Elina Kulikova and Dima Efremov present the second part of the trilogy dedicated to the war in Ukraine. In the first part, Champ Brûlé, they explored the theme of the imperialist complex and Russian classical music, addressing systemic political violence through their personal stories.

The second part, Un Endroit Perdu, is dedicated to the nature of memory and catastrophe. The artists raise the central question of war time: what drives a person to commit war crimes and to kill? Through poetry, auto-fiction, and documentary writing, Elina, alone on stage, recreates Russian folk songs. The folk lament (an ancient singing tradition once performed by mourners in Russia) is one of the most transgressive types of musical performance in the traditional culture. Historically, it accompanies the tragic moments in a woman's life.

Through her body, Elina traverses centuries of Russian history to get closer to answering the question: how has the unimaginable violence perpetuated by her country today become possible?

“It’s a performance in which I speak to death for the first time in my life (but who do we speak to every day if not to her?). Descriptions of war crimes, folk laments, Latin American novels, and ruins are just a part of this universe. If the first part of our theatrical trilogy addressed the reasons why the war in Ukraine started, this piece explores the reasons why it has lasted for nearly 1,000 days. From patriarchal Russian classical music, we move on to something even more brutal: folklore. In this text, I do not appropriate the narrative of the victim; instead, I give a voice to the killer, to those responsible for this war and others, who impose them. Responsible, like me,” - Elina Kulikova.