It’s like we’re back in Baroque Chiaroscuro. Caravaggio, Rembrandt, van Honthorst, de La Tour. An era where light is rare, like revelation; where the starting point of existence and thinking is darkness, blindness, and the compression of space and time.
Why would a Russian ensemble choose a Belarusian or Ukrainian name if they were representing an authentic Russian culture? Why do they think that a Dagestani dance can represent their culture? Why is cultural appropriation a core of Russian culture at all?
I recently visited Krakow in Poland for a couple of days and had an interesting encounter with one of the Uber drivers. In Krakow, just like in other Polish cities, your driver would most probably be a Ukrainian.
On the 17th of October 2022, a Russian bomb fell on a building in Kyiv downtown, not only taking the lives of innocent people but also ruining a 120-year-old architectural monument.
A few years ago, in 2016, to be precise, I was curating a Ukrainian event at one of the biggest European literary festivals.
When the first Russian missiles hit the airports in Ukraine in the small hours on the 24th of February, we all (and I am talking on behalf of my generation of Ukrainians) shared the same emotion.
Ukraine is a multicultural nation. In this sense, it has never been a monolithic one, and any attempts to accuse it of being nationalistic just make no sense.
In Western Ukraine, we are Greek Catholics, and we are very religious. Every Sunday, every church in Lviv, Ternopil, Ivano-Frankivsk, and Volyn regions is packed with believers for a morning mass.
The Russians are waging war not against Ukraine. And not even against Europe. They are waging war against the reality.
For people to trust you — you have to speak the same language with them. For people to trust you — you have to tell about your emotions, but not to be an “overly emotional interlocutor”, you have to meet the expectations of being a victim.
Half of my life ago, in 2004 to be more precise, I stayed for one year in the USA as an exchange student. It was quite an experience for a 16-year-old Ukrainian girl who grew up on American movies and TV series on the high school teen life. So I actually felt like being in one of those shows.
“So, everything is destroyed there, in Ukraine? Is there anything functioning?” — he asked. Normally, I would respond differently, but, bearing in mind the visual representation of the war on Indian TV, I took a slower and a more determined approach.
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Програми Культурного Хабу реалізуються завдяки потужності та обороноздатності Збройних Сил України, через волю, професійну і фінансову участь наших мемберів та інституційних партнерів з 2022 року: European Cultural Foundation, MitOst e.V., BBK Landesverband Bayern e.V., Київської Бієнале.
Ми також глибоко вдячні всім тим колегам — культурним дипломатам — із ким ще не знайомі особисто, але відчуваємо та цінуємо вплив вашої праці.
The programmes of the Cultural Hub are being implemented thanks to the power and defense capacity of the Armed Forces of Ukraine, through the will, professional and financial participation of our members, as well as institutional partners since 2022: European Cultural Foundation, MitOst e.V., BBK Landesverband Bayern e.V., and Kyiv Biennial.
We’re also deeply grateful to all those colleagues — cultural diplomats — who we don’t know personally so far, but we feel and appreciate the impact of your work.
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