{"id":174,"date":"2025-10-03T13:13:23","date_gmt":"2025-10-03T11:13:23","guid":{"rendered":"https:\/\/labirynt.com\/voicesfromukraine\/?p=174"},"modified":"2025-10-15T13:33:56","modified_gmt":"2025-10-15T11:33:56","slug":"dasha-chechushkova-2","status":"publish","type":"post","link":"https:\/\/labirynt.com\/voicesfromukraine\/en\/dasha-chechushkova-2\/","title":{"rendered":"Dasha Chechushkova"},"content":{"rendered":"\n

Dasha Chechushkova<\/strong><\/h2>\n\n\n\n

\u2018Mara\u2019, from \u2018The Fire Book\u2019 series, 2022, textile, 600 x 150 cm. \u2018Sweet Dreams Foundation\u2019 residency, Nida Art Colony, Lithuania<\/strong><\/p>\n\n\n\n

Dasha works with a range of approaches and media\u2014installation, objects, performance, painting, drawing, photography, video, embroidery and poetry. Her practice centres on the exploration of memory, engaging with recollections, monuments, states of liminality and practices of honouring tradition. Although she employs many different media, the diary-notebook remains the main and central element around which Dasha\u2019s projects unfold. The practice of diary-keeping, existing on the border between art and everyday life, is something possible in almost any situation.<\/p>\n\n\n\n

The work \u2018Mara\u2019 was created in the fourth month of the full-scale russian invasion of Ukraine, at Nida Art Colony in Lithuania, during a residency organised by the Sweet Dreams Foundation (curated by Lesya Kulchytska). It forms part of the \u2018Eco-Renaissance\u2019 cycle of projects that Dasha has been working on since 2020. These projects are arranged into thematic series\u2014’The Air Book\u2019, \u2018The Earth Book\u2019 and \u2018The Water Book\u2019. \u2018Mara\u2019 belongs to \u2018The Fire Book\u2019\u2014the first project to emerge since the start of the full-scale war. \u2018The Book\u2019 comprises a series of white textile works, along with a performance and video essays. White plays a central role in this work. Dasha interprets both the fabric itself and the colour in metaphorical terms. The textiles refer to the image of the body and corporeality, while the stitch signifies the interweaving of experiences. White is the colour of shock and erasure, of grief and trauma. At the same time, it is the colour of the missing, the unnamed, the unmanifested and the unidentified, of those of whom nothing is said, the colour of victims. \u2018Mara\u2019 carries multiple layers of meaning. This monumental dress, which also alludes to the image of death, symbolises the nocturnal terror that gives rise to sleep paralysis. It appears in moments of rest and tranquillity, reminding of\/ warning against the growing threat and misfortune. The work, created in Nida, Lithuania, also draws on the image of a giantess\u2013saviour from a local legend. In 2022, \u2018Mara\u2019 was presented to international audiences as both a reminder and a warning. Dasha states that since then, its central message has remained unchanged.<\/p>\n\n\n\n

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Dasha Chechushkova, \u2018Mara\u2019, from \u2018The Fire Book\u2019 series, 2022, textile, 600 x 150 cm. \u2018Sweet Dreams Foundation\u2019 residency, Nida Art Colony, Lithuania, photo by Wojciech Radzki<\/figcaption><\/figure>\n\n\n\n
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Dasha Chechushkova, \u2018Mara\u2019, from \u2018The Fire Book\u2019 series, 2022, textile, 600 x 150 cm. \u2018Sweet Dreams Foundation\u2019 residency, Nida Art Colony, Lithuania, photo by Wojciech Radzki<\/figcaption><\/figure>\n\n\n\n
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Dasha Chechushkova, \u2018Mara\u2019, from \u2018The Fire Book\u2019 series, 2022, textile, 600 x 150 cm. \u2018Sweet Dreams Foundation\u2019 residency, Nida Art Colony, Lithuania, photo by Natalia Wierzbicka<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Dasha Chechushkova \u2018Mara\u2019, from \u2018The Fire Book\u2019 series, 2022, textile, 600 x 150 cm. \u2018Sweet Dreams Foundation\u2019 residency, Nida Art Colony, Lithuania Dasha works with a range of approaches and media\u2014installation, objects, performance, painting, drawing, photography, video, embroidery and poetry. Her practice centres on the exploration of memory, engaging with recollections, monuments, states of liminality […]<\/p>\n","protected":false},"author":2,"featured_media":384,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art"],"_links":{"self":[{"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/posts\/174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/comments?post=174"}],"version-history":[{"count":2,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/posts\/174\/revisions"}],"predecessor-version":[{"id":387,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/posts\/174\/revisions\/387"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/media\/384"}],"wp:attachment":[{"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/media?parent=174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/categories?post=174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/labirynt.com\/voicesfromukraine\/wp-json\/wp\/v2\/tags?post=174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}