These three essays tackle the question of Eurasia from an unexpected corner, Antwerp, the city in northwestern Europe where the German artist Joseph Beuys recorded his famous performance Eurasienstab (Eurasien Staff) in 1968. They take three very different perspectives. 

The first one, still hoping Moscow could become again a global meeting place, goes back to the progressive origins of Russian Eurasianism as initially coined by its founder, Nikolai Trubetzkoy. 

The second one, speaking from Antwerp to Singapore, with Jimmie Durham’s sense of situated thinking as a core reference, aims to think Eurasia in terms of relational capacity.

The third essay takes perspectives within the Ukrainian civil society and an art scene as an ethical reference to question limits in the behaviour of both the Russian and the international art scene.