{"componentChunkName":"component---src-templates-author-js","path":"/author/aliide-naylor/","result":{"data":{"allWordpressPost":{"nodes":[{"wordpress_id":117692,"title":"The Politics of Russia’s Return to the Venice Biennale","excerpt":"On a cultural stage, we’re starting to see a shift towards collective, wilful amnesia when it comes to Russia’s discernible crimes","path":"/the-politics-of-russias-return-to-the-venice-biennale-aliide-naylor/","date":"14 April 2026","format":"standard","branch":{"name":"artreview.com"},"author":{"name":"Aliide Naylor","path":"/author/aliide-naylor/"},"category":{"name":"Opinion"},"featured_media":{"source_url":"https://backend.artreview.com/wp-content/uploads/2026/04/18_Russian_Pavilion_OPEN_Marco_Cappelletti.jpg","caption":"Russian Pavilion, Venice. Photo: © Marco Cappelletti","alt_text":"","media_details":{"width":2000,"height":1333,"sizes":{"thumbnail":{"source_url":"https://backend.artreview.com/wp-content/uploads/2026/04/18_Russian_Pavilion_OPEN_Marco_Cappelletti-300x200.jpg","width":300,"height":200},"medium":{"source_url":"https://backend.artreview.com/wp-content/uploads/2026/04/18_Russian_Pavilion_OPEN_Marco_Cappelletti-600x400.jpg","width":600,"height":400},"large":{"source_url":"https://backend.artreview.com/wp-content/uploads/2026/04/18_Russian_Pavilion_OPEN_Marco_Cappelletti-1230x820.jpg","width":1230,"height":820},"wordpress_1536x1536":{"source_url":"https://backend.artreview.com/wp-content/uploads/2026/04/18_Russian_Pavilion_OPEN_Marco_Cappelletti-1536x1024.jpg","width":1536,"height":1024},"wordpress_2048x2048":null}}},"acf":{"article_collaboration":"","article_video":null,"article_audio":null}},{"wordpress_id":54768,"title":"Amidst a Crackdown, Russia’s Anti-War Artists and Activists Try To Reclaim the Streets","excerpt":"Threatened with beatings and 15-year prison sentences, protesters have had to resort to subtler forms of dissent","path":"/amidst-a-crackdown-russia-anti-war-artists-and-activists-try-to-reclaim-the-streets/","date":"10 March 2022","format":"standard","branch":{"name":"artreview.com"},"author":{"name":"Aliide Naylor","path":"/author/aliide-naylor/"},"category":{"name":"Opinion"},"featured_media":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911.jpg","caption":"People gather to stage an anti-war protest in Saint-Petersburg, Russia on March 2, 2022. (Photo by Sergey Mihailicenko/Anadolu Agency via Getty Images)","alt_text":"","media_details":{"width":2460,"height":1640,"sizes":{"thumbnail":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911-300x200.jpg","width":300,"height":200},"medium":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911-600x400.jpg","width":600,"height":400},"large":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911-1230x820.jpg","width":1230,"height":820},"wordpress_1536x1536":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911-1536x1024.jpg","width":1536,"height":1024},"wordpress_2048x2048":{"source_url":"https://backend.artreview.com/wp-content/uploads/2022/03/newGettyImages-1238878911-2048x1365.jpg","width":2048,"height":1365}}}},"acf":{"article_collaboration":"","article_video":null,"article_audio":null}},{"wordpress_id":44237,"title":"‘The Vulva Has Become a Trigger’: Russia’s Trial of Feminist Artist Yulia Tsvetkova","excerpt":"Putin’s Russia barely goes a day without some new punitive measure","path":"/the-vulva-has-become-a-trigger-russia-trial-of-feminist-artist-yulia-tsvetkova/","date":"29 April 2021","format":"standard","branch":{"name":"artreview.com"},"author":{"name":"Aliide Naylor","path":"/author/aliide-naylor/"},"category":{"name":"Opinion"},"featured_media":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1.jpg","caption":"","alt_text":"","media_details":{"width":2460,"height":1200,"sizes":{"thumbnail":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1-300x146.jpg","width":300,"height":146},"medium":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1-600x293.jpg","width":600,"height":293},"large":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1-1230x600.jpg","width":1230,"height":600},"wordpress_1536x1536":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1-1536x749.jpg","width":1536,"height":749},"wordpress_2048x2048":{"source_url":"https://backend.artreview.com/wp-content/uploads/2021/04/newIMG_7113-1-2048x999.jpg","width":2048,"height":999}}}},"acf":{"article_collaboration":"","article_video":null,"article_audio":null}}]}},"pageContext":{"wordpress_id":557,"limit":7,"skip":0,"pageNumber":1,"basePath":"/author/aliide-naylor/","numPages":1,"name":"Aliide Naylor","description":"Aliide Naylor is a journalist focusing on Russia and eastern Europe. She is the author of ‘The Shadow in the East: Vladimir Putin and the New Baltic Front’ (I.B. Tauris, 2020)."}},"staticQueryHashes":["1047144546","1199547381","1199547381","1200741782","1200741782","2238591713","3764592887","4156135988","753543242","753543242","919364628"]}