Maria, you said soon you’ll be organizing a public talk dedicated to the problems of creativity in emigration. Why is this topic relevant?

The time has come to address this issue. My coworkers and I audited all of Kultlab’s projects at the end of the year, and we noticed a trend: many of the people we worked with acknowledged that our collaboration helped them get over their creative block. People don’t just make such remarks out of politeness. Being unable to create is practically a liminal state for those whose livelihood depends on creativity, as I’ve learned from personal experience.

And last year we had to own up to the fact that we couldn’t produce under the current circumstances without fully grasping the dilemma that artists face when they relocate to a new nation. Forced migrants make up the bulk of our project participants, and they all share common struggles no matter where they came from.

As an example, how about this? Everyone is familiar with the adaptation problems, aren’t we?

Don’t get me wrong: I am not trying to imply that creative people are different. The stress and loss of social capital that come with relocating to a new place are universal realities. I would like to bring attention to the fact that creativity is a complex, nonlinear process involving multiple components, and that psychology and the social realm are more interdependent than one might think.

Typically, we picture the artist as someone who lives alone.  On the other hand, there’s an aspect of creativity that allows one to reveal their innermost thoughts and feelings to the world.  Thus, art and creativity, which are its driving forces, cannot exist in the absence of an audience.  While it’s true that migrants face challenges such as language barriers, unfamiliar environments, and social isolation, professional creators also face two vital things: a way to communicate with their audience and a network of other professionals.  Indeed, being creative necessitates an ongoing flow of ideas and feelings, a metaphorical letting go of one’s identity.  No limits whatsoever are placed on creativity

What happens if there are insufficient funds?

This is frequently the case.  I used to host a forum-competition for young performers on a regular basis before we moved, so I’m quite familiar with this.  Nonstop auditions were held, and I received applications from all over Russia. The juries that were chosen were highly professional.  We held master classes and distributed prizes.  However, increasing creative people’s access to opportunities, particularly financial ones, was the primary objective.  For instance, it was necessary for the band to record in studios.  Then it became imperative to work with Universal Music in order to provide someone with the chance to record an album annually.  I formed partnerships with music companies that supplied the necessary gear.  That is to say, the essence of my production work was bridging the gap between artists and opportunities.  Given the present situation, this will not suffice.  Emigrants who have suffered greatly also require a psychological “resource” to help them cope with their loss. Being part of a community is crucial.

Has this realization emerged from your contemplation, encounters, and dialogue?

As far as I’m concerned, the “Music Saves the World” festival and my “apartment buildings” have grown into significant gathering places for aspiring musicians.  First, many people in our local survey mentioned that the performances helped them feel heard and took their minds off of future concerns and missing loved ones.  Secondly, they were instrumental in bringing together individuals with creative traits.  The band United by Sadness, for instance, got its start at a house gathering.  So they had a chance to shine on the festival’s main stage, which boosted the audience’s growth.  Another band member, Daniel Knyazev (Penelope Gerda), was able to get a “talent visa” after some time; all I did was help him with an invitation letter.  Having status is extremely important for someone whose identity is built around creativity, even though it’s not a big step.

According to what you said, the moment had come to address the issues surrounding creativity in emigration in public.  Do you think people are paying too little attention to the subject?

Politics, alas, is now par for the course.  In the context of festivals and exhibitions, for instance, it’s easy to see how this might drive a wedge between communities or even cause people to lose their creative identities as they conform to a faceless political agenda.  At the moment, CultLab is trying to develop a new discourse by shifting its perspective on the problem.  Our organization of the London premiere of Anatoly Bely’s play “I am Here” was a major milestone in this process.  The play explores the theme of self-awareness in a modern world and is based on anti-war poetry written by Russian poets.  The shared spectator experience of the theater made it an ideal setting for this kind of discussion. You can’t turn away from something that more than a hundred people have just experienced with you.

Maybe the production of “Cremulator” that you oversaw is another good example?

In a heartbeat! Choice and identity were also intricate topics that this performance explored. An ex-White Guard officer who fled the revolution, caved to Soviet pressure, and became the crematorium’s director is at the center of the story. Actor Igor Titov addressed the audience by asking, “Do you understand those who left?” while the performance was underway. and without delay: “Are you familiar with the people who remained?”

In that instant, the idea crossed my mind that a new, more global culture of communication could be born out of a creative understanding of the emigration experience. Loss of a home, the subsequent search for a new one, and the subsequent feelings of longing are universal themes in this tale of coming of age. Evidently, the chance to creatively express such an experience touches on the most fundamental, if you will, parts of being human. We take a very humanistic stance! However, that is precisely what is lacking in modern times.

Could you briefly outline how CultLab intends to assist creative immigrants?

As a first step, we intend to keep offering performers our assistance with a variety of tasks, including but not limited to: recording new compositions, planning performances, selecting concert venues, offering technical and financial support, and facilitating collaborations with local artists. However, the dissemination of knowledge regarding these opportunities should also be a significant vector. Our goal is to give a platform to the artistic expressions of refugees and emigrants by fostering their growth and promotion. When faced with division and strife, the only responses we can muster are empathy and collaborative creation.