Timing is everything. When I was commissioned to contribute to the Manifesta 10 exhibition catalogue(1) with a text on the political meaning of Russian art, Russian lawmakers had already passed legislation against “homosexual propaganda,” but Crimea had not yet been annexed.
Once the annexation became fact, it was finally clear that it would be impossible to write such a text, as if the Manifesta in Petersburg were just an ordinary exhibition in yet another ordinary country (albeit one with shortcomings).
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