HRISTINA TASHEVA

< FAR AWAY FROM HOME: THE VOICES, THE BODY AND THE PERIPHERY

"All utopias are depressing because they leave no room to chance, to difference, to those who are 'different'. Everything has been ordered; order reigns. Behind every utopia lies a great taxonomic design: a place for everything and every thing in its place."

(Georges Perec, Thoughts of Sorts)

I was born in 1976 in communist Bulgaria (1944-1989) and raised with the belief in the communist ideals: public ownership in a classless society free of capitalist oppression and ruled by the working class, where everyone contributes according to their ability and receives according to their needs; equality and brotherhood among nations; free education and healthcare; common means of production... In 1989 the communist utopian experiment came to its end in Bulgaria, followed until today by poverty, corruption, and unprecedentedly high levels of emigration toward the West.

I have been living in the Netherlands for 20 years now, which is governed by a parliamentary democracy. I walked the path from illegal immigrant to a holder of Dutch nationality and I am still struggling to find my place in society – this is the main subject of my artistic practice.

'Far away from home: the voices, the body and the periphery' is a project inspired by a heated debate that took place some time ago. In public, a Dutch citizen with an academic background asked me: "Are you a communist?"

To understand what it means to be a communist, I have chosen to place the word in its historical contexts in the Netherlands and in Bulgaria.

Before, during, and after WWII the Dutch government had seen a conqueror and a great danger in the face of the communist ideology. The Dutch communists played an important role in the Resistance during the war (when the Netherlands was occupied by Nazi Germany), and many lost their lives in prisons and Nazi concentration camps. They did not, however, receive real recognition for their deeds after the Liberation and were excluded from the ruling government.

In Bulgaria, the communists, with the help of the Red Army, became the main ruling political power after the war, which today is declared criminal and totalitarian. Nevertheless, at present, a big part of the political establishment has ties to the former communist State Security Service, applying the 'old' (originating from the past) methods of governance. This results in a lack of public memory about the existence of forced labour concentration camps in Communist Bulgaria.

When coming back to the question of my relation to communism, I took these two historical contexts into consideration. On the one hand, I researched the participation of the Dutch communists in the Resistance in the occupied Netherlands and their persecution during WWII, and on the other the criminal deeds of the Bulgarian communists aimed at realising the communist utopia in Bulgaria after the war. Being in between these two contexts, I asked myself: "Do the local people see me as a victim (resistance fighter) or a perpetrator? Am I what they think of me?"

To answer these questions, I started an investigation of the historical events by 'walking' in the footsteps of the Dutch and Bulgarian communists. The information for my artistic research is drawn from the collective and individual memory that can be found in both countries: archives, literature, testimonies, academic research, and my own experience and fieldwork.

I took photographs at commemorative sites at former Nazi concentration camps in the Netherlands, Germany, France, Austria, and Poland, where many Dutch communists were murdered. I have also tried to find the locations of former communist concentration camps in Bulgaria (today many of them are only approximately known), which were intended for whoever disagreed with the regime.

Engaging with history and realizing that what is remembered of the past is a construction that reflects on our idea of who we are, I wish to provoke a debate on our shared future in Europe: what does it mean to be seen as a 'communist' today or to define yourself as one? What is the common ground of ideologies like communism and National Socialism and what is their significance for the 'average' citizen of Europe? How do different societies organize their memory culture and are they able to bring it into a critical perspective? How to build my own narrative that is critical, but ethical at the same time, and which creates space for a stimulating dialogue for mutual understanding? How do the interpretation of history and the politics of remembrance influence the forming of our identities and our view on the future?

The book has been nominated for Paris Photo - Aperture Photobooks Awards (Photobook of the year), the Les Rencontres d'Arles 2023 - Photo -Text Book Award and the Encontros da Imagem 2023 - Photobook Award.

Merel Bem, Arno Haijtema en Mark Moorman selected 'Far away from home: the voices, the body and the periphery' as one of the best ten Dutch photobooks of 2023 for the Dutch national newspaper de Volkskrant.

Edition of 300
Size: 210 mm x 297 mm; inserts 180 x 267 mm; label on spine 158 x 100 mm
Spine lined with black Brillianta linen strip up to 15 mm on the front and back
8 page cover
Paper: cover: 290 grams Sirio Color Sabbia; content: 90 grams Biotop; insert: 60 Grams Melo
Pages: 456
Offset printing; Led-UV 1/1 (black)
365 black and white photographs, photo collages, and drawings
Thread sewn binding

Concept, photography and text: Hristina Tasheva
Short story: Concerning the various faces of forgetfulness. My grandfather loved to sing, Lucette ter Borg (writer and art critic)
Photo editing: Hristina Tasheva and Edwin Stolk
Design: Collective Works, The Hague
Translation Dutch-English: Edwin Stolk; Sanne de Vries (Poem by M. van der Lubbe); Max Blokker (Short story by Lucette ter Borg)
Translation Bulgarian-English: Hristina Tasheva
Proofreading/Edit: Sanne de Vries
Printing: NPN Drukkers, Breda
Binding: Boekbinderij Patist, Zaltbommel

Self-published
Language: English

A flower is placed between the pages of each book, gathered during my visits to Dachau and Mauthausen concentration camp memorials.

Special thanks to: Edwin Stolk, Tasho Tashev, Petranka Ivanova and Stojanka Ruseva; Federal Court of Justice (Leipzig); Jan Malecha and Karoline Turner (Buchenwald and Mittelbau-Dora Memorials Foundation), Mihail Marinov (Belene Island Foundation), Plamka Boshnyakova and Dimitar Stoimenov (Archives State Agency); Nikolai Kiryakov and Anton Tonev (Coals-Pernik Ltd., mine Bela Voda), Madlena Rusanova (Byala Reka); Velina Stoykova; Annette Lubbers, Frans Lavell and Clara Rosa Nooter; Martine Stig, Frank van der Stok, Lucette Ter Borg, Astrid Dekkers, Natasha Christia and Carine Dolek.

© Hristina Tasheva 2023

This publication has been made possible thanks to a financial contribution from the Mondriaan Fund, Jaap Harten Fund and Elisabeth Vermaat Müller Fund managed by the Prince Bernhard Cultuurfonds (The Prince Bernhard Cultuurfonds administrates more than 450 Culture Funds by Name).

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*THE BOOK IS AVAILABLE*

Price: € 69,95 (excl. shipping)

Shipping with track&trace and registered mail:
The Netherlands - € 9,25
EU - from € 12 to € 16
The rest of the world - from € 27 to € 33

Payment is possible via PayPal (htasheva@gmail.com) or a bank account (within the Netherlands - also via iDEAL).

To order, please contact at htasheva@gmail.com

Far away from home: the voices, the body and the periphery at Paris Photo - Aperture Photobook Awards Exhibition, Grand Palais Ephémère, Paris, France
Far away from home: the voices, the body and the periphery at Paris Photo - Aperture Photobook Awards Room, delpire & co, Paris, France
Far away from home: the voices, the body and the periphery selected by Merel Bem, Arno Haijtema en Mark Moormanas as one of the best ten Dutch photo books of the year for the Dutch national newspaper de Volkskrant

"Heroes and executioners

Hristina Tasheva (47) addresses a charged subject in Far Away From Home - The Voices, the Body and the Periphery. The artist of Bulgarian descent investigates the fate of Dutch communists in the Second World War and the role of communism in the brutal repression of political opponents in her homeland.

In the Netherlands, communists such as 'the girl with the red hair' Hannie Schaft and alleged Reichstag arsonist Marinus van der Lubbe are among the anti-fascist resistance heroes. The Bulgarian communists, on the other hand, held power in the dictatorship from 1944 to 1989 and were responsible for mass murders and systematic torture in concentration camps. Talking about the oppression of political opponents in the Bulgarian dictatorship is still difficult, a taboo that Tasheva courageously denounces.

With archive images and her black-and-white photos, quotes from files and court reports, with poems and maps of camps and suspected mass graves, Tasheva exposes the traces of Nazism and Bulgarian communism: testimonies in concrete, overgrown ruins, in cemeteries and lonely places in the forest. In this way, she sheds light on dark histories. This shows that an ideology can give birth to both - resistance heroes and executioners. A painful, conscientious book, with the poetic highlight being a (real) dried flower - a symbol of vulnerability - that Tasheva picked at one of the 'guilty' places she visited."

Arno Haijtema, Volkskrant (08/12/2023)

Article on Far away from home: the voices, the body and the periphery: De Holanda a Bulgaria, imágenes de los dos extremos del comunismo, written by Gloria Crespo MacLennan was published in Babelia - El País
"“Cómo trascender el mal sin ser tomado como la encarnación del bien”, se pregunta la autora en la segunda parte del libro, donde introduce una serie de collages realizados haciendo uso del que para muchos es considerado el mejor libro de dibujos de anatomía, Atlas de Topografía y Anatomía Humana Aplicada. Realizado por el decano de la facultad de Medicina y rector de la Universidad de Viena, Eduard Pernkopf, durante el Tercer Reich, con los cuerpos de los prisioneros ejecutados en los campos de concentración, su reedición fue prohibida en 1994. Los collages a su vez incorporan los autorretratos de la autora. Retratos para los cuales Tasheva cubrirá su cabeza con barro con el fin de conseguir el efecto de una escultura, cercana a las máscaras mortuorias realizadas por prisioneros que trabajaban en las morgues, con el fin de preservar la memoria de sus compañeros. Un planteamiento que al tiempo evoca el efecto del vaciado; de lo olvidado o manipulado.
La portada del libro está ilustrada con uno de estos collages y sirve como metáfora de las dos caras opuestas que pueden convivir en una misma personalidad. De igual forma, el archivo familiar de la autora compone la última parte del fotolibro. “Quise averiguar si mis familiares habían sido víctimas o perpetradores, o simplemente lo que llamamos gente normal”, explica la autora durante una conversación telefónica. “Una definición que siempre me ha resultado sumamente interesante, ya que me interesa mucho la ambigüedad que encierra la naturaleza humana. Cómo la misma persona, en distintas circunstancias, puede ser la víctima o la perpetradora. Resulta fácil juzgar e identificarse con el bien cuando se está en una posición de confort. La línea de separa la maldad del bien, a veces, puede ser muy delgada”.
Far Away From Home: The Voices, the Body and the Periphery, es un intento de entender nuestra propia historia a través de la historia de los otros. Un libro sobre la memoria que deja varias preguntas abiertas: “¿Cuál es la base común de ideologías como el comunismo y el nacionalsocialismo y cuál era su significado para el ciudadano medio en Europa? ¿Cómo organizan las distintas sociedades su cultura de la memoria, son capaces de aportar una perspectiva crítica?”, pregunta la autora.
Una cita de Primo Levi recuerda que: “Quizás no se pueda comprender lo que sucedió, o no se deba comprender, porque comprender es casi justificar. [Pero] si comprender es imposible, conocer es necesario, porque lo sucedido puede volver a suceder, las conciencias pueden ser seducidas y obnubiladas de nuevo: las nuestras también”."

Far away from home: the voices, the body and the periphery will be presented at FOTODOK BOOK TALKS #37 at Tivoli Utrecht & Online

The FOTODOK Book Club is the platform for the stories behind photo books. In this live talk show, photographer and photo book lovers Rob Hornstra and Giya Makondo-Wills interview the story makers – photographers, designers and publishers. They share special stories about a variety of subjects with the audience.