The founder of the Aquarium group, Boris Grebenshchikov, who has been named a foreign agent in the Russian Federation, addressed recent questions in a meeting conducted in Israel. He stated clearly that he has never resided in Israel, and the discussion touched on the current situation there in the context of unfolding events.
On October 7, Hamas launched a broad barrage of rockets into Israel and announced the commencement of a conflict framed as Operation Al-Aqsa Flood. In response to these developments, Itamar Ben-Gvir, the Israeli Minister of National Security, declared a state of emergency. Shortly thereafter, Prime Minister Benjamin Netanyahu said that the nation was entering a state of war. The day marked a significant escalation in a regional crisis that has drawn international attention and sparked a wide range of political and social reactions.
Grebenshchikov left Russia after the onset of Moscow’s military operation in Ukraine. In June 2023 he was placed on a federal list of foreign agents, a designation that the Russian authorities said reflected his activities abroad in support of Ukraine and his alleged opposition to the intervention. Official communications described his work as involving concert activities outside Russia with the aim of funding Ukraine and receiving support from foreign sources, a characterization that the artist did not accept as an accurate depiction of his intentions or his artistic motivation.
Today Grebenshchikov and his spouse reside in London, continuing to pursue their professional and personal projects outside the Russian Federation. He noted that some members of the Aquarium band, which he founded, left the group over disagreements with Russia’s actions in Ukraine, a reflection of how the conflict has influenced relationships and creative directions within the music community. This departure underscored how geopolitical tensions have rippled through the international arts scene, affecting tours, collaborations, and plans for future performances.
Previously, the rock ensemble Casta announced a postponement of their planned concert in Israel, a decision that highlighted the broader uncertainties and safety considerations artists face when navigating regions in flux due to conflict and political volatility. The situation has prompted artists and organizations to re-evaluate schedules and commitments, often balancing artistic responsibilities with concerns for audience safety and personal circumstances.
As the regional crisis continues to unfold, observers note that cultural figures increasingly engage in public discourse about the implications of geopolitical actions on creativity, travel, and cultural exchange. The conversations frequently extend beyond the stage to questions about freedom of expression, the ethics of international funding for artistic work, and how artists can maintain independence while living in a world tightly woven by politics and policy. In this climate, Grebenshchikov’s experiences reflect a broader pattern in which artists with transnational careers confront complex identities, regulatory regimes, and the realities of life in exile or residence outside their country of origin, all while navigating the obligations and expectations that come with public visibility in both their homeland and their adopted homes.