The Figures of Reticence

Hakemuksen tiivistelmä

Ksenia Yurkova’s project proposal for the Saari Residence (2026) explores artistic persecution and self-censorship, highlighting that suppression is not limited to autocratic regimes but also occurs in democracies through corporate, religious, and institutional pressures. Drawing from Judith Butler, Hannah Arendt, and German sociology, the text discusses “anticipatory obedience,” where individuals censor themselves preemptively, and the “spiral of silence,” where fear of isolation overrides personal judgment. Statistics from Freemuse illustrate rising global violations of artistic freedom, with artists facing imprisonment, exile, and even murder. However, many cases remain undocumented due to risks associated with publicity. Yurkova aims to investigate how artists adapt, developing indirect forms of expression, non-appearance, and visual omission to navigate censorship. The project consists of three parts: interviews with artists in residence and exile, a video essay combining expert discussions and performative elements, and a photographic series co-created with artists to explore visual representations of absence. Ethical considerations prioritize anonymity and safety, allowing participants control over their portrayal.