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One of the artistic projects I hear about in Novosibirsk is the idea of "talking about the weather": politics are not a safe subject for discussion, so coded descriptions about the human universal's favourite subject for a quick chat are used instead.Discussing politics, or reading political meaning into the work of any of the artists playing, is therefore not only problematic - there are nuances to the way Russians approach political thought that are very difficult for a Western mind to latch onto - but also potentially dangerous.

As someone I speak to in Novosibirsk explains: "People were forced to walk hundreds of kilometres from their towns to the railway to take them to the Gulags.They were scattered like dust to the wind, and near the tracks in the forests you can find their bones, just under the leaves." As I leave England, the petty argument about whether or not Jeremy Corbyn ought to sing the national anthem is still dominating the news.The 'victories' of three world wars, two very hot and one cold, has unfortunately given the British a myopic, nostalgic view of the 20th century, distilled now into jingoism, the horrors wiped away by a "Keep Calm & Carry On" tea towel.The locals (if 'local' is appropriate in such a vast country) hardly need much encouragement, with the likes of genial sound artist and composer Stanislav Sharifullin working themselves into the ground as they perform, organise, and lead us in a merry dance around the streets of Novosibirsk.There is a huge weight of history between Germany and the empty spaces of Siberia.

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