Svadebka in 2024 Jerusalem traces Les Noces from 1923 through a parallel historical trajectory: the pilgrimage to Jerusalem from the areas of the Russian Empire since the mid-19th century, bringing with it liturgical traditions by Russian Orthodox clergy and establishing some of the first buildings outside the city's walls, in the area acquired by the Russian Empire from the Ottoman Empire and known since then as the "Russian Compound." Even if some of the buildings in the Russian Compound no longer house the envoys of the Russian Empire today, political power has not abandoned it, but has merely been transformed into other institutional forces: policing, judiciary, educational, and museological.

In the Museum of Russian Presence in Jerusalem, Svadebka, then, relocates Les Noces: bells ring a forgotten lament, the bride Nastasia Timofeyevna sways in a heavily echoing praying hall, her long braid unravels only for her hair to then be retied in two braids. From this moment, the history of Russian-French modernist ballet and the history of the Russian presence in Jerusalem appear as two forms of Russianness outside of Russia, two paths through which traditions - that of the ballet avant-garde, that of folk rituals, and that of the Orthodox-imperialism - were brought from the Russian realm to two centres of pilgrimage: Paris and Jerusalem. From the intersection point of these two axes, we also seek to observe the current political moment, where suffering and indifference, shock and alienation, drive men and women to their lives or deaths, by choice or by force, as a mass of braided and tied hair, as a heap of plucked and scattered hair, in the painfully bleeding territories of Russia, Ukraine, Israel, and Palestine.