15/09/2025
From June 1 to July 31, the Ukrainian artist Apl315 stayed at the Muhu Art Residency as a guest artist.
Selected from among approximately 80 applicants, the artist endured the residency’s ascetic living conditions and this year’s exceptionally non-summery weather. The application process —
aimed at selecting one artist-in-residence for the summer of 2025 — offered a painfully direct glimpse into today’s Ukraine and reminded us of the often existential necessity of cultural
cooperation projects.
Apl315 is an artist who has renounced the use of his real name and face in public, living and working in exile after leaving Odesa together with his family. Under the conditions of ongoing
war, the question “why?” becomes either too self-evident to be asked — or too complex to be answered. The interviewer places themself, if only for a moment, in the position of a male artist
from Ukraine. Yet perhaps the very act of asking questions — of maintaining dialogue — is the necessary starting point for reproducing freedom and culture.
Soil as Text:
As an artist with an academic background, Apl315 came to Muhu by conscious choice: drawn to an environment rich in historical layers, and crucially, to a rural space far from crowds and over-cultivated surroundings. His aim was to practice creation grounded in scientific methodology, in order to examine the genotext that shapes the local present.
In Estonian cultural space, the highest form of protection is often granted to the soil — or more precisely, the mud — the ground into which everything eventually sinks: work, objects, art, the human being. Julia Kristeva describes abjection as that which is cast off yet remains indispensable to the formation of identity. Everything placed in, fallen into, or hidden within the soil becomes part of a sacralised stratum — an object of reverence whose unearthing becomes a symbolic act. Through accidental excavations, everything considered valuable or horrific gradually reveals itself to the researcher — everything that has been imbued with heightened pre-signification and which, once brought out and cleaned, forms a kind of genotext of ourselves, as we may be seen in the future, providing the backdrop against which we are associated today. The artist brings factual reality out of darkness and soil into the light — primal texts which, whenpoetically presented as fragmented utterances, begin to generate symbolic order.
In the following interview, the artist gives a brief overview of his work, methods, and conceptual background: Tiiu Rebane (T.R.) Could you briefly introduce yourself to an Estonian audience?
APL315: My nameisApl315, and I am a Ukrainian artist from Odesa. I trained as an entomologist at Odesa State University, and my scientific background informs my approach to observation,
materials, and detail in art. I began my journey in the international graffiti scene, which naturally evolved into post-graffiti and interdisciplinary art. Today, my work combines artistic research
with historical artifacts, media installations, and objects, exploring themes of memory, loss, and historical parallels, particularly in the context of Ukraine and the Balkans. Through my work, I aim to reflect on the intersections of past and present and create dialogues that connect history with contemporary life.
T.R.: How did you discover the Muhu Art Residency, and why did you choose this place for your creative process?
APL315: I came across this open call on social media pages that share opportunities for artists. Recently, open calls specifically for Ukrainian artists have become quite rare, so I decided to
apply.
My research has long focused on Eastern Europe and the Balkans, studying ancient and post-ancient cultures such as Rome, Greece, Illyria, and the Celts, and their interactions up to the Middle Ages. Exploring northern cultural layers is a completely new experience for me. I had never worked with the Baltic region or its artifacts before, which made the prospect of investigating Muhu extremely exciting.
Estonia, and Muhu Island in particular, was not chosen by chance. The island has a unique history connected to ancient tribes like the Osilians, known as fierce defenders during the Viking era, as well as the heritage of Finno-Ugric peoples and the Couronians. Its isolated environment, rich in historical traces, allows me to deeply explore how these layers of the past resonate with the present and integrate this understanding into my work.
T.R.: You come from a scientific background. How did your interest in making art begin, and what inspired you to dedicate yourself fully to artistic practice?
APL315: My artistic methods are largely shaped by my scientific education. Studying entomology taught me to observe systematically, collect and analyze materials — skills that I apply in
working with artifacts, inscriptions, and historical layers in landscapes. I carefully study objects and sites, record details, and document findings to fully understand their context. Since the early 2000s, alongside my interest in collecting insects, I have been involved in graffiti.
These two interests developed simultaneously, shaping my understanding of visual language and public space. Later, after finishing university, at one of the graffiti festivals I met a “person from the contemporary art world”. They suggested I try new ways of working in art — using different materials, media, and forms of expression. This became the starting point for my transition
toward broader and moreexperimental artistic exploration.
Art allows me to go beyond strict scientific procedures and experiment with form, visual interpretation, and storytelling. My work balances research, documentation, and artistic expression: the scientific approach ensures precision and contextual depth, while creativity allows me to convey emotions, history, and the cultural significance of the objects I work with.
T. R.: How would you describe your working methods as an artist—do they reflect or diverge from your scientific training in any way?
APL315: My work is largely based on direct interaction with space and historical context. I choose places where the past can be felt, explore landscapes, collect visual and material evidence, and analyze them on site. You never know in advance what you might discover — this element of surprise keeps me alert and motivates me to continue exploring new territories and cultural layers.
This process is more of an intuitive investigation than strict adherence to scientific methodology.
I look for history in details, layers, and objects that tell stories of the past. In this way, my artistic practice reflects scientific curiosity and attention to facts, while allowing me the freedom to create visual and conceptual interpretations that combine research and art.
T.R.: How do you relate to the contemporary art field? Are you working with gallerists, Ukrainian professional unions, or international art institutions? What kind of professional networks—formal or informal—do you prioritize, value and seek to build?
APL315: Since 2006, I have been working in the contemporary art field, collaborating with galleries, museums, and cultural institutions, while continuing my street interventions, which I
still practice today. I have never joined formal unions and prefer to work independently, collaborating directly with curators and gallerists.
Over time, I have developed a professional network of Ukrainian and international colleagues with whomI regularly interact. However, the main focus of my work remains on my own projects
and research. This independence allows me to maintain a unique approach and flexibility, combining investigative methods with artistic interpretation. At the same time, I value and nurture informal professional connections within the international art community.
T.R.: How would you describe your own position today—or more specifically, your existential relationship with the contemporary moment? More broadly, what is the situation for Ukrainian contemporary artists right now? Does Ukraine need its artists?
APL315: Today, my position as an artist is closely connected to current historical and social processes. My work explores memory, loss, and historical parallels, allowing me to reflect on the present, its challenges, and crises. From an existential perspective, it is important for me to document, preserve, and interpret history — especially in times of war, when cultural and historical objects, as well as collective memory, are under threat.
Ukrainian artists play an important role as cultural ambassadors. We share our country, its history, and its culture with a broad international audience, fostering dialogue and countering
disinformation. This role is especially urgent given that Russian occupiers wage war not only against the citizens of Ukraine but also against its culture: destroying cultural heritage, erasing
national identities, killing tradition-bearers, and imposing the so-called “ Russian culture ” through aggression and repression. This imposed “culture” brings death, destruction, and suffering, and it is precisely against this historical violence that we must preserve and defend our cultural identity.
My practice combines personal experience and collective memory, demonstrating that art can be not only a visual form of expression but also a tool for preserving history and culture, as well as a meansfor international dialogue and resistance in the information war.
T.R.: Ukrainian culture and war—could you share your perspective on the current condition of cultural life in Ukraine? What kind of future do you see for Ukrainian contemporary art and for artists working under these conditions?
APL315: Since ancient times, russia, beginning with the muscovite state and the russian empire, has pursued an aggressive policy against Ukrainian lands and people. Conflicts with the Cossacks
and forced resettlements occurred as early as the 17th–18th centuries. In the 19th– 20th centuries, including the soviet era, there were widespread repressions, systematic suppression of culture and language, and the Holodomors of 1932–1933 claimed millions of lives.
Times of crisis often give rise to significant achievements driven by the need for survival and adaptation. Since the beginning of the russo-Ukrainian war in 2014, numerous successful initiatives have emerged in small and medium-sized businesses in Ukraine. Since 2022, alongside the classical figures of Ukrainian culture, a new generation of artists and cultural practitioners has emerged, creating works of global significance and representing Ukraine on the international stage.
Like previous wars with russia, this war has a genocidal character. russian aggression claims the lives of our best people — those who could have contributed to building a modern, independent, and culturally mature Ukraine. The losses are immense. That is why we must preserve and develop our cultural heritage, support contemporary art, and actively participate in international processes. Only through collective efforts with the international community can we resist aggression and reduce the risk of such tragedies repeating.
Today, Ukrainian cultural figures play a key role as cultural ambassadors both within the country and abroad. We share the story of our country, its culture, and contemporary society, foster
international dialogue, and counter disinformation. Art records real events and preserves memory, in contrast to the falsified history of russian imperialists. Through the language of art, Ukraine strengthens international understanding that the myth of “ brotherly nations ” — imposed by russian occupiers — has led to tragedies passed down from generation to generation.
I believe that contemporary Ukrainian art not only reflects the challenges and tragedies faced by the country but also produces competitive works of global significance, strengthening Ukraine’s
presence on the international cultural scene. Despite enormous difficulties, artists continue to develop, explore new forms, and preserve identity and cultural heritage. Their work, together
with international support, will be a key element in resisting aggression and rebuilding the country.
T.R.: Together with a few like-minded colleagues, you’ve founded an artist residency in Italy. Could you tell us more—how did the idea emerge, who are the people behind it, and what are your shared intentions or goals for this space?
APL315: The idea to establish a residency in Italy emerged naturally from our long-term involvement with BIRUCHIY, Ukraine’s oldest contemporary art residency. Founded in 2006 on
Byriuchyi Island, it served as a platform for experimentation, collective creation, and international exchange. Following the displacement caused by the russian invasion in 2022, BIRUCHIY
transformed into a nomadic project, traveling across Europe and North America, collaborating with artists and institutions worldwide. In 2025, we opened a new chapter in Cortemilia
, northern Italy, establishing a permanent base that allows us to continue BIRUCHIS ’s ethos of experimentation and collaboration. Together with my colleagues, our goal is to provide artists with studios and exhibition spaces to develop and present projects, foster international partnerships, and engage audiences through collective artistic interventions that respond to urgent social and political issues.
T.R.: In your view, what is the function of artist residencies today? Why is your founded residency important to you and your collaborators specifically?
APL315: Today, artist residencies function as dynamic platforms for experimentation, exchange, and collaboration, providing artists with time, space, and resources to develop their practice.
They also foster dialogue, networking, and engagement with diverse audiences, while supporting the mobility and resilience of creative communities, particularly in times of social and political crisis.
For us, the Italian BIRUCHIY residency is especially important because it transforms the experiences and challenges of the nomadic project into a stable platform. It enables our team
and collaborators to continue nurturing international artistic connections, supporting both Ukrainian and global contemporary art, and producing projects that respond to urgent issues
such as forced migration, military violence, and cultural solidarity. The residency embodies our commitment to collective creativity and underscores the transformative potential of collaborative action.
T.R.: Finally, do you have any questions for us—for the residency, for Estonian artists, culture in general, locals, politicians, functioners, animals etc (These can be on any topic you find
relevant.)
APL315: The only thing I would like to add is mysincere gratitude to the people of Estonia, its institutions, and the cultural community for their support of Ukraine during these challenging times. Your solidarity and encouragement are extremely important for Ukrainian artists and greatly strengthen the cultural dialogue between our countries.
Aspecial thanks goes to the team of the Muhu Residency and, of course, Lyumi the Samoyed, who creates the unique atmosphere of the residency.
Apl315. Cortemilia 8/25/2025
Artworks:
Miinikollane # 12,15,11,10,14. Ink on Paper, 38,5x56,5 cm. 2025.
Miinikollane — new series of graphic works, created during the EAA MUHU ART RESIDENCY in Nõmmküla, a small fishing village on Muhu Island, Estonia, in June–July 2025.
The name of the series translates as “mine-yellow” and is connected to the events of 1917. I the Moonsund Strait off the coast of Muhu, fierce battles took place between the russian and
German fleets. As a result, several ships, including mine-laden battleships, were damaged or sunk. Local residents collected metal from the wrecks and processed it into pigment, which was
then used to dye traditional Muhu skirts. This unique shade of yellow — Miinikollane — eventually became a symbol of the island and its historical memory.
A very special thanks to the entire residency team! Tiiu Rebane , Karl-Kristjan Nagel, And to Lumi !
"Apl315 is LOORE Artist-in-Residence at EKL Muhu A.I Kunstitalu. Artist- in-residency is funded by Nordic Culture Point (Additional funding to support Ukrainian Artists, residency funding module of the Nordic-Baltic Mobility Programme for Culture)”
All works created and found in Muhu will remain in Estonia and will be presented again in July 2026 at the LOORE overview exhibition on Ukrainian projects, organized by the ARS Project Space.
Estonian Artists’ Association– www.eaa.ee
MuhuArt Residency– www.ai-res.org
LOORE– www.loore.ee
Nordic Culture Point– www.nkk.org
Interview by: Tiiu Rebane
08.-09.2025
Photo: Stuudio Ag47 / Ferrotüüpia
Https://Ag47.ee
Tiiu Rebane (b. 1970) is the project manager of the Estonian Artists’ Association’s Muhu Art Residency (since 2014); Chair of the Estonian Painters’ Association and a founding member of Kadriorg Gallery. She studied Fine Arts (Painting and Art History & Visual Culture Studies) at the Estonian Academy of Arts
