Sazmanab, Tehran
SALT, Istanbul
Swiss Institute, New York
Global Art Forum, Art Dubai
Select Bibliography / Press
2024
Azbuka Strikes Back (English & Kazakh),published by Walther and Franz Koenig / Tselliny, 2024, Almaty. ISBN 9783753304304
2022
Лук Бук (Look Book) (English),Published by DISTANZ / Frans Masereel Centrum, Kasterlee, 2022. ISBN 9783954764679
2021
The Contest of the Fruits, MIT Press / Haverford College
2020
Maja and Reuben Fowkes, World of Art: Central and Eastern European Art Since 1950, London: Thames & Hudson.
Laure Lane (ed.), Folklore, Paris: Éditions La Découverte.
Joanna Zielínska (ed.), Performance Works, Warsaw: U-jazdowski and Milan: Mousse Publishing. Hoor Al Qasimi (ed.), Between the Sun and the Moon: Lahore Biennale, Pakistan: Lahore Biennale Foundation.
2019
Magdalena Ziółkowska (ed.), Plasticity of the Planet: On Environmental Challenge for Art and Its Institutions, Milan: Mousse Publishing.
Barbara Steiner (ed.), Kunst ⇆ Handwerk / Arts ⇆ Crafts, Vienna: Verlag für moderne Kunst. Sebastien de Ganay (ed.), The Other is Oneself, Vienna: Salon für Kunstbuch.
Fiona Liewehr (ed.), The Other is Oneself, Vienna: Salon für Kunstbuch.
Arterritory, Collectors 6, Riga: Arterritoy.com.
Structure Bâtons, De toutes façons… Design graphique et textile, Chaumont: Centre National du Graphisme.
Flavia Fossa Margutti, May You Live in Interesting Times Volume I, La Biennale di Venezia
Lulu Yao Gioiello, Far-Near Volume 2 — Taste-distaste, Seoul: Far-Near.
Lucie Fontaine, ₡ U R R € ₦ ₡ ¥, Berlin: NOME.
Markus Miessen, Zoë Ritts, ParaPlatforms, Berlin: Sternberg Press.
Fereshteh Daftari, Persia Reframed, London: I.B. Tauris.
2018
Kirchgängerbanger, Motto Books / Westfälischer Kunstverein
Wripped/Scripped, Hatje Cantz / Staatliche Kunstsammlungen Dresden / Kunstverein
The Third Line, Al Quoz 3, Dubai, UAE | +9714 3411 367 | art@thethirdline.com | www.thethirdline.com
Hannover
2017
Slavs and Tatars, Walther Koenig
Molla Nasreddin: Polemics, Caricatures & Satire, I.B. Tauris
2016
Francesca Lavigna, “L’Eurasia di Slavs and Tatars,” East Journal, May
Ingrid Luquet-Gad, “Slavs and Tatars,” artpress2, No 40
Molly Glentzer, “Men are from Murmansk, Women are from Vilnius,” Houston Chronicle,
Jan 22
Gretta Louw, “Germany’s Leading Art Prize Sets a Museum in Motion,” Hyperallergic, Jan.11 Thea Ballard, “Lost in Translation,” Modern Painters, January
2015
“Best of 2015,” Hyperallergic, December 17
Slavs and Tatars, “Alphabet und Imperium,” Frieze d/e, No 22
Miriam Cosic, “The lands time forgot,” The Australian, November 19
Nicholas Forrest, interview/ preview of “Mirrors for Princes,” BlouinArtInfo, October 30
Ana Ofak, review of “Dschinn and Dschuice,” Art Agenda, Nov. 9
Ingeborg Wiensowski, profile of Slavs and Tatars, Kultur Spiegel, September
Claudia Wahjudi, “Entkommen im Zickzack,” Der Tagespiegel, September 26
Christiane Meixner, “Das Lesen und die Lüste,” Der Tagespiegel, September 14
Kevin Jones, review of “Mirrors for Princes,” Art Asia Pacific, May
Kirsty Bell, “New Yarns,” Tate Etc, issue 33
Yekaterina Serebranaya, “Slavs and Tatars,” Etage, issue 2
Kevin Jones, review of “Mirrors for Princes,” Flash Art, June
Dina Akhmedeeva, “Wall to Wall,” Calvert Journal, March 19
Nick Leech, “Slavs and Tatars encourages art you’re allowed to sit on,” The National, Feb 26
2014
Kevin Jones, review of “Language Arts,” Art Asia Pacific, Nov/Dec
Valery Ledenyov, “Что надо знать: группа Славяне и татары,” ArtGuide, October 2
Ian Wallace, “The New Manifestos,” artspace, May 17
Anna Seaman, review of “Language Arts”, The National, April 1
Deena Chalabi, “Interview with Slavs and Tatars,” Issues, Biennial.com
Jim Quilty, “The languages of art, politics and melons,” The Daily Star, March 28
Roxana Azimi, “Slavs and Tatars, l’art des antipodes,” Le Monde, March 26
Sergey Guskov, “Cтрана которой нет,” Harper’s Bazaar Art, April
James Scarborough, “A Conversation with Slavs and Tatars,” Huffington Post, March 11
Stephanie Bailey, “A conversation with Slavs and Tatars,” Ocula
Ewa Zubek, “Politics, Aesthetics, and Friendship in Eurasia,” The Culturist
Stephanie Bailey, “Syncretic Cartographies,” Yishu, Vol 13, Nº 1
2013
David Joselit, “On Aggregators,” October, Nº 146, Fall
HG Masters, review of “Long Legged Linguistics,” Art Asia Pacific
Kimberly Bradley, “Peripheral Vision,”artsy.net
Gesine Borcherdt, Q&A Art Space Pythagorion, artinfo.com
Adriana Prodeus, “Panslawizm – tak! ” (in Polish), Newsweek, issue 27.
Iwona Kurz, “Nie Chcemy Być Nowcześni ” (in Polish), dwutygodnik.pl, issue 110.
Joel Regev and Masha Shtutman, “Children of Marx and Kumis” (in Russian), Colta.ru
Franz Thalmair, “La Plus Courte Distance Entre Deux Points ” (interview in French), l’Officiel Art, Nº 6.
Sylvain Menétrey, “Le Grand Ecart ” (interview in French), Dorade, Nº 5
Media Farzin, review of “Beyonsense”, Bidoun, issue 28
Steve Kado, review of “Friendship of Nations: Polish Shi’ite Showbiz,” Critics’ Picks, ARTFORUM
Fionn Meade, “Reverse Optimism” Modern Painters, March
Melissa Chemam, “Nouveau Festival: Focus sur le collectif Slavs and Tatars, ” toutesurlaculture.com, 24 Feb
Danielle McCoullough, “Looking at Los Angeles: Slavs and Tatars,” Feb 19
Bernard Blistène, “Tire Ta Langue, ” France Culture radio, Feb 17
2012
Jesi Khadivi, “Slavs and Tatars,” Harper’s Bazaar Art Arabia, Nov-Dec
Miško Šuvaković, “Slavs and Tatars: Posle Postkolonijalnog Subjekta, ” in Umetnost i Politika (Belgrade: Sluzbeni Glasnik, 2012)
Iwo Zmyślony, “Caucasian Bazaar, ” dwutygodnik.pl, issue 40
Kevin Kinsella, “For the Birds, “BombBlog, November 5
Anders Kreuger, “Beyond Nonsense: What Slavs and Tatars Make, ” Afterall, Fall 2012
Austin Considine, “Slavs and Tatars Bring Eurasian Transreason to MoMA, ” Art in America, October 16
Karol Sienkiewicz, “Slavs and Tatars’ “Too Much Tłumacz, ” review, Art Agenda, October 16
Jon Leon, “Political He Says, ” Spike, no 33, Autumn 2012
Shelby Brody, “Art in Translation, ” The Columbia Daily Spectator
Mason Curry, “Skyping with Slavs and Tatars, “Print, October
Igor Gulin, “Представители трещины,” Kommersant, Aug 31
Slavs and Tatars, “When Satire Conquered Iran, ” New York Review of Books, Sept 18
Oleg Sulkin, “Slavs and Tatars захватили Музей современного искусства, ” Голос Америки, August 19
Tereza Stejskalová, “Možnosti kulturního překladu, “A2, July 4
Mara Goldwyn, “It’s a Trip,” Sleek, 34
Slavs and Tatars, “Q&A, “Frieze, May
Jerry Saltz, “Big Government Conservatives, ” New York Magazine, February 24
Ken Johnson, “Gauging the Power of the Print, “The New York Times, February 16
Marta Jazowska, “Slavs and Tatars’ Not Moscow Not Mecca, ” culture.pl
Alex Moshakis, “Interview with Slavs and Tatars,” It’s Nice That, issue 8.
HG Masters, “Five Plus One, ” Asia Art Pacific, Almanac 2011
Magadalen Chua, “Interactions between Representations of History, ” Dailyserving.com, January 26.
2011
Christopher Lord, “A Daring Eastern Publication, “The National, Dec 21
Adnan Yıldız, “Artist of the Week: Slavs and Tatars, ” Manifesta Journal blog, Dec 12
Karolina Majewska, “Slavs and Tatars w Gdańsku,” obieg.pl, October 16
JJ Charlesworth, “I decided not to save the world” review, TimeOut, Nov 17
HG Masters, “Slavs and Tatars: Collective Eclecticism,” Asia Art Pacific, issue 75
Behrang Samsami, “Simplicissimus auf Aserbaidschanisch,” Zenith, September 16
Don J. Cohen, “Molla Nasreddin review, ” Asia Art Pacific, issue 75
Alexander Provan, “Molla Nasreddin review, ” Bidoun, issue 25
Isabella Ella Hughes, “Snail Fever: review,” Asia Art Pacific
Carson Chan, “The Last of the Eurasianists, ” Kaleidoscope, issue 11
David Shariatmadari, “Molla Nasreddin review,” The Guardian, June 24
Peter Gordon, “Molla Nasreddin redux,” Asian Review of Books
Nigar Hacizade, “Müslüman, laik, demokrat devrimciler,” Radikal, May 30
Elizabeth Minkel, “The magazine that almost changed the world, “The New Yorker, May 26
Isabella Ella Hughes, “Sharjah Biennale 10 review,” Asia Art Pacific, issue 73
Daniel Morgenthaler, “Der “Nebelspalter” der muslimischen Welt, ” Basler Zeitung, April 13
Taraneh Hemami, “Tracing the Plot,”SF MoMA blog
Maxine Kopsa, “It was bibliophilia at first sight, ” Metropolis M, March
Adam Budak, “Future Greats, ” Art Review, March
Nicholas Cullinan, “Group Think, ” Artforum, February
Dietrich Heißenbüttel, “Von Slawen und Tataren,” Süddeutsche Zeitung, February 16
2010
Slavs and Tatars, “Molla Nasreddin: The Magazine That Would’ve, Could’ve, Should’ve,
artfagcity.com, September
Federica Bueti, “All Alone, Together” artslant.com, September
Daniel Miller, “Postcard from Tbilisi, ” Frieze.com, September
Federica Bueti, “Interview with Slavs and Tatars, ” artslant.com, August
Ewa Opałka, “Przewodniki po nie-miejscu. “Przeszłość jest obcym krajem, ” Obieg, June
Paulina Jakubowska, “Geografia umysłu,” COwToruniu.pl, January 26
Slavs and Tatars, “Go East, Young Man!”032c, issue 19
Slavs and Tatars, “Who is the enemy?” Kaleidoscope, issue 5
Slavs and Tatars, “Польские Татары (Polskie Tatari),” Black Square, issue 9
“Short takes: Kidnapping Mountains, ” Bidoun, issue 20
Visionaire No. 57: 2010
2009
Slavs and Tatars, “What is Urgent,” Metropolis M, issue 6
Andrzej Rejnson “Wolska architektura w rekach artystow, ” Polska, November 18
Slavs and Tatars, “Poland 1989: In Praise of the Normal, Methodical and Slow,” 032c, issue 18
Slavs and Tatars, “Tehran 1979: Paper, Participation, Politics,” 032c, issue 17
Isabelle De Baets, “Strak, Minder Strak, No-Nonsense, “
Jasmine De Bruycker, “Kidnapping Mountains”, Klara.be, May 13
Agata Araszkiewicz, “Slavs and Tatars”, flaneriaa, May 18
Shaun Walker, “The Expatriate,” Fantastic Man, issue 9
Negar Azimi, “I Often Dream of Slavs, ” Bidoun, issue 16
2008
Payam Sharifi, “Flattened History,” Metropolis M, No. 5
Anna Dyulgerova, “Novi Moskvich,” Harper’s Bazaar, September
Ingrid Chu, “Rebuilding the Pantheon,” Filip, issue 8
Slavs and Tatars, “Mohammed Mossadeq,” LamMagazine.com, May
Alison Cool, “Wall to Wall,” Style.com, April 8
2007
Slavs and Tatars, “Drafting Defeat,” Cities from Zero, Ed. Shumon Basar, AA Publications
Holland Cotter, “Art between Covers,” New York Times, September 29
Suzy Menkes, “Paris’ Colette,” International Herald Tribune, March 26
2006
Featured in “The Conditions of Graphic Design, ” IDEA No. 316
Featured in “The Creators Network, ” +81, vol. 33
Slavs and Tatars, “Slavs”, 032c, issue 11
Payam Sharifi, “Veiled Beauty,” Another Magazine, issue 10
Recent Press/Periodicals:
2020
Hélène Jourdan-Gassin, ‘Deux expositions à la Villa Arson, «Moving Things» et «Régions d’Être»’, Blog Lola Gassin, November 2.
Ingrid Luquet-Gad, ‘Les recherches fermentées du collectif Slavs and Tatars à la Villa Arson’, Les Inrockuptibles, November 2.
Alexandra Wach, ‘Brauchen wir noch mehr Empörung?’, monopol, October 30.
Sabine Oelze, ‘Zwischen Agitpop und Dada, Deutschlandfunk Kultur’, October 28.
Iva Glisic, ‘Central and Eastern European Art: 30 Years After the Fall’, Art Margins, October 25. n/a, ‘Régions d’être / Slavs and Tatars, Love Spots’, October 19.
Ingrid Luquet-Gad, ‘Les 5 expos à ne pas manquer en octobre’, Les Inrockuptibles, October 10. Slavs and Tatars, ‘Das dritte Glas: Auf die Liebe!’, der Freitag, September.
Silke Hohmann, ‘”Wir sind Partisanen des Salzes”‘, monpol, September 11.
n/a, ‘Die Kunst ist Zurück’, der Tagesspiele, September 5.
Daria Gorshkova, ‘Выставки, биеннале, ярмарки и другие культурные события осени — в Москве и Санкт-Петербурге’, Vogue Russia, September 2.
n/a, ‘Art Collective Slavs & Tatars Are Opening a Pickle Bar’, monopol, September.
Wiktoria Kozioł, ‘The visual imaginaria of change’, ERSTE Stiftung, August 6.
Gabriela Matuszyk, ‘A matter of (sour) taste’, July 30.
Slavs and Tatars, ‘Pickling Binaries: Slavs and Tatars on Fermentation’, July 24.
n/a, ‘Le Centre Pompidou-Metz célèbre ses dix ans avec deux expositions phares’, L’Orient le Jour, July 22.
Ennis Cehic, ‘Absurdism in an Age of Uncertainty’, Matters, issue 4, July 9.
Aleksander Hudzik, ‘Jak zmienić ogórka w dzieło sztuki?’ Newsweek, July 5.
Piotr Sarzyński, ‘Ż-art’, Polityka, July 1.
Łucja Iwanczewska, ‘Fermentacja. Slavs and Tatars i performatywna propozycja dla polskiej kulturowej komparatystyki’, Porównania 1 (26).
Stach Szabłowski, ‘Żarty się skończyły czyli niech żyje satyra najważniejsza ze sztuk’, Przekrój. Joanna Ruszczyk, ‘Wystawa nie do śmiechu’, Newsweek, June 28.
Emilia Dłuzewska, ‘Kto się śmieje ostatni?’, Gazeta Wyborcza, June 28.
Emily McDermott, ‘Satire Has a Very Democratic Spirit’: Art Collective Slavs and Tatars on Curating Their First Biennial With the Help of Standup Comedians’, Artnet, June 5.
Josseline Black-Barnett, ‘The Opening Response: Slavs and Tatars’, Umbigo, April 9.
Lynn Kühl, ‘Wild Wild East Slavs and Tatars denken Aufklärung um’, gallerytalk.net, May 29. Siddhartha Mitta, ‘Five Artists to Follow on Instagram Now’, New York Times, May 19.
Hannah Jacobi, ‘Factory Rules’, Canvas (Argo Factory), April.
Qalandar Memon, ‘Lahore Biennial 02: Past Reminders, Possible Futures’, Ocula, February 28 Michał Grzegorzek, ‘Wokół barów (i w środku nich)’, SZUM, February 21.
n/a, ‘The Best and Worst of Art in Central Europe in 2019’, Blok, January 20.
2019
Mohammad Salemy, ‘Did the Power of Curators Wane in the 2010s?’, frieze, December 19. Анзор Канкулов, ‘В ожидании 2020-х: Анзор Канкулов — о том, чем запомнится год
Венецианской биеннале’, Buro 24/7, December 17.
n/a, Slavs and Tatars, die dame, Winter 2019.
Polina Lasenko, ‘Pickle Politics: Review’, CMA Journal, November 22.
Sophia Koshkovsky, ‘Russia, Germany and France join forces for ‘incomparable’ travelling show of contemporary European art’, The Art Newspaper, November 22.
Billie Muraben, ‘What Happens to Counter-Culture When Everything Is Swallowed Up By
#Content?’, Elephant, November 22.
Ivana Rumanovà, ‘#11 sprevàdzajù diela Slavs and Tatars’, Kapitàl, No. 11 (3), November. Tomáš Hučko (ed.), Postsocializmus, Kapitál, November.
Louise Benson, ‘Pop Culture and Pickles: Inside the Berlin Studio of Slavs and Tatars’, Elephant, October 25.
Hajo Schiff, ‘Fliegender Teppich über Grenzen’, Taz, September 14.
Emily McDermott, ’33rd Ljubljana Biennial of Graphic Arts and The Powerful Language of Satire’, Frieze, September 6.
Osman Can Yerebakan, ‘The Art of Satire: Slavs and Tatars Interviewed’, Bomb, September 6. Jamie Sutcliffe, ‘Exhibitions: Ljubljana Biennal of Graphic Arts: Crack Up – Crack Down’, Art Monthly, September 1.
Anna Tolstova, ‘Биеннале для политически грамотных’, Kommersant, August 23.
Christopher Knowles, ‘https://frieze.com/article/frieze-futurist-cookbook’, Frieze, August 22. Vladimir Vidmar, ‘Tell A Joke And Shame The Devil: 33rd Ljubljana Biennial Of Graphic Art’, Biennial Foundation, July 29.
Tom Jeffreys, ‘The 33rd Ljubljana Biennial of Graphic Arts’, Art Agenda, July 19.
Carlos Kong, ‘Crack Up – Crack Down, 33rd Ljubljana Biennial’, Flash Art, July 15.
Meg Miller, ‘Is Satire Possible in Art and Design Today?’, AIGA Eye on Design, July 15.
Nina Vukelić, ‘Ljubljana Biennial of Graphic Arts’, This is Badland, July 11.
Lara Delmage, ‘Ljubljana Graphic Arts Biennial 2019, Non-conformist since 1955’, Magazine, July 9.
Osman Can Yerebakan, ‘Crack Up – Crack Down: The 33rd Ljubljana Biennial of Graphic Arts’, Brooklyn Rail, July 9.
Laura López Paniagua, ‘Slavs and Tatars: Conversation à propos the Collective’s Work at the Venice Biennale 2019, May You Live in Interesting Times’, Brumaria, July 9.
Maija Rudovska, ‘Prickly Guests’, Arterritory, July 8.
Do zobaczenia, ‘„Początek i Koniec” w Gdańskiej Galerii Miejskiej’, Magazine Szum, July 3. Bose Krishnamachari, ‘Learnings from Ljubljana’, The Week, June 29.
Richard Unwin, ‘Slavs and Tatars get Satirical in Slovenia’, The Net Gallery, June 28.
Billie Muraben, ‘Is Political Satire a Match for the Times We Live In?’, Elephant, June 27. Chiara Moioli, ‘Laughter That Will Bury You All: “Crack Up – Crack Down,” the 33rd Ljubljana Biennial of Graphic Arts’, Mousse Magazine, June 15.
n/a, ‘Crack Up – Crack Down: 33. Graphik Biennale Ljubljana wird von Slavs & Tatars kuratiert’, Kunstforum International, June 14.
Finn Blythe, ‘Ljubljana Biennale: dissecting the democratic power of satire’, Hero Magazine, June 13.
n/a, ‘Crack Up – Crack Down, the 33rd Ljubljana Biennial of Graphic Arts opens’, Art Daily, June 12.
Peter Rak, ‘Vrnitev grafike in geopolitike s satiričnim predznakom’, Delo, June 8.
Emily McDermott, ‘‘Satire Has a Very Democratic Spirit’: Art Collective Slavs and Tatars on Curating Their First Biennial With the Help of Standup Comedians’, Artnet, June 5.
Helmuts Caune, ‘Reality is outstripping fiction’, Art Territory, June 4.
Mohammad Salemy, ’58th Venice Biennale: May You Live In Interesting Times’, Ocula, May 24. Kate Brown, ‘How One Young German Entrepreneur Is Busting the Myth of the ‘Typical’ Art Collector’, Artnet, April 18.
Ilona Dergach, ‘У нас на вершине всегда книга’, Saliva, April 17.
Susanne Schreiber, ‘Independent Collectors“-Gründer bekommt den Art Cologne-Preis’, Handelsblatt, April 13.
Kate Brown, ‘There’s a Thriving Underground Barter Network Among Artists. Doug Aitken, Dread Scott, and 12 Others Tell Us About Their Most Memorable Trades’, Artnet, April 10.
Behrang Samsami, ‘Wo sich Harvard und Moskau mischen: interview’, Politik und Kultur, April. Marek Wasilewski, ‘Slavs and Tatars l’ironie des signes pour déjouer la xénophobie’, Switch on Paper, March 14.
Nadja Abt, ‘Im Sprachgewimmel Nadja Abt über Slavs and Tatars in der Galerie für zeitgenössische Kunst “Ў”, Minsk’, Texte zur Kunst, March 13.
Felix Ackermann, ‘Belarussisch ist was für die Hipster’, Frankfurter Allgemeine Zeitung, March 13.
Claire Selvin, ‘Ljubljana Biennial of Graphic Arts Reveals Artist List, Curatorial Concept for 2019 Edition’, Art News, March 12.
Ekaterina Ruskevitch, ‘Interview with Slavs and Tatars’, The Village, March 4.
Nick Currie, ‘The New Alphabet — Opening Days’, Art Agenda, January 31.
Sarah Johnson, ‘Slavs and Tatars Kunstverein Hannover’, Artforum, January 15.
Travis Jeppesen, ‘Survival Kit 10.0’, Artforum, January 12.
Wendy Vogel, ‘Cycle Music and Art Festival’, Art In America, January 1.
2018
Rainer Unruh, ‘Hannover Slavs and Tatars Sauer Power’, Kunstforum International, December. Brita Sachs, ‘Met ewige Schnee’, Frankfurter Allemeine, December 14.
‘Pop Culture, Polemics, Science: the Latest Antic by the Artics Collective’, Hate Cants, Fall 2018. Till Briegleb, ‘Die Botschaft der Gurke’, Süddeutsche Zeitung, December 10.
Gregory Beatty, ‘Contested Geographies’, Prairie Dog, December 10.
Dani Schmotritch-Barr, ‘From the Berlin Wall to the Great Wall of China’, Tol, December 4.
Das Neue Alphabet, ‘Haus Der Kulturen der Welt’, November 20.
Bettina Maria Brosowsky, ‘Kultur-liestung Sauermilch’, Taz Nord, November 27.
Radek Krolczyk,, ‘Wir wollen keinen Kanon,’ interview with Slavs and Tatars in Konkret, November.
‘Kunstverein Hannover shows works by the collective “Slavs and Tatars”’, krieszeitung.de, November 23.
Erich Nils, ‘Süße-Gurken-Zeit in Hannover’, Braunschweiger, November 22.
‘Slavs and Tatars Im Kunstverein Hannover’, Kunstforum, November 21.
Liane Wendt, ‘Slavs and Tatars’, Kunstart, November 20.
‘Austellung “Sauer Power”’, Welt-in-Hannover.de, November 20.
‘Slavs and Tatars im Kunstverein Hannover’, Artists Nr. 117, November 18.
‘Slavs and Tatars Sauer Power’, Tanya Bonakdar Gallery, November 17.
Daniel Alexander Schacht, ‘Eurasien, jenseits des Mainstreams’, Meine HAZ, November 16. Kristina Tieke, ‘Slavs and Tatars, Kunstverein Hannover’, Artline, November.
‘Slavs and Tatars’, Kunstverein Hannover, November 16.
Jörg Worat, ‘Hein Braucht Man Gute Spezialkenntnisse’, Cellesche Zeitung, November 16. Andrej Vasilenko, ‘Blick auf Eurasien’, NW IHK Magazine, November.
Laster, Paul, ‘Jameel Arts Centre Spearheads a New Era of Critical-Mindedness for Dubai,’ Galerie Magazine, November 16.
Stefan Gohlisch, ‘Global durch die Hintertür’, Meine NP, November 16.
‘Slavs and Tatars Sauer Power’, hannover.de, November 16.
‘Slavs and Tatars’, Stadt Kind, November 16.
Karen Baumhöver-Wegner, ‘Kunstverein – “Sauer Power” – bis 27.1.2019’, Style Hannover, November 16.
Daniel Alexander Schacht, ‘Kunstverein zeigt „Sauer Power“ der Slavs and Tatars,’ Kunstverein Hannover, November 15.
Dr. Helga Wäß, ‘Kunstverein Hannover Stufen Slavs and Tatars’, drhelgawaess.blogstop.com, November 9.
Gudrun Ratzinger, ‘DISKURSIVE GASTFREUNDSCHAFT: a conversation with Slavs and Tatars’, Kunstforum International, issue 256.
Joachim Kreibohm, ‘Interview mit Christian Kaspar Schwarm’, artist Kunstmagazin, Edition 113. Kevin Jones, ‘Your Words or mine?: The power of conceptual art and visual power’, Canvas Magazine, September/October.
Hannah Orlouski, ‘Slavs and Tatars, Made in Dschermany’, Art Scene, Canvas Magazine, September/October.
Martina Holá, ‘Take that Kant’, Vltava, October 2.
Red Frog, ‘Slavs and Tatars – Red-Black Thread – Lecture at the Walker Art Center, 10/11/2018’ May Day Book Blog, October 12.
Mohammad Salemy, Patrick Schabus, ‘Slavs and Tatars, Made in Dschermany’, Spike #57, Autumn, 2018.
Katrin Bucher-Trantow, Johannes Rauschenberg, Barbara Steiner, ‘Slavs and Tatars, Mystical Protest and Dear 1929, Meet 1989’, Faith Love Hope; Christianity Reflected in Contemporary Art, Autumn 2018.
‘Made in Dschermany’ by Slavs & Tatars at Albertinum – Staatliche Kunstsammlungen Dresden’, Blok Magazine, September 10.
Tang, Clara, ‘Made in Dschermany, Slavs and Tatars’, ArtAsiaPacific.com, September.
Aryn Beitz, ‘Slavs and Tatars: Siah Armajani, Red-Black Thread, and the Art and Act of Reading’, Walker Art, September 24.
Helmuts Caune, ‘Being is not only about thinking’, Arterritory, September 25.
Mattia Solari, ‘Slavs and Tatars, ar/ge Kunst/ Bolzano’, Flash Art, August 23.
Behrang Samsami, ‘Gin, Dischinn!’, Der Freitag, August 25.
Sophie Mayuko Arni, ‘Slavs and Tatars: Pulling a Thread to undo the Sweater’, GAD, August 28. Interview, ‘Conversations: Slavs and Tatars “Kirchgängerbanger” at ar/ge kunst’, Mousse Magazine, July 13.
Suzanne Altmann, ‘Kreuz + Quer Denker’, Art Magazin, issue 07/2018, July.
‘Die Scheidekünstler’, ff, June 26.
Philipp Hindahl, ‘Liegt Sachsen im Orient?’, Monopol, June 20.
Peter Richter, ‘Dschihad und Gin Tonic’, Süddeutsche Zeitung, June 12.
Margit Oberhammer, ‘Kunstwerk Wortschöpfung’, Dolomiten, June 9.
Torsten Klaus, ‘Rock the Cabash’, Dresdener Neueste Nachrichten, June 2.
Halle Messe Köln, ‘Köln tut der Kunst gab’, Frankfurter Allgemeine Zeitung, April 21.
Slavs and Tatars, ‘Reverse Joy’, Diaphanes 4, Spring.
Harald Suerland, ‘Philosophie mit Sauerkrautsaft’, Westfälische Nachrichten, February 2.
Slavs and Tatars, ‘Looking forward: Europe’, frieze.com, January 10.
Ráhel Anna Molnár, ‘Redeeming dynamics. Conversation with Slavs and Tatars’, exindex.com, January 25.
Peter Backof, ‘Expeditions to Terra incognita’, Deutschlandfunk, January 31.
Johann Georg Hamann, ‘Saalbaderein/ Bathhouse Quackeries’, Deutschlandfunk, January 31. Jose Pardal Pina, ‘A survival kit for contemporary art’, Umbigo, 2018.
2017
Unthinkable Platform, ‘Daryti tai, ko nedaro kiti. Pokalbis su „Slavs and Tatars“’, Artnews.lt, December 7 (Lithuanian) .
Johannes Wendland, ‘Aus Freude am Teilen’, Handelsblatt, November 12 (German).
Fanny Magyar, interview, artportal, November 8.
Review ‘Mouth to Mouth’ at CAC, Vilnius, Art Viewer, October 29.
Max L. Feldman review of ‘Threads Left Dangling, veiled in ink’, Artforum, October 24.
Nick Thurston, ‘Doing the splits’, frieze.com, October 15.
Keshav Anand, ‘The Best of Frieze London 2017’, Something Curated, October 10.
Robert Schulte, ‘Ural Biennial 2017: Literacy for the New Age’, Spike Magazine, October 9. Maija Rudowska, review of ‘Slavs and Tatars: Mouth to Mouth’, Selections, October 12.
Jogintė Bučinskaitė, review of ‘Mouth to Mouth’ at CAC, Vilnius, 15, September 27 (Lithuanian). Peter Groth, ‘Ästhetik und Politisches Querdenken’, Weser Kurier, September 22 (German). Naz Cuguoğlu, review of ‘Mouth to Mouth’ at SALT, Istanbul, Asia Art Pacific, 105.
Review, ‘Slavs and Tatars, Exhibit in Iran’, Financial Tribune, July 3.
Gamze Kantarcıoğlu, ‘Everyday Archaeologists’, Based Istanbul, July 1.
‘Slavs and Tatars’ın Ağızdan Ağıza sergisi SALT Galata’da’, Murekkep Haber, 23 June (Turkish).
‘Slavs and Tatars come to SALT Galata’, Daily Sabah, 22 June.
John Clifford Burns, Interview: ‘Relationships’, Kinfolk Vol. 24, June .
Piotr Policht, review of ‘Slavs and Tatars, Usta Usta’, Szum, No16 .
Hili Perlson, ‘Artists React to Poland’s Revisionist Cultural Policies’, artnet.com, April 12. Simon Bridgen, ‘Connection through Difference: A review of Folds of Belonging’, Brisbane Artguide, April 5.
‘How Important is Art as a Form of Protest?’, frieze.com, March 31.
Adriana Bidlaru, ‘Metaphysical splits’, Revista Arta, March 26.
Piotr Kosiewski, ‘Odnalezione w Tłumaczeniu’, Tygodnik Powszechny, February 13 (Polish) Tausif Noor, ‘Slavs and Tatars: Mouth to Mouth’, Art Radar, January 11.
Bogusław Deptuła & Paweł Drabarczyk, ‘Tłumaczenie Światów’, Harper’s Bazaar Polska, January, (Polish).
‘Christian Kaspar Schwarm, Interview mit Christian Kaspar Schwarm’, Junge Sammlungen, November.
Frangiz Agalarova, ‘Slavs and Tatars: Before making an opinion on the Islamic world, people should learn about Azerbaijan – PHOTOS’, Day.Az, December 14.
Angelo Cirimele, ‘Slavs and Tatars’, Magazine 29, December.
‘Slavs and Tatars’, Nivea Zakona Za Moje Oci, Date Unknown.
Kika Kypiakoy, ‘Slavs and Tatars’, artiness.dr, 2017.
Bogna Swiatkowska, ‘USTA-USTA’, NN6T 109, December.
Essays by the artists
‘Das dritte Glas: Auf die Liebe!’, der Freitag, 2020.
‘Reverse Joy’, Arts of the Working Class, #10, 2020.
‘Reverse Joy’, Diaphanes, no. 4, 2018.
‘Postcard from Budapest by Slavs and Tatars’, Spike Magazine, Vol. 54, 2018.
‘Transvestite Transliteration: the case of Uyghur versus Atatürk’, LEAP 38, 2016.
‘The splits of the mind, if not the legs’, The Exhibitionist, No.12 June, 2016.
‘Mystical Substitution’, CURA 21, 2016.
‘Dschihadi Dschermans’, artasiapacific, March/April, 2016.
‘I UTTER OTHER’, Sleek, Autumn, 2015.
‘Alphabet und Imperium’, Frieze d/e, No 22, 2015.
‘Uma Mesquita Na Mercer’, Manipresto 2, 2014.
‘A Mosque On Mercer’, Pin-Up, Issue 12 Fall/Winter 2012/2013.
Whitney Mallet, ‘Friendship Of Nations “Shi’te Showbusiness”’, Kioskpaper, Kiosk Gallery Ghent, 2012.
‘When Satire Conquered Iran’, New York Review of Books, Sept 18, 2012.
‘Friendship of Nations: Polish Shi’ite Showbiz’, Tar, Spring 2011.
‘Molla Nasreddin: The Magazine That Would’ve, Could’ve, Should’ve’, artfcity.com, September, 2010.
‘Go East, Young Man!’ 032c, issue 19, 2010.
‘Who is the enemy?’ Kaleidoscope, issue 5, 2010.
‘Польские Татары’, Black Square, issue 9, 2010.
‘Urgent’, Metropolis M, issue 6, 2009.
‘Poland 1989: In Praise of the Normal, Methodical and Slow’, 032c, issue 18 print, 2009. ‘Poland 1989: In Praise of the Normal, Methodical and Slow’, 032c, issue 18 web, 2009. ‘Tehran 1979: Paper, Participation, Politics’, 032c, issue 17, 2009.
‘Mohammed Mossadeq’, LamMagazine.com, May, 2008.
‘Flattened History’, Metropolis M, No. 5, 2008.
‘Drafting Defeat’, Cities from Zero, Ed. Shumon Basar, AA Publications, 2007.
‘The Slavs’, 032c, issue 11, 2006.
‘Veiled Beauty’, AnOther Magazine, issue 10, 2006.
‘The Conditions of Graphic Design’, IDEA Magazine, issue 316, 2006.
Essays by Artists in Books and Catalogues
‘Condiments’, in Cookbook, Frieze Magazine n.205, September 2019.
‘Red-Black Thread’, in: Siah Armajani: Follow This Line, Victoria Sung and Claire Davies (ed.) Walker Art Centre, 2018.
‘Not Moscow, not Mecca’, in: Revisiting Footnotes. Footprints of the Recent Past in the Post-Socialist Region, Latvian Center for Contemporary Art, 2015.
‘Not Moscow, not Mecca’, in: Winter Poetics & Politics, Academie of Fine Arts/Oslo, Mousse Publishing, issue 038, January 2014.
‘What Has Been Once Is For Eternity’, in: Again a Time Machine: from distribution to archive, London: Book Works, 2012.
‘Friendship of Nations: Polish Shi’ite Showbiz’, Tar Magazine, 2011.
‘Slavs’, Manifesto, Massimo Vignelli, Beatriz Cifuentes (ed.), Lars Müller Publishing, 2010.
