Everyone who remembers the „carnival of Solidarity,” like me, is deeply impressed by the events in Belarus, which are so reminiscent of Polish events of 1980–81. It is a time “out of time,” an incredibly acceleration of action, deeply involving and emotional, when the scale and momentum of events touch every one of us individually and as a collective, showing (rarely in life in such a broad, tall way, as if in an explosion) the full opportunity and antiopportunity of human self-fulfillment. Dreams thickly mix with reality.

In this specific Belarusian “walk through zero,” I am impressed by the composure, intelligence, and consistency of people—and by the role of women. Perhaps the Belarusians owe to the still powerful background of their traditional culture, which has always emphasized the passage between phases (in their rituals). But also something else. 

In terms of musical substance, the phaseness does not play an important role in my work, which is rather a sort of impression and commentary, made up of fragments of sketches which I noted live during the last month.

Remigiusz Hanaj-Mazur