Art of Maidan [Author, N

Home , Alexander Voytovych, Arts of Ukraine, Art Museums of Ukraine, Bankova Street, Dmytro Kuleba, Dmytro Pavlychko

Kyiv Huss 1 2016 УДК 7:322.2](477)=111“2013/2014” ББК 85(4Укр)+66.3(4Укр) М91

Author, Natalia Moussienko Designer, Marian Luniv Translated into English by Andriy Kulykov from the original edition: Мистецтво Майдану [автор, Наталія Мусієнко] – Київ, 2015. – 96 с.

Art of Maidan [Author, N. Moussienko] – Kyiv : Huss, 2016. – 96 p.

ISBN 978-617-7110-69-8

This book “Art of Maidan” by Natalia Moussienko documents the explosion of artistic creativity in all its diversity during the Revolution of Dignity, 2013-2014, in Kyiv. It also presents the Travelling Exhibit of Maidan Art and its journey through Ukraine and the United States. The publication is for anyone interested in this passionate period in the history of 21st century Ukraine.

Copywrite © Natalia Moussienko, author, 2016 Copywrite © Marian Luniv, designer, 2016

This publication was made possible due to the support of the International Renaissance Foundation

2 to my dear Oksanas Moussienko

3 CONTENTS 06 FOREWORD 08 FOREWORD FOR THE ENGLISH EDITION 10 1. ART AND REVOLUTION: KYIV MAIDAN OF 2013-2014

13 2. MAIDAN, THE ART TERRITORY 14 • Art and Politics 15 • New Year’s Celebrations on Maidan 17 • Installations 20 • Poster art 23 • Photography 26 • Exhibitions “Women of Maidan” and “Images of Maidan” 28 • Sculpture 29 • Painting 35 • Artictic groups 38 • Music 43 • Theater 43 • Cinema 47 • Literature 50 • Performance: Piano, an instrument of freedom 52 • Artistic actions abroad in support of Maidan

54 3. THE TRAVELING SHOW BY UKRAINIAN ARTISTS 56 • Kyiv: The Fulbright Gallery 58 • Washington DC: The Wilson Center and the Ukrainian Embassy in the USA 62 • Vinnytsya: Truthful Testimony 64 • Kamyanets-Podilsky: The Picture Gallery 66 • Cultural Diplomacy Forum: Poster Exhibition 67 • Chernivtsi: Museums and Cultural Diplomacy 69 • Ivano-Frankivsk: The Fortress Gallery 71 • Kalush: Museum and Exhibition Center 72 • Arkansas: The State Universitу 76 4. REVOLUTION OF DIGNITY ART EXHIBIT

81 AFTERWORD 82 • Natalia Moussienko’s publications on the Art of the Maidan 85 • Revolution of Dignity Art Exhibit Catalog 88 • Index of Names 94 • Index of Art Associations, Festivals and Сultural Institutions

4 Dignity includes such fine qualities as decency and responsibility for what is happening in your country. This puts obligations on each person. The Revolution of Dignity has shown the common cause in Ukraine. The Maidan became the embodiment of artistic creation. Artists formed the Maidan that we remember, and documented it for the coming generations. This work is not finished, it lives on, and we all are participants in this process.

Marta Kolomayets, Director, Fulbright Program in Ukraine

The world needs as many truthful stories as possible about Ukraine, its culture, its national heroes, its public leaders. The Kennan Institute takes an active part in devising and implementing projects aimed at developing the sphere of cultural diplomacy in Ukraine.

Kateryna Smagliy, Director, Kyiv Office, Kennan Institute

Time goes by, and events of years past, even so essential and stormy as the Maidan, are fading away little by little, while war, reforms, and changes come to the forefront... In fact, life moves onwards but we don’t have with us those who gave their lives in the winter of 2014 under snipers’ bullets, those who were tortured to death during the Revolution, those who died defending Ukraine’s sovereignty. The Revolution of Dignity has gone far beyond the winter of 2013-14, and every one of us wages a war of their own today, and everyone does this in their own field: against corruption, for the independence of our country, for a worthy life. I am grateful to Natalia Moussienko for her work aimed at preserving the memory: memories come to life as if you are reliving the events, hoping and believing again… Faith is with us.

Tetiana Yaroshenko, Head of Board, "Ukrainian Fulbright Circle", Vice President, National University of "Kyiv-Mohyla Academy"

5 Do not allow for a thought That God (!) will show no love The term of human life is short And for defeat there’s no time Lina Kostenko, “Berestechko” FOREWORD

The Kyiv Maidan of 2013-14 had dashingly written a bright and tragic page of world history. Time and distance will provide a possibility for a more profound analysis and for multifaceted, in particular, artistic reflection. The art creation that spilled out on Independence Square during that winter deserves special study and attention. The powerful, spontaneous creative energy flooded Kyiv’s squares and streets and the Internet space; it changed and formed a new dimension of the society and the country. And the world. On November 26, 2013 when there still was a glimmer of hope for the signing of the Association Agreement between Ukraine and EU at the summit in Vilnius, I presented my study of the art space of Kyiv to the public: “Kyiv Art Space”1, published by the Woodrow Wilson International Center for Schol- ars in Washington, D.C. The event took place at the “Art 14” Gallery next to the Maidan, as part of the project “Artist and the City”, alongside the exhibition of works by artists Glib Vysheslavsky and Marian Luniv. The visitors spoke of art and politics. Or, rather, in this order: about politics and art. Nobody present could imagine what the winter that was in- evitably approaching would mean for Kyiv. In the whirlwind of events that did not leave time for a detailed analysis I understood that I had to take note of everything that was happening. Even then, after the first massive demonstration on November 24, 2013, the bright artistic aspect of the protest became evident, as well as the need to document the revolutionary creativity. I remembered that during the Orange Revolution of 2004, I had a photo camera with film, I had just set up the Internet at home, and I had not even heard then of the newborn Facebook. Now, in the era of digital photography, I had an opportunity to document everything in a detailed manner.

Mariya Pavlenko. Photo from the series “The New Middle Ages”

1 Moussienko N. Kyiv Art Space [Electronic resource] / Natalia Moussienko // Kennan Institute Occasional Paper. — 2013. — №309. — Woodrow Wilson Centre for International Scholars. Washington, D.C.. — 26 p. — Mode of access: http://www.wilsoncenter.org/publication/kyiv-art-space-2013

6 An overwhelming majority of Kyiv artists and activists Chapter IV, “Revolution of Dignity Art Exhibit” again about whom I wrote in the book “Kyiv Art Space” became addresses the English-speaking readers, and is a concise story participants in Maidan. Those who changed the urban space of the Traveling Exhibition, with a conclusion as well. of Kyiv are changing the country now. In fact, this was what I The book’s afterword sums up the work done by the had predicted in my study. I continued my research in Maidan; author and expresses sincere gratitude to those who helped the study of Kyiv’s artistic space which at that moment was this book appear. revolutionary. The study went on in two directions: photo- The scientific and auxilliary part contains the list of graphing artistic manifestations in Maidan and collecting jour- Natalia Moussienko’s publications on the art of Maidan; the nalist pieces, in particular, interviews with artists. Revolution of Dignity Art Exhibit catalog ; the name index and This book, “Art of Maidan”, has the following structure: the art associations’ index. Chapter I, “Art and Revolution: Kyiv Maidan of 2013-14” The book’s photos were taken from Natalia Moussien- presents my reflections, concisely, on interaction of art and ko’s and Marian Luniv`s archives, as well as from the archives politics in Ukraine for English-speaking readers, offered in my of the Fulbright Program and the Kennan Institute. Materials works published in the USA and Switzerland. that were freely accessible on the Internet during the Revolu- Chapter II, “Maidan, the Territory of Art”, contains tion of Dignity are also used. There are some photo works that manifestations of art in Maidan which I collected. Of course, were entered in contests, with the names of their authors. it is difficult to describe and analyze, in one study, the entire The book has also become a result of meeting the in- ocean of the Maidan creativity, and my work is just a drop in terested audiences. On January 31, 2014, I shared the mate- the ocean. The main time frame of Chapter II is November rial I collected on creativity in Maidan with colleagues from 2013-February 2014. However, there are mentions of books, the Modern Art Research Institute of the National Academy films, exhibitions that appeared later, as creative process and of Art of Ukraine. In April, I presented my study at a round the birth of works of art is difficult to put within limits. As table at the Kennan Institute’s Kyiv Office and NATO, and in a scholar and a researcher of urban space who chanced to May, at the Wilson Center in Washington, D.C. and the Ukrai- become a witness to and participant in those stormy events, I nian Institute of Modern Art in Chicago through the initiative tried to describe main trends of this phenomenon, to show it of the Fulbright Program in Ukraine. It was also then, in May as an important component of the sociocultural anthropology 2014, that the idea of a traveling exhibition of the art born of Maidan. by Maidan emerged. Chapter III, “The Traveling Show by Ukrainian Artists”, The art of Maidan covered the road from carnival to describes the exhibition of works dedicated to Maidan, trav- sacral and organically combined in itself elements of avant- eling around Ukraine and the USA, about interpreting them garde, mass culture, and high classicism that is characteristic anew at the time when war with Russia changed accents and of our era of post-modern. It had forever engraved the heart- priorities of life. It also emphasizes the need for the strate- rending memories of the Kyiv winter of 2013-14, which had gic development of cultural diplomacy in Ukraine. The time opened a new era for Ukraine and will long inspire artists to frame of Chapter III is May 2014-September 2015. reflect on it and recreate it in artistic ways.

Natalia Moussienko Kyiv, 2013-15

7 FOREWORD FOR THE ENGLISH EDITION The edition of the English version became possible due to the financial support of the International Renaissance Founda- The “Art of Maidan” book was published in its Ukrai- tion and skillful management of the Kennan Institute Kyiv Office, nian version in 2015, and first was presented abroad: at the with invaluable assistance from the Fulbright-Ukraine Program. Wilson Centre, in Washington, D.C., then in Luxemburg at the The IRF executive director and philosopher, Yevhen Bystrytsky, Europa Nostra meeting in November 2015, and after Luxem- pointed out at the Cultural Diplomacy Second Forum in April burg at the Amsterdam University in March 2016. This once 2016 the importance of both cultural diplomacy vectors: exter- again proved an international interest in Maidan, this pas- nal and internal. Truly, this successful unity of “Art of Maidan” sionate period in the history of 21st century Ukraine and in the has made the project very popular in Ukraine and abroad. explosion of artistic creativity in all its diversity during the The English translation has been completed with more il- 2013-2014 Revolution of Dignity. In the meantime, in Ukraine, lustrations. The Ukrainian version described nine locations of the book had several presentations and was the subject of the the traveling exhibit. Now, however, the show had already been media’s focus. The traveling exhibit of Ukrainian artists this to twelve locations. That is why we added three more posters: book chronicles has continued its journey through Ukraine, the National Museum of the History of Ukraine, the National the United States, and the Netherlands, with plans to go to Library of Ukraine for Children, and the Amsterdam University. Australia, Sweden, and other countries. Ukrainian diplomats I am both proud and happy that it took less than one consider the “Art of Maidan” project as important tool for year for the realization of the English version. I would like to successful cultural diplomacy. The necessity of the English express my sincere thanks to Andriy Kulykov for both propos- presentation became evident. ing and accomplishing the translation into English. My deep The idea to translate the book into English first came thanks to Yevhen Bystrytsky, the International Renaissance to Andriy Kulykov, a famous Ukrainian journalist and transla- Foundation executive director, Kateryna Smagliy, the Ken- tor, after presenting the “Art of Maidan” project at his radio nan Institute Kyiv Office director, and Marta Kolomayets, the program in November 2015. Moreover, he successfully real- Fulbright-Ukraine Program director, for their full and ongoing ized it. The Ukrainian version already had the first and the support of this concept from the very beginning. I would like fourth chapters in English, giving an overview of the whole to acknowledge the great collaboration of James Reston in material for English-speaking readers, and we kept them in preparing the book for publication. Last, but not least — my this edition with some very slight modifications in order to special and sincere thanks to Marian Luniv for his devoted and preserve the book structure. creative work on the book’s stunning design.

Natalia Moussienko Kyiv, July 2016

8 Nick Zavilinskyi “Euromaidan 2013-2014”

9 Performance “Flags from the Maidan”. Author Glib Vysheslavsky

1 Art And Revolution: Kyiv Maidan of 2013-2014

10 Civilization and cultural processes, especially in their empirical material gathered by the author certifies that at the crisis stages, are always the focus of scholars’ attention. Stud- Maidan there were different kinds and genres of art: perfor- ies of social fractures and new cultural paradigms require par- mance, installation, cinema, music, painting, sculpture, and ticular responsibility from researchers who perform analyze literature, the full extent of the creative artistic pallet. Pro- in the thick of events. Today, this is the task facing Ukrai- fessionals and amateurs, famous artists and artistic youth: the nian scholars, who must collect the diverse empiric data on Maidan united them all and became a great artistic work in Ukraine’s social choice and generalize them rationally, while itself, an ultimate installation. emotionally experiencing every moment in their country’s At the turn of the 19th century, the American artist, revolutionary changes. Robert Henri, expressed and justified the idea that artists had The artistic factor has always been constitutive for the right to depict anything on the basis of their personal ex- Ukraine, where passionate political activists have often been perience alone. The artists at the Maidan lived through all the recruited from among the country’s artists. During a long events. Most of them came there as protestors, and they took historical period in which Ukrainians did not have their own part in both fierce confrontations and everyday activities. Yet state, they had both creative artists and politicians as their they remained artists and began to depict the Maidan in vari- spiritual leaders. This phenomenon may be described with ous ways. Some reacted instantly in their creative work, while the words of the Ukrainian poet, Yevhen Malaniuk: “If a na- others needed longer to reflect. tion does not have leaders, poets are its leaders.” Artists not Like in 2004, the square was the protest’s stage, its only preserved the nation, but they also raised it, taught it, centerpiece a huge, metal New Year’s tree (the erecting of and created it. which became an official reason for the government’s disper- It’s no coincidence that 17th century Cossack Hetman sal of students in late November 2013). This tree was the main Ivan Mazepa was a composer, and that Western Ukraine’s so- installation at the Maidan, though there were many others, in- cialist movement stems from vastly admired poet and writer cluding barricades or “geographic” installations, the creative Ivan Franko (who unsuccessfully ran for office several times). combination of wooden plates with names of different cities, As the Cossack state decayed, Ukrainians created a state villages, and city districts symbolizing the unity of Ukraine. through their art. For the government’s forces to crack down on the protests, In 2004, a stage, a microphone, a tent, and a TV set they’d be forced to destroy an artistic representation of the became symbols of rebellion. For the people of Ukraine, the Ukrainian communities they were meant to protect. collective memory of the Orange Revolution is impossible to The creativity of Euromaidan manifested itself time cleave away from the artistic experience of the insurgents. At and time again, in medium after medium2. Maidan Nezalezhnosti (Independence Square) in Kyiv, famous Poster art. From self-made satirical signs to online Ukrainian singers performed in protest, singing patriotic and meme photos, the “Museum of Posters of Ukraine” quickly traditional songs alongside amateur artists; folk art masters reacted to (and documented) major developments. More at the Kyiv Conservatory of Music wove orange carpets; ex- traditional, outdoor posters were also used, including mass- hibitions at Khreshchatyk Street presented a gargantuan an- produced placards like the minimalistic “I Breathe Freely” gel hovering over the Maidan, and the protest language grew design, the video game-inspired “Angry Ukrainians” series, into a 60-meter-long letter to Vladimir Putin. The Maidan was and simple writings on empty advertisement boards, like wreathed in orange. “Hrushevsky Cocktail” (a play on the Russian-named Molotov Richard Wagner, in his work “Art and Revolution”, un- cocktail) or “Prohibited to Prohibit.” derlined that art could sanctify a revolution and give it real Photography. Its instant dissemination through the In- beauty. Indeed, art holds a special place in the Ukrainian ternet and exhibitions on the barricades of the Maidan and at revolutionary events of 2013-2014. Detailed analysis of rich Hrushevskoho Street next to the Parliamentary Library.

2 Moussienko N. The Art of Revolution: Creativity and Euromaidan // Natalia Moussienko — The Wilson Quarterly. — Washington. D.C. — 2014. — November. — Mode of access: http://wilsonquarterly.com/stories/art-revolution-creativity-and-euromaidan/

11 Sculpture. Wooden sculptures by Yaroslav, a master are expected to be spun into full-length documentaries about from Kolomyya, the marble sculpture, “New Ukraine”, by the grand and tragic period. the French street sculptor, Roti, depicting a woman emerg- The famous Ukrainian filmmaker Sergey Loznitsa made ing from the depths. These works are located at Instytutska the film “The Maidan”, shot in real time, and like everyone Street. else, he had no idea how the events would pan out. The film Painting. Protestors took to painting in all its different was shot over 90 days and consists of four parts: “Prologue”, forms, from street art to ornamental to portraiture. From “Triumph”, “Warfare”, and “Postscript”. The director pres- the very beginning, painters worked at the Maidan depicting ents the trajectory of the revolution, from peaceful manifes- the first peaceful days and the following hot battles. Murals tations to bloody street battles. Loznitsa presented the film and graffiti appeared at once. Veterans of the Soviet war in at the 67th Cannes Festival, where a pavilion could not accom- Afghanistan who joined in the protests would request to have modate all those who were interested in seeing this film. their tents artistically painted. Music. Like in 2004, performances by singers and musi- When the protest’s first heroes emerged, their por- cians on the Maidan stage played a major role in unifying and traits appeared in and around the square, portraits of Cossack motivating activists. December, 15 saw a special performance Mykhailo Havrylyuk and the Heavenly Hundred. Oleg Smal, a by famed Ukrainian rocker Svyatoslav Vakarchuk and his band, painter, and Yuriy Zhuravel, a graphic artist and the leader of “Okean Elzy”. On the New Year’s Eve, almost 500,000 peo- Rivne rock band OT VINTA, held exhibitions of their works at ple gathered in the square and sang the national anthem of Hrushevskoho Street. Ukraine, lighting the winter sky with raised torches. In February 2014, to support the will and the spirit of Beside performances on the stage, musical works re- those on the front lines, an activist and street artist, ‘Socio- lated to Maidan immediately spread through the Internet. In path’, painted the triptych, “Icons of the Revolution”, near memory of Serhiy Nigoyan, a Euromaidan activist who was the barricades at Hrushevskoho, adorned with the images of shot by government forces in January 2014, the famous Kyiv three titans of Ukrainian literature: Taras Shevchenko, Lesya composer Valentyn Sylvestrov created the diptych “I vam Ukrayinka, and Ivan Franko. slava, syni gory” (“Glory To You, The Blue Mountains”) and Art Associations. “The Artistic Barbican” appeared in “So sviatymy upokoi” (“Rest With The Saints”), in addition to Khreshchatyk. Its creators believed that this fortification was two a-cappella choral songs, “The Hymn” and “A Christmas essential to protect the creative intelligentsia from any po- Psalm,” that were dedicated to the Maidan movement. tential crackdown on their artistic expression (which included A special note should be made of numerous perfor- art exhibitions and literary readings). The Artistic Hundred mances on a yellow-and-blue piano that first appeared near settled in the Ukrainian House. Young artists decorated the Presidential Administration building, where a musician shields and helmets of fighters. played for police forces. The piano then moved to the Kyiv Cinema. From the first revolutionary days, footage of City Council building, and eventually arrived at the barricades Euromaidan was recorded, perhaps most notably through a on Hrushevskoho. A community of gifted pianists played the civil initiative called “BABYLON ‘13”. Artists made mini-docu- piano, “the instrument of freedom,” as it came to be known, mentaries free from the trappings of auteurism; others were wearing balaclavas. Activists in Lviv, Donetsk, Uzhhorod, Kiro- filming with the express goal of recruiting viewers to become vohrad, and other regional centers followed the Kyiv example, activists. In March 2014, audiences at the 11th International and yellow-and-blue pianos soon appeared on their streets. Festival of Documentaries on Human Rights were shown “Eu- The piano became a symbol of revolution3. romaidan: Rough Cut,” a kaleidoscope of snippets from future The artistic revolutionary drive of the Kyiv Maidan in- films about the protests. Many of these cinematic sketches spired the artists of the world.

3 Moussienko N. Art and Revolution: Kyiv Maidan of 2013–2014 / Natalia Moussienko — Ukraine after EuroMaidan: Chal- lenges and Hopes / Viktor Stepanenko, Yaroslav Pylynskyi (eds) — Peter Lang, International Academic Publishers, Bern, 2015. — P.257-264

12 Photo Fragment by Anton Hauk

2 МAIDAN, THE ART TERRITORY

13 ART AND POLITICS

In 1756, when the French enlightenment thinker Hon- today a carrier of emotive tenet and is outside the limitations oré Gabriel Mirabeau introduced the concept of “civilization” of classical European rationalism and pragmatism. Thus, the into social science, he meant a society based on principles problem of a spokesperson, the problem of the leading force, of reason and justice. Later, the German philosopher Oswald is often linked to arts. It is not by chance that an outstanding Spengler reinterpreted “civilization” in a pessimistic way as Ukrainian Hetman, Ivan Mazepa, was a composer and a poet, “fossilization” of culture’s organic life, its decomposition and and many leading artists became politicians.4 transformation of labor to mechanical work leaving no space In 2004, the Orange Revolution had again proven the for creativity. In the modern era, the American social scientist, moving force of art in Ukraine. A tent, a stage, a microphone, Samuel Huntington, created a theory of “the clash of civiliza- and a TV set became symbols of the Revolution. Television tions” and had simultaneously defined civilization as both a broadcast the event live, its main components being a contin- cultural community of the highest rank and as the broadest uous concert of well- and less-known performers on Indepen- level of a people’s cultural identity. dence Square; art exhibitions on Khreshchatyk Street; “Merry Civilization and cultural processes, especially in their Eggs” TV series and its instantaneous distribution over the crisis stages, are constantly in scholars’ focus. Studying cultur- Internet; the explosion of novel folklore born on the Maidan; al divides and the newest cultural paradigms requires special weaving orange carpets; artistic orange attire of the Maidan. responsibility from those researchers who conduct analysis in The blue-and-white Maidan opposing the Orange Maid- the epicenter of events. Ukraine’s scholars are in this situation an had also used art: mostly variety performers who sang today. On the one hand, they have to collect diverse empiric Soviet-era Russian-language songs, while rock performers facts testifying to Ukraine’s civilization choice, while on the with Ukrainian-language songs dominated orange stages. Of other hand they have to sum it up in a rational way, while at course, both locations saw a postmodernist eclectic mix of the same time emotionally living through every moment of the genres characteristic of our era, but it was the artistic domi- fate-defining social and cultural rise of their country. nance of the maidans that organically illustrated the main The approach of sociologist Zygmunt Baumann is inter- mythologies of the different colors. The Orange rock created esting: he sees the reason for the apocalyptic mood of mod- a new world with new myths and heroes, with new rules of ern society through living between two eras, one vanishing, the game: clean hands and bandits in jails. The nostalgic So- another nascent. Such a period is called an inter regnum, a viet variety art of the blue-and-white returned people to the time “between authorities”. This notion was present as far old, idealized mythologies. The new and the old in art were back as Ancient Rome. Baumann believes that it is this notion in confrontation, reinforced by an entire row of social, eco- that best helps to understand the modern era in general. True, nomic, and psychological factors: they were broadcast on TV, for the Ukrainian Maidan of 2013-14, this was the feeling of and became politics at the exit point.5 its participants: it was understood that the powers-that-be Revolutionary processes of the winter of 2013-14 had were already doomed, and that a new era was being born. An sharpened the processes of 2004. As a longer period of pro- unbelievable explosion of artistic creativity testifies to the tests, their more mature civic-and-political motivation and birth of this new era. tragic sacrifices had given impetus to fantastic creative ex- The general artistic factor is fateful for Ukraine because, pression of both professional artists and ordinary Maidan par- historically, political activists were often recruited from among ticipants. In fact, the Maidan itself had become an amazing artists. After the Cossack state fell, the Ukrainian people artifact. formed their state in their art. This is absolutely characteristic The eyes of the country and the world were glued to of and significant for Ukraine, which used to be and remains the stage, like in 2004. Politicians and music bands, poets and

4 Мусієнко Н. Мистецтво і політика / Наталія Мусієнко — К.: Скарби. — 2002. — 169 с. 5 Мусієнко Н. Мистецький фактор у типології європейських революцій в епоху ПОСТ. (Case Study: Ukraine) / Наталія Мусієнко — Агора. — 2006. — №4. — С.148-154.

14 “The artist in general is a person who, by their nature, has to be sympathetic, take things close to heart, a personality; this is important for our craft. And people want to see personalities on the stage now. A personality cannot be indifferent to what is happening around. My attitude was similar ten years ago, too. And I am a hostage to myself now. When I went to Maidan in 2004, nobody knew how long this marathon would last, I told people: ‘As long as you stand here, I will be here as well.’”6

The Voice of the Maidan, Yevhen Nyshchuk He spoke warmly of the colleagues who supported the Maidan: Ada Rogovtseva, Rayisa Nedashkivska, Mykhailo Illen- public activists took turns appearing there. However, there ko; he helped his students, participants in the Maidan, who were those who stayed there practically all the time, among were accused of terrorism; at the time of the interview he them The Voice of the Maidan, Yevhen Nyshchuk, an actor did not know that the most tragic days of Maidan were still and teacher at the Kyiv National I. K. Karpenko-Kary Theatre, ahead, and that after President Yanukovych fled and the gov- Cinema and Television University. In his interview to “Hro- ernment fell, he, Yevhen Nyshchuk, The Voice of the Maidan, madske Radio” in January 2014, Yevhen Nyshchuk said: would become Ukraine’s Minister of Culture.

New Year’s Celebrations on Maidan

Over November-December 2013, two serious confrontations happened in the Maidan. One of these was the dispersal of students on November 30 that re-formatted the entire rhetoric of Maidan from a fight for EU integration to a fight against the regime. The second such factor was an attempt to disperse the Maidan on the night of December 10-11: there, thousands of Kyivans assembled in the Maidan and did not allow anyone to disperse them. So the celebration of the New Year 2014 took place in a peaceful, optimistic spirit. On December 31, 2013, Kyivans assembled in the Maid- an in order to support the protestors and usher in the New Year together. Only once, in 2005, after the victory of the Orange Revolution, was there such a number of people in Indepen- dence Square on New Year’s night. Traditionally, New Year’s festivities are the best moment for organizing various events, performances, creative installations, etc. As the construction of the New Year’s tree became a cult revolutionary installation, the activists invited Kyivans to deco- Independence Square. 31st of December 2013. Photo by Igor Gilbo

6 Довгань І. Голос Майдану Євген Нищук: У мене було відчуття, що я знімаюсь в кіно про німецьких загарбників [Електронний ресурс] / Ілона Довгань // Українська правда: життя. — 2014. — 29 січня. — Mode of access: http://life.pravda.com.ua/person/2014/01/29/150258/

15 rate live fir trees next to the National Conservatory of Music with their toys. Many residents of the city answered this call, and the fir trees were soon clad in a festive New Year’s attire. A live fir tree was also installed next to the Kyiv Mayor’s office. Volunteer artists had decorated the famous Maidan stage, and the art craft shop of the Kyiv-Mohyla Academy, “Antresolya”, presented their blue “Eurohorse” to the Maidan. It was en- trusted with a mission to carry Ukrainians to Europe in 2014, the year of the blue wooden horse. The event “The New Year Love Mail of EuroMaidan Peo- ple” had also elevated spirits of the protestors when, some hours before the New Year 2014, charming little angels began to collect their New Year wishes. Those same angels had staged a flash mob a week later, “Ukrainian Christmas: The Birth of Ukraine”: the painted air balloons of the participants assembled into one yellow-and-blue Ukrainian heart. The artistic association “OstaNNya Barykada“ (The Last Barricade) invited Kyivans to usher in the “Barricade New Year”: “For the first time in your lives, you have an opportunity to meet the coming of the New Year at barricades! With us are those who stood shoulder-to-shoulder in cold and inclement weather; those who were not The Maidan on New Year’s Eve. Photo by TSN, 1+1 TV channel scared of police batons. And now we will celebrate the coming of the New Year together. Ukrainians can fight, He thought there was something special in how the Maidan and they can celebrate!.. sang the anthem of Ukraine: A record for the Guinness Book of Records is planned “The Anthem of Ukraine is amazing. At first it seems to for 11.45 pm. Nowhere in the world have so many peo- fail to impress but this is only the first impression. In fact, ple sung their national anthem. Let’s sing ‘Ukraine Has it was created by Mykhailo Verbytsky, a church composer Not Perished Yet!’ together! Everybody to the Maidan of the mid-19th century. He lived in the Austrian monar- at 9 pm on December 31!” 7 chy and maybe he loved Schubert very much, he had a gift for melody: this may be noted from listening to his The anthem of Ukraine was sung on Maidan many times liturgies. He was a church composer. And he created this every day but its performance on the New Year’s night was spe- patriotic song as a church composer would do. This is a cial as almost 500,000 Ukrainians sung it and set a new world haleluia, a chorus (he sings). No other anthem has this! record. While singing the anthem of Ukraine, everybody who This is a unique thing: this is the anthem of Ukraine but was on the Euromaidan switched on their flashlights and held it has signs of the beginning of a liturgy. A memory of a them above their heads. This was the Maidan’s mega-perfor- liturgy, of the all-night vigil is sunk into this anthem. It mance. Valentyn Sylvestrov shared his impressions of what he is like a blow of a wind, a song of tree branches in this saw and heard with journalists of the “Den” (Day) newspaper. simple song.”8

7 «Барикадний Новий Рік»! [Електронний ресурс] // Мистецьке об’єднання «Остання барикада», офіційний сайт. — 2013. — 29 грудня. — Mode of access: http://ostbar.com.ua/news.php?pg=0&id=621 8 Семенченко М. Валентин Сильвестров: «Читайте Шевченка, доки не пізно...» [Електронний ресурс] / Марія Семенченко // День. — 2013. — 29 грудня. — Mode of access: http://www.day.kiev.ua/uk/article/kultura/valentin-silvestrov-chitayte-shevchenka-doki-ne-pizno

16 Generally speaking, there was no lack of installations in the Maidan. The Maidan is, first of all, a public space, and it requires coordination. A Kyiv designer, Igor Sklyarevsky, famous for his alternative city navigation, put information tablets in the Maidan, which helped protestors find a kitchen, an accommodation point, a warming point, the information center, etc. Sklyarevsky also was the author of posters and stickers with calls to “Get your ass up and go to the Maidan”, “Choose the light side of the Force”. On November 28 the designer told the “Insider” site: “I designed stimulating posters in the WalkKyiv style. We printed 5 huge posters and gave them over to the agitation point in the Maidan, and we made another 1,500 copies (500 copies of each kind) as huge stickers. We gave some of them to the Maidan as well, and they have spread among people.”9

The barricades of the Maidan were in practice installations as well. Artist Pyotr Pavlensky from St Petersburg, who works in the genre of political performance and took part in the Maidan events, called the Maidan a great work of art because the process of creation happened there and new models of interpersonal communication emerged there. He drew attention to the fact that it was barricades that created a special context for the Maidan as these barricades turned it into an ultimate installation, a part of the city that works and recreates itself as an art object. This is truly real, living art. Pavlenskiy INSTALLATIONS thinks that art needs political changes because artists live by transforming the social.10 The main symbol and the central installation of the The barricades went through their rapid evolution: Maidan was “EuroFirTree” or “Yolka”, the grandiose structure from small symbolic barriers more resemblant of art installa- for the New Year tree, covered with various posters. The erec- tions than fortifications to serious fortifications, often made tion of this structure was the official pretext for the dispersal from ice and snow. of students in Maidan in the end of November 2013. The posters On the corner of Instytutska and Khreshchatyk Streets, there were changed and adjusted depending on the situation, not far from “Lvivska Brama” (Lviv Gate) barricade, protes- while the international media soon made it famous. In August tors began to stack tablets with the names of different cities 2014, the installation was handed over to the Maidan Museum and villages, as well as districts of Kyiv. As a result, a creative for storage and creation of descriptions of its every element. composition appeared very soon, symbolizing Ukraine’s unity.

9 На Майдані з’явилася навігація і партизанські плакати від Скляревського [Електронний ресурс] / Новина // Insider. — 2013. — 28 листопада. — Mode of access: http://www.theinsider.ua/lifestyle/na-maidani-z-yavilasya-navigatsiya-i-partizanski-plakati-vid-sklyarevskogo/ 10 Ланько М., Герман Л. Петр Павленский: Майдан должен присутствовать в повседневности каждого, кто его поддерживает [Электронный ресурс] / Мария Ланько, Лизавета Герман // Украинская правда: жизнь. — 2013. — 23 декабря. — Mode of access: http://life.pravda.com.ua/person/2013/12/23/146798/

17 Every day, this geographical installation grew, and always there were many people around: protestors added their tablets or just studied the geographical names. There were some tablets with names of foreign cities but basically this was a breathtaking journey through Ukraine. The installation did not survive the severe winter, as some tablets were used as fire starters for keeping people warm, and during the bloody events of February 18-20 it was practically destroyed by fire. Only some fragments survived.

Transformation of the barricade “Lviv Gate”

Geographical Installation

The events of the winter of 2013-14 in downtown Kyiv developed in a fast and tragic way, real fierce battles were going on. In the end of January 2014, first blood was spilled at the barricade on Hrushevskoho Street, people died, first heroes of the Heavenly Hundred. The confrontation unfolded right next to the National Art Museum and the Valery Lobanovsky Sta- dium, next to the National Parliamentary Library of Ukraine and the building which houses the humanities institutes of the National Academy of Sciences of Ukraine, each of them with a library of their own. Next to all them, on Yevropeyska Square, the Ukrainian House is situated, which then held the stocks of the Kyiv History Museum. Many of the buildings mentioned here not only house unique national collections, but are also objects of culture and architecture of national significance. This time was the most worrisome for the staff of the National Art Museum. They were on duty round the clock, sparing no effort to make safe the priceless collection of paintings. The

18 staff of the National Parliamentary Library were protecting the and for others it was insufficient to engage in a fierce battle book collection. Kateryna Lypa wrote then that you should not with “The Berkut”, the riot police. According to Konopie, art- juxtapose museum treasures and people’s lives because they ists should channel their radicalism into creative actions. both are under threat, as well as the nation’s existence itself, “Warriors are waging wars, and artists are creating art. because “without historical knowledge, museums, and librar- At first, of course, everything was even too ideal: a ies we are just a flock of sheep, indifferent to who flogs their peaceful protest, an explosion of designer and artis- backs.”11 tic creativity, and all this. Even average people fanta- On the corner of Khreshchatyk and Bohdana Khmelny- sized about creative interests then: they drew post- tskoho Streets, the “Cage” installation was placed, enjoying ers, invented different well-aimed jokes. There was special popularity. A doll was placed in the cage, symbolizing an all-embracing elation that inspired us en masse. Viktor Yanukovych, and a table with three chairs for judges However, it happened differently later. The people stood next to it. “Yanukovych is a murderer” was the inscrip- started to understand that the authorities are bend- tion on the cage. Those who wished could sit on these chairs ing them down lower and lower. Ever more often, an- and pronounce their sentence for the accused. There was an ger and radicalism began to appear in mass creativity. installation on Yevropeyska Square in the form of a boxing You know, it would be interesting to collect all those sack with a portrait of the former head of the country. motivators-and-demotivators, memes, photofrogs, After the death of the heroes of the Heavenly Hundred, poems with jokes, drawings and what not, and then numerous small and big installations, covered with flowers sort them out according to dates. I think you could and candles, appeared in Maidan to commemorate the heroes. establish the course of all the events even without There was a sea of flowers and candles from the end of Febru- mass media reports as history is being engraved in art ary to the beginning of March 2014: Kyiv was mourning and and folk creativity.”12 saying farewell to the dead. The street artist Jerzy Konopie considers himself not an artist in the classical understanding but a person who changes space. He provocatively called his installation “Shooting Tar- gets” on barricades of Maidan. The first version of the installation had not survived until the next morning, so the author studied the experience and resurrected the installation else- where, on the wall of “The Art Barbican”, adding the accom- panying text. There, on the corner of Khreshchatyk and Pror- izna Streets, the installation stood until “Barbican” moved to galleries, having become an artifact of the Revolution. Jerzy Konopie was convinced that Maidan had stimu- lated thinking and acting in a radical way, as coming out to the streets is a rather radical step in itself. In his interview to another Maidan artist, Eliash Strongowski he particularly noted that everybody has a different measure of radicalism: some are content with going to the Maidan with a large poster, Installation “Targets”. Photo by Yezhy Konopie

11 Липа К. Культурные ценности в зоне боевых действий [Электронный ресурс] / Катерина Липа // Левый берег: общество. — 2014. — 20 января. — Mode of access: http://society.lb.ua/position/2014/01/20/252347_kulturnie_tsennosti_zone_boevih.html 12 Стронговський І. Стріт-арт митець Єжи Коноп’є: «Мішені» на Майдані були провокаційною роботою [Електронний ресурс] / Ілля Стронговський // Українська правда: життя. — 2014. — 6 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/6/151554/

19 POSTER ART

Revolutionary creativity in the form of posters quickly gained popularity: from self-made satirical posters to Inter- net communities “Strayk-Plakat” (Strike Poster), “Kraplya v okeani” (A Drop in the Ocean) which reacted lightning-fast to all events with relevant posters. External advertisement (and more) was put into action, with factory-printed posters “I Breathe Freely” and “Angry Ukrainians”, and other posters, made on empty advertisement boards, “Hrushevsky Cock- tail” and “Prohibited to Prohibit”. The Ukrainian revolution replaced a popular game, “Angry Birds” with “Angry Ukraini- ans”, and re-thought the American street artist Shepard Fairy (“Obey” poster). Posters, as important means of expressing civic stanc- es, appeared as early as the first demonstration on November 24, 2013, when thousands of people filled Kyiv streets in order to demonstrate their desire for EU integration. Most of them were self-made dilettante posters with direct political demands or acutely political content. Of course, there were also posters made by professional artists. The posters, in a creative way, expressed citizens’ attitude towards authorities. After the beating of students, during “The Millions March” on December 1, 2013, the number of posters had grown signifi- cantly. It was then that creative associations “Strayk-Plakat” and “Kraplya v Okeani” emerged. Cultural figures, advertis- ers, and artists joined the protest with their creative endeav- ors, posters. They set up their Facebook page on December 1, and they wrote this about themselves: “STRAYK-PLAKAT: enter, download, print out and use. The “Strayk-Plakat” Internet community was quickly The creative community supports the all-Ukrainian gaining popularity: there was a huge demand for their posters. protest against the bloody events in Independence In the words of the creators of the community, “Never before Square. We are convinced that the fate of the country had a small printer felt such a hero.”14 is being decided today, we call upon all creative peo- The artists created their works anonymously. This was ple to join the all-Ukrainian strike and create strike a guild work, without ranks or awards, for the sake of the posters or any other material. Today we will create a community and in pursuit of results. When, after the events resource where artists, illustrators, designers will be of November 30, Euromaidan was declared a non-political ac- able to place their works, and everyone will be able tion, the artists utterly rejected political rhetoric and quickly to download them and to place them on their pages in found universal images. One of the first was “Kryvava Yolka” social networks or print them out.”13 (Bloody Fir-tree) poster. It was with the poster in hand that

13 Страйк Плакат [Електронний ресурс] / Фейсбук-спільнота. — Mode of access: https://www.facebook.com/strikeposter/info?tab=page_info 14 Ibid.

20 many people went to “The Millions March” demonstration on Journalists have very aptly called the creators of the December 1. Masters of meme-posters and others had joined idea, the posters, and the “Krapli v okeani” site “creative the artists. guerillas”. In those turbulent times, they did not publicize Journalist Kateryna Sergatskova wrote: their names. Instead, they immediately reacted to the events. “Having created a series of ‘strike posters’ while ‘the The first “drop” appeared on the night of December 1, 2013. track was hot’, the artists had not stopped: almost ev- They drew a flag with the message, “I am responsible for what ery day new images appeared on the page, correspond- happens tomorrow. I am a drop in the ocean”, and they de- ing to the quickly changing reality. Thus, after the cided to create a space of its own for an individual poster. storming of the President’s Administration on Bankova «There was an insight in this drop. This is the advertis- Street, a new wave started: the authors raised the is- ers’ term meaning the deep truth of behavior and of sue of legal defense of those who were detained by people’s sentiments. We saw that there was something ‘Berkut’, and the image of Themida appeared on posters more. Everybody felt helpless then: “What can I do? right away, holding handcuffs instead of weights.”15 There are Yanukovych, the army, bandits, and total lawlessness there…” And who am I against them?... A Kyiv became the “poster capital” of the world: nobody drop in the ocean is about the ocean working together expected such a number of posters, photofrogs, demotivators, with you, and then it is not as scary to begin. It is drawings. They expected this least of all in the only Museum about micro-heroism,” the authors of “A Drop” told of Posters officially registered in Europe, which was sheltered journalist Halyna Tytysh in February.18 in modest premises without heating in the National Museum of Folk Architecture and Rural Life in Pyrohove. The Museum’s Having seen the posters’ popularity, the authors of “A workers began monitoring the poster creativity, they an- Drop” created their site and made their stance public: nounced a competition for folk protest posters and created “’A Drop’ project was created in order not to stand a page on Facebook, with thousands of people visiting it.16 aside from the events unfolding in Ukraine now. If In contrast to communities where authors acted anonymously, you can’t keep silent anymore, join us. One person the Museum tried to identify and preserve the posters’ au- is incapable of opposing dictatorship and change the thorship. Of course, this was not always possible as anonymity fate of the country, but this person can raise a wave protected the authors of the harshest poster messages from which will raise the ocean. This person can state their political persecution. protest in the Maidan, at their work, in social net- “The Maidan has raised a phenomenal artistic wave works, in the streets of their cities. We are in favor which nobody can explain. You simply can’t compare it of EU integration. We are against the criminal govern- to the Orange Revolution,” Viktor Tryhub, director of ment, we are against beating women, children, and the Museum of Posters of Ukraine and editor of “Muzeyi journalists, we are against rampant lies thrown into Ukrayiny” (Museums of Ukraine) magazine, wrote in our faces. We want to put an end to this. Let them see early February 2014. «The Revolution goes on. This our strength. We are citizens of Ukraine, and we say: means there will be new masterpieces! Artists come Enough!”19 out to the Maidan.”17

15 Сергацкова Е. Маленький принтер-герой [Електронний ресурс] / Екатерина Сергацкова // Korydor. — 2014. — 29 січня. — Mode of access: http://old.korydor.in.ua/spectema/33-yevromaidan/1572-malenkyi-prynter-heroi 16 Иванченко Н. Ничего подобного не знал Париж в 1968! [Електронний ресурс] // Народні блоги. — 2014. — 6 лютого. — Режим доступa: http://narodna.pravda.com.ua/life/52f3b79b71a61/ 17 Віктор Тригуб. Андрій Єрмоленко — ще один талант Майдану [Електронний ресурс] // Народні блоги. — 2014. — 8 лютого. — Mode of access: http://narodna.pravda.com.ua/fun/52f647ab8db92/ 18 Титиш Г. Творці “Краплі в океані”. Креативні партизани [Електронний ресурс] / Галина Титиш // Українська правда: життя. — 2014. — 13 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/13/152183/ 19 Крапля в океані [Електронний ресурс] / Офіційний сайт // Mode of access: http://www.kraplya.com/

21 The authors of “A Drop” went from posters to video in Maidan and their families. The cards were inspired by works portraits of protest participants, those “drops” composed of contemporary artists and were disseminated in the Maidan; the ocean of Maidan. They posted these video portraits on they were free to download and print out. their site. Later, in April 2014, the exhibition of the art of the “Stories from the Maidan” was the result of artists vis- Ukrainian revolution in Vienna chose the title “A Drop in the iting hospitals and working together with the wounded on Ocean”, a project dedicated to artistic and visual aspects of artistic embodiment of their stories. Lada Nakonechna and the protest movement in Ukraine in 2013-14. Represented at Alevtina Kakhidze were the first to join the initiative and vis- the exhibition were artists Maksym Bilousov, Myroslav Vayda, it Olesya Zhukovska in a hospital, a medical volunteer who Ksenia Hnylytska, Kyrylo Holovchenko, Igor Husyev, Maria Dra- was badly wounded. Tanya Voytovych, Sasha Kurmaz, Mariya hina, Andriy Yermolenko, Illya Isupov, Borys Kashapov, Vladys- Pavlenko, Yevhen Samborsky, Ivanna-Kateryna Yakovyna, and lav Krasnoshchok, Pavlo Kerestey, Sasha Kurmaz, Serhiy Leb- others joined the project. Among others, Anatoly Belov, Olek- edynsky, Olexa Mann, Markiyan Matsekh, Oleg Matsekh, Borys sandr Burlaka, Ksenia Hnylytska, Tetyana Kremin, and Lesya Mykhailov, Roman Mykhailov, Roman Minin, Mariya Pavlenko, Khomenko donated their works. Within the framework of the Oleksiy Radynsky, Vlada Ralko, Kostyantyn “Winnie” Reunov, project, the artists not only created special works for those Mykola Ridny, Oleksandr Roytburd, Oleksiy Say, Ivan Seme- syuk, Andriy Sydorenko, Victor Sydorenko, Oleg Tistol, Vasyl Tsaholov, Oleksandr Chekmenyov, Mykyta Shaleny, “The Public Sector of Maidan”, “Strayk-Plakat”, «Psyfox». In early February 2014, another poster community appeared, «Revplakat», with a very laconic text on Facebook, “The page for posting works on social topics”, and a slogan, “I know the strength of a word, it is sharper than a bayonet.”20 Illustrator Sasha Godyaeva thinks that artists invent nothing, they are just rebroadcasters of moods, thoughts and emotions that move in the society: “Snatch the collective thought, have an access to it, and transform it.”21 After the death of Serhiy Nigoyan, the first victim in the Maidan, she created the image of a Ukrainian woman crying blood. Creative postcards appeared soon after the events had started. Book designer Eliash Strongowski created one of the most popular New Year’s greeting cards of that winter, “Yolka”, which quickly found its way onto souvenir magnets and T-shirts. Its popularity was high, and the designer continued his series. Especially successful was the card «Greetings from Kyiv». As an artist, Strongowski attempted to dedicate the cards to the artistic manifestation of Euromaidan. Part of the money went to the needs of the Maidan movement while another part was channeled to help disabled children in the city of Zhytomyr. February saw the birth of the art initiative, “Greeting Cards from Maidan”, aimed at supporting those who suffered

20 Revplakat [Електронний ресурс] / Фейсбук-спільнота. Mode of access: https://www.facebook.com/revplakat/photos_stream 21 Титиш Г. Ілюстратор Саша Годяєва. Емоційний протест [Електронний ресурс] / Галина Титиш // Українська правда. — 2014. — 5 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/5/151482/

22 who suffered but also provided general access to greeting Come spring, after Russia began combat actions against cards dedicated to the Maidan. Within the framework of the Ukraine, designers and graphic artists from all over the world project “Greeting Cards from the Maidan” they started docu- began creating posters in support of Ukraine within the frame- menting the stories of those who suffered and posting them on work of the international poster action, “The Voice of Peace”. the project’s site.22 The organizers were the Kyiv Organization of the Designer “This is the situation when artists and cultural organi- Union of Ukraine, “VARTO” (Worth It). Representatives of 45 zations must be next to spectators,” initiator Volod- countries took part in the action, among them artists from ymyr Kadygrob commented. “Their audience is now Germany, Italy, USA, France, Iran, Iraq, Spain, Russia, Byelo- in many Maidans and in hospital beds. These people’s russia, Australia, India, Japan, China. The best posters were stories are already the history of our country. This is put on display in Khreshchatyk Street, next to the Central De- a reminder for all of us that human rights are an ab- partment Store, right next to the barricade on the corner of solute value, and similar things should never repeat in Khreshchatyk and Bohdana Khmelnytskoho Streets. Ukraine.”23

PHOTOGRAPHY

Photography is the art of filming moments. Its modern capabilities in the era of digital technologies, in particular, of instantaneous multiplication, made it one of the main tools of the Maidan. Quickest of all, photographers’ works became well-known thanks to social networks and internet publications. Compared to 2004, in 2013 most of protestors were equipped with digital cameras and phones. If many had stored their photographs of the Orange Revolution in photo albums, photographs of the 2013-14 protests were put on pages of social networks at once. “A vibrant media culture is one of the key character- istics of the Maidan protest,” Alisa Lozhkina wrote in early February in the «ART Ukraine» magazine. “Nev- er before had political events in Ukraine, and even less so documentation of public protests, been so Presentation of the Calendar on Hrushevskoho Street estheticized.”24 the instantaneous dissemination of photographs been an important aspect but also holding photo exhibitions in open air. Photography became an important component of mu- These installations in the Maidan’s hot spots underlined the sic videos quickly proliferating via the Internet. Not only had presence of photographers as participants in the protests.

22 «Листівки з Майдану» — акція консолідації та підтримки постраждалих протестувальників [Електронний ресурс] / Новина // ART Ukraine. — 2014. — 6 березня. — Mode of access: http://artukraine.com.ua/n/akciya-konsolidacii-ta-pidtrimki-postrazhdalikh-protestuvalnikiv/#.UzLNJ62SywN 23 Художники пішли в лікарні спілкуватись і малювати з пораненими. Перша історія — волонтерки Олесі [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 27 лютого. — Mode of access: http://life.pravda.com.ua/society/2014/02/27/154425/ 24 Ложкина А. Искусство на баррикадах: Майдан глазами украинских художников. Ч.2 [Электронный ресурс] / Алиса Ложкина // ART Ukraine. — 2014. — 7 февраля. — Mode of access: http://artukraine.com.ua/a/iskusstvo-na-barrikadah-maydan-glazami-ukrainskih-hudozhnikov-ch2/

23 “After the first photo wave of our exhibition we could not even think that there would be another, not less spectacular. After the second exhibition, we absolutely could not imagine the third like this: clad in smoke, fatal for many, heroic, sad but unbelievable. In our wildest dreams, not one of us imagined such photo shoots, even less so in the center of the capital of Photo Exhibition on the Fence around CDS Ukraine. We had not imagined a lot. Especially that you can aim your weapon at members of the public. The first street exhibitions dedicated to the Maidan Moreover, hit them with bullets. We had not imagined began to appear in December. Within the framework of the that you could not even notice gunfire and explosions. international “InsideOut Project”, which aimed to transform Like you often don’t notice them when you are helping people’s messages into the context of art, a gallery with por- each other, carrying sandwiches and milk under bul- traits of demonstrators from the EuroMaidan was placed on lets, invent ever new and creative methods to defend the wall of building No.15 on Yaroslaviv Val Street. This was the territory free from dictatorship. Likewise, we al- done by a Ukrainian artist, Alevtina Kakhidze, a Frenchman, ready do not notice a lot, too. Even if they aim their Arnaud Lumet, Iryna Solovey from the “BiggggIdea” platform, weapons at us. But we want to memorize these mo- and photographer Yevhen Chorny. Later, it was expanded and ments. Together with you. Because these days, we are placed on the fence in front of the Central Department Store, undergoing changes together.” right next to the barricade on the corner of Khreshchatyk and Bohdana Khmelnytskoho Streets. The following photo artists took part in the project From the side of Yevropeyska Square, the photo exhi- “Maidan. The Human Factor”: Pavlo Bahmut, Maksym Balan- bition “Maidan. The Human Factor” opened on the so-called dyukh, Oleg Herasymenko, Andriy Horb, Hanna Hrabarska, “First Barricade of the Maidan” on December 21. The exhibition Petro Zadorozhny, Yevhen Kotenko, Nataliya Kravchuk, Mak- was conceived by Anna Malyushkina, while Nataliya Kravchuk sym Kudymets, Oleksandr Kuzmin, Maks Levin, Maksym Lyukov, and Max Levin acted as organizers, and Mykhailo Chernichkin Wladyslaw Musiienko, Serhiy Nikolayev, Oleg Pereverzev, Oleg and Pavlo Podufalov were the editors. Well-known Ukrainian Petrasyuk, Roman Pylypiy, Sergiy Polezhaka, Maks Rokotansky, photographers announced their participation in the protests Kostyantyn Samotsvetov, Artem Slipachuk, Vlad Sodel, Anatoly in the following way: Stepanov, Maksym Trebukhov, Serhiy Kharchenko, Kostyantyn “Euromaidan is a unique phenomenon in Ukraine’s his- Chernichkin, Vitaliy Chumak, Olha Yakymovych, Oleksandr tory, and we want to make a contribution of our own Yalovy. to this common struggle. We will not show a chronicle The photo artist Wladyslaw Musiienko was in Maidan of Euromaidan, we won’t publicize any political force. from the first day to the last. He saw, and thousands of peo- We want to tell Ukraine and the world how Ukrainians ple saw thanks to his photos, artists’ performances, hours of became a nation. This is the story that our project is lull, and the most tragic moments. He got used to waking up about.”25 at night in order to check whether there was another attempt In December 2013 nobody could imagine the events to disperse the Maidan. Wladyslaw remembers the night of of the coming months. The ad for the third photo exhibition December 10 to 11: “Maidan. The Human Factor”, presented on February 12, 2014 “I woke up at night, switched on the news and saw how on the fence of the National Parliamentary Library in Hrush- those black and orange balls moved. It all looked scary evskoho Street, practically on the site of fierce battles, said: on the screen. On my way to the city’s center, I saw

25 Українські фотографи на Хрещатику представили інсталяцію «Майдан. Людський фактор» [Електронний ресурс] / Новина // УНН. — 2013. — 21 грудня. — Mode of access: http://www.unn.com.ua/uk/news/1286880-ukrayinski-fotografi- na-khreschatiku-predstavili-instalyatsiyu-maydan-lyudskiy-faktor

24 great many people running to the Maidan knowing the I think a majority of people agree that this is an extraor- dispersal was going on. It looked like they were afraid dinary moment in our life. They have a feeling that it they might be late.”26 is themselves who make history now, the novel history of the nation. We took the photographs in a very simple There are few portraits among Wladyslaw’s Maidan way: I stop people in the space and in the environment works, as it is difficult for him to single out protestors from they are at the moment, and I don’t influence the back- among others: ground. Every single photo maybe does not have artistic “I am so impressed with the desire to photograph these value in itself, but I am documenting the moment which events at wide angles. I can’t make myself do portraits. is historically important for the country.”28 This revolution, for me, is a single body, I can’t single out just one person”27. Igor Gaidai’s photo exhibition was held as soon as March 2014 within the framework of the 11th International Festival of Wladyslaw wrote on his Facebook page on February 19, Documentary Films on Human Rights, Docudays. 2014: In November 2014, due to joint efforts of “Osnovy” Pub- “I look at the people who, like ants, carry bags with lishers and “Art Management” agency, the first bilingual book food, medicine, take cobblestones out of pavements, about the Maidan was published, “#EUROMAIDAN — History in and my throat becomes blocked. What a People.” the Making”. The publication was initiated by Volodymyr Kady- grob, Dana Pavlychko, and Kateryna Taylor. Those were the days when the confrontation reached “#EUROMAIDAN — History in the Making” covers the key its tragic high point: heroes were dying, the underground Met- phenomena of Euromaidan, which form the titles of the book’s ro system did not work but Kyivans, despite all, were going to corresponding chapters: “Assembly”, ‘Kitchen”, “Right Sec- the Maidan, on foot and in their cars alike, carrying everything tor”, “Self-Defense”, “Protest Creativity”, “Culture”, “Archi- necessary. The Rear (Kyiv) was feeding its Frontline (Maidan). tecture”, “Medics”, “Anti-Maidan”, “Journalists”, “Berkut”, In contrast, photographer Igor Gaidai concentrated on “Objects”, “Self-Organization”, “Locations”, and “People”. portraits of participants in the protests. With his wife and as- The last chapter contains unique photos of the Maidan people sistant, Nina, they launched a project “Faces of Freedom. Maid- resting in the pavilion of “KyivExpoPlaza” exhibition center; an”. In essence, this project became a logical transition from a photo of the surgery performed by volunteer medics within the previous one, “Ukrainians. The Beginning of the Third Mil- the walls of St Michael’s Cathedral; a man playing sax during lennium”, which was a book that contained over 130 portraits bloody battles on Hrushevskoho Street; a boy throwing a stone of contemporary residents of the country, from a shepherd to at “Berkut”, etc. the President. Gaidai worked on this project for seven years. According to Volodymyr Kadygrob, “#EUROMAIDAN — Igor stressed about his participation in the Maidan, on History in the Making” not only addresses Ukrainians but also February 1, 2014: provides international audiences with an opportunity to get a “As a citizen I just could not stand aside. I consider clear idea about what was happening in Kyiv in the winter of myself a Maidan person and I photograph people who 2013–14. It researches and documents the Maidan: as an event think likewise. This is not a look from a distance: it is in history, as a set of common values, an example of self-orga- interesting for me to let them go through myself... nization, and an art phenomenon.”29

26 Революція очима фотографа. Владислав Мусієнко [Електронний ресурс] / Стаття // Українська правда: життя. — 2014. — 4 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/4/151333/ 27 Ibid. 28 Довга Н. Інтерв’ю з Ігорем Гайдаєм [Електронний ресурс] / Наталка Довга // Docudays UA. — 2014. — 1 лютого. — Mode of access: http://www.docudays.org.ua/2014/news/intervyu/oblyczia_svobody_maidan/ 29 Кадигроб В., Тейлор К., Лютий Т., Грицак Я., Гусєв Г., Сергацкова К. #EUROMAIDAN – History in the Making / Володимир Кадигроб, Катерина Тейлор, Тарас Лютий, Ярослав Грицак, Гліб Гусєв, Катерина Сергацкова. — К.: Видавництво «Основи». — 2014. — 300 с.

25 Exhibitions “Women of Maidan” and “Images of Maidan” “Women of Maidan” project was the last photo exhibi- udmyla Mytsyk, Iryna Ozymok, Oksana Parafeniuk, Oleksandr tion on the “active” Maidan. It opened in May and lasted until Ratushnyak, Ihor Rozkladay, Antonio Santos (Portugal), Oleg the end of summer 2014, when the last tents were removed. Shvedov, Vlad Sodel, Joseph Sywenkyj (USA), Oleksiy Furman, The photo exhibition was first held at the exhibition hall of Taras Khimchak, Roman Cybriwsky (USA), Lada Shilenko, An- the Fulbright Program in Ukraine (4-22 April 2014, Kyiv). astasia Vlasova, Oleksandr Zakletsky, Emine Ziyatdinova, and The Maidan protest, among other things, provoked a Yevheniya Zharykova. public discussion on the role of women in protest actions. The photo exhibition “Women of Maidan” was moved Those for whom the Maidan became a platform for expressing to the Maidan on May 17, 2014. It stayed there, next to the freedoms and rights (including gender freedoms and rights) Independence Monument, until August 23, 2014. The guests of called upon others to see women as fully-fledged participants the opening ceremony were greeted by Head of the Interna- in social life, particularly in protest. So, The Women Hundred tional Fulbright Council Tom Healy, Director of the Fulbright was organized, which physically prepared women on barri- Program in Ukraine Marta Kolomayets; Head of the Board of cades to act on par with men; many women provided medi- the “Ukrainian Fulbright Circle” NGO, and director of the cal and other help, brought food, water, and clothes. Women scientific library of the National University of “Kyiv-Mohyla who participated in the protest displayed extraordinary brav- Academy”, Tetiana Yaroshenko; Head of the Board of the In- ery, dedication, and determination. Singer Ruslana Lyzhychko ternational Charity Foundation, “Ukrainian Women’s Founda- had engaged her international fame to the maximum in order tion” Nataliya Karbovska; coordinator of the Olha Koblyanska to draw the world’s attention to events in Ukraine. Women Hundred, Nina Potarska.

Ruslana Lyzhychko. Photo by Igor Gilbo from the project “Women of the Maidan” Tom Healy at the opening ceremony of “Women of the Maidan”

The exposition featured photos of 25 photographers According to Marta Kolomayets, it is impossible to over- from Ukraine, USA, Portugal, and Russia. The following au- estimate the role of women in Ukrainian society and, in par- thors took part: Igor Gilbo, Inna Kalinina, Lon Kaufmann ticular, during the Maidan: (USA), Andriy Komashko, Dmytro Larin, Vadim Lurie (Rus- “We see different emotions in these photos: joy and sad- sia), Kateryna Maksym, Katya Mishchenko-Mytsyk (USA), Ly- ness, and alarm, and happiness, and help. This exhibi-

26 the Maidan. The image is integral and at the same time frag- mentary: it is composed of parts of texts and photos published about the Maidan and from the Maidan. This allows for the creation of a work of art which is, in essence, collective. Images of the Maidan as seen by Ola Rondiak are women’s faces: The Mother of God with the baby in her hands, and “faces of protest”. Girls with wreaths are in most pictures. The Maidan has given a new contemporary reading to this traditional Ukrainian decoration.

tion instills a great hope in me that everything is going to be all right in Ukraine. The Maidan gave us so much hope, not only in ourselves but also in all people.”30

Some of the visitors to the exhibition found themselves in the photos, many were prompted by the exhibition to share their stories, to tell about deep emotions from those times, and hopes and expectations for the future. “Women of Maidan” exhibition became a successful endeavor aimed at catching and preserving the multifaceted women’s image of the protests. The exhibition was taken away from the Maidan while preparing for the celebration of the Independence Day in 2014. Soon, it was moved to an installation at Trukhaniv Island. In the summer of 2014, the Fulbright Program in Ukraine staged in their office an exhibition of collages by Ola Rondiak, an American in love with Ukraine, called “Images of Maidan”.31 The artist chose the medium of collage for the visualization of Ola Rondyak “The Holy Virgin”

30 Фотовиставка «Жінки Майдану» [Електронний ресурс] / Відео // hromadske.tv. — Жіноча сотня. — 2014. — 7 квітня. — Mode of access: https://www.youtube.com/watch?v=foHAcSw0T4M&feature=youtu.be 31 Rondiak O. Solo Art Exhibition “Images of the Maidan” by Ola Rondiak [Electronic resource] / Booklet. — Mode of access: http://issuu.com/fulbright-ukraine/docs/rondiak__booklet

27 SCULPTURE

Sculpture in the Maidan was represented, first of all, by wooden figurines made by the artist from Kolomyya, Yaroslav. He placed them close to the “Lvivska Brama” barricade running across Instytutska Street. Yaroslav had not disclosed his surname, and you can learn about the artist from a documentary, “A Citizen”, directed by Oleksandr Shkrabak and filmed by Andriy Kotlyar.32 The film’s authors, students of the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University were arrested on accusations of organizing mass disturbances. We learn from the film that the sculptor’s parents were repressed for political reasons: his mother spent 14 years in custody, his father 10, and the artist himself, 7 and 3. “Some can sing, some can play, and my instrument is this,” the sculptor says, continuing to work with his saw, carving a figure of “praying mother” for the Maidan. A French street artist, Roti, expressed his support and solidarity with protestors: he gave the Maidan a sculpture, “New Ukraine”, which represents a woman who emerges from the depths. In this allegoric way the artist sees the Ukrainian revolution. “The Huffington Post” wrote about this, carrying an essay of writer and scientist Aleksandra Parysh, who was in Kyiv during that winter and, in particular, watched the work on the sculpture.33 In the autumn of 2013 Roti took part in “Gogolfest” festival in Kyiv and planned the concept of the sculpture that he wanted to install in Paris. The revolutionary events in the Maidan made him return to Kyiv sooner and they provided a new sense to the idea for the sculpture as well as about the location where it had to be placed. Almost immediately after his arrival to Kyiv, the artist found a huge slab of pink marble and a workshop. Working 14-16 hours a day, he finished his work on day 13. “New Ukraine” was a 2-meter sculpture weighing 4 tons. Erected on a peaceful Christmas day, the sculpture lived through all the stormy and tragic events of the Maidan. People died next to it on 18-20 February. Roti created it with the idea of a symbol of hope and vigor, but for many Kyivans it became a place of mourning and tears for those who gave their lives on the Maidan. This is one of the few artifacts of the Sculpture Roti “New Ukraine” movement that is still on the Maidan today. before and after shooting

32 The Сitizen / Громадянин [Електронний ресурс] / Фільм. — Youtube-канал «BABYLON’13». — 2014. — 25 січня. — Mode of access: https://www.youtube.com/watch?v=QrUM1GUy5Xk 33 Alexandra Parrish. Roti’s “NewUkraine”/ Jaime Rojo & Steven Harrington. A ‘New Ukraine’ Sculpture In Kiev By Street Art- ist Roti [Electronic resource] / The Huffington Post. — 29.01.2014. — Mode of access: http://www.huffingtonpost.com/jaime-rojo-steven-harrington/street-artist-roti-places_b_4677340.html

28 PAINTING

There were various forms and genres of painting in Maksym Vegera, an artist and protest participant, or- the Maidan: from street art to portrait and decorative paint- ganized a plain-air of sorts at the end of January 2013 next to ing. Various murals and graffiti relevant to the revolution ap- the line of fire on Hrushevskoho Street. The photo of the artist peared all at once. On the edge of 19th-20th centuries, the who, with his easel, was depicting revolutionary battles right American artist Robert Henri put forward and substantiated next to them soon found its way to many mass media outlets the belief that artists have the right to recreate something while “ART Ukraine” magazine called it a kind of an homage only on the basis of their own experience, only what they to Eugène Delacroix and the work of the singer of the Paris have lived through. The artists of the Maidan had such experi- Commune Honoré Daumier.34 Vegera told journalists about his ences to draw from. experience: From the first days of the Maidan onwards, you could “I stood away from the events on Hrushevskoho Street meet Maryna Sochenko there, a painter and teacher at the Kyiv as by my nature I am a non-aggressive man. I came to National Academy of Fine Arts and Architecture. She worked central Kyiv with my friend, also an artist. And I was with an easel, in a focused way. She said that as an artist and overcome with emotion. The feelings were of dual na- a citizen she had no right to miss these moments: ture. On the one hand, I felt joy because people ceased “I can’t call upon my students to go to the Maidan but I to be slaves. But on the other, I was sad of the fact that can say that I am here practically every day.” they had to spill blood. I was not scared to paint the picture right there. I wanted to preserve that moment, I had my easel with me, as well as brushes and paints. I chose a position close to the Dynamo Stadium and began to paint”, the artist explains.

Within several hours, he finished the painting: a sight of a barricade with smoke and people there: “I did not think of safety. Grenades were exploding around, participants in the rally ran around and shout- ed, tires were burning. As I got immersed in my work, there was a real panache! I only rarely answered questions of protestors. They asked if I needed help. A guy in a helmet had jokingly asked me to paint his portrait: ‘Painter, paint! This is our history!’ During the breaks I warmed my hands and drank coffee.”35

Of course, this was not the only example of this kind: painters on Hrushevskoho Street painted portraits of protestors, as well as barricades and battles. Maryna Sochenko on the Maidan

34 Ложкина А. Искусство на баррикадах: Майдан глазами украинских художников. Ч.1 [Электронный ресурс] / Алиса Ложкина // ART Ukraine. — 2014. — 6 февраля. — Mode of access: http://artukraine.com.ua/a/iskusstvo-na-barrikadah-maydan-glazami-ukrainskih-hudozhnikov-ch1/ 35 Художник, який писав з натури баталії на Грушевського, показав готову картину [Електронний ресурс] / Новина // Gazeta.ua. — 2014. — 31 січня. — Mode of access: http://gazeta.ua/articles/science-life/_hudozhnik-yakij-pisav-z- naturi-bataliyi-na-grushevskogo-pokazav-gotovu-kartinu/539475

29 Decorative painting found its place on the Maidan as For many artists of older generations this is already well. At the request of veterans of the war in Afghanistan, the second revolution. Matviy Vaisberg was on the Maidan Kyiv artists and art critics painted their tents behind the both in 2004 and in 2014 on both Hrushevskoho and Insty- Independence Monument. Among those artists was Svitlana tutska streets. The artist recalled that during the first two Berdnyk-Malyovana. Soon, the Maidan’s decorative street art months of the Maidan he could not work: so strong were his appeared on trucks, helmets, and flags. emotions and feelings. He took a lot of photos but he became Next to the Independence Monument, “ArtMaidan” Gal- capable of painting only during an armistice. He then created lery opened in November 2013: artists painted their pictures in a project, “The Wall”, composed of 28 works. The color range support of the Maidan and exhibited them in open air. In particu- reminded the artist of the ground on Hrushevskoho: ashes, lar, Matviy Vaisberg, Roman Minin, Inara Bagirova, as well as oth- smoldering tires, smoke35. At the beginning of March 2014, ers. The idea to organize an exhibition of some kind in the Maidan Matviy Vaisberg introduced his project “The Wall. 28/01-08 belonged to students and graduates of the Lviv National Academy /03/2014” to the general public in the “Spiritual Treasures of of Arts, and artists from Kharkiv and Kyiv joined them. Yulia Os- Ukraine” Museum. trovska, an art critic, the organizer of “ArtMaidan”, wrote: Another interesting art project was launched by art- “The fact that Ukrainian artists use the language of ist-illustrator Oleksandr Khomyakov and a journalist, Andriy visual arts to draw attention of the world community Pryymachenko, who painted portraits of average Maidan to the events in Ukraine is, really, another attempt to people.38 make a statement about Ukrainian-ness and its con- In February 2014, next to barricades on Hrushevskoho, scious desire to create a new Ukrainian nation. We the social artist ‘Sociopath’ created a trilogy, “The Icons of the art critics used this method to express our support for Revolution”: his Taras Shevchenko sports a bandana; Lesya those who are now standing in the Maidan. And while Ukayinka, a gas mask; and Ivan Franko, a builder’s helmet. people stand here, the open collection of ‘ArtMaidan’ In this way, the most famous writers of Ukraine “joined” the will stay an illustrated support for human spirit and protest. There follows something that the artist said: conscious civil resistance.”36 “‘The Icons of the Revolution’ is a dedication to heroes, to the living and the dead...I can’t remember how the idea came to my mind. It, rather, was created by the environment in Hrushevskoho, the unbreakable Ukrainian spirit which stood for the truth and was able to withstand even the 20-degree frost for the sake of truth. I made those pictures on February 10. It was cold, the paint would hardly dry, there was almost no light as it would make you noticeable on the other side of the barricades, and rubber bullets would fly immediately. But there was enough heart: girls would give me tea, fighters helped to hold things, some would share their thoughts on camera, some would give me a cigarette. ‘The Icons of the Matviy Vaisberg “The Wall. 28/01-08/03/2014” Revolution’ were ready within 4 hours. The 12th Hun-

36 На Євромайдані триває мистецька акція «АртМайдан» [Електронний ресурс] / Новина // Страйк. — 2013. — 18 грудня. — Mode of access: http://firstsocial.info/news/na-yevromaydani-trivaye-mistetska-aktsiya-artmaydan 37 Сырчина М. Матвей Вайсберг: «Моя палитра напоминает мне землю на улице Грушевского: пепел, гарь покрышек, дым… » [Электронный ресурс] / Мария Сырчина // Факты. — 2014. — 23 марта. — Mode of access: http://fakty. ua/179191-matvej-vajsberg-moya-palitra-napominaet-mne-zemlyu-na-ulice-grushevskogo-pepel-gar-pokryshek-dym 38 Типові Євромайданівці очами художника [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 3 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/3/151102/

30 Ukraine’s anthem: “We won’t allow anyone to dominate our native land!” Kyiv artist Serhiy Poznyak was impressed with the staunchness of the Cossack from the Maidan. He painted a water-color portrait of Mykhailo Havrylyuk where he holds a wooden cross in his hand. It was difficult to imagine then that soon Havrylyuk would become a Ukrainian MP. Artist Oleksandr Melnyk had stood almost through the entire Maidan with his work, “I See Your Deeds, Man” which shows the eyes of God. There is an inscription of the other side of the picture: “You are wonderful!!! I love you”. The artist supported protestors in this way. Three bullets shot by riot police hit the picture. God’s eyes, however, remained intact. Oleksandr Melnyk on the Maidan. Photo by Igor Gilbo The artist himself was wounded. His story found its reflection in pictures by a young artists (Andriy Naboka, “I See Your dred promised to put them under glass in memory of Deeds, Man”). the Revolution of Dignity.”39 The series of works by young artists Mariya Diordichuk and Yegor Strelkov was titled “Colors of Freedom”. Even then Artists worked in the Maidan and documented both first, they were approached by foreign journalists who asked to peaceful days, and later fierce battles. After the first heroes appeared, their artistic portraits were made as well, in particular that of Cossack Mykhailo Havrylyuk, who, on January 22, 2014, during the confrontation on Hrushevskoho Street, was captured by law enforcers, beaten, stripped naked, abused verbally, and all this was filmed. This event had caused Ukrai- nians’ indignation. A cartoonist from Kolomyya, Igor Bezhuk, worked in a serious style this time, drawing a black-and-white profile of Havrylyuk who smiled: “We were destined to live at a Great Time! Every day, new Heroes are being born! Cossack Mykhailo Havrylyuk is the embodiment of the major good qualities of Ukrai- nian Cossacks: bravery, endurance, and simplicity.”40

An illustrator of children’s books from Kyiv, Marysya Rudska, depicted Havrylyuk with a lance, as a victor over an evil dragon. The drawing is accompanied by a line from Maria Diordiychuk on Instytutska Street. Photo by Andriy Komashko

39 Винницька Я. Наш Banksy. Стрит-арт-художник #Sociopath про соціальне мистецтво [Електронний ресурс] / Ярина Винницька // Тиждень. — 2014. — 24 травня. — Mode of access: http://tyzhden.ua/Culture/109901 40 Нога Х. Козак, над яким знущався «Беркут», надихнув художників Електронний ресурс] / Христина Нога // Zaxid. net. — 2014. — 28 січня. — Mode of access: http://zaxid.et/news/showNews.do?kozak_nad_yakim_znushhavsya_berkut_nadihnuv_hudozhnikiv 41 Заховайко М. Недільне чтиво: «Кольори волі» — мистецтво барикад мандрує Європою [Електронний ресурс] / Майя Заховайко // Укрінформ. — 2014. — 29 червня. — Mode of access: http://www.ukrinform.ua/ukr/news/nedilne_chtivo_kolori_voli_mistetstvo_barikad_mandrue_vropoyu_1950638

31 bring the paintings to various European countries. Mariya had says: ‘Draw Archangel Michael: he is in the Maidan ev- outlined her stance in life like this: ery day anyway.’ I understood in my dream that she “There are military correspondents, so why not create died. There’s no fear. I stand up, go to Google, find out a profession of military artists? My position is active who Archangel Michael is: it turns out this is the Arch- but not radical, my cause is creation, not ruination, angel who overthrew Satan at God’s command, and even though this ruination may be justified by time’s his figure, Archangel Michael’s, with golden wings, is demands.”41 constantly there in Kyiv in the Maidan. So I draw him, and he becomes the emblem of Self-Defense, and the Master of political cartoons Oleg Smal launched his entire community which defends the Maidan.”44 open-air exhibition in Yevropeyska Square on 5 February 2014. In response to a journalist’s question if an artist must take In those days, Yuriy Zhuravel had made dozens of revo- part in public protests or stay within boundaries of creative lutionary drawings, called by writers the Kapranov Brothers work, Smal said: “monumental cartoons”. He arranged his revolutionary exhibi- “Artists themselves make this choice. However, for tion in Hrushevskoho Street in open air. The exhibition was some reason artists do not go to Anti-Maidan. Maybe, fired at by “Berkut” riot police. Right after the tragic events the smell of Stalin’s camps is too strong there...”42 in February, he drew “The Heavenly Hundred”45 which, probably, was the first image of the heroes. A song of “Ot-Vinta”, Yuriy Zhuravel, a graphic artist, a public leader, and “The Ballad of Salt”, is also dedicated to the Heavenly Hun- the frontman of “Ot-Vinta” rock band from Rivne, was in the dred. Maidan on 21 November 2013: “From as far as Varangians to as far as Greeks “My sharp pencil, my guitar, my throat аre also worthy The road was paved by the brothers’ bones. weapons. If the pencil breaks, or the strings, or my They buried their dead, they prayed to God voice, I will continue the fight using my fists, my teeth, And went farther, as they had to go.” my body...”43 Artist Svetlana Kalinicheva created a project, “Mem- Zhuravel designed and drew the chevron of the Maid- ory”: immediately after the tragic events in the Maidan, she an’s “Self-Defense”. The artist told how this happened: undertook to draw all the heroes of the Heavenly Hundred. “I was thinking about this She asked the heroes’ families and journalists for photos, and chevron, and when I went then she posted the portraits she made on her page on Face- to sleep, exhausted, I had a book. The artist set the goal of preserving the memory of the dream that I was sitting at heroes. According to her, my desk, and then my wife “I’d like to create a series of post cards, posters, may- comes from behind, and be banners with portraits of the dead, and place them

42 Аврамчук К. Карикатурист Олег Смаль: «На Антимайдан митці не йдуть. Мабуть, там дуже тхне сталінськими таборами» [Електронний ресурс] / Катерина Аврамчук // Insider. — 2014. — 10 лютого. — Mode of access: http://www.theinsider.ua/art/karikaturist-oleg-smal-na-antimaidan-mittsi-ne-idut-mabut- tam-duzhe-tkhne-stalinskimi-taborami/ 43 У столиці на вулиці з’явилась виставка графіки Юрія Журавля на тему революції [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 1 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/1/150854/ 44 Одарченко В. Юрій Журавель: «Я згоден з цими виродками йти в пекло» [Електронний ресурс] / Валентина Одарченко // Радіо Свобода. — 2014. — 27 лютого. — Mode of access: http://www.radiosvoboda.org/content/article/25279708.html 45 Ibid.

32 2014. However, there is no doubt that there were artists who responded to calls and demands of the revolution in real time. Roytburd thinks that artists of “Barbican” and Oleg Tistol are such artists, with their thinking on the edge of advertisement and pop art that can be seen in the practices of “zhlob-art” or “nashprom” styles47. In the winter of 2014 “Ukrayinska Pravda” Internet publication asked artists from different cities of Ukraine three questions about the Maidan: 1. What is your attitude towards the events in the country? Could you call this revolution “your own”? 2. What can an artist offer the revolution? According Oleksandr Roytburd on Independence Square to you, does such professional self-definition impact on taking part in protest movements at all? around cities in Ukraine, as a reminder of what kind of 3. Can we expect that Euromaidan and events linked to a person people could be: strong, active, determined, it will become a reason for an artistic expression on its own?48 patriotic.”46 Journalist Olha Balashova published answers of artists from different cities of Ukraine. In this research, first of all, Artist Oleksandr Roytburd came to the Maidan on 21 the answers from those who were in Kyiv and took part in November 2013, understanding very well that his career may protests are extremely interesting. Anatoly Belov (who, with well have finished with this. He wrote on his Facebook page: Kateryna Mishchenko, co-authored a popular poster “We Have “Well, here it is: I understand that it’s too late to drink Nothing to Lose except Our Maidans”) thinks that artists can mineral water but I am ordering a taxi to the Maid- express themselves in revolutions in different ways: draw an, so that later I could look myself in the eye with posters, do technical work, work as part of a team without clear conscience when looking into the mirror. Who- authorship, not express themselves at artists at all but fight ever wants to see me, come along; maybe this still has on barricades and be on duty in hospitals. As any other citi- some sense.” zen, they can help revolution to the extent of their forces and abilities. Among other colleagues who supported the Maidan, the According to Lesya Khomenko, artistic reflection has artist mentions Tiberiy Silvashi, Volodymyr Budnikov, Vlada difficulty functioning within such fast change of context, espe- Ralko, Arsen Savadov, Matviy Vaisberg, and also Olexa Mann’s cially within the context of real deaths and violence. She not- “Barbican” as one of the centers of Maidan. Roytburd confesses ed an interesting thing: many artists documented the Maidan that as he is an artist working with easel, he works in the si- with photos and videos. According to the artist, lence of his studio, so his reflexions about the Maidan made it “Assuming ownership of reality is necessary for fur- to pictures later, but still rather quickly. His personal exhibi- ther work and reflection. I tried to answer my own tion at the Shcherbenko Gallery was staged as soon as March of question about my place as an artist in the Maidan

46 Художниця створює портрети героїв Небесної Сотні [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 27 березня. — Mode of access: http://life.pravda.com.ua/person/2014/03/27/160306/ 47 Балашова О., Тытыш Г. Александр Ройтбурд: Если не победим, Украина вообще уйдет из цивилизационного поля [Электронный ресурс] / Ольга Балашова, Галина Тытыш // Украинская правда: жизнь. — 2014. — 14 февраля. — Mode of access: http://life.pravda.com.ua/person/2014/02/14/152414/ 48 Балашова О. Художники и революция. Часть 1 [Электронный ресурс] / Ольга Балашова // Украинская правда: жизнь. — 2014. — 1 февраля. — Mode of access: http://life.pravda.com.ua/culture/2014/02/4/151225

33 by drawing people’s portraits and handing them the “I take part as a citizen, not as an artist. It’s just that original drawings. I only kept ‘carbon copies’.”49 the instruments of protest may be artistic as well. Having them broadens the range of protest.”50 Olexa Mann, an active participant in the protests since their first days, breaks them down into three phases: Kyiv artist Vova Vorotniov thinks the Maidan itself was 1. “For EU integration” until November 30 (beating of a complex collective artistic expression, as a medium and per- students); formance that was partly directed. He followed attentively 2. “Against criminal power”, from 30 November to 19 “natural development of plastic language and new media in January (protests becoming more active); Maidan, as these grounds are much broader than ‘the vicious 3. “The War for the Motherland”, after January 19. circle’ of Art. This is when everyone is an artist.”51 Creative prediction is characteristic of artists. Regretta- Sasha Kurmaz from Kyiv saw his part in creating visu- bly, the characteristic of the third stage, given by Olexa Mann al images, not Molotov cocktails, because he was able to do in the beginning of February, matched the events that began this better, so he took part in the revolution with his political and are continuing in Ukraine: the war for the Motherland. graffiti and posters. For him, the Maidan was an expression, From Olexa’s point of view, artists can stay away com- “powerful in form, radical and political in contents, and at the pletely from revolutions and different protest movements: same time, unbelievably esthetic and expressive, where an artist is helpless when faced with its element.”52 Kyiv artist Alina Yakubenko thinks that an artist can offer herself to the revolution as an individual, and artistic practices do not have clear-cut boundaries. Instead, they get wider all the time. She agrees with the activist’s thought that the barricade on Khreshchatyk should have been exhibited as an installation at “PinchukArtCentre”. Lviv artist Serhiy Pet- lyuk said that he thinks the Maidan was a wonderful platform for setting free the creative energy of collective subconscious. And from the viewpoint of an artist from Uzhhorod, Pavlo Ko- vach, the Maidan will be and already is a topic for many artists, however, the best work (performance) “is happening right this minute.”53 Artists went to the Maidan, first of all, as citizens. Glib Vysheslavsky, an active participant in the Maidans of 2004 and 2013-14, had presented his artistic view of the events in spring, in his triptych dedicated to the Maidan where he used some things used in the Maidan: cobblestones, gloves, a bottle used for Molotov cocktail, a gas mask, a yellow-and blue rib- bon and metal wire. Performance “Flags from the Maidan”. Author Glib Vysheslavsky

49 Балашова О. Художники и революция. Часть 1 [Электронный ресурс] / Ольга Балашова // Украинская правда: жизнь. — 2014. — 1 февраля. — Mode of access: http://life.pravda.com.ua/culture/2014/02/4/151225 50 Балашова О. Художники и революция. Часть 1 [Электронный ресурс] / Ольга Балашова // Украинская правда: жизнь. — 2014. — 1 февраля. — Mode of access: http://life.pravda.com.ua/culture/2014/02/4/151225 51 Балашова О. Художники и революция. Часть 2 [Электронный ресурс] / Ольга Балашова // Украинская правда: жизнь. — 2014. — 11 февраля. — Mode of access: http://life.pravda.com.ua/culture/2014/02/11/151985/ 52 Ibid. 53 Ibid.

34 ARTISTIC GROUPS

In December 2013, “The Artistic Barbican” appeared on fleeced, not listened to”, etc. These slogans and the concept Khreshchatyk Street, an analogy to a fortification protecting behind them were taken further by students of the National approaches to city gates. In the late Medieval Ages, such for- University of “Kyiv-Mohyla Academy” and the National Acad- tifications would meet the first assault of the enemy and give emy of Fine Arts and Architecture, as they began to demon- an opportunity to close the gate to the main fortress. It was in strate with placards. This looked like an esthetic revolution the form of such a construction that the organizers visualized of people who made their civilization choice. The events un- the public post of creative intellectuals for holding art events: folded in the streets, so it became clear that there was a need exhibitions, literary readings, etc. The artist Ivan Semesyuk for their own stationary picket in the Maidan.55 announced on his page in “Zhyvy zhurnal” (Live Journal) social “Barbican” had immediately turned into a constantly network at the end of December 2013: acting exhibition of anarchic art where artists, cinematogra- “Comrades! Welcome to the victorious literary uprising phers, authors, musician and philosophers gathered; where in Maidan! On Sunday 29 December at the Art Barbican, lectures on protest art, literary readings, and discussions were artists of different profiles will read short prose. Here held. The walls of “The Artistic Barbican” featured copies of is who volunteered to participate: Serhiy Pantyuk, Svit- pictures by such artists as Olexa Mann, Ivan Semesyuk, Andriy lana Povalyayeva, Irena Karpa, Anton Sanchenko, Anna Yermolenko, Pavlo Zharko. Later, installations and copies of Malihon, Artem Polezhaka, Oleksiy Nikitin, Yevheniya works by other authors were added, in particular, the installa- Chupryna, Dmytro Mamchur, Karyna Tumayeva, Olek- tion “Targets” by Jerzy Konopie. sandr Motsar, Oleksandr (Rabbit) Zakletsky, Maryana When confrontation on Hrushevskoho Street began on Luna, Dmytro Lazutkin, Oleksiy Sudarenko, Ivan Seme- January 18, 2014, two participants in The Barbican were badly syuk, and also there’s a glimmer of hope that prose works of Olexa Mann and Andriy Yermolenko will be heard. With account to severe street conditions, and the radical character of people’s mood, the authors have chosen their toughest and most provocative works. Women will mostly read tough erotica. There may be non-normative language. Classical literature will be read for the sake of balance, an excerpt from the third volume of ‘The Dead Souls’.”54

One of the founders of “Barbican”, artist Olexa Mann, said in the spring of 2014 in an interview to “Esquire” magazine that the Maidan was launched by artists who were able to formulate and convey certain ideas better and more clearly than political scientists and journalists. The artists wanted to make an absolutely European revolution, maybe with an echo of 1968; they invented almost 40 slogans of corresponding nature, like “Europe is my right to rebel”, “A ram should be “The Artistic Barbican”

54 Літературний Барбакан [Електронний ресурс] / Семесюк. — 2013. — 28 грудня. — Mode of access: http://semesyuk.livejournal.com/451143.html 55 Калитеевская И. Искусство Майдана. Художник Олекса Манн рассказывает о том, как он с коллегами оказался на Майдане, и о высокохудожественных коктейлях Молотова, которые особенно ценила революционная самооборона [Электронный ресурс] / Ирина Калитеевская // Esquire. — Mode of access: http://esquire.ru/ukraine/5/

35 den” magazine (№1–2, 2014), and later it was transformed in a poster. In Delacroix’s paintings, the barricades are covered with human bodies. In Yermolenko’s, the barricades of the Maidan are covered with tires. After the tragic events of 18-21 February, the bodies of Heavenly Hundred remained on the barricades of the Maidan. The topic of premonition of the Maidan of 2013-2014 in Ukrainian art awaits its individual study. Let us quote an eloquent example. In the autumn of 2009, Victor Sydorenko, as part of his project “Levitation”, presented a sculpture of a red giant that became the symbol of fourth International Art Exhibition-Fair “ART-KYIV Contemporary 2009”. The sculpture had immediately acquired socio-political features. As they were avidly discussing the topic of swine flu, the sculpture was given a respirator. Here is the revolutionary reading of the winter of 2013-14: there’s the red giant on the stairs leading to the Ukrainian House, in a respirator (protestors used them widely to protect themselves from gas), and pointing his hand to the Cabinet of Ministers and barricades on Hrushevskoho Street.

Andriy Yermolenko “Freedom!” wounded, many got innumerable light wounds; later, in Febru- ary, a cameraman who filmed the fiercest confrontations was killed. Artists sustained losses, as everybody had. A majority of copies and works presented on the card- board walls of the barbican were made before the winter events but they were read in new waves through the context of the Maidan, particularly “Shevchenkiana” by Andriy Yermo- lenko. Of special attention is worthy this artist’s poster, created at the start of 2014, where the basis is a well-known picture by Eugène Delacroix “Freedom Leading People”. Dela- croix painted it in 1831, in response to revolutionary events in France in July of 1830, which put an end to the Bourbon restoration regime. The creative treatment of this picture by Andriy Yermolenko appeared on the cover of “Ukryinsky Tyzh- Victor Sydorenko “Levitation”

36 In February 2014 the “Artistic Hundred” settled down “Amid all those events I had several hours when I could in The Ukrainian House, initiated by a graduate of the Kyiv pop out of the center to breathe some fresh air, not Municipal Academy of Circus and Variety Arts , Maryna Matylda. gas or smoke. I ran to my friend who makes tattoos Young artists were painting shields and helmets; they sought and said: ‘Listen, I need a trident in flames because to help protestors in a creative way. They outlined their posi- this is simply my soul.’ I look at it now and understand tion in the following way: that there may be a lot of people who would want “In times of change no conscious citizen can stay indif- this, too.”57 ferent! However, each of us has our own battlefield. In order to influence political processes, an artist should The Library of the Maidan was also set up in the Ukrai- use accessible means: paint and brushes, verses and nian House. Its organizers announced at the beginning of music, a camera visor and editing software. Our protest February: against lawlessness is cultural resistance. Our weapon “There has to be a place for art in any confrontation. is art! Participants in the action are artists, photog- In order to support combat spirit, tomorrow, on 8 raphers, videographers, sculptors, musicians, bandura February, let us meet at THE LIBRARY OF MAIDAN in players, circus performers, mimes, and ballerinas.”56 The Ukrainian House! We will read fragments of the book ‘The Era. Confession of A Young Banderite’ and There even was a studio of free tattooing for national will willingly talk to you! Come! 4 pm, central hall! motifs: “Tattoo Kleynody”. An artist and activist of the Artis- Glory to Ukraine!” tic Hundred Maria Diordiychuk said:

Revolutionary Khreshchatyk. Photo Fragment by Igor Gilbo

56 Сергацкова К. Митець як борець. Нова сотня Майдану [Електронний ресурс] / Катерина Сергацкова // Українська правда: життя. — 2014. — 6 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/6/151591/ 57 Київська художниця намалювала Майдан у «Кольорах волі» [Електронний ресурс] // Galnet. — 2014. — 31 січня. — Mode of access: http://galnet.org/newsticker/97634-kyjivska-hudozhnytsya-namalyuvala-majdan-u-kolorah-voli

37 MUSIC

In the 2013-14 Maidan, as in 2004, musicians played a great unifying and motivating role. After the attempt to disperse the Maidan, “Kozak System” rock band suggested recording a song, “Brother for Brother”, which became protestors’ anthem. Marichka Burmaka, Taras Chubai, Foma, Oleg Sobchuk from “S.K.A.Y.” band, Anzhelika Rudnytska, Antin Mukharsky, and others took part in recording the song. The Maidan’s stage saw performances by “Pikkardiyska Tertsiya”, “Plach Yeremiyi”, “TNMK”, “Tartak”, “Mad Heads”, Mykhailo Illenko. Frame from the film “Citizen”, “Mandry”, “Ot-Vinta”, “Haydamaky”, “S.K.A.Y.”, “Fiolet”, director Oleksandr Shkrabak, operator Andriy Kotlyar “Rolliks”, and Lama. Not only did rock bands and singers perform there, but also pop and even opera performers.58 has accelerated, continues to increase the distance “OstaNNya Barykada” art association published a tenta- between society and the artist. Politicians do not go tive schedule of performances on its site, and after Maidan, outside boundaries of their own arguments; they dem- they have since published an anthology of the musical scene onstrate their one-legged-ness, ignoring our immense in four discs: “Musical Hundred — November”, “Musical Hun- creative potential. Maybe only young music catches up dred — December”, “Musical Hundred — January”, “Musical and even takes over this acceleration of time. It is this Hundred — February”. that finds its place in the Maidan organically.”59 The artists had not only taken part in the artistic component of protests: “Kozak System” brought a hundred Not only did “young” music promptly react to events. warm coats, a hundred pairs of winter and autumn footwear; The world-known Kyiv composer and participant in the “S.K.А.Y.” and “Druha Rika” rock bands bought power gen- protests, Valentyn Sylvestrov,60 created his own version of erators and warm things; Marichka Burmaka spent days and Ukraine’s anthem, as well as “Nativity Psalm”: nights in the Maidan, and singer Ruslana became a real ener- “When in December there were peaceful protests, out gizer of the protest. anthem sounded peaceful. And on 18-19 February Film director Mykhailo Illenko reflects on music in the there was no need for words, even: it sounded with Maidan: smoke, with the entire complexity of the situation. “I am not a politician. I am a film director. It is easier Both words and music acquired other meanings, and for me to express my views through a screen, not from depending on circumstances, they were filled differ- a rostrum, but it is hard to abstain from direct talk in ently. And the last was the anthem when Yanukovych the days when the society is abuzz and is not going to was already ousted, when they already thought this wait until cinema, theater, literature, painting, bal- was victory. There are allusions to the bell ringing in let react. Maybe this is inertia, aloofness, a pompous my ‘Anthem’. The bells were ringing when they at- nature of our creative resource now, when the time tempted to disperse the Maidan. I had already stressed

58 Лебідь Н. Олесь Доній: Мистецької акції такої «протяжності», як на Майдані, не знала жодна країна [Електронний ресурс] / Наталія Лебідь // Обозреватель. — 2013. — 30 грудня. — Mode of access: http://obozrevatel.com/interview/57164-oles-donij-mistetskoi-aktsii-takoi-protyazhnosti-yak-na-majdani-ne-znala-zhodna- kraina.htm 59 Іллєнко М. Додати до імені ще одне: Українець [Електронний ресурс] / Михайло Іллєнко // Українська правда: життя. — 2014. — 29 січня. — Mode of access: http://life.pravda.com.ua/columns/2014/01/29/150228/ 60 Бородина Т. Реплика: Валентин Сильвестров [Электронный ресурс] /Татьяна Бородина // Elegant New York. — 2014. — 28 марта. — Mode of access: http://elegantnewyork.com/silvestrov/

38 for the journalists that this was the second case in the history of Mykhailivsky Monastery. They told me there that the bells rung for the first time during Tatar-Mon- gol invasion of 1240.”61

The composer emphasized that he could not be any- where other than the Maidan. He reminds us that Richard Wagner, too, was on barricades once in his life: in his youth he took an active part in the July uprising in Dresden in 1849 and even was on the list of wanted persons as a political criminal. Byron was on barricades, too. Artists express their position Charity concert in memory of the Heavenly Hundred. Conductor Roman Kofman through creativity or through active politics. After the tragic January events on Hrushevskoho Street As in 2004, totally opposing songs sounded in the Maid- Sylvestrov created a diptych “...Glory to you also, blue moun- an and the Anti-Maidan, located in Mariinsky Park. Film di- tains” and “Rest them with the saints…” and dedicated it to rector Valery Balayan draws attention to this in his blog, “A the memory of Serhiy Nigoyan62 who died in the Maidan, and Free Spot”. He emphasizes the polarity of esthetics of the after mass killings in the Maidan he wrote a diptych that rather Maidan and the Anti-Maidan, as he does anthropological and resembles famous fragments from a requiem: “Dies irae” and language differences: in the Maidan, where the majority of “Lacrimos”. people spoke Ukrainian, while mixed speech and swear words “These sounds of lament embody the unquenchable sounded in the Anti-Maidan. The Soviet Russian-language pop mourning atmosphere of those days and at the same music of 1970s-1980s sounded in the Anti-Maidan, while songs time from them, ‘by way of a grain’, a quiet waiting from the times of the Ukrainian People’s Republic and Dyrek- for Easter is being born”, the description of this work toria were heard in the Maidan. says.63 Valery Balayan thinks the dividing line had first of all run through people’s consciousness as, according to philoso- On 26 February 2014, the National Philharmonic of pher Merab Mamardashvili, they “awoke to life”, while oth- Ukraine saw a charity concert dedicated to the memory of er people were stuck in Soviet dreams imposed on them by the Heavenly Hundred. Shostakovich, Grieg, Beethoven were gangster clans in power.64 played. The entry was free, and the concert was broadcast to Professor Svitlana Zhabotynska studies differences be- the Maidan and on several Ukrainian TV channels. One of the tween the two Maidans in her work “Maidan — Anti-Maidan: most famous Ukrainian conductors led the concert, Roman Thesaurus of Lexical Innovations. Language as a weapon in Kofman. He asked the audience not to applaud the orchestra, the war of world views.”65 as this was practically a memorial service for heroes who died Maidan became a true Ukrainian cultural revolution. only a hundred meters away from the Philharmonic. “Den” newspaper wrote then:

61 Березніцька І. Валентин Сильвестров [Електронний ресурс] / Розмовляла Інна Березніцька // The Ukrainians. – 2014. — 18 травня. — Mode of access: http://theukrainians.org/valentyn-sylvestrov/ 62 Валентин Сильвестров присвятив новий твір пам’яті Сергія Нігояна [Електронний ресурс] / Новина// Українська правда: життя. — 2014. — 1 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/1/150875/ 63 Валентин Сильвестров присвятив новий твір убивствам 20-го лютого [Електронний ресурс] / Новина// Українська правда: життя. — 2014. — 26 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/26/154340/ 64 Балаян В. Песни Майдана и Антимайдана [Электронный ресурс] / Валерий Балаян // Грани.ру. — 2014. — 3 февраля. — Mode of access: http://grani.ru/blogs/free/entries/224102.html 65 Жаботинская С. Майдан-Антимайдан: словарь-тезаурус лексических инноваций. Язык как оружие в войне мировоззрений [Электронный ресурс] / Светлана Жаботинская. — Mode of access: http://uaclip.at.ua/zhabotinskaja-jazyk_kak_oruzhie.pdf

39 “Live music plays on the Maidan almost all the time. Not No doubt, a special event was the concert in support the type that resonates from the stage but the music of protestors by Svyatoslav Vakarchuk and the old lineup of that is being born next to the tents, in the buildings of “Okean Elzy” rock band, namely Pavlo Gudimov, Yuri Khustoch- the Kyiv City State Administration and the Ukrainian ka, Dmytro Shurov, and Denys Hlinin, staged in the Maidan on House, next to the barrels with fire and even... at December 15, 2013. The refrain of the song “I Won’t Surren- the barricades’ first line on Hrushevskoho Street. Sing- der without Fight” became a “call sign” for protestors and, ing and music accompany every day of the Maidan. As later, for Ukrainian soldiers who rose up to defend their Moth- early as on 7 December, when they placed a piano on erland. Lit by the glimmer of thousands of mobile phones, Lyuteranska Street, so that everyone who wants may musicians united with protestors against the background of play something for the Internal Troops, media have the revolutionary installations of the Maidan. added the definition ‘cultural’ to the word ‘revolu- Singer and leader of the rock band “Tartak”, Oleksandr tion’. Since then, there’s more music there...”66 Polozhynsky reached out through Facebook to collect songs apt for performance in the Maidan, putting them on the net Piano, violin, flute, bandore, and the inevitable guitar in wav format and asking copyright owners to allow them to going from hand to hand next to any fire where protestors be played for free in public. Oleksandr had very quickly taken tried to warm themselves. Everybody found their place in the a leading position not only among his fellow singers but also Maidan, professional artists and amateur musicians alike. as a member of the Maidan Council. Famous Crimean Tatar virtuoso guitarist Enver Izmailov On January 31, 2013, “Insider” site informed: dedicated his new musical composition to the Ukrainian peo- “During the protests Ukrainians saw cultural events that ple’s fight for their rights. It is accompanied by scenes filmed would have been fantastic under other circumstances: in Kyiv during the protests. the reunited ‘Oceans’, early release of demo-record- ings of ‘Braty Hadyukiny’, a free concert by ‘Lyapisy’, artists painting pictures in the thick of events... Art- ists stood together with their people. Musicians post- poned their creative plans, took their instruments and wrote new compositions in order to raise Ukrainians’ combat spirit. Literally every week the Internet ex- plodes with another ‘Eurohit’.”67

Orest Lyuty stressed that musicians were perform- ing two missions: supporting combat spirit and documenting events in recognized artistic forms. Hryhory Vahapov (“Vper- she Chuyu” rock band) believes that because rock is a protest music, a song should inspire for the fight. Yaryna Kvitka (“Folknery” rock band) sums up her attitude towards the Maidan with words from “Euro-seesaw” song: “I was in the Maidan and will be back tomorrow: enough Concert by “Okean Elzy” on New Year’s Eve for me of three hundred years of filth and disorder.”68

66 Семенченко М. Музика Майдану: від гітари до рояля [Електронний ресурс] / Марія Семенченко // День. — Mode of access: http://www.day.kiev.ua/uk/video/muzika-maydanu-vid-gitari-do-royalya 67 Ушиніна Т., Аврамчук К. Музичний тил Майдану, або Пісні цієї революції [Електронний ресурс] / Тетяна Ушиніна, Катерина Аврамчук // Insider. — 2014. — 31 січня. — Mode of access: http://www.theinsider.com.ua/art/muzichnii-til-maidanu-abo-pisni-tsiyeyi-revolyutsiyi 68 Ibid.

40 Ivan Lenyo (“Kozak System” rock band) was convinced: Performed a-cappella by “Pikkadiyska Tertsiya” sing- if artists have an opportunity to go to a mic and express ers, the Lemko folk song “Plyve kacha po Tysynі” accompa- their ideas through music, they should do it. Serhiy Fomenko nied the heroes of the Heavenly Hundred in their last journey. (“Mandry” rock band) sees the role of a musician in public According to witnesses, this song was sung in the Maidan for protests the same as any citizen’s role: to help the cause any the first time in January 2013, after the death of Mikhail Zhiz- which way they can. Eduard Prystupa (“Dilya”) points to the nevsky, a Belorussian, as this was his favorite song. His friends importance of musicians’ support for protests.69 have played this song while bidding their last farewell to him. Besides stage performances, music about the Maidan The powerful sense of the song, imposed over the memories written during that period was quickly spreading on the In- of the tragic days of the Maidan, made it one of the most ternet. It is very hard to name all the musicians who took powerful and emotional songs. Apart from “Pikkardiyska Tert- part in the protests of the winter of 2013-14. The following siya”, this song was performed by “Plach Yeremiyi” rock band, hits enjoyed special popularity: “Flow” (“Ot-Vinta”), “Ukrai- the Levko Revvutsky Capella, the Choir of the Kyiv Orthodox na e Sertzevina” (“GogolBordello”), “History” (“Skryabin”), Theology Academy.71 “Come On Get Up!” (“Brakhta”), “Together and To the End” On January 19, 2014, during fierce confrontation on (“Viter Znaye”), “Song from Ukraine” (“R-EVOlution”), “In- Hrushevskoho Street, a well-known Kharkiv trumpeter, Ko- dependent” (“Antytila”), “People Unite” (“TaRuta”), demos styantyn Oliynyk, supported the protestors’ combat spirit. from the new album by “Braty Hadyukiny”, Viktor Morozov’s songs about the Maidan to the lyrics by Yuri Vynnychuk and Andriy Panchyshyn, “Love U Ukraine!” (this composition by Viktor Bronyuk and “TiK” rock band became the anthem of Euromaidan in Vinnytsya), “Do You Hear This Song?” (performed by the choir of accidental people in the Maidan). A popular song of Italian guerillas “Bella ciao” was remade by Ukrainians into a foreshadowing hit of the Maidan “Vitya ciao” (Ukrainian lyrics by Iryna Zemlyana, soloist Olha Khutoryanets). Another mega-hit was “A Tire Burnt, It Was On Fire” to the melody of the folk song “A Fir Tree Burnt, It Was on Fire”. Michael Shchur, Pavlo Cherya and Vasyl Kosy wrote songs “We Will Arm Ourselves with T-shirts” and “Excess”. “The authorities in their present form are an irritator for any adequate citizen. They ‘inspire’ us to create musicians, for songs; artists, for drawings; architects, for barricades... When the wave of versatile creativity removes this system, we will have positive topics for creation. We do not claim any musical geniality, this is just our way to express our civic position,” Pavlo Cherya shared his thoughts in February 2014.70 Photo Fragment by Oleksiy Furman

69 Ушиніна Т., Аврамчук К. Музичний тил Майдану, або Пісні цієї революції [Електронний ресурс] / Тетяна Ушиніна, Катерина Аврамчук // Insider. — 2014. — 31 січня. — Mode of access: http://www.theinsider.com.ua/art/muzichnii-til-maidanu-abo-pisni-tsiyeyi-revolyutsiyi 70 «Ми озброїмося футболками»: новий революційний трек [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 12 лютого. — Mode of access: http://life.pravda.com.ua/society/2014/02/12/152034/ 71 Піккардійська терція — Небесна Сотня («Пливе кача по Тисині») [Електронний ресурс] / Відео // Приватний You- tube канал. — 2014. — 8 червня. — Mode of access: https://www.youtube.com/watch?v=GE9G_LWcviU

41 He played Ukraine’s anthem and songs of Ukrainian guerrillas while in the immediate epicenter of the battle. There were drummers, trumpeters, bandore and tsymbaly players not only at the stage of the Maidan but also among protestors... December 13, 2013 saw a performance by women drummers who came to the Maidan in order to support the protestors. However, the most famous drums of the Maidan were Cossack drums. Tsymbaly players performed in- Cossack drums on Independence Square credible rock on Maidan, which was documented and made part of the film by cinematographers from the “Babylon’13” association. The slogan, “Trembitas started to play, and Hut- suls rose” had not remained abstract: trembitas really played at the Maidan’s barricades. A bandore player and school student, Dmytro Holubny- chy, was just 16 in February 2014. He came to the Maidan and found himself in the epicenter of sniper shooting on February 20. He went to the frontline on his own, having taken a wooden shield while his father slept. Right when the snipers were shooting at people Dmytro’s father shot a film. In it, Dmytro talked to his Mom and promised he would come back to her. “There was no fear,” Dmytro says. “There was responsibility for everyone who was next to you.”72 Trembitas on the barricades of the Maidan

Dmytro Holubnychy on the barricades of Instytutska Street Sing the National Anthem. Photo Fragment by Igor Gilbo

72 16-річний бандурист з Інститутської: Я був впевнений, що ми не повернемося [Електронний ресурс] // Українська правда: життя. — 2014. — 27 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/27/154450/

42 THEATER

Kyiv’s theater community created a project, “Maidan’s Simultaneously, the work of transcribing and select- Diaries”, a documentary performance about the protests ing the material was going on: a lot was collected over two based on testimony of protestors. At the initiative of play- months. On the basis of the collected material, Nataliya wright Nataliya Vorozhbyt and director Andriy Mayem, the Vorozhbyt wrote a play in the documentary theater genre. Its first meeting took place in early December with protestors actors do not tell spectators why they came to the Maidan, who shared their impressions about events that happened to and any ideological or political background is left behind the them over the week since the confrontation had begun. The scenes. Spectators are introduced to big and small tragedies playwright called such meetings “psychotherapy sessions” of of these people, their joys and sorrows. sorts: The first version of the play was presented in Kherson “It’s clear that the play won’t have a finale, as every- on February 9, 2014. Then, Moscow, Gdansk, London. In Kyiv, thing is just starting. Our main task is to document the presentation of the text took place on 30 March 2014 at what is happening. Not even the events themselves as “DAKH” Contemporary Art Center. The play entered the reper- they will be documented by the press but what peo- toire of the Ivan Franko National Academic Drama Theater. ple feel when it is not known what is going to happen tomorrow.”73

CINEMA

From the first revolutionary days, the events of the Film director Volodymyr Tykhy had been the producer Maidan were documented in cinema. A public initiative, and artistic leader of “ВABYLON’13” from the very begin- “ВABYLON’13”, was formed, and many cinematographers joined. ning. He chairs the artistic board that any plotline has to go They shot short films lasting several minutes. The main aim was through before it can appear on the “ВABYLON’13” channel motivating viewers to join the protest, and only then creating on YouTube. He considers “ВABYLON’13” a way of creating a chronicle of events. Many of those cinematographers, the Ukraine’s modern cultural reality. The director underlines so-called “The Ukrainian Angry”, were ready to say farewell that during filming and the events he felt himself, first of to Kyiv and all of Ukraine right before the Maidan. This was all, a citizen, and only then, depending on circumstances, a how their almanac released in 2012 was titled, a socially criti- cinematographer and activist. cal work.74 During the Maidan the cinematographers made the For director and active participant in “ВABYLON’13”, transition from mercilessly sharp social criticism to heroic de- Larysa Artyuhina, it is very important to show people the piction without pathos. In their view, Kyiv was a city of fate- truth. From her point of view, a group is always stronger than ful changes, and a perfect filming ground for such changes. an individual is, especially during warfare. Larysa, like many Precise, short documentary notes acquainting viewers, among cinematographers, started filming the revolution on her own; other things, with Kyiv’s new architecture, the architecture she collected material in order to make “a film of genius” of barricades. Although people at these barricades were often and receive an Oscar. However, she later understood that the masked, cameras were able to reflect sparks in their eyes. Country is more important for her than Oscar75. During the

73 Олійник Є.«Щоденники Євромайдану»: не можеш вплинути на події — зафіксуй їх [Електронний ресурс] / Євгенія Олійник // Радіо Свобода. — 2014. — 4 лютого. — Mode of access: http://www.radiosvoboda.org/content/article/25252295.html 74 Україно, Goodbye! [Електронний ресурс] // Офіційний сайт проекту. — Mode of access: http://goodbye.com.ua/home/ 75 Титиш Г., Береза А. Обличчя #ВABYLON’13. Люди, які творять кінопротест [Електронний ресурс] / Галина Титиш, Анастасія Береза // Українська правда: життя. — 2014. — 13 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/13/152023/

43 Revolution of Dignity, she made films “The Flag”, “The Memo- Maidaners: singer Olexandr Polozhynsky, writer Irena Karpa, rial Service”, “Guernica”, and others. and journalist Bohdan Kutyepov. The project immediately “ВABYLON’13” became a way of direct participation in resonated in the media.76 the Revolution of Dignity by cinematographers whose cameras The phenomenon of the so-called “Bicycle Cinema” catch and analyze the stormy events of the winter of 2013-14. draws special attention to the events of the winter of 2013-14. Among participants are director and director of cinematog- What is meant here is a kind of a performance: in Mykhailivska raphy Ivan Sautkin, editing director Roman Lyuby, director of Square or next to the Kyiv Mayor’s office you could see a mov- cinematography Yuri Dunay, and director Yulia Hontaruk. It able movie theater brought to Ukraine from the USA by Stuart was Yulia who authored the film “D-moll at the Kyiv City State Farmer who considers himself the inventor of “new cultural Administration” about the pianist Oleksandra Morozova who space”, where the center is a screen, a stand for it and a played her work “D-moll” to pep up the tired participants in projector linked to a bicycle. One of the viewers turns the a rally. wheels and this replaces the electricity generator. The film is The cinematography association “Bimba production” shown until they get tired. Modern technologies make such a worked on the project “DNA UA”, about people with a gene movie theater compact and convenient while simultaneously of a real Ukrainian who directed their potential at building a opening opportunities for communication during and after the new Ukraine. This social-art group formed a year prior to the screening. Maidan but it was the revolutionary events that gave impetus In his interview on January 26, 2014, Stuart Farmer to their active work. “Bimbists” were called “the information said: warriors of the media front”; they work at the touchline of “I showed films in the Maidan, which was extremely in- art and media under pseudonyms Klavdia Bukvich, Anri Mos, teresting. For me, this became a brilliant opportunity and ‘Sociopath’. The first heroes of “DNA UA” were Yevheni- to talk to people frankly, without money, without par- ya and Valentyn, activists from Kharkiv who were curators ticipation of state structures. I brought a film about of revolutionary cinema screenings in Kyiv, as well as active the revolution in Egypt to Ukraine, symbolically titled ‘The Square’ (or ‘Maidan’). Especially for this, I got permission from director Jehane Noujaim. Within 2.5 years, the Egyptian people had overthrown their gov- ernments three times. People did it again, and again, and again. They made many mistakes. It seemed to me that this film and the experience of the Egyptian people are also very important for you.”77

Soon after this interview, the Ukrainian authorities declared Stuart Farmer persona non grata: they were scared by the new cultural space. A Slovak artist, Tomas Rafa, also imprinted the events on the Maidan on February 20 in video and photos. The artist recalls: “People were rescued from the street to the lobby of Frame from the film “DNK UA”. People with the Ukrainian gene. Episode 5 ‘Ukrayina’ hotel in Kyiv. There were many journalists

76 Свентах А. «ДНК UA». Соц-арт група «БІМБА-продакшн» представляє новий проект [Електронний ресурс] / Анна Свентах // День. — 2014. — 13 лютого. — Mode of access: http://www.day.kiev.ua/uk/article/media/dnk-ua 77 Виртосу І., Буткевич М. «Велосипедне кіно», або Сучасні методи громадянської активності [Електронний ресурс] / Ірина Виртосу, Максим Буткевич // Українська правда: життя. — 2014. — 26 січня. — Mode of access: http://life.pravda.com.ua/person/2014/01/26/149905/

44 there, so the management decided to close the doors to keep them safe. Snipers continued to shoot through windows.”78

Practically the entire Ukrainian protest was filmed in de- tail from many angles, often-unexpected ones. Of course, the protest’s popularity increased by immediate spreading of video materials across social networks, including YouTube.79 Video became both a message and a document for further reflection. Public activist Mykola Marusyk also filmed the battles in the Maidan on the tragic night of 18 to 19 February 2014. After shooting the video, he, together with his brother Pavlo Marussyk and their comrade Andriy Bobzhenko, visited his Frame from the film “Maidan”. Director Sergey Loznitsa friends to put his materials on the free access on the Internet. For the first time in his life, director Sergei Loznitsa It was 2 am, and Kyiv did not sleep a wink as the tension was shot a film where the events were taking place in real time. reaching its climax. While the video was being downloaded, As everybody else in the Maidan, he did not know how it all the friends drank tea listening to the noise of the battle. The would end. The film “Maidan” was made over 90 days. It con- brothers phoned home and told their Mom they were going sists of four parts: “Prologue”, “Celebration”, “The Combat back to the Maidan. In response to the rhetorical question Days”, and “Post Scriptum”. The director tells about the flow from their hosts about whether their Mom was worried, they of the revolution, from peaceful rallies to bloody street bat- answered seriously: She is proud of us… And they went back tles. The song “Vitya ciao” became the soundtrack for the film. out into that fearful night. Soon, Mykola was wounded, and As Loznitsa stressed, there is only one hero in his film, the Pavlo and Andriy brought him out from sniper fire. They said people, and the film’s idea had not changed from the begin- later that the snipers were aiming at the camera flashes. ning to its completion.81 As early as on 21 May 2014 the film Short films of the tragic and fateful winter of 2013- “Maidan” was screened as a special event at 67th International 14 were, in the end, assembled into long documentaries. In Film Festival in Cannes. The pavilion could not accommodate March 2014, during the opening of 11th International Festival everyone who wanted to see the film. The situation repeated of Documentary Films on Human Rights, “Docudays UA”, the in July, at the Odessa International Film Festival where Loznit- documentary “Euromaidan. Raw Cut” was presented, made sa presented his work to Ukrainian viewers. by director Roman Bondarchuk and many other directors of Alongside the work of a recognized film director, be- “ВABYLON’13” initiative; in it, the episodes of future films ginners showed their work about the Maidan, both in Cannes about Euromaidan assemble into a kaleidoscope of the revo- and Odesa. The organizers of 5th Odesa International Film Fes- lution that requires no comment, with Kyiv as the heart of the tival staged two additional screenings so that everyone who Revolution of Dignity.80 wanted could see the almanac, “Maidan’s Black Book”, filmed

78 Словацький художник Томас Рафа закарбував останні бої на Євромайдані у фільмі, де він об’єднав відео та фото [Електронний ресурс] / Новина // Українська правда: життя. — 2014. —7 березня. — Mode of access: http://life.pravda.com.ua/society/2014/03/7/156163/ 79 Гусев А.Я хочу, чтоб к штыку приравняли YouTube. Видеопротест украинцев [Электронный ресурс] / Александр Гусев // Украинская правда: жизнь. — 2014. — 29 января. — Mode of access: http://life.pravda.com.ua/culture/2014/01/29/150255/ 80 Мусієнко Н. Місто як арпростір кінематографу // Міждисциплінарне пізнання закономірностей сучасного екранного дискурсу: Зб. наук. праць / Інститут культурології НАМ України, Київ — 2014. — С. 76-86. Mode of access: http://www.icr.kiev.ua/files/File/Chmil,Zubavina.%20Zbirnyk%20(2014).pdf 81 Бондарчук Д. Кіно: протягом Євромайдану й далі. Частина 1. [Електронний ресурс] / Дмитро Бондарчук // Українська правда: життя. — 2014. — 9 черня. — Mode of access: http://life.pravda.com.ua/culture/2014/06/9/171000/

45 by students of the second film directors’ course of the workshop of Professor Yuri Tereshchenko of the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University. Dur- ing the four months in the Maidan, they had not only looked for their heroes, filmed them, and edited the material, but also worked as volunteers. These are the stories of people for whom the Maidan became an integral part of their lives. From dances and singing in December to the first shots in January, from happiness and euphoria to exhaustion and tiredness. The revolution through students’ eyes: 13 personalities, 13 passion- Poster from the film “Ukrainian Argument” ate cameras, 13 original views of the world. In the summer of 2014, the filming of “Pray for Ukraine” thinks that Ukrainians who came to the Maidan are saving not documentary was completed. An international group of cin- only Ukraine but also the world in general: ematographers worked on this film, and within three months “If the democratic Ukraine loses, the entire world will they had created a truly monumental film about the events in lose. If we are incorporated into the new Russian Empire, the Maidan. Many representatives of different countries filmed it will attempt to dictate its will to all other countries. events of the Maidan: Poles, Americans, French, Spanish, etc. And present-day Russia is so crisis-prone, there are so many projects and ideas are still awaiting their implementa- many weapons there that it can destroy half the Solar tion around the world. system. The world won’t survive another Cuban crisis.”83 Director Serhiy Masloboyshchykov, the author of a documentary about the Orange Revolution, “People from Maidan. The documentary, “Winter on Fire: Ukraine’s Fight for Nevseremos!”, repeated his experience of documenting his- Freedom” was filmed for the American online TV channel Net- torical events and presented his new work, the documentary flix by director Evgeny Afineevsky. In September 2015, this film “Maidan. The Ukrainian Argument”, dedicated to the events at took the first place in the category of documentaries at 40th the end of winter in 2014. The film is based on interviews with International Film Festival in Toronto. The special feature of people in the Maidan where the director himself spent many this festival is that a picture with strongest audience support days: he worked as an “ant” (built barricades, brought money, becomes the winner. The director said, in particular: food, clothes), and all the time he was filming in order to “I want to thank for the support and recognition of our capture the image of Maidan as an element of individual expe- film as an important historical moment, dedicated to rience in the center of which is a person with their own story, patriotism and unity of the Ukrainian people.”84 who makes an effort to be a human being.82 Different people with different stories from different places in Ukraine talk to Later, the Academy of Motion Picture Arts and Sciences’ us from the screen, among them a well-known Kyiv intellec- nominated the film for Oscar for Best Documentary Feature. tual, Academician Vadym Skurativsky. His disturbed reflexions No doubt, Ukrainian and world cinema are already ges- on a possibility of the Third World War in 21st century sound as tating feature films about Maidan that will again and again ominous warnings of a philosopher to humankind. Skurativsky bring us back to the events of the winter of 2013-14.

82 Славінська І. Режисер Сергій Маслобойщиков: Майдан є феноменом індивідуального досвіду [Електронний ресурс] / Ірина Славінська // Українська правда: життя. — 2015. — 28 травня. — Mode of access: http://life.pravda.com.ua/person/2015/05/28/194727/ 83 Вадим Скуратівський: Кожен має допомагати будь-якій поміркованості [Електронний ресурс] / Інтерв’ю // Комментарии. — 2014. — 2 лютого. — Mode of access: http://comments.ua/politics/449905-vadim-skurativskiy-kozhen-maie-dopomagati.html 84 Стрічка про Революцію Гідності перемогла на міжнародному кінофестивалі в Канаді [Електронний ресурс] / Новина // Громадське. — 2015. — 21 вересня. — Mode of access: http://www.hromadske.tv/culture/strichka-pro-revolyutsiyu-gidnosti-peremogla-na-mi/

46 LITERATURE

Shevchenko in Maidan

The events of the winter of 2013-14 gave an impetus for rethinking the works of Taras Shevchenko. It was as if the poet had come back to life in the Maidan. “Shevchenko’s coded messages come to us through years, those words about ‘turncoats who help the Muscovite be a master and take off the padded shirt from our mothers, are incredibly poignant today, when you see how everything unfolds as if it was written to be so”, writer Irena Karpa rightfully remarked.

A“Now, Shevchenko’s face becomes like he really was, According to Yuri Makarov, a journalist and the author i.e. people are more interested in the live Shevchenko.”85 of a four-part film, “My Shevchenko”, the poet is surprisingly relevant to the values and measures of Euromaidan: Andriy Yermolenko puts the poet’s image into novel “The entire Euromaidan is Ukraine’s movement back contexts, underlining that Shevchenko is not a monument but to ourselves, a component of this Ukraine to which our contemporary. Yermolenko’s “Shevchenkiana” could be we should return, is our Taras Hryhorovych. If the seen on the walls of The Art Barbican. trends of Euromaidan that became visible now win, Shevchenko will be in demand.”86

Shevchenko, who until then was popularized in a boring way by both Soviet and “independent” authorities in the best traditions of caricature folklore, suddenly became wanted, as essentially Ukrainian, “our own”. “Shevchenko has been present in Maidan from the first minute. This means that Shevchenko is always present within us. We are carrying him. He is present in mind- bogglingly different aspects. He is there in posters written literally with blood: “Fight and you will overcome”. He is there in gypsum busts that are being sold next to the Post Office on the Maidan,”87 Serhiy Proskurnia, the author of the project “Our Shevchenko” and the documentary “Shevchenko. Identification”, a Ukrainian director and producer, told literary critic and Andriy Yermolenko author Iryna Slavinska.

85 Безп’ятчук Ж. Нам потрібен не Шевченко-пам’ятник, а «живий Шевченко» — художник [Електронний ресурс] / Жанна Безп’ятчук // Радіо Свобода. — 2014. — 27 лютого. — Mode of access: http://www.radiosvoboda.org/content/article/25278602.html 86 Ibid. 87 Славінська І. Сергій Проскурня: Шевченко проти Шевченка [Електронний ресурс] / Ірина Славінська // Українська правда: життя. — 2014. — 17 лютого. — Mode of access: http://life.pravda.com.ua/person/2014/02/17/152667/

47 The Literature of Maidan

The literary critic and translator Oleksandr Boychenko said this about writers’ participation in the protests in the beginning of February 2014: “For me, indicative is the fact that Maidan today is actively supported not only by my friends and buddies, like the entire Andrukhovych family, Andriy Bondar, Andriy Lyubka, Serhiy Zhadan, Taras Prokhasko, Yurko Vynnychuk, Irena Karpa, Taras Chubai, ‘Kozak System’ but also those writers, artists, and musicians with whom at other times I would not even exchange hellos out of pure artistic considerations. Artists are generally egotistic people, with their own ‘cockroaches’ in Artem Polezhaka their heads; however, in these circumstances they forgot about their inner strife and began acting jointly. It Ukrainian poets had immediately responded to the is evident that when the situation normalizes we will tragic events in Maidan. Maryana Savka wrote then: be at loggerheads again but for now all the decent My Lord, you have breathed in the bitter smoke, people are on this side of the barricades.”88 And in the darkness and fire, of course, without a helmet You are behind your dearest sons, invisible, The message of mystic writer Maks Fray that Maidaners To stretch out your hands if they are doomed to fall. in Kyiv are “dispelling the Earth”, expressed at the end of the cold January of 2014, seems entirely realistic.89 A poem “We Will Never Be Brothers” acquired immense popularity. Anastasiya Dmytruk, student of the Kyiv National Poetry I. K. Karpenko-Kary Theatre, Cinema and Television University, wrote it after the deaths of the heroes of the Heavenly Hun- In mid-December 2013, the Ukrainian poet Artem Pole- dred. There is no place here for merriment or sarcasm, only zhaka wrote a poem “Despatch” that very soon became popu- for the pain of tragic conclusions. A bit naive, and maybe too lar. He presented it to the public in the Kyiv club, “44”. The simple for snobs, the poem accurately named the things that poet had sarcastically and wittingly laughed at the absolute millions of people began to think about then: lies of Russian TV, in particular, of presenter Dmitri Kiselyov: We will never be brothers, Mr Kiselyov, it is scary in Kyiv! Where motherland is concerned, or mother. Again, Little Russians are under the spell of the Devil. You lack a spirit to be free, They brew military porridge in the square, We won’t be your brothers even by law. And throngs of fascists are roaming the streets. You named yourselves “older”; Barricades, trenches and ravines everywhere, We could be younger but not yours. And my hands are still trembling: You are so numerous but regrettably faceless. When they got to know here that I am from Moscow, You are immense, and we are great. They wanted to kill me with a trident!...

88 Антонюк М. Олександр Бойченко: «Далі буде те, що ми самі зробимо» [Електронний ресурс] / Маріанна Антонюк // Версії. — 2014. — 7 лютого. — Mode of access: http://versii.cv.ua/new/oleksandr-bojchenko-dali-bude-te-shho-mi-sami-zrobimo/26383.html#comments 89 Макс Фрай: там, в Киеве, люди расколдовывают землю [Электронный ресурс] / Макс Фрай // Блог. — 2014. — 28 января. — Mode of access: http://ru.delfi.lt/blog/neformat/maks-fraj-tam-v-kieve-lyudi-raskoldovyvayut-zemlyu.d?id=63867778#ixzz2rt9hnWnl

48 The poem had also immediately spread via the Inter- ing to barricades, among young and older rebels, black net, at first read by the author, and then as a song: the music from sooth, strict, smiling, sleeping next to barricades was written, and the song recorded by Lithuanian musicians and standing guard on them, among doctors who had (music by Virgis Pupsis; performed by Virgis Pupsis, Jaronimas not slept and cannot sleep, among us all is an honor Milius, Kestutis Nevulis, Gintautas Litinskas). The Klaipeda for me, and I don’t see justification for those who sit Musical Theater Choir took part in recording the song. at home, who surrendered to the outer non-freedom, The Polish poet Bohdan Zadura, in February, wrote the allowed it to enter them, changing it into the inner poem “Hotel Ukraine”, where he provides a long list of Ukrai- non-freedom.” nian artists whom he is ready to host at his home in tough times, and he finishes with regret: Revolutionary satire enjoyed special popularity during i am ashamed my dear protests. Internet users, groups of like-minded people, were that i am even more with you creating and collecting jokes. For instance, the publication of the more I don’t hear journalist Denys Bihus and poet Mykola Voskalo “Kwasniewski’s your leaders Cox” published powder poems. These poems have to be writ- and all those ten in the four-step iamb, have a certain number of syllables who speak in every line, and are usually a reaction to an event or a state- to you from stages ment.91 including in Polish.90 A network publication “The Ukrainian Shield-carrier” was created before the revolutionary events as a fun project. Andriy Lyubka translated the poem and posted in on his However, it became a literary-and-art project in the context Facebook page. of the Maidan. Its authors had not named themselves; they In winter, during the confrontations, “Prosvita” Pub- lived in different cities and rarely saw each other. Some of the lishers published a collection of poetry by Dmytro Pavlychko, “shield-carriers” were on the Maidan all the time; some would “Poems from Maidan”. In the spring of 2014, the “Bukrek” Pub- come for several weeks. The audience of “satirical” publica- lishers in Chernivtsi presented the first collection of poetry tions was growing constantly, just as the number of those who about the Heavenly Hundred, which comprised poems writ- wanted to make their written contributions simultaneously ten by both amateur poets and famous authors, among them increased. Dmytro Pavlychko, Maryana Savka, Yuri Izdryk, Oleksandr Ir- Time is quickly taking the Maidan into the past. The fu- vanets and others. ture generations will learn about it not only though historical Poet Ivan Kulinsky wrote on his Facebook page on Feb- research but also (maybe even primarily) through art, prose in ruary 20, 2014: particular. Maybe in the near future the Maidan will enter the “Carrying logs, sacks with blankets, assembling shelves main storylines of Ukrainian and foreign writers. for surgery for a field hospital was all I could doto- 2015 saw the publication of “The Maidan Diaries” by day for my people. Being there, among our wonder- Andrey Kurkov, a book which he calls not literature but, first ful people who find themselves where their help is and foremost, a document of heard and seen impressions. needed, amid the most versatile people, from girls No doubt, some journalistic projects will become a in beautiful clothes and business people in expensive basis for prose texts; in particular, Anastasia Bereza’s proj- clothes, stained because of dirty wood they were tak- ect “There Are People”.92 From the first days of the Maidan,

90 Польський поет написав вірш про події на Майдані [Електронний ресурс] / Новина // Українська правда: життя. — 2014. — 27 лютого. — Mode of access: http://life.pravda.com.ua/culture/2014/02/27/154409 91 Москвичова А. Із чого сміється Майдан? [Електронний ресурс] / Анастасія Москвичова // Радіо Свобода. — 2014. — 17 лютого. — Mode of access: http://www.radiosvoboda.mobi/a/25267077.html 92 Береза А. Єлюди: лучший проект о лицах Евромайдана [Електронний ресурс] / Анастасия Береза // Українська правда: життя. — 2014. — 30 січня. — Mode of access: http://life.pravda.com.ua/person/2014/01/30/150430/

49 this journalist began to write about its participants, creat- putting the main news events of that winter down on paper. ing their portraits and posting them on her Facebook page. They managed not only to re-create the chronology but also This page became popular very quickly. Probably, Anastasia reflect the emotions, doubts, and thoughts that people had Bereza’s stories, imbued with the energy of the Maidan, and who were creating the revolution and those who watched this emotionally true, will move onto pages of future novels and creation, sympathized with them, and helped them. film scripts. The Ukrainian National Memory Institute launched, in Journalist and chief editor of “Livy Bereh” internet the summer of 2014, a large-scale project, “Maidan: the Oral publication, Sonya Koshkina wrote a political investigation, History”. The Institute began to collect video and audio tes- “Maidan. The Untold Story”93, where she provides her own ver- timony from the activists of Euromaidan, a project that will sion of the events that unfolded in Maidan and around it. become the foundation for the Maidan’s archive and a solid Newspeople have published a photo almanac “94 Days. source basis for historians, documentary directors, sociolo- Euromaidan with the Eyes of TSN”94 in the style of Facebook, gists, psychologists.

PERFORMANCE: PIANO, AN INSTRUMENT OF FREEDOM Political actions in the Maidan transformed into per- around the world had participated in it. More than 900 pianos formances in one way or another. “Berkut” fighters were pel- were placed in 40 world cities: London, Los Angeles, Geneva, leted with fluffy toys, activists faced law enforcers with mir- Paris, Toronto, Boston, etc. Located in streets and parks, at rors, not posters. However, a special page from Euromaidan railway stations and markets, pianos were accessible to all saturated with creativity, an individual, bright page, no doubt members of the community. Who plays them and for how belongs to numerous performances with the yellow-and-blue long the instruments stay in the street depends on the com- piano, decorated with EU stars. It first appeared next to the munity and weather. The idea is for all those who want to President’s Administration on the corner of Bankova and Ly- play the piano to do so while the people around them can uteranska Streets on December 7, 2013. A Lviv musician, Mar- enjoy their music. kiyan Matsekh, placed the instrument in front of the police Kyiv and Lviv joined the list in the summer of 2013. It line and played Opus 64 by Chopin on it. He organized this was Markiyan Matsekh who installed a piano in Lviv. Against together with his father, Oleg Matsekh, and his friend, Andriy the background of sharp confrontation in Kyiv, that was ac- Meakovsky. The idea was to respond to violence with art and quiring more and more tragic and cruel features; the street kindness. piano acquired a totally different essence. It became a sym- “This piano is a social experiment,” Markiyan thinks. bol of freedom, a symbol of revolution. “Its fate now is in the hands of thousands of people. I After Bankova Street, the piano traveled to Khresh- am convinced that everything is going to be OK with chatyk, to the Kyiv Mayor’s office where it almost became it. I very much want such an object to become the part of the strengthening of the artistic fortification. This symbol of the Maidan. It has to be visible during the was prevented by Antuaneta Mishchenko, a student of the day, and it has to be heard at night.”95 Kyiv Conservatory (National Music Academy of Ukraine) — situated right in Independence Square. She rescued the instru- The idea of street piano is widespread. The “Play Me, ment and began playing for people who were looking for a I’m yours” project by a British artist, Luke Jerram, began shelter from frost in the building of the Mayor’s office, oc- in 2008 and quickly became international: 4 million people cupied by protestors.

93 Кошкіна С. Майдан. Нерозказана історія. — К.: Брайт Стар Паблішинг, 2015. — 400 с. 94 94 дні. Євромайдан очима ТСН/ Головний редактор Артем Чех. — Видавництво «Основи», 2014. — 169 с. 95 Гриценко К. Open People: Маркіян Мацех [Електронний ресурс] / Катерина Гриценко // Open.ua. — 2013. — 9 грудня. — Mode of access: http://open.ua/openpeople/interview/open-people-markiyan-maceh/

50 Markiyan Matsekh, December 7, 2013. Photo by Andriy Meakovsky “It is here that the right atmosphere is,” the pianist started to play “the instrument of freedom” all of a sudden, says. “If you sit at home or just play concert halls, when he went to support protestors on Bankova Street. Then you won’t have this. If I am a musician, I must reflect he played at night next to the Kyiv Mayor’s office, supporting reality, everything that is happening now in our world. people. Someone filmed him playing and put it on YouTube Why do I do music if I do it just for myself? I want to with a caption “An extremist made it to the piano”. Bohdan be a musician not just because I play but because I woke up famous in the morning. He said that the reason for can speak music to the world and convey something his popularity was that the “protestors were cultured and to it.”96 educated people.”97 Soon, a community called “Amateur Pianists United Pianist Bohdan had always hidden his face under balak- by Maidan” appeared on the Internet. Later this group was lava for personal safety. He told “Hromadske TV” that he renamed “Piano-extremist.”98

96 Швадчак Н. Піаністка на Хрещатику, яка на холоді грає для мітингувальників: Саме тут — правильна атмосфера [Електронний ресурс] / Надія Швадчак // Українська правда: життя. — 2013. — 14 грудня. — Mode of access: http://life.pravda.com.ua/person/2013/12/14/145700 97 Москвичова А.Піаніст-екстреміст: Гратиму там, де люди борються за свої права і свободи [Електронний ресурс] / Анастасія Москвичова // Радіо Свобода. — 2014. — 15 лютого. — Mode of access: http://www.radiosvoboda.org/ articleprintview/25265294.html 98 Piano Extremist [Електронний ресурс] / Facebook-сторінка. — Mode of access: https://www.facebook.com/piano.extremist

51 In February 2014, the yellow-and-blue piano was on the barricades of Hrushevskoho Street: music sounded instead of combat grenades and bullets... After Kyiv, Lviv, Donetsk, Dnipropetrovsk, Vinnytsya, Uzhhorod, Kirovohrad, Odesa, Sumy and other regional centers joined the “Instrument of Freedom” action: street pianos appeared there. In Luhansk, there was an attempt to disrupt the performance: Maidaners were attacked, and the instrument damaged. Photo by Lada Shilenko

ARTISTIC ACTIONS ABROAD IN SUPPORT OF MAIDAN

Many well-known artists and singers supported protestors in Ukraine practically from the very start of the Maidan, Arnold Schwarzenegger, George Clooney, “Gogol Bordello” among them. Rallies were happening abroad in support of the protest. “Art-Maidan” was held in Paris on February 16, 2014. The rally, accompanied by performances of musicians, singers, artists and actors who supported the Ukrainian protestors, marched along Saint-Germain and Saint-Michel Boulevards and finished in front of the Pantheon.99 On January 27, 2014, performer Alessandro Rauschmann staged an action of solidarity with the Maidan in Berlin. Wrapped in thermo-foil, the participants lay for several hours on the icy ground in front of the Brandenburg Gate. They symbolized those who died in Kyiv. The action did not have a permit but when the police got to know that it was in support of the Maidan, they let it continue. The news about this action had quickly made it to the Ukrainian media and drew attention of a wide audience: the publication about the action on the pages of “ART Ukraine” collected over 5,500 reposts across multiple social networks.100 Also in Berlin, in February 2014, the Ukrainian artist, “Art-Maidan”, Paris, February 16, 2014 Yevgenia Belorusets held her photo exhibition “Maidan: The

99 Музеї України [Електронний ресурс] / Сайт журналу. — Mode of access: http://www.museum-ukraine.org.ua/index.php?go=News&in=view&id=9906 100 Баздырева А., Чуриков М. Алессандро Раушманн: политический контекст и демонстрация pietà [Електронний ресурс] / Ася Баздырева, Митя Чуриков // ART Ukraine. — 2014. — 29 січня. — Mode of access: http://artukraine.com.ua/a/alessandro-raushmann-politicheskiy-kontekst-i-demonstraciya-piet/

52 Occupied Space”. In her interview with Radio Liberty, the art- On February 3, 2014, Ukrainians were addressed ist said that it was more of an activist gesture than an artistic through video by well-known Polish artists, directors, jour- gesture: nalists, actors, singers, and others. The idea emerged after “The Orange Revolution was a revolution of love for on the night of January 20, 2014 several students of the Kyiv ourselves and of euphoria, when people suddenly National I. K. Karpenko-Kary Theatre, Cinema and Television thought that they reached extraordinary heights just University were detained: Yuri Khrobust, Andriy Kotlyar, Da- because they took to streets. I think the protestors to- nylo Okulov, Oleksandr Shkrabak, Andriy Ivanyuk, and Vadym day understand that the fight is just unfolding and that Kovalyov, who were accused of organizing mass disorders. politicians may kidnap their victory. I want to think The Revolution of Dignity of 2013-14 in Ukraine is an that this protest is more conscientious. The collective inexhaustible topic inspiring both Ukrainian and foreign art- will to cancel the authoritarian laws, i.e. to achieve ists, while the art of the Maidan interests and impacts many democratic changes in the society is important. The contemporaries who are discovering Ukraine in a novel way. really scary experience in this protest is the murder of people. We feel this loss in a very intensive way: both in Ukraine and outside it. I remember the action in Berlin that happened after the people’s deaths and the state of everybody who came.”101

A Ukrainian band from Germany, “Stadtgarten”, together with Volodymyr Nekrasov, recorded a song about Maid- an, “You Are My Revolution”.102 On February 2, 2014, Lithuania’s capital, Vilnius, saw a charity marathon with all the collected money handed over to buy medical supplies for injured participants in the rally in Kyiv. 11 Lithuanian bands and performers took part in the concert, “Kartu Su Ukraina!/Together With Ukraine!”: “Skylė”, “Žalvarinis”, “Skamp”, “Biplan”, “Liūdni Slibinai”, “Dee & Kamy”, “Freaks On Floor”, “Garbanotas Bosistas”, MC Mesijus, Jurgis Didžiulis and “Alive Way”. It is important to stress that the Ukrainian revolution’s events became an impetus to rethink relations between Ukraine and her nearest neighbors: a hard and painful change in relations with Russia, and one filled with new positivity in relations with Poland. Of course, this found its reflection in art; in song art most of all. Every channel of Polish TV simultaneously broadcast a song “Give Your Hand to Ukraine” (“Podaj Rękę Ukrainie”) by the band “Taraka”.103

101 Олійник Є. Інтерв’ю з Євгенією Бєлорусець 03.02.2014. Євромайдан допоміг подолати розчарування — Євгенія Бєлорусець [Електронний ресурс] / Євгенія Олійник // Радіо Свобода. — 2014. — 3 лютого. — Mode of access: http://www.radiosvoboda.org/content/article/25251071.html 102 You Are My Revolution — “Stadtgarten” & Volodymyr Nekrasov [Електронний ресурс] / Youtube-канал Володимира Некрасова. — 2014. — 2 лютого. — Mode of access: http://www.youtube.com/watch?v=sq_jSZWwjyM 103 Taraka — Podaj Rękę Ukrainie (LIVE Majdan) [Електронний ресурс] / Youtube-канал гурту. — 2014. — 1 лютого. — Mode of access: www.youtube.com/watch?v=QtClmp3zQBc

53 3 THE TRAVELING SHOW BY UKRAINIAN ARTISTS

54 The creative character of the Ukrainian protest, the presence of different kinds and genres of art in the Maidan and its special role in the revolutionary events of 2013-14 caused admiration and interest in the world. In May 2014, I was invited to read lectures on art on barricades to the Ken- nan Institute of the Wilson Center in Washington, D.C.104 and to the Ukrainian Modern Art Institute in Chicago105 at the initiative of the Fulbright Program in Ukraine. It was then that the idea of a traveling show visited me. The question that was regularly asked after lectures was: when will it be possible to see an exhibition of works of artists inspired by the Maidan? For this, however, you should find quite a lot of money to transport and insure the works of art, and overcome bureaucratic complications of taking a collective exhibition outside Ukraine. In order to avoid such factors I suggested the following: a concept of the project is developed, works of art are selected to match the concept, and then high-quality digital images of those works are made. The US institution, which wants to hold the exhibition, re- ceives files from Ukraine and undertakes obligation to print out the works in good quality and to mount the exposition. This is a poster exhibition in fact and there is certain symbol- ism in this format. It was posters that became a dominant of the Revolution of Dignity during which Kyiv was called the poster capital of the world. Therefore, the logic of transporting the exhibition on the Maidan to a distance in the poster language is evident.106 Of course, in the recipient country the exhibition can travel from one location to another: without borders and insurance.

104 EuroMaidan Art [Electronic resource] / Event announcement. — Mode of access: http://www.wilsoncenter.org/event/euromaidan-art 105 Art of the Barricades~Voice of Ukraine [Electronic resource] / Event announcement. — Mode of access: http://uima-chicago.org/art-of-the-barricadesvoice-of-ukraine/ 106 Мусієнко Н. Мистецтво Майдану: Дослідження з соціокультурної антропології // МІСТ: Мистецтво, історія, сучасність, теорія: Зб. наук. пр. з мистецтвознавства і культурології / Ін-т проблем сучасн. мист-ва Національної акад. мист-в України. — К.: Фенікс, 2014. — Вип. 10 — 155-193. — Mode of access: http://mari.kiev.ua/MIST_10-2014_razvorot.pdf

55 “The experience of the Maidan of 2013-14, the awareness of contrasts between life and death, freedom and slavery become the phenomena to which it is hard to give an exhaustive rational and logical definition. We speak here of the things, which impacted upon everyone personally: first-hand emotions, thoughts and predictions of participants and witnesses of those events, filled with drama. This existential layer today is reflected to the utmost in the contemporary art that is a reliable foundation for forming and supporting resistance to any encroachments on individual and civic freedom. The art created before, during and after the events of the Ukrainian revolution conveys premonition and mood for great changes, and also pushes to Natalia Moussienko and Andriy Sydorenko feel the breath of the Maidan again and again, like Kyiv: The Fulbright Gallery people felt it who threw away their fear for the sake of a common goal.”108 The idea of the traveling exhibition was supported by the Modern Art Research Institute of the National Academy of In this project, Andriy Sydorenko presents his video Arts of Ukraine; the Kennan Institute’s Kyiv Office, as well as work “When Lie Loses Its Strength”. the Fulbright Program in Ukraine and the charity organization, All the artists were active participants in and witness- the Ukrainian Fulbright Circle that unites graduates of this es of the Revolution of Dignity of 2013-14. Andriy Yermolenko, Program. The Fulbright people implemented and received the Olexa Mann and Ivan Semesyuk were the founders of “The first exposition in Kyiv, under the title “The Unity Experience. Art Barbican” that had at once turned into a regular exhibi- Maidan 2013-14”.107 The exhibition opened on September 23, tion of revolutionary art. For some artists, Glib Vysheslavsky, 2014 at the conference hall of the Fulbright Program, named Oksana Chepelyk, Olena Golub, Marian Luniv, this was not the by journalists The Fulbright Gallery. It was prolonged twice, first Revolution while for the younger this was the beginning until November 2014. of their creative roads and understanding their place in the 17 Ukrainian artists take part in the project: Julia Be- country and the community. liaeva, Oksana Chepelyk, Anton Gauk, Olena Golub, Maryana Honcharenko, Irena Khovanets, Marian Luniv, Olexa Mann, Roman Mykhailiuk, Anastasia Nekypela, Mariya Pavlenko, Te- tiana Rusetska, Ivan Semesyuk, Andriy Sydorenko, Glib Vysh- eslavsky, Andriy Yermolenko, and Nick Zavilinskiy. Along with Natalia Moussienko, the exhibition’s co-curator is the artist Andriy Sydorenko, researcher fellow of the Modern Art Re- search Institute, and the art manager, artist Marian Luniv, co- worker at the Fulbright Program in Ukraine. Andriy Sydorenko, known as the curator of another exhibition dedicated to the Maidan, “Civic Mysticism”, noted, in particular: Natalia Shpitkovska, Oksana Chepelyk, and Victor Sydorenko

107 Мусієнко Н. Досвід єднання: Майдан 2013-2014 / Образотворче мистецтво. — №4. — 2014. — С.12-13 108 Мусієнко Н. Відлуння Майдану // Будуємо нову Україну. Збірник конференції 26-27 листопада 2014 р. — К.: Видавничий дім “Києво-Могилянська академія”. — 2015. — С.132-133

56 The works’ originals are in different techniques: paint- The project works with public space, science and ing, assemblage, collage, photography, video, embroidery. history and has to do with the understanding of our Combining them using the language of the poster gives them a time-space while researching the correlation between new resonance, allows showing the exhibition in various cities, the times past, present, and future transformations universities, and institutions in a democratic and mobile way. of the society. “COLLIDER_100: Kyiv 2014” by Oksana Chepelyk was The project is the art collider where time-space is shown for the first time the next day after the shooting on reflected as a panoramic video-projection composed Instytutska Street in Kyiv on February 21, 2014, within the of 24-60 video fragments, rotating with acceleration, framework of the “Sarajevo Winter 2014” International Fes- making active the mechanism of audio-visual leaps tival, when 100th anniversary of WWI was marked in Sarajevo. where certain fragments are gradually replaced with This was the first project, presented abroad, which reflexes archive video. Art becomes a testimony to today’s so- the events of our contemporary history and which was hap- cial reality and its traumas. This is an invitation to pening in parallel to the revolutionary changes in Ukraine. jointly test the complexity of the world, dealing with violent conflicts, social moves and events of war that influenced further historical development”109.

The birth of the new, testified to by an incredible explosion of artistic creativity on the Maidan, requires thinking over. Artist Olena Golub noted: “You can’t easily call the Maidan a topic; this is pain and joy, a cry of despair and hope, this is such an outstanding event that was created by an unbelievable spiritual effort of the best people of Ukraine, higher than life, higher than understanding. Any work of art dims down in the face of reality created by the Maidan. This is why for some time artistic activity seemed to me absolutely unnecessary, smaller than real events that made evident the greatness of freedom, human dignity, unity, love. All the best human qualities flashed simultaneously, providing the sense of sacrificial character of bitter losses”110.

Olena Golub’s work was chosen for the announcement poster in the first location of the Traveling Exhibition in the Oksana Chepelyk says: USA. The concept includes a component of a new poster in “The project ‘COLLIDER_100: Kyiv 2014’ concen- every next location with the use of works of various artists: trates on the Kyiv Euromaidan and the functioning this is another way to promote Ukrainian artists. The poster of public space in the circumstances of paradigmic in Kyiv for the Fulbright Gallery was made by Andriy Sydoren- changes of the globalized world where the ideals of ko. Art manager Marian Luniv is the author of all subsequent freedom, democracy and Human Rights were cynically posters. crushed by the oligarchic authority.

109 Мусієнко Н. Відлуння Майдану // Будуємо нову Україну. Збірник конференції 26-27 листопада 2014 р. — К.: Видавничий дім “Києво-Могилянська академія”. — 2015. — С.132-133 110 Ibid.,136

57 Washington DC: The Wilson Center and the Ukrainian Embassy in the USA

After Kyiv, Washington DC saw the exhibition, under the corner of Washington, D.C., between the White House and changed title, better understood by foreign audiences. On 18 the Capitol, next to the National Mall where famous American February 2015, the exhibition “Revolution of Dignity: Images museums are situated, admitting their visitors free of charge. of the Ukrainian Maidan of 2013-14”, was opened for general The images of the Maidan caused noticeable interest: of rep- public (in fact this is the project’s concept) at the Wilson Cen- resentatives of think tanks, academic and business circles, ter. The Kennan Institute was the chief organizer, being part and public, as well as American and Ukrainian mass media. of the Wilson Center. Mary Elisabeth Malinkin, the Institute’s The work by Olena Golub, “Invasion”, was chosen for co-worker, became the art manager of the exhibition. the exhibition’s poster announcement. After the silent stress, deeply troubled by the deaths of her compatriots, the artist dared to make a visual splash of creation and implemented this project where she combined photo fragments with traditional watercolors. It was the impropriety and timelessness of admiring landscapes that prompted the artist to use watercolor landscapes of Kyiv, Odesa and other picturesque nooks of Ukraine in her heart-rending compositions. The beauty of nature always attracts artists; however now the open-air communication with nature cannot be similar to what it used to be. What is happening in the civic-social domain, how much

Mary Elizabeth Malinkin in the process of mounting The Wilson Center hosting the exhibition in Washing- ton, D.C. is a significant event111 as scientists from all over the world, including Ukraine, do research there. The Wilson Center is a powerful think tank; in 2014, it placed fifth in the worldwide rating. Not only scholars but also well-known 112 politicians speak there. The center is placed in a very cozy Exhibition opening at the Woodrow Wilson Center

111 У Вашингтоні відкрили виставку в пам’ять про героїв Майдану. Фото [Електронний ресурс] / Новина // Укрінформ. — 2015. — 19 лютого. — Mode of access: http://www.ukrinform.ua/ukr/news/u_vashingtoni_vidkrili_vistavku_v_pamyat_pro_geroiiv_maydanu_foto_2023561 112 Wilson Center [Electronic resource] / Web-site. — Mode of access: https://www.wilsoncenter.org/

58 people’s activity, though in the sphere of esthetics that is in opposition to the sphere of war. This stormy interaction, as if it were an explosive mix, symbolizes realities of our times. In all the whirlwind of events, ruinations and artistic creation a delicate tremor of sorrow finds its way out for the lives of those who will never see this word again. Olena Golub reflects on creative work in tough and tragic times: “The first Heavenly Hundred was no more, and there were more and more of them, those whose souls flew away like birds of paradise, directly to God, so light, not burdened with sins, souls elevated to heaven by kindness and love. And those who stayed on soil said, ‘Glory to Ukraine!’ — ‘Glory to Heroes!’ Those who stayed behind continued what they began together: musicians had to go on singing, mathematicians to compose formulas, and artists, to create.”

The series “Invasion” by Olena Golub is her tribute of memory of extraordinary events, an attempt to recreate, to engrave on paper the directness of feelings that filled heroic and at the same time simple compatriots of hers.113

evil people’s greed, recklessness and aggression bring cannot but concern an artist even when they paint a riverbank or a bent tree. The artist conveys her emotions concerning the invasion of enemy forces in a series of photo installations. She combines elements of different kinds on the sheet by masterful designer assemblage. Fragments of asphalt, lev- eled by soles of millions of city dwellers, cigarette butts, ru- ined walls, worn tyres move from the element of the fight for a better life to the realm of nature, depicted by the artist. Traces of brush on the relief watercolor paper, tonal transformations of color stains are, in the same way, imprints of Exhibition opening: Andrew Selee, Executive Vice President and Blair Ruble, Vice President for Programs

113 Мусієнко Н. Урбаністичні нарації Олени Голуб / Н. Мусієнко // Сучасне мистецтво. — 2014. — Вип. 10. — С.99-108. — Mode of access: http://nbuv.gov.ua/j-pdf/S_myst_2014_10_14.pdf

59 Of course, the exhibition “Revolution of Dignity: Imag- es of the Ukrainian Maidan of 2013-14” became an important education measure, a manifestation of cultural diplomacy. It has a tremendous creative potential. It has shown how pro- ductive cooperation between state and non-state institutions can be. The Kennan Institute was the main organizer of the exhibition, while co-organizers were the U.S.-Ukraine Busi- ness Council, the Fulbright Program, the Modern Art Research Institute of the National Academy of Arts of Ukraine, as well as the Embassy of Ukraine in the United States. The show at the Wilson Center was planned for February 18 to March 18 but it was prolonged to April 30, 2015.

Kateryna Smagliy, Director of the Kennan Institute’s Kyiv Office, provides her opinion: “The world needs as many truthful stories about Ukraine as possible, about its culture, national heroes, and public leaders. The Kennan Institute is ready to take part in developing Director of the Kennan Insitute Matthew Rojansky and the Ambassador of and implementing projects aimed at the development Ukraine in the USA (2010-2015) Oleksandr Motsyk at the exhibition opening of the sphere of cultural diplomacy of Ukraine.”114

Roman Mykhailiuk “Maidan 2013-2014”

114 Смаглій К. / Катерина Смаглій — Культура і життя. — 2015. — №25–26. — 19 червня. — С.5

60 The next location in Washington DC was the Embassy of Ukraine in the USA115 where the exhibition was presented during the Open Doors Day, traditionally held every year in early May. On May 2, 2015, the exposition was viewed by 1,700 Americans who displayed great interest in it. Visitors noted that they attentively watched events in the Maidan on TV and were interested in the latest developments of the situation in Donbas and Crimea and expressed sincere support for the Ukrainian people. A Ukrainian diplomat, Olha Ivanova, became its art manager. The work by Marian Luniv, “Arkan”, was chosen for the exhibition’s poster. The artist shared his thoughts about the moving generation of the revolution and how he tried to express it in his work “Arkan”: “For a long time, I had not dared to approach the topic of the Maidan. The images that rose in imagina- tion and hurt my heart, they replaced one another with kaleidoscope speed. I sincerely envy those artists who managed, in this complicated time, to worthily join the process of creation through video, graphics or painting. People’s expectations, hopes, bravery, and self-sacrifice, mixed into one, for me personally combined into visions most of which are still not rec- reated on canvas. Apart from those who were brave enough to catch-live through think over, those who, probably, turned out to be stronger than me. People’s lives became a grandiose sacrifice, an ir- reparable loss and a ransom for our present day. I saw them in the Maidan, those 20-year-olds, whose hearts beat in unison. The first Ukrainian generation formed under post-socialism. Soon, it will It is important to carry these truthful stories to pub- be them who will define public opinion in the coun- lic. From the very beginning, the Traveling Exhibition was ac- try. They have chosen their yardstick consciously and companied by the project’s media partner: the nationwide stood firmly shoulder-to-shoulder, and moved in one state-owned weekly newspaper “Kultura i zhyttya” (Culture direction. Therefore, ‘Arkan’ appeared an imprint and Life), as well as the Ukrainian National Information Agen- of an initiation dance, initiation into a warrior, my cy “Ukrinform”. Detailed information about the exhibition is thoughts about those who are here and those who are posted on the pages of all the participants; two pages on no longer with us...”116 Facebook were created to cover the project.

115 У Посольстві України в США відбувся День відкритих дверей [Електронний ресурс] / Новина // Посольство України в Сполучених Штатах Америки. — 2015. — 3 травня. — Mode of access: http://usa.mfa.gov.ua/ua/press-center/news/35955-u-posolystvi-ukrajini-v-ssha-vidbuvsya-deny-vidkritih-dverej 116 Мусієнко Н. Відлуння Майдану // Будуємо нову Україну. Збірник конференції 26-27 листопада 2014 р. — К.: Видавничий дім “Києво-Могилянська академія”. — 2015. — С.133-134 61 Vinnytsya: Truthful Testimony

While going from one Ukrainian city to another the exhibition got the title “Truthful Testimony: From the Revolu- tion of Dignity to Present Day”. The exhibition’s concept, the use of novel technologies present an opportunity to hold the exposition in several locations at once. Thus, at the same time with Washington DC, the exhibition was presented in Vinnytsya at the Modern Art Center “Art Chic” where it lasted from 17 to 26 April 2015.117 A work of Tetiana Rusetska became the main poster for the show.

Anastasia Levytska and Oleksandr Nikityuk in the process of mounting

In every next Ukrainian city, the organizers invite local artists to join in. It is their works that become central to the exposition, connecting Kyiv to other Ukrainian cities. The entire Ukraine was in the Maidan, and many cities across the entire country had their own Maidans. This time, the central place was given to works of Oleksandr Nikitiuk. Here are his thoughts: “When I got invited to present my vision of the Maid- an events I faced a complicated dilemma: ‘What to offer?’ First, I had the idea to present today’s works, created later on the basis of spontaneous drawings and studies done on the nights in the stormy times of the Maidan. However, when I looked at my works, I understood that everything made later has an artificial sense and motive and does not possess the energy and documentary feeling of the events of late 2013-early 2014. I offered my primary visual reactions, reflexions

117 Мусієнко Н. Мандрівна виставка / Наталія Мусієнко — Культура і життя. — 2015. — №20. — 24 квітня. — С.12. — Mode of access: http://www.myvin.com.ua/ua/news/culture/34169.html

62 of the emotions of those times, and got the invita- “Emotions and the hope for the Maidan’s victory oc- tion to present them within the project presentation cupied all my mind in general in those days but the in Vinnytsya.” biggest stress was the shooting of activists in the end of February. This event had not just shocked me but Media’s attention in Ukraine and the world during made me understand the global sense and the histori- the Revolution of Dignity was focused on the capital where cal importance of the situation. Ukraine has got a new the main events happened. Kyiv, as always, “set the pace”. history with a new pantheon of heroes, new ideology However, the entire Ukraine helped the capital: protestors and capabilities of development as an independent arrived from every corner while in various other cities and state. The imblical cord that linked the country with towns there were local protests. everything that kept the country within the boundaries The Vinnytsya Maidan had started practically in unison of the previous, vassal history, slave dependence, was with Kyiv: tents were erected, people spent their days and broken, albeit in a bloody way. Belief came to replace nights in the city’s center, they came there with posters, they fear. It had brought new expectations and gave birth went to Kyiv. There were residents of Vinnytsya among the to new senses. The unbreakable spirit of the Maidan Heavenly Hundred. On 19 February 2014, the city’s center inspired the country for new victories. I tried to convey was blocked almost entirely. Almost five thousand protestors, such feelings and understanding by creative means… which is extraordinarily many for the city with a little more Some time had passed but Ukraine faces new chal- than 370,000 residents, blocked the movement of cars, allow- lenges, risks, problems, and the traveling project ing through only ambulances and rescue service cars. They ‘Truthful Testimony: from the Revolution of Dignity to called upon the residents of Vinnytsya to join them shout- the Present Day’ is important as the documentary-ar- ing “Vinnytsya rise!”: “Don’t be indifferent: Our brothers and tistic phenomenon of the Ukrainian Maidan, a chance sisters are being killed!” Oleksandr Nikitiuk remembers and to analyze a historical event by artistic means. This is reflects: an original artistic way of preventing the trends of the society’s return back to the pre-Maidan neofeudalism.”

Natalia Moussienko, Marian Luniv, Oleksandr Nikityuk, and Glib Vysheslavsky at the exhibition opening in Vinnytsya

63 the exhibition from the Ukrainian Fulbright Circle, were able to organically build the artistic vision of the Maidan into the atmosphere of centuries. The organizers were joined by an American student, Grace Mahoney, who suggested that there should be a stand where visitors could leave their impressions of art works and their memories about the Maidan. Most of the words left by the visitors were words of gratitude. There were also wishes for peace and happiness for the country. The exposition’s emphasis was put on the work of Olha Yakubovska from Kamyanets-Podilsky and the youngest project participant, Anastasiya Nekypela, whose work “Our Strength Is in Our Unity” was on the poster in Kamyanets- Podilsky. Many students of creative education establishments of Kamyanets-Podilsky came to the opening. It was important and interesting for them to talk to the young artist from Kyiv, to learn the story of her work:

Kamyanets-Podilsky: The Picture Gallery

The Traveling Exhibition’s important conceptual component is presentation of works at a new location every time; in spacious halls of academic institutions, in modernistic halls of present-day galleries, in corridors of diplomatic offices. The location in Kamyanets-Podilsky was of course special118. The Picture Gallery of the Kamyanets-Podilsky State Histori- cal Museum-Preserve opened the doors of an architectural monument, a stone edifice of 18th century, for the art of the Maidan. Marian Luniv and Olena Prokopchuk, art managers of Anastasiya Nekypela talks about her work

118 Ільчишена Я. Правдиві свідчення, описані фарбами [Електронний ресурс] / Яна Ільчишена // Подолянин: культура. — 2015. — 1 травня. — Mode of access: http://podolyanin.com.ua/culture/show/8762/

64 “When those horrible events began in my country, I artwork in my head. Without any sketch I immediately was very worried and was hesitant to respond to them struck my brush to the canvas. I expressed all my pain, all as an artist. I was convinced that I would never paint on my words and emotions in this artwork through the paint- political issues because I was not fully versed in them. brush on my finger tips. I would like to say to all women, But one day something terrible happened... something no daughters, mothers and to our entire Ukraine — “Do Not one expected — people started to die in the struggle for Cry, Dear”, because my pain will never be compared with Ukraine’s independence. the pain of these women. I have never performed in this On February 18, 2014 our family friend, a great per- style before. It was the true me. It was the first time I did son and an optimistic man, Ihor Serdyuk was killed on the not care about anything except my artwork. Maidan. Nothing could shock me more than the unfairness Occasionally, I think that I will never paint anything of Ihor’s death. I have never felt myself so frustrated and like that, because it was a real emotional peak for me. burned-out. I could no longer remain silent and decided This work will always bear a strong power and memory to paint. of Ukraine’s real struggle. This work will be a requiem I remember that day: Okean Elzy music playing in my for all innocent people who died in this fight for justice. room, a black canvas in front of me, flowing black paint, I pray for peace in Ukraine. We deserve it. There have tears in my eyes, shaking hands, but a clear image of the been enough tears for us.”

The exhibition was on display in the Picture Gallery from 27 April to 25 May 2015

65 Cultural Diplomacy Forum: Poster Exhibition The Cultural Diplomacy Forum became an important ground for the poster exhibition. The Forum took place in the In parallel with the main project of the Traveling Exhi- Diplomatic Academy of Ukraine on June 2, 2015 and signified bition, the idea of a separate project appeared that of pre- the role of the Traveling Exhibition as an important impetus senting its posters. In this way, you may see and assess the to Ukraine’s cultural diplomacy.119 The Forum was organized road traversed by the exhibition and show this road to the by the Foreign Ministry of Ukraine and the Kennan Institute`s public. The organizers choose a new work for posters every Kyiv Office which presented a special issue of its scientific time, a work by one of the 17 participating artists. In this way, journal, “Agora”: “Museums and Cultural Diplomacy”,120 of- an interesting chronological and artistic story of the Traveling fering a vision of tasks and capabilities of cultural diplomacy Exhibition emerges. The exhibition of posters was presented in the development of modern state and institutions of civic during several events in Kyiv: society in Ukraine. In particular, it contained analysis of the • in Ukraine’s Ministry of Culture, May 14, 2015, concept of the Ukrainian Institute, which has, first of all, to • at the seminar, “The Role of Public Intellectuals in the become an innovative tool for promoting Ukraine with the Ukrainian-Russian Dialogue”, May 21, 2015, involvement of a broad circle of artists, cultural managers, • at the Ukrainian-German seminar, “The Potential of Art and business. and Literature in the context of a political Crisis: Revo- The powerful resource of cultural diplomacy is treated lution and War in Ukraine”, May 28, 2015, in contributions of Nataliya Kondel-Perminova, Oksana Che- • at the American Cultural Center, September 10-17, 2015. pelyk, Glib Vysheslavsky, Kostyantyn Akinsha, and Oksana Melnychuk. Cultural diplomacy is an instrument of a dialogue and serves as not only a bridge between countries and civi- lizations but also a ground for efficient interaction of civic society, state sector, and business. Gregory Shamborovsky121 and Natalia Moussienko emphasize this. Dramatic events in Ukraine, military and information aggression of Russia make evident the need to use the resource of cultural diplomacy in Ukraine, reveal its strategic underestimation over many years. It is public activism of the artistic, educational and scientific community that is the moving force of cultural diplomacy of the modern Ukraine. If support of state institutions is added to this, if international organizations and business join in, the success of such cultural product is guaranteed.122 This is proved by the experience of the Traveling Exhibition of Ukrainian artists, which had already visited different cities in Ukraine and the USA and continues its enlightening mission. Its success became possible only due to joint agreed actions by all the project’s At the Forum for Cultural Diplomacy Natalia Moussienko introduces Minister participants and partners. of Foreign Affairs of Ukraine Pavlo Klimkin to the Traveling Exhibition Project

119 Соколова С. Культурний імідж України / Світлана Соколова — Культура і життя. — 2015. — №25–26. — 19 червня. — С.2 120 Агора: Зб. наук статей. — К.: Видавничій дім «Києво-Могилянська академія», 2015. — Вип.14. Музеї та культурна дипломатія / Відп. редактори К. Смаглій, Н. Мусієнко. — 127 с. 121 Шамборовський Г., Мусієнко Н. Завдання і можливості культурної дипломатії у розвитку сучасної держави та інститутів громадянського суспільства в Україні / Григорій Шамборовський, Наталія Мусієнко //Ibid., 91-100. 122 Мусієнко Н. Культурна дипломатія. Case study: мандрівна виставка українських художників / Наталія Мусієнко — Ibid., 115-118

66 It is important to mention other creative projects that, the Maidan, was presented, in March 2015, at the Polish Sejm in a way similar to the Traveling Exhibition, showed Ukraine to in Warsaw, and then at the Academy of Visual Arts. The exhibi- the world through the prism of the Maidan. They will be stud- tion was initiated by a well-known Kyiv gallerist Tetyana Kalyta ied with time. At the moment, some of them can be named. who very well understands the power, possibilities and influ- “Colors of Freedom” by Mariya Diordiychuk, created at barri- ences of cultural diplomacy, which is testified to by her many- cades, was presented at the Parliament of Estonia in the sum- years-long successful activity in promoting Ukrainian culture. mer of 2014. In March 2015 Ihor Poshyvaylo, curator and muse- The new information epoch dictates its own laws in the um expert, showed a display of artifacts of the Maidan in Paris, domain of cultural diplomacy, too, as many new means of com- at the Talleyrand Palace, during the memorial artistic soiree, munication appeared. This creates various opportunities for “Maidan: Sacrifice In the Name of Dignity”. Matviy Vaisberg’s se- broadening the audience and promoting culture on new media ries “The Wall. 28/01-08/03/2014”, dedicated to the events in platforms.

Chernivtsi: Museums and Cultural Diplomacy

In Chernivtsi, the exhibition opened in the context of the continuing important discussion on cultural diplomacy, especially during war123. In the famous Chernivtsi University, on 3 June 2015, the round-table discussion was held, “Humanitar- ian Policy and Cultural Diplomacy of Ukraine”, where scholars discussed the importance of these components124. What is meant here is the importance of developing cultural diplomacy in Ukraine; world practices which should be applied; the setting up of the Ukrainian Institute, working out a strategy of its development and its plan of work; the museum reform and cultural strategy. An important aspect of the discussion at the University was transforming cultural diplomacy from a periph- eric discipline to a bright and innovative academic realm, with its research developing successfully as an autonomous sphere of theory and practice, as well as the need for introducing academic courses on cultural diplomacy in Ukraine. The special issue of “Agora” journal was presented, “Museums and Cultural Diplomacy”. The achievements and directions of development of cultural diplomacy of Ukraine were considered, in particular, taking as an example the Traveling Exhibition, opened after the university round table at “Sweet Art” Gallery125 where it lasted until 17 June 2015. The Chernivtsi artist Maryana Romanyuk was in the focus of attention. An expressive work by Olexa Mann, “New Medieval Ages”, became the exhibition’s poster. Maryana Romanyuk — final preparations before opening

123 Що таке культурна дипломатія і чому її треба розвивати саме під час війни [Електронний ресурс] / Відео // Телеканал «Чернівці» — 2015. — 3 червня. — Mode of access: http://mtrk.com.ua/news/27793-q-q.html 124 Кубай І. Культура в дії / Інна Кубай – Культура і життя. — 2015. — № 25–26. — 19 червня. — С.6 125 «Правдиві свідчення: від Революції Гідності до сьогодення» — мандрівна виставка у Чернівцях [Електронний ресурс] / Versiits1 — 2015. — 5 червня. — Mode of access: https://versiits1.wordpress.com/2015/06/05/

67 Olexa Mann was among those who were internally prepared for the revolution: according to him, even before the events in the Maidan he made works dedicated to the revolution and those that predicted it.126 In his opinion, an artist “has to look at everything with his own eyes, fill the revolution with new senses and carry out a literate transmis- sion of ideas.”127 The artist was taking part in the revolution from day one; he deeply looks into the problems, which the country faces and foresees the next gamut of political traps in which some politicians began to catch Ukrainians: “There is an unquenchable desire to live within a system of values created by free people for free people. It is opposed by the system created by slaves for slaves. My country has found itself in the situation when it is being forcefully dragged back into a destructive trap absolutely devoid of prospects. I am a person who had hated politics and various political maneuvering all my life, but I don’t want to stay aside. This is the first anti-yob revolution aimed at ruining the system built by yobs, where only yobs

can survive. People have risen against yobs, and people will win. This polarization is esthetically perfect. The Maidan is the self-government of free people which acts with an effect both in the intellectual field and in the absolutely everyday field. And this has to spread to the entire country.”128 Press at the exhibition opening in the gallery “Sweet Art”

126 Ройтбурд, Манн, Вайсберг і Золотарьов про «свій Майдан» і революцію у фарбах [Електронний ресурс] / Insider. — 2014. — 14 лютого. — Mode of access: http://www.theinsider.ua/art/roitburd-mann-vaisberg-i-zolotarov-pro-svii-maidan-i-revolyutsiyu-u-farbakh/ 127 Художник Олекса Манн про Євромайдан: «Це перша антижлобська революція» [Електронний ресурс] / Insider. — 2013. — 23 грудня. — Mode of access: http://www.theinsider.ua/art/khudozhnik-oleksa-mann-pro-yevromaidan-tse-persha-antizhlobska-revolyutsiya/ 128 Ibid.

68 Ivano-Frankivsk: The Fortress Gallery The participants shared their experience of looking for financing for implementing novel approaches in museums and The discussion of the Traveling Exhibition as an impe- their popularization. One of the main issues was: How part- tus to and an example of realization of cultural diplomacy ners can join their efforts for the development of cultural of the state was continued in Ivano-Frankivsk. On June 24, diplomacy and how to look for financing of the implementa- 2015 at the Museum of Arts of Pre-Carpathia a round table tion of its systemic initiatives? The Traveling Exhibition stayed discussion was held, “Museum Reform and Ukraine’s Cultural in Ivano-Frankivsk from 24 June to 2 July 2015. It was hosted Diplomacy”,129 with the presentation of the thematic scien- by the fortress gallery “Bastion”, located in the modern mall, tific journal, “Agora”. built in the style of an old fortress in the center of the place

Tetiana Sosnovska, Natalia Moussienko, Kateryna Smagliy, Vasyl Pozhko, and Mykhailo Deineha

129 В Івано-Франківську пройде круглий стіл з музейної реформи та культурної дипломатії [Електронний ресурс] / Prostir.museum. — 2015. — 17 червня. — Mode of access: http://prostir.museum/ua/post/35290

69 where the fortress once stood. The Ivano-Frankivsk poster featured an expressive triptych by Irena Khovanets: “White Bird”, “Gray Bird”, and “Black Bird” while local artists were represented by the work of artist Anatoly Melnyk, “The Sown Fields of Donbas”. Memories of the participants of the Maidan became heart-rending moments of the exhibition. “We learned to live with war but we come back to the Maidan all the time. So the topics of such an exhibition are close and understandable,” artist Mykhailo Deineha, director of the Museum of Arts of Pre-Carpathia shared his emotions at the opening of the exhibition. “We need such an exhibition in order to know: when you fall you must rise. We have to live through these fearful moments and proceed from the fact that they teach to resist, not surrender, to remain free.”130

Mariana Honcharenko “Information Barriers” Press at the exhibition opening in the Fortress Gallery “Bastion”

130 У Франківську мандрівна виставка “Від Революції Гідності до сьогодення” демонструє феномен спротиву [Електронний ресурс] / Тримай KURS. — 2015. — 26 червня. — Mode of access: http://kurs.if.ua/news/u_frankivsku_ mandrivna_vystavka_vid_revolyutsii_gidnosti_do_sogodennya_demonstruie_fenomen_sprotyvu_21338.html

70 shared their vision of those events, significant for Ukraine, during the opening of the exposition. Orest Kostiv, in particular, noted that to see the Maidan on TV screens is one thing while to be directly in the epicenter of events is another. To the artist’s mind, the Maidan provided great material for artists, photographers, and the mainstream of modern art should be composed of such conceptual exhibitions. Those who were present then had together watched, on a big screen, a selection of photos made by Kalush residents during the Revolution of Dignity in Kyiv. Many of those have already become history.

Orest Kostiv Kalush: Museum and Exhibition Center

Constant media support for the Traveling Exhibition, disseminating information on its events in central and local internet media and specialized printed publications have no doubt helped its popularity. This was how they learned about it in Kalush and invited there. The exhibition became an important cultural event of the city, gathered like-minded people together, and became a chance for many visitors to restore in their memory the events of that winter and share their memories. The Traveling Exhibition opened at the Museum- Exhibition Center of Kalush on the eve of Independence Day, on August 20, and lasted until September 20, 2015. Its poster was the work by Andriy Yermolenko “Glory to Heroes”. The Center’s director Ulyana Panyo emphasizes that the exhibition is a conceptual one. As organizers welcome local context, to over 40 works presented by 17 authors, two works from Kalush were added: two photos and one art photo by an artist from Kalush, Orest Kostiv. According to the keeper of the funds of the exhibition hall, Halyna Turchyk, the exhibition reflects what the Maidan was for different people: it was romantic, elevated, sacrificial, tragic. Several artists from Kalush had also been in the Maidan and made their contributions into its victory: Volodymyr Bezruky, who is currently in the Anti-terrorist Operation, Orest Kostiv, Yaroslav Hospodarchuk, Zoryana Sokhatska. They Andriy Yermolenko “Glory to Heroes!”

71 Arkansas: The State University

The exhibition’s success drew attention from the Uni- versity of the State of Arkansas. Once, Senator William Ful- bright studied here, and later he headed the University. The Senator initiated legislation aimed at creating a program of international scientific exchanges. The Traveling Exhibition is full of parallels and invisible thread links: between its authors (from various cities, of different age and experience); between cities where it is held; between people united with a common cause. The opening in Arkansas in August 2015 was meant to co- incide with Ukraine’s Independence Day. The initiator of holding the Traveling Exhibition at the Law School of the University was Professor Christopher Kelley who has been in cooperation with Ukraine over many years; its art manager, Valeriya Zayets who continues her law studies at the University of Arkansas after she received her Master’s degree in Law Studies at the Kyiv National Shevchenko University. As this is Valeriya’s first art project, she prepared diligently and took part in mounting and opening the exhibition in Ivano-Frankivsk.

In Arkansas, the exhibition’s poster was the work by Glib Vysheslavsky “The Trade Unions House” from the triptych. “The Sky of Maidan”. An active participant in the 2004 Maidan (then his book of photos, “The Maidan of Freedom” was published), the artist engraves the memory of the Revolution of Dignity with his works. After the tragic February events of 2014, he created the triptych, “The Sky of Maidan”. The artist explained the origins of his work: “The exhibit “Trade Unions” is a part of an assemblage called “The Maidan Sky 2015”. The assemblage Valeriya Zayets and Professor Christopher Kelley with university students was created directly from the revolutionary events in

72 Kyiv. Elements of the exhibit are things that I per- According to the Counsellor on Cultural Issues of the sonally gathered on the Maidan at the time of peace- Embassy of Ukraine in the USA, Olha Ivanova, dramatic events ful clashes between pro-government (police, internal of the end of 2013-14 became an impetus for reacting every troops) and protesters. A bottle with incendiary mix- minute in real time, when possible to act in advance, look for ture, a burned out tire, rags, gloves, mask and other non-standard solutions and approaches because protraction remains are among the elements of the exhibit “Trade and erroneous steps cost too much as their price is in human Unions”. The authenticity of all the chosen elements lives. The diplomat marks the importance of the consolidat- of the exhibit is very important. It keeps the memory ed unprecedented wide international support for Ukraine by and aura of the historical events at the Maidan. democratic countries of the world: “In fact, the second, diplomatic ‘front’ was opened in opposing the aggressor. An important component of this work is maintaining a high degree of attention to events in Ukraine not only at the level of the leader- ship of foreign countries but also among average citizens as public opinion is an inalienable factor of poli- cymaking. The public learns about the development of the situation from TV screens and newspaper pages, they watch with admiration the heroic struggle and try to understand the power of the spirit that moves our people and does not allow us to retreat in the face of non-average challenges. It is art that is an efficient mechanism of establish- ing a strong interconnection and of building mutual understanding not only on mental level but on spiritual level, too. It provides an opportunity not only to see and hear but also to feel with your heart the emotions that we are living through. A new Ukraine means new art. Alongside traditional symbols, embroidered shirts and wreaths that acquire ever more popularity abroad against the background It was a sad experience for me to realize how of events in Ukraine, there are posters, artistic pho- quickly everybody forgot about the 2004 Orange Revo- tography and documentary films whose authors have lution in Ukraine. All ideas and achievements of that been inspired by the events in the Maidan, in the oc- revolution were too quickly forgotten. Neither legisla- cupied Crimea and Donbas, as they were witnesses to tive initiatives nor new laws have led to real changes those events. and progress in society. I created this exhibit “Trade Without exaggeration, the biggest and most in- Unions” with the hope to bring some benefits into the teresting among such art projects being realized in public domain. That is why I have chosen this way to the USA, is the ‘traveling’ exhibition ‘The Revolution preserve the memory through testimony, visually clear of Dignity: Images of Ukrainian Maidan of 2013-14’. material and evidence of revolutionary events. Forty art works by seventeen Ukrainian artists for al- I believe that the exhibit “Trade Unions” will be most three months were on display in the very heart that memory, which keeps alive the expectations of of Washington, D.C.” society during the Revolution of Dignity and does not allow it to fall into oblivion. It should facilitate rapid progress in society.”

73 It is hard to predict where the roads will take the Trav- eling Exhibition. For instance, during the presentation of the project at the center for modern art “Art-Chic” in Vinnytsya, representatives of the city of Melitopol invited the artists to visit their city. They emphasized that this artistic vision of the Maidan is very important in the East of Ukraine. The invitation from Kharkiv confirms this. Cultural diplomacy is an important instrument of interaction and understanding not only internationally but within the country as well, especially in our difficult times. The exhibition continues its journey, and there is hope that due to its mobility and democratic nature it will be able to reach not only world-known centers but also small cities and towns. Everywhere, it will see the new audience, and this means it will meet a new reading. Marta Kolomayets, Director of the Fulbright Program in Ukraine, emphasizes this: “The Exhibition’s every work conveys profoundly the spiritual world of the Maidan links it to people’s desire for a full-fledged life, invites to sympathize. The exposition is worthy of attention of the ‘world’ viewer because it expresses, in the language of the arts, the event that has gone far out of the boundaries of national dimension. We will do all we can to help popu- larize it. In particular, we want it visit not only cities of the USA, Canada and Europe but also its native Ukraine.”131

It is important that “the project became an impetus to launch the work on the strategy of cultural diplomacy,”132 Dmytro Kuleba, Ambassador at Large of the Ministry for For- eign Affairs of Ukraine, remarks. The Maidan’s creative potential is an important source of Ukraine’s cultural diplomacy. The Traveling Exhibition is its successful example. In various cities and countries, local artists and galleries, administrations, universities, museums, libraries, public organizations and activists join the project. The success of cultural diplomacy is possible only in the unity of various actors of state, private, and business sectors but the main thing is the initiative of active Poster for the show at the National Museum of the History of Ukraine figures of academic, artistic, educational communities. The strategic aim is to transform the success of individual projects into the conceptual promotion of the renovated positive image of Ukraine in the world.

131 Культурна дипломатія в дії. — Культура і життя. — 2015. — №14-15. — 20 березня. — С.4 132 Ibid.

74 Poster for the show at the National Library of Ukraine for Children Poster for the show at the Amsterdam University

75 Julia Beliaeva “Ukrainian Fight Club”

4 REVOLUTION OF DIGNITY ART EXHIBIT

76 The “Revolution of Dignity Art Exhibit: Images from After its Kyiv debut, the show started travelling around Ukraine’s Maidan, 2013-2014” presents to the American public the United States and Ukraine. In 2015, it was on display in 17 Ukrainian artists: Julia Beliaeva, Oksana Chepelyk, Olena the Ukrainian cities of Vinnytsia, Kamyanets-Podilsky, Cher- Golub, Anton Hauk, Mariana Honcharenko, Irena Khovanets, nivtsi, Ivano-Frankivsk, Kalush. In every Ukrainian city, the Marian Luniv, Olexa Mann, Roman Mykhailiuk, Anastasiya Exhibit featured a guest — a local artist, who participated Nekypela, Mariya Pavlenko, Tetiana Rusetska, Ivan Semesyuk, in the Maidan, in order to show the links of Kyiv Maidan, and Andriy Sydorenko, Glib Vysheslavsky, Andriy Yermolenko, and to show that Ukraine is united in its struggle for dignity and Nick Zavilinskyi. democracy. All 17 artists participated in events on the Maidan. The Wilson Center in Washington, D.C. was its first US Artists work in many mediums: painting, collage, em- location. Here, the show was sponsored by the Kennan Insti- broidery, and photos; however, this Exhibit presents all the tute, the U.S.-Ukraine Business Council, the Fulbright pro- works in poster form. This is very symbolic because the Maid- gram, private donors, and the Ukrainian Embassy. an was a great explosion of all forms and genres of art, but posters were the most effective and popular. The posters were a quick reaction and documentation of major developments during the course of 2013-2014. Poster presentation is conceptual for this exhibition. It allowed the organizers to forego prohibitive transportation and insurance fees. The exhibit is always free of charge for the public. Initiated by Natalia Moussienko, the Exhibit was supported by the Fulbright Program, the Kennan Institute and the Modern Art Research Institute of National Arts Academy of Ukraine. Curated by Natalia Moussienko and Andriy Sydorenko, the show was first displayed in Kyiv in September 2014 at the Fulbright Program Gallery. Marian Luniv served as the exhibit’s art manager. Marta Kolomayets, Fulbright-Ukraine Director points out: “This exhibit demonstrated to me the spirit of the Ukrainian people, their patriotism, their resilience, their commitment to truth and justice. Everyone I encountered during this time of revolution wanted Morgan Williams, President and CEO, U.S.-Ukraine to contribute something to the Maidan. Some people Business Council observed: brought food and blankets, others brought money, still “It is always important to have the arts commu- others brought their talent, their creativity. nity involved in its various creative ways in historical This art work is an everlasting memory of the Maid- events, especially those involving people struggling and an; as you view the exhibit, you see so many inter- fighting for freedom and human rights. Many times gov- pretations of the Maidan, so many different emotions ernment tries to muffle the media and art community are depicted in these posters, but they all show that regarding such events. The Maidan Exhibit at the Ken- Ukrainians are united in their love for their coun- nan Institute about the Revolution of Dignity was an try and their yearning to be free. I believe that the outstanding event, which showed the works by many Maidan changed each one of these artists; I hope that artists as they expressed themselves about the critical these works of art stir these emotions in you. I know events. the Maidan and the Revoution of Dignity as depicted in The business community supports such events be- these works have changed me forever.” cause human rights, freedom, democracy, and justice 77 are important to the companies, their employees and Mary Elizabeth Malinkin, the Kennan Institute program to a nation. Many times such events are best shown associate, debuted in the role of art-manager, organizing and and expressed through the arts. Showing the Maidan installing the Exhibition in the Wilson Center. She wrote: exhibit in Washington D.C. is important as most all I had the honor of organizing the Revolution of Dig- countries in the world are represented in Washington nity Art Exhibit’s first show in the U.S. in February and it key to have people know the truth about what 2015 in Washington, D.C. In the many conversations the people of Ukraine did and why they did it when and emails leading up to the exhibit’s opening, I was they overthrew a highly corrupt government through deeply inspired by the curators, Natalia Moussienko the events of the Revolution of Dignity.” and Andriy Sydorenko, and art-manager Marian Luniv, and learned so much from them. I could feel how pas- At every new location, a new poster of one of the 17 sionate they were to display these works not just in artists advertised the Exhibit. The Wilson Center chose Оlena D.C., but as far and wide as possible, to give voice Golub work «Intrusion». to the stories in each piece that were crying to be The artist explained her feelings about the Maidan heard. epoch: «The Maidan events in 2014 shocked me. At These 40 works by 17 different Ukrainian artists first, it seemed that art was dead and unnecessary. depicted the events, emotions, underlying issues, and Nobody needs beautiful landscapes if no one will see continuing aftermath of Ukraine’s Maidan of 2013- them, because the eyes of the best young people in 2014. The wide range of approaches (somber, joyful, my country were closed forever. Then I decided to ex- playful, majestic, caustic) was as impressive, if not press this bitter truth in my new works. I mixed on more, as the range of art mediums included in the col- paper my watercolor sketches and many images cap- lection (paintings, collage, film, photography, graphic tured by my camera on the Maidan. These objects as art). For two months, the works inhabited two floors asphalt pieces, wheels, footprints and so on were laid at the Wilson Center, and it was a pleasure to be able on landscape surface. Thus, I want to say that real- to stop by and notice something different in the pieces ity is more than art; the Maidan is more art than a each time. I also enjoyed hearing from many viewers certain aesthetic activity. «Intrusion» — is one of 14 — both visitors to and employees of the Wilson Center sheets of the series created in 2014». — what a unique and thought-provoking exhibit it was. It was exciting to see lively conversations spring up as people would gather in front of a work, debating what they thought it meant. In a world of information overload and the 24-hour media cycle, having the opportunity to take a moment to look at a piece of art and try to understand what the artist is communicating to you is a powerful experience. Artists are often able to express something profound about very complex movements and dynam- ics in the world, and the Ukrainian artists who con- tributed to this exhibit did just that. I look forward to the exhibit’s continued travels, as the discussions that are inspired by the images of the Maidan continue to be just as important today.”

The exhibit was on view at the Wilson Center from Feb- ruary 18 to April 30, 2015 and then moved to the Embassy of Ukraine in the USA for its Open House on May 2, 2015. Ukrai-

78 nian diplomat Olha Ivanova was the art-manager for this event. Dean Stacy Leeds, the Dean of the University of Ar- The painting, “The Arkan” by Marian Luniv was depicted on kansas School of Law, enthusiastically offered to host the Embassy poster of the Exhibit. the Revolution of Dignity Art Exhibit at the Law School. Christopher R. Kelley, associate professor of Law at the On her and the Law School’s behalf, I worked with University of Arkansas School of Law, initiated the next stop the Wilson Center’s Kennan Institute and the Ukrai- of the Revolution of Dignity Art Exhibit at Arkansas University, nian Embassy in Washington, D.C., to bring the Exhibit in Fayetteville. to the Law School. The Exhibit was installed in the “In the spring of 2015, Lisa Helling, then the Ex- Law School in late August, 2015, with the help of two ecutive Director of the J. William Fulbright Foreign Ukrainians — Mark Opanasiuk (Fulbright Graduate stu- Scholarship Board, asked the University of Arkansas to dent) and Valeriya Zayets — both students in the Law consider hosting the Revolution of Dignity Art Exhibit. School’s LL.M. program in Agricultural and Food Law. Ms. Helling had accompanied the Fulbright Foreign Installed in the Law School almost 10 years to Scholarship Board when it met at the University of Ar- the day after I first traveled to Ukraine to teach as a kansas in Fayetteville, Arkansas, in September 2014. U.S. Fulbright Scholar in Kharkiv, the Exhibit has spe- Fayetteville had been the home of Senator J. William cial meaning for me. Being a Fulbrighter in Ukraine Fulbright. Senator Fulbright created the Fulbright changed my life. It introduced me to Ukraine, its won- Program in 1946, while he represented Arkansas in the derful people, and much more. Since completing my United States Senate. Fulbright, I have traveled to Ukraine to teach many

79 times, usually six to eight times a year. I am now a does not grow easily — its growth requires commit- nonresident Professor at the Kyiv Taras Shevchenko ment, care, and courage. For its peoples’ commitment, National University Law Faculty and a consultant to care, and courage, glory to Ukraine. And glory to those the Inyurpolis Law Firm. And I have I extended my in- who continue to struggle to advance the rule of law in ternational teaching to Moldova, Belarus, Lithuania, Ukraine.” Russia, and Kazakhstan, all as a direct result of my introduction to Ukraine. The poster at the Arkansas University, depicts “Trade I visited the Maidan several times during the Revo- Unions” by Glib Vysheslavsky. lution of Dignity. I was on Volodymyrska Street near Kateryna Smagliy, director of the Kennan Institute Kyiv the Maidan during the early morning of February 20, Office, believes that the Revolution of Dignity Art Exhibit 2014, as scores of ambulances raced between the served as a tool of cultural diplomacy in action. The exhibit Maidan and various hospitals, transporting the dead not only shared information about Euromaidan with the inter- and wounded, then returning for more. I will never national audience, it also served as an efficient mechanism forget their incessant wails and screams and the grim, to foster national dialog within Ukraine. Having travelled to the groans of their tires striking the cobblestones, and different cities — from Kalush to Vinnytsia and from Ivano- the grim, strained expressions on their drivers’ faces. Frankivsk to Chernivtsi, it created a unique local platform for At the University of Arkansas School of Law, the dialog, the exchanges of ideas, communication and reconcili- Revolution of Dignity Art Exhibit stands as a testament ation. It also triggered the debate about the role of cultural to the importance of the rule of law and as a tribute diplomacy at the national level, having led to the First Forum to all who have fought, are fighting, and will fight to of Cultural Diplomacy, which was co-organized by the Kennan advance the rule of law in Ukraine. The rule of law Institute Kyiv Office and the Foreign Ministry of Ukraine.

First Forum of Cultural Diplomacy, June 2, 2015, Kyiv

80 AFTERWORD

This book embraces the events of two years: from No- vember 2013 to October 2015. This is just an instant for history. For participants in the events that this book describes, this was a fateful instant. The Revolution of Dignity and Russia’s military aggression against Ukrainian nation had changed us all, as well as the world we live in. Names, actions, and works of art are often lost in the whirlwind of events. This is why I tried, in this book, to provide as many details as possible, as they are priceless and will serve as construction materials for the future researchers of the breaking point in Ukraine’s history, when art went to the barricades. This book was possible thanks to the support of the Fulbright International Academic Exchange Program in Ukraine, namely its Director, Marta Ko- lomayets, and her team: Marian Luniv, Olena Prokopchuk, and Veronica Aleksanych. I express my sincere gratitude to them for their creative cooperation and diligent work on this publication. For me, it is an honor that my work was supported by the Fulbright Alumni Association «Ukrainian Fulbright Circle». I sincerely thank its Chairperson, Tetiana Yaroshenko, Vice President of the National University of “Kyiv Mohyla Acad- emy”, for her trust and confidence. Great thanks go to the Director of the Kennan Institute Kyiv Office, Kateryna Smagliy, for the constant, active promotion of the ideas of this book in the context of work on the concept of cultural diplomacy, for the Institute’s part in the publication of this work, and for her sincere personal support. I am grateful to the Modern Art Research Institute of the National Academy of Arts of Ukraine, under whose academic aegis I conduct my scholarly research. This book, as all my works, would have been impossible without the all-round support of my family. I wholeheartedly thank my supporters: my Mom, Professor Oksana Moussienko, my daughter, Oksana Moussienko-junior, as well as my dear For- tunskyys: Glib and Natalia Stanislava.

Natalia Moussienko, Kyiv, October 2015

81 Natalia Moussienko’s publications on the Art of the Maidan

2014 2015

1. Мусієнко Н. Досвід єднання: Майдан 2013-2014 // На- 8. Мусієнко Н. Відлуння Майдану // Будуємо нову Украї- талія Мусієнко — Образотворче мистецтво. — № 4. — ну. Збірник конференції 26-27 листопада 2014 р. — К.: 2014. — C.12-13 Видавничий дім “Києво-Могилянська академія”, 2015. 2. Мусієнко Н. Мистецтво і революція // Наталія Мусієнко — — С.125-137 Культура і життя. — 2014. — №40. — 3-9 жовтня. — С. 24 9. Мусієнко Н. Культурна дипломатія. Case study: ман- 3. Мусієнко Н. Мистецтво і революція: київський Майдан дрівна виставка українських художників / Наталія Му- 2013‐2014 pp. // Наталія Мусієнко — Агора. — 2014.— № сієнко — Агора: Зб. наук статей. — К.: Видавничий дім 13. — С.53-58 «Києво-Могилянська академія» , 2015. — Вип.14. Музеї 4. Мусієнко Н. Мистецтво Майдану: Дослідження з со- та культурна дипломатія / Відп. редактори К. Смаглій, ціокультурної антропології [Електронний ресурс] / Н. Н. Мусієнко. — С.115-118 Мусієнко // МІСТ: Мистецтво, історія, сучасність, те- 10. Мусієнко Н. Майдан у Вашингтоні // Наталія Мусієнко — орія: Зб. наук. пр. з мистецтвознавства і культуроло- Культура і життя. — 2015. — № 14-15. — 20 березня. — С.4 гії / Ін-т проблем сучасн. мист-ва Національної акад. 11. Мусієнко Н. Мандрівна виставка // Наталія Мусієнко — мист-в України.— К.: Фенікс, 2014. — Вип. 10. — С. Культура і життя. — 2015. — №20. — 24 квітня. — С.12 155-193. — Mode of access: http://nbuv.gov.ua/j-pdf/ 12. Мусієнко Н. USA-Ukraine //Наталія Мусієнко — Культура Mist_2014_10_13.pdf і життя. — 2015. — №21-22. — 15 травня. — С.6-7 5. Мусієнко Н. Плакатна столиця світу / Наталія Мусієнко 13. Moussienko N. Art and Revolution: Kyiv Maidan of 2013– — Культура і життя. — 2014. — №41. — 10-16 жовтня. — 2014 / Natalia Moussienko — Ukraine after EuroMaidan: С. 24 Challenges and Hopes / Viktor Stepanenko&Yaroslav Pylyn- 6. Мусієнко Н. Я дихаю вільно: мистецтво і революція // skyi (eds) — Peter Lang, International Academic Publishers, Наталія Мусієнко — Образотворче мистецтво. — № 4. — Bern, 2015. — P.257-264 2014. — C.12-13 14. Moussienko N. The Art of Revolution: Creativity and Euro- 7. Moussienko N. The Art of Revolution: Creativity and maidan // Natalia Moussienko — Godwin Club Italia, nu- Euromaidan [Electronic resource] //Natalia Moussienko mero1 (96), gennaio/dicembre 2015. — P.30-31 — The Wilson Quarterly. Washington. D.C. — November, 15. Мусієнко Н. / Наталія Мусієнко — Мандрівна виставка 2014. — Mode of access: http://wilsonquarterly.com/ українських художників: Присвята Майдану // Сучасне stories/art-revolution-creativity-and-euromaidan/ мистецтво: Наук. зб. / ІПСМ НАМ України; — К.: Фенікс, 2015. — Вип. XI. — С.169-184

82 83 Olexa Mann “New Middle Ages”

84 REVOLUTION OF DIGNITY ART EXHIBIT CATALOG

Julia Beliaeva Ukrainian Fight Club

Oksana Chepelyk Series COLLIDER _ 100 Kyiv 2014-Geopolitical Conflict (3 works)

Olena Golub Series Intrusion (2 works)

Anton Hauk Untitled (2 works)

Mariana Honcharenko Series Information Barriers (3 works)

Irena Khovanets White Bird, Gray Bird, Black Bird (3 works)

Marian Luniv Arkan. Ritual Dance

Olexa Mann New Middle Ages

Roman Mykhailiuk Series Maidan 2013-2014 (3 works)

Anastasiya Nekypela Our Strength Lies in Unity

Anastasiya Nekypela Do Not Cry Dear

85 Irena Khovanets “Gray Bird” Mariya Pavlenko Series Euromaidan — New Middle Ages (3 works)

Tetiana Rusetska 20.02.2014 (3 works)

Ivan Semesyuk Series Banderyky (9 works)

Andriy Sydorenko When Lies Lose Power

Glib Vysheslavsky Trade Unions

Glib Vysheslavsky Pavement Blocks

Glib Vysheslavsky Cocktail

Andriy Yermolenko The Voice of the People is the Voice of God

Andriy Yermolenko Glory to Heroes!

Andriy Yermolenko Freedom!

Nick Zavilinskyi Euromaidan 2013-2014 Mariya Pavlenko “New Middle Ages”

86 Guest Artist

Orest Kostiv — KALUSH Untitled

Anatoly Melnyk — IVANO-FRANKIVSK Sown Fields of the Donbas

Oleksandr Nikityuk — VINNYTSIA Heroes Do Not Die...

Maryana Romanyuk — CHERNIVTSI Sprout

Olha Yakubovska — KAMYANETS-PODILSKY Before the Fight

Anastasiya Nekypela “Our Strength Lies in Unity”

87 Index of Names C Chekh Artem, writer 50 A Chekmenyov Oleksandr, photographer 22 Afineevsky Evgeny, director, actor, producer (Israel) 46 Chepelyk Oksana, artist, film director, producer, art critic 56, 57, Akinsha Kostyantyn, art historian, journalist, art curator 66 66, 77, 85 Aleksanych Veronica, linguist, PR-specialist 81 Cherednichenko Kateryna, gallerist 66 Andrukhovych Sofiya, writer, translator 48 Chernichkin Kostyantyn, photographer 24 Andrukhovych Yuri, writer, poet 48 Chernichkin Mykhailo, photographer 24 Antonyuk Marianna, journalist 48 Cherya Pavlo, musician 41 Artyuhina Larysa, director 43 Chorny Yevhen, photographer 22 Avramchuk Kateryna, journalist 30, 40 Chubai Taras, singer, composer 38, 48 B Chumak Vitaliy, photographer 24 Bagirova Inara, artist 30 Chupryna Yevhenia, poet, writer, playwright 35 Bahmut Pavlo, photographer 24 Clooney George, actor (US) 52 Balandyukh Maksym, photographer 24 Cybrivsky Roman, urbanist, professor, photographer (USA) 24 Balashova Olha, art critic, journalist 33 D Balayan Valery, director, screenwriter 39 Daumier Honoré, artist (France) 29 Bauman Zygmunt, sociologist, philosopher (Great Britain) 14 Deineha Myhailo, artist, museum curator 69, 70 Bazdyreva Asia, journalist 52 Delacroix Eugène, artist (France) 29, 36 Beliaeva Julia, artist, designer 56, 76, 77, 85 Diordiychuk Maria, artist 31, 37, 67 Belorusets Yevgenia, artist 52 Dmytruk Anastasia, poet 48 Belov Anatoly, artist 22, 33 Doniy Oles, politician 38 Berdnyk-Malyovana Svitlana, artist, restorer 30 Dovgan Ilona, journalist 13 Bereza Anastasia, journalist 49, 50 Dovha Natalia, journalist 25 Bereznitska Inna, journalist 37 Drahina Maria, poet, journalist, 22 Bezhuk Igor, artist 31 Dunay Yuri, operator 44 Bezpyatchuk Zhanna, journalist 47 F Bezruky Volodymyr, artist 71 Fairy Shepard, street artist (US) 20 Bihus Denys, journalist 49 Farmer Stuart, director (USA) 44 Bilousov Maksym, photographer 22 Fomenko Serhiy, musician 36, 39 Blair Ruble, urbanist, international affairs expert, 59 Fortunska Natalia Stanislava, daughter of O. Moussienko (junior) Bobzhenko Andriy, social activist 45 and G. Fortunskyy 81 Bohdan, pianist 51 Fortunskyy Glib, medic 81 Bondar Andriy, poet, essayist, translator 48 Franko Ivan, political thinker, writer, poet 11, 12, 30 Bondarchuk Dymtro, journalist, film critic 45 Frye Max, writer, artist 48 Bondarchuk Roman, film director 45 Fulbright William, politician, scholar (USA) 72, 79 Borodina Tatyana, journalist 38 Furman Oleksiy, photographer 26, 41 Boychenko Oleksandr, literary critic, translator 48 G Bronyuk Viktor, musician 41 Gaidai Igor, photographer, gallerist 25 Budnikov Volodymyr, artist 33 Gaidai Nina, photographer 25 Bukvich Klavdia, film director 44 German Liza, art historian, art critic 17 Burlaka Oleksandr, architect 22 Gilbo Igor, photographer 15, 26, 31, 37, 42 Burmaka Marichka, singer 38 Godyaeva Sasha, artist 20 Butkevych Maksym, journalist 44 Golovchenko Kyrylo, photographer 22 Byron George Gordon, poet 39 Golub Olena, artist, art critic, art curator 56, 57, 58, 59, 77, 78, 85 Bystrytsky Yevhen, philosopher, civil society expert, scholar 8 Gudimov Pavlo, musician, gallerist 40

88 Gusev Gleb, journalist, editor 25 Kelley Christopher, lawyer, professor (USA) 72, 79 Gusev Oleksandr, journalist, film critic 45 Kerestey Pavlo, artist 22 H Kharchenko Serhiy, photographer 24 Hauk Anton, painter, photographer, sculptor 13, 77, 85 Khimchak Taras, photographer 26 Havrylyuk Mykhailo, community activist 31 Khomenko Lesya, artist 22, 33 Healy Tom, scholar, philanthropist (USA) 26 Khomyakov Oleksandr, artist 30 Helling Lisa, diplomat (USA) 79 Khovanets Irena, artist 56, 70, 77, 85 Henri Robert, artist (USA) 11, 29 Khrobust Yuri, broadcaster 53 Herasymenko Oleg, photographer 24 Khustochka Yuri, musician 40 Hlinin Denys, musician 40 Khutoryanets Olga, singer 41 Hnylytska Ksenia, artist 22 Kofman Roman, composer, conductor, writer 39 Holubnychy Dmytro, musician 42 Kolomayets Marta, journalist, art curator (USA) 5, 8, 26, 74, 77, 81 Honcharenko Mariana, artist 56, 70, 77, 80, 85 Komashko Andriy, photographer 26, 31 Hontaruk Yulia, director 44 Kondel-Perminova Nataliya, architectural & cultural historian 66 Horb Andriy, photographer 24 Konopie Yezhy, street artist 19, 35 Hospodarchuk Yaroslav, artist 71 Koshkina Sonia, journalist 50 Hrabarska Hanna, photographer, journalist 24 Kostenko Lina, poet, writer 6 Hrytsak Yaroslav, historian, philosopher, 25 Kostiv Orest, artist 71, 85 Hrytsenko Kateryna, journalist 48 Kosy Vasyl, musician 41 Huntington Samuel, sociologist, political scientist (USA) 14 Kotenko Yevhen, photographer 24 Husyev Igor, artist, poet, performer 20 Kotlyar Andriy, cameraman 28, 38, 53 I Kovach Pavlo, artist 34 Ilchyshena Yana, journalist 64 Kovalyov Vadym, actor 53 Illenko Mykhailo, director, screenwriter, actor 15, 38 Krasnoshchok Vladyslav, artist 22 Irvanets Oleksandr, writer, translator 49 Kravchuk Nataliya, photographer 24 Isupov Illya, artist 22 Kremin Tetyana, artist 22 Ivanchenko N., museum curator 19 Kubay Inna, international affairs expert, teacher 67 Ivanova Olha, diplomat, art manager 61, 73, 79 Kudymets Maksym, photographer 24 Ivanyuk Andriy, actor 53 Kuleba Dmytro, diplomat, art curator 74 Izdryk Yuri, poet, writer, cultural historian 49 Kulinsky Ivan, poet, writer, editor 49 Izmailov Enver, musician, composer, 40 Kulykov Andriy, journalist, translator 2, 8 J Kurkov Andrey, writer, screenwriter 49 Jerram Luke, artist (Britain) 48 Kurmaz Sasha, artist, photographer, 22, 34 K Kutyepov Bohdan, journalist 44 Kadygrob Volodymyr, art manager 23, 25 Kuzmin Oleksandr, photographer 24 Kakhidze Alevtina, artist 22, 24 Kvitka Yaryna, musician 40 Kalinicheva Svetlana, artist 32 L Kalinina Inna, photographer 26 Lanko Mariya, art critic 17 Kaliteevskaya Irina, journalist (Russia) 35 Larin Dmytro, photographer 26 Kalyta Tetiana, gallerist 67 Lazutkin Dmytro, poet, journalist, 35 Kapranov Dymtro, writer, publisher 32 Lebedynsky Serhiy, artist 22 Kapranov Vitaly, writer, publisher 32 Lebid Natalia, journalist 38 Karbovska Nataliya, researcher on women's movements 26 Leeds Stacy, lawyer, teacher (USA) 79 Karpa Irena, writer, journalist, 35, 44, 47 Lenyo Ivan, musician 41 Kashapov Borys, artist (Russia) 22 Levin Max, photographer 24 Kaufmann Lon, scholar, photographer (USA) 26 Levytska Anastasia, gallerist 62

89 Litinskas Gintautas, musician (Lithuania) 49 Morozova Oleksandra, musician, composer, 44 Lozhkina Alisa, art critic, journalist 23 Mos Anri, director 44 Loznitsa Sergei, film director 12, 45 Moskvychova Anastasia, journalist 49, 51 Lumet Arnaud, photographer (France) 24 Motsar Oleksandr, poet, novelist 35 Luna Mariana, poet 35 Motsyk Oleksandr, diplomat 60 Luniv Marian, artist, designer, art curator 2, 6, 7, 8, 53, 56, 57, Moussienko Natalia, philosopher, film critic, art curator 2, 4, 5, 61, 63, 64, 77, 78, 79, 85 6, 7, 8, 11, 12, 43, 52, 53, 54, 56, 63, 66, 69, 77, 78, 81, 82 Lurie Vadim, photographer (Russia) 26 Moussienko Oksana, (junior) film historian, teacher 3, 81 Lypa Kateryna, art critic, journalist 19 Moussienko Oksana, philosopher, film historian, film critic, Lyubka Andriy, poet, writer, translator 48, 49 professor 3, 81 Lyuby Roman, director 44 Mukharsky Antin, musician 38. See. Lyuty O. Lyukov Maksym, photographer 24 Musiienko Wladyslaw, photographer 24 Lyuty Orest, anthropologist, singer 40 See. Mukharsky A. Mykhailiuk Roman, photographer 56, 60, 77, 85 Lyuty Taras, writer, poet 23 Mykhailov Borys, photographer 22 Lyzhychko Ruslana, singer 26, 38 Mykhailov Roman, artist 22 M Mytsyk Lyudmyla, photographer 26 Mahoney Grace, artist (USA) 64 N Makarov Yuri, journalist, broadcaster, filmmaker 47 Naboka Andriy, artist 31 Maksym Kateryna, photographer 26 Nakonechna Lada, artist 22 Malaniuk Yevhen, writer, poet 11 Nedashkivska Rayisa, actress 15 Malihon Anna, poet, writer 35 Nekrasov Volodymyr, musician 53 Malinkin Mary Elizabeth, historian, art manager (USA) 58, 78 Nekypela Anastasiya, artist 56, 64, 77, 85 Malyushkina Alina, art manager 24 Nevulis Kestutis, singer (Lithuania) 49 Mamardashvili Merab, philosopher 39 Nigoyan Serhiy, Maidan activist 12, 22, 39 Mamchur Dmytro, writer 35 Nikitin Oleksiy, writer 35 Mann Olexa, artist, art manager 22, 33, 33, 34, 35, 56, 67, 68, Nikityuk Oleksandr, artist, art manager 62, 63, 85 77, 84, 85 Nikolayev Serhiy, photographer 24 Marusyk Mykola, art manager, 45 Noha Khrystyna, journalist 29 Marusyk Pavlo, actor 45 Noujaim Jehane, director 44 Masloboyshchykov Serhiy, film director, screenwriter 46 Nyshchuk Yevhen, actor, politician 15 Matsekh Markiyan, musician 22, 48, 50, 51 O Matsekh Oleg, community activist 22, 50 Odarchenko Valentyna, journalist 32 Matylda Maryna, actress 37 Okulov Danylo, sound editor 53 Mayem Andriy, director 43 Oliynyk Kostyantyn, musician 41 Mazepa Ivan, statesman, political leader, composer, poet 11, 14 Oliynyk Yevgenia, journalist 42, 53 Meakovsky Andriy, photographer 50, 51 Opanasiuk Mark, lawyer 79 Melnychuk Oksana, historian, museum curator 66 Ostrovska Yulia, art historian, art critic 30 Melnyk Anatoliy, artist 70, 85 Ozymok Iryna, social activist 26 Melnyk Oleksandr, artist 31 P Milius Yaronimas, musician (Lithuania) 49 Panchyshyn Andriy, singer, journalist, poet 41 Minin Roman, artist 22, 30 Pantyuk Serhiy, writer, journalist, publisher 35 Mirabeau Honoré Gabriel, writer, diplomat, (France) 14 Panyo Ulyana, art manager, museum curator 67 Mishchenko Antuanetta, musician 50 Parafeniuk Oksana, photographer 26 Mishchenko Kateryna, translator, editor 33 Parrish Alexandra, researcher, journalist (USA) 28 Mishchenko-Mytsyk Katya, artist, photographer (USA) 26 Pavlenko Maryia, artist 6, 22, 56, 77, 86 Morozov Viktor, singer, composer, translator 41 Pavlensky Pyotr, artist, performer (Russia) 17

90 Pavlychko Bohdana, publisher 25 Samotsvetov Kostyantyn, photographer 24 Pavlychko Dmytro, poet, translator 49 Sanchenko Anton, writer, translator, publisher 35 Pereverzev Oleg, musician, composer 24 Santos Antonio, photographer (Portugal) 26 Petlyuk Serhiy, artist 34 Sautkin Ivan, director 44 Petrasyuk Oleg, photographer 24 Savadov Arsen, artist, photographer 33 Podufalov Pavlo, photographer 24 Savka Maryana, poet, literary critic, essayist 48, 49 Polezhaka Artem, poet, singer, showman 35, 48 Shchur Michael, journalist, writer 41 Polezhaka Sergiy, photojournalist 24 Schwarzenegger Arnold, actor, politician (USA) 52 Polozhynsky Oleksandr, musician, singer, 40, 44 Selee Andrew, international affairs expert 59 Poshyvailo Ihor, ethnologist, museum curator, art curator 67 Semenchenko Maria, journalist 16, 40 Potarska Nina, journalist 26 Semesyuk Ivan, artist, art curator 22, 35, 56, 77, 86 Povalyayeva Svitlana, writer, journalist 35 Serdyuk Ihor, community activist 65 Poznyak Serhiy, artist 31 Sergatskova Kateryna, journalist 21, 35 Prokhasko Taras, writer, journalist, 48 Shaleny Mykyta, artist 22 Prokopchuk Olena, political scientist, art manager 2, 64, 81 Shamborovsky Gregory, economist, film director 66 Proskurnia Serhiy, director, producer 47 Shevchenko Taras, Ukraine`s national bard, artist, poet, writer Prystupa Eduard, musician, composer 41 12, 30, 47, 80 Pryymachenko Andriy, journalist 30 Shilenko Lada, photographer 26, 52 Psyfox, artist 22 Shkrabak Oleksandr, film director 28, 38, 53 Pupšys Virginijus, musician, singer (Lithuania) 49 Shpitkovska Natalia, art curator 56 Pylynskyi Yaroslav, ethnologist, political scientist, linguist 12, 82 Shurov Dmytro, musician 40 Pylypiy Roman, photographer 24 Shvadchak Nadiya, journalist 51 R Shvedov Oleg, photographer 26 Radynsky Oleksiy, journalist, documentary filmmaker 22 Silvashi Tiberiy, artist 33 Rafa Thomas, artist (Slovakia) 44 Sklyarevsky Igor, designer 17 Ralko Vlada, artist 22, 33 Skurativsky Vadym, philosopher, cinema critic, actor 46 Ratushnyak Oleksandr, photographer 26 Slavinska Iryna, journalist, translator, literary critic 47 Raushmann Alessandro, artist, performer (Germany) 52 Slipachuk Artem, photographer 24 Reston James, international affairs expert 8 Smagliy Kateryna, historian, political and cultural expert 5, 8, 60, Reunov Kostyantyn, artist 22 69, 80, 81 Ridny Mykola, artist 22 Smal Oleg, artist, cartoonist 12, 32 Rogovtseva Ada, actress 15 Sobchuk Oleg, musician 38 Rojansky Matthew, international affairs expert 60 Sochenko Maryna, artist, teacher, 29 Rokotansky Maks, photographer 24 Sociopath, artist 12, 30, 31, 44 Romanyuk Maryana, artist 67, 84 Sodel Vlad, photographer, journalist 24, 26 Rondiak Ola, artist (USA) 27 Sokhatska Zoryana, artist 71 Roti, street-artist (France) 12, 28 Sokolova Svitlana, journalist 66 Roytburd Olexandr, artist 22, 33, 68 Solovey Iryna, social activist 24 Rozkladay Ihor, community activist 26 Sosnovska Tetiana, museum curator 69 Pozhko Vasyl, museum curator 69 Spengler Oswald, philosopher, cultural historian, writer Rudnytska Angelika, singer 38 (Germany) 14 Rudska Marysya, artist, illustrator 31 Stepanenko Viktor, sociologist, photographer 12, 82 Rusetska Tetiana, artist 56, 62, 77, 86, 95 Stepanov Antoliy, photographer 24 S Strelkov Yegor, artist, tattoo artist 31 Say Oleksiy, artist 22 Strongowski Eliash, writer, poet, translator, designer 19, 22 Samborsky Yevhen, artist 22 Sudarenko Oleksiy, poet, musician, 35

91 Sventakh Anna, journalist 44 Yalovy Oleksandr, photographer 24 Sydorenko Andriy, artist, art critic & curator 22, 56, 57, 77, 78, 86 Yaroshenko Tetiana, library critic, teacher 5, 26, 81 Sydorenko Victor, artist, art critic & curator 22, 36, 56 Yaroslav from Colomyya, sculptor 28 See. Yaroslav Sylvestrov Valentyn, composer, 12, 16, 38, 39 Yaroslav, sculptor 12 See. Yaroslav from Colomyya Sywenkyj Joseph, photographer (USA) 26 Yermolenko Andriy, artist, art curator 19, 22, 35, 36, 47, 56, 71, T 77, 86 Taylor Kateryna, art manager 25 Yevheniya, public activist from Kharkiv 44 Tereshchenko Yuri, director, producer, teacher 46 Z Tistol Oleg, artist 22, 33 Zadorozhny Petro, photographer 24 Trebukhov Maksim, photojournalist 24 Zadura Bohdan, poet, translator, literary critic (Poland) 49 Tryhub Viktor, museum curator 21 Zakhovayko Maya, journalist 29 Tsaholov Vasyl, artist 22 Zakletsky Oleksandr, photographer 26, 35 Tumayeva Karyna poet 35 Zavilinskyi Nikita, photographer, musician, 9, 53, 77, 86 Turchyk Halyna, museum worker 71 Zayats Valeriya, lawyer, art manager 72 Tykhy Volodymyr, film director, producer 43 Zemlyana Iryna, human rights activist 41 Tytysh Halyna, journalist 21, 22, 43 Zhabotynska Svitlana, linguist 39 U Zhadan Serhiy, writer, poet, translator, public figure 48 Ukrayinka Lesya, poet, writer, playwright, 12, 30 Zharko Pavlo, artist 35 Ushynina Tetiana, journalist 40, 41 Zharykova Yevheniya, photographer 24 V Zhiznevsky Mikhail, social activist (Belarus) 41 Vahapov Hryhory, musician 40 Zhukovska Olesya, physician, social activist 22 Vaisberg Matviy, artist 30, 33, 64, 67, 68 Zhuravel Yuriy, musician, graphic artist, social activist 12, 32 Vakarchuk Svyatoslav, musician, social activist 12, 40 Ziyatdinova Emine, photographer 28 Valentyn, public activist from Kharkiv 44 Vayda Myroslav, artist, performer 22 Vegera Maksym, artist 27 А Verbytsky Myhailo, composer 16 Антонюк Маріанна, Antonyuk Marianna, journalist 48 Vlasova Anastasia, photographer 26 Аврамчук Катерина, Avramchuk Kateryna, journalist 32, 40, 41 Vorotniov Vova, artist 34 Б Vorozhbyt Nataliya, playwright, screenwriter 43 Безп’ятчук Жанна, Bezpyatchuk Zhanna, journalist 47 Voskalo Mykola, poet 49 Береза Анастасія, 49, 50, See. Bereza A. Voytovych Tanya, artist 22 Березніцька Інна, Bereznitska Inna, journalist 39 Vynnychuk Yuri, writer, editor, journalist 41, 48 Бєлорусець Євгенія, 53, See. Belorusets Y. Vynnytska Yaryna, journalist 31 Бойченко Олександр, 48, See. Boychenko O. Vyrtosu Iryna, journalist 44 Бондарчук Дмитро, Bondarchuk Dymtro journalist, critic 45 Vysheslavsky Glib, artist, art critic, art curator 7, 10, 34, 56, 63, Буткевич Максим, Butkevych Maksym, journalist 44 67, 73, 81, 86 В W Винницька Ярина, Vynnytska Yaryna, journalist 31 Wagner Richard, composer, conductor, music theorist, writer Виртосу Ірина, Vyrtosu Iryna, journalist 44 (Germany) 11, 39 Г Williams Morgan, businessman, philanthropist, (USA) 77 Гайдай Ігор, 25, See. Gaidai I. Y Годяєва Саша, 22, See. Godyaeva S. Yakovyna Ivanna-Kateryna, artist, photographer 23 Голуб Олена, 59, See. Golub O. Yakubenko Alina, artist 34 Грицак Ярослав, 25 See. Hrytsak Y. Yakubovska Olha, artist 64, 85 Гриценко Катерина, Hrytsenko Kateryna, journalist 50 Yakymovych Olha, photographer 24 Гусєв Гліб, 25 See. Gusev G.

92 Д Сильвестров Валентин, 16, 38, 39, See. Sylvestrov V. Довга Наталка, Dovha Natalia, journalist 25 Скуратівський Вадим, 46, See. Skurativsky V. Доній Олесь, Doniy Oles, politician 38 Славінська Ірина, 46, 47, See. Slavinska I. Довгань Ілона, Dovgan Ilona, journalist 13 Смаглій Катерина 60, 66, 82, See. Smagliy K. Є Смаль Олег, 32, See. Smal O. Єрмоленко Андрій, 21, See. Yermolenko A. Соколова Світлана, Sokolova Svitlana, journalist 66 Ж Стронґовський Ілля, 19, See. Strongowski E. Журавель Юрій, 32, See. Zhuravel Y. Т З Тейлор Катерина, 25 See. Taylor C. Золотарьов Олексій, Zolatoriev Oleksiy, artist 68 Титиш Галина, 21, 22, 43 See. Tytysh H. Заховайко Майя, Zakhovayko Maya, journalist 29 Тригуб Віктор, 21, See. Tryhub V. І У Іллєнко Михайло, 38, See. Illenko M. Ушиніна Тетяна, Ushynina Tetiana, journalist 40, 41 Ільчишена Яна, Ilchyshena Yana, journalist 64 Ф К Фрай Макс, 48, See. Frye M. Кадигроб Володимир, 25, See. Kadygrob V. Ч Єжи Коноп’є, 19, See. Konopie Y. Чех Артем, Chekh Artem, writer 50 Кошкіна Соня, 50, See. Koshkina S. Ш Кубай Інна, Kubay Inna, international affairs expert, teacher 67 Шамборовський Григорій, 66, See. Shamborovsky G. Л Швадчак Надія, Shvadchak Nadiya, journalist 51 Лебідь Наталія, Lebid Natalia, journalist 38 Шевченко Тарас, 47, See. Shevchenko T. Липа Катерина, Lypa Kateryna, art critic, journalist 19 Лютий Тарас, Lyuty Taras, writer, poet 23 М Баздырева Ася, Bazdyreva Asia, journalist 52 Манн Олекса, 35, 68, See. Mann O. Балаян Валерий, 39, See. Balayan V. Маслобойщиков Сергій, 46, See. Masloboyshchykov S. Балашова Ольга, 33, 34, See. Balashova O. Мацех Маркіян, 50, See. Matsekh M. Бородина Татьяна, Borodina Tatyana, journalist 38 Москвичова Анастасія, 47, 49, See. Moskvychova A. Вайсберг Матвей 30, 68, See. Vaisberg M. Мусієнко Владислав, 25, See. Musiienko W. Герман Лизавета, German Liza, art historian, art critic 17 Мусієнко Наталія, 14, 45, 55, 56, 57, 58, 59, 61, 62, 66, 82, Гусев Александр, Gusev Oleksandr, journalist, film critic 45 See. Moussienko N. Жаботинская Светлана, 39, See. Zhabotynska S. Н Иванченко Н., Ivanchenko N., journalist, 19 Нищук Євген, 15, See. Nyshchuk, Y. Калитеевская Ирина, Kaliteevskaya Irina, journalist (Russia) 35 Сергій Нігоян, 39 See. Nigoyan S. Ланько Мария, Lanko Maria, art critic 17 Христина Нога, Noha Khrystyna, journalist 31 Ложкина Алиса 23, 29, See. Lozhkina A. О Павленский Петр, 17, See. Pavlensky P. Одарченко Валентина, Odarchenko Valentyna, journalist 32 Раушманн Алессандро, 52, See. Rauschmann A. Олійник Євгенія, Oliynyk Yevgenia, journalist 42, 53 Ройтбурд Александр 33, 68, See. Roytburd O. П Сергацкова Екатерина, 19, See. Sergatskova K. Проскурня Сергій, 47, See. Proskurnia S. Сырчина Мария, Syrychyna Maria, journalist 30 Р Тытыш Галина, 33, See. Tytysh G. Рафа Томас, 45, See. Rafa Th. Чуриков Митя, Churikov Mitia, artist 52 С Свентах Анна, Sventakh Anna, journalist 44 Семенченко Марія, Semenchenko Maria, journalist 16, 40 Сергацкова Катерина, журналіст 25, 37, See. Sergatskova K.

93 Index of Art Associations, Festivals and Сultural Institutions

A K Alive Way, music band (Lithuania) 53 Klaipeda Musical Theater Choir 49 Antresolya, art craft shop of Kyiv-Mohyla Academy 16 Kozak System, rock band 38, 43, 49 Antytila, rock band 41 Kraplya v okeani (A Drop in the Ocean) Internet community 20, American Cultural Center (America House), Kyiv 65 21, 22 Art 14, gallery, Kyiv 6 “Kwasniewski’s Cox”, Internet community 49 Art-Chic, Modern Art Center, Vinnytsya, 62, 74 Kultura I Zhyttia (Culture and Life), national newspaper 60, 62, Art-Kyiv contemporary’2009, 36 66, 67, 74, 82 Art Management, agency 25 Künstlerhaus, Vienna Art Museum (Austria) 22 ART Ukraine, cultural news website 23, 29, 53 L Artistic Barbican, art association 12, 19, 33, 35, 36, 56 Lama, rock band 38 Artistic Hundred, art association 12, 29 Library of the Maidan, civil initiative 37 ArtMaidan, open-air gallery next to the Independence Monument, Liūdni Slibinai, rock band ( Lithuania) 53 in November 2013, Kyiv 30 Levko Revvutsky Capella, the Choir of the Kyiv Orthodox Theology B Academy 41 ВABYLON’13, cinematography association 12, 28, 42, 43, 44, 45 M Bastion, the Fortress gallery, Ivano-Frankivsk: 4, 69 Mad Heads, rock band 38 Bimba production, cinematography association 44 Maidan Museum, 17 Biplan, rock band (Lithuania) 53 Mandry, rock band 38, 41 Brakhta, rock band 41 MC Mesijus, rock band (Lithuania) 53 Braty Hadyukiny, rock band 41 Modern Art Research Institute of the National Academy of Arts of C Ukraine 2, 7, 55, 56, 60, 81, 82 Cannes International Film Festival 12, 45 Museum and Exhibition Center of Kalush 4, 71 D Museum of Posters of Ukraine 11, 21 “DAKH” Contemporary Art Center 43 N Dee&Kamy, rock band (Lithuania) 53 National Museum of Folk Architecture and Rural Life in Pyrohove 21 Docudays UA, International Human Rights Documentary Film O Festival 12, 25, 45 Odesa International Film Festival 45 Druha Rika, rock band 38 Okean Elzy, rock band 12, 40, 65, 73 F Olha Kobylyanska Women Hundred Battalion 26, 27 Fiolet, rock band 38 OstaNNya Barykada (The Last Barricade) art association 16, 38 Folknery rock band 40 Ot-Vinta, rock band 12, 32, 38, 41 Freaks on Floor, music band (Lithuania) 53 P Fulbright Gallery 4, 26, 56, 57 Piano-extremist, Internet community 49 G Picture Gallery of the Kamyanets-Podilsky State Historical Museum- Gogol Bordello, rock band (USA) 41, 53 Preserve 4, 64, 65 Gogolfest, festival, Kyiv 26 PinchukArtCentre, an international centre for contemporary art 34 Garbanotas Bosistas, rock band (Lithuania) 53 Pikkardiyska Tertsiya, acappella vocal group 38, 41 H Plach Yeremiyi, rock band 38 Haydamaky, rock band 38 Postcards from Maidan, art initiative 22 I R Ivan Franko National Academic Drama Theater 43 R-EVOlution, rock band 41 J Revplakat, Internet community 22 Jurgis Didžiulis, rock band (Lithuania) 53 Rolliks, rock band 38

94 S Sarajevo Winter International Festival 57 Shcherbenko Gallery 33 Skamp, rock band (Lithuania) 53 S.K.A.Y., rock band 38 Skryabin, rock band 41 Skylė, rock band (Lithuania) 53 Stadtgarten, rock band (Germany) 53 Strayk-Plakat (Strike Poster), Internet community 20, 22 Sweet Art, gallery, Chernivtsi 67, 68 T ТіК, rock band 41 Taraka, rock band (Poland) 53 Tartak, rock band 38, 42 TaRuta rock band 41 TNMK, rock band 38 Toronto International Film Festival 46 U Ukrainian Institute of Modern Art in Chicago (USA) 7, 55 Ukrainian House, the International Convention Center, Kyiv 12, 18, 36, 37 Ukrainian Shield-carrier Internet community 49 V VARTO (Worth It), Kyiv Organization of the Designers Union of Ukraine, 23 Viter Znaye, rock band 41 Vpershe Chuyu, rock band 40 Z Žalvarinis, rock band (Lithuania) 53

Tetiana Rusetska “20.02.2014”

95 Мистецтво Майдану [авт. Наналія Мусієнко]

Художник, Мар’ян Лунів

Видання англійською мовою Перекладено з видання: Мистецтво Майдану [автор, Наталія Мусієнко] – Київ, 2015. – 96 с. Перекладач Андрій Куликов

Підписано до друку 08.08.2016. Формат 70х100 1/24. Умовн.-друк. арк. 5,16. Папір крейдований. Гарнітура Trebuchet MC наклад 300 прим.

Надруковано Фамільна друкарня huss вул. Шахтарська, 5, м. Київ, 04074. Свідоцтво суб’єкта видавничої справи ДК № 3165 від 14.04.08 р. тел. +38 (044) 587 98 53 www.huss.com.ua E-mail:[email protected]

Natalia Moussienko is currently a leading research fellow at the Modern Art Research Institute of the National Academy of Arts of Ukraine in Kyiv. She studied philosophy at Taras Shevchenko National University of Kyiv (MA) and then at the National Academy of Sciences of Ukraine (Ph.D.). She is the author of numerous articles and five books on the theory and history of culture, cultural diplomacy, cinema, and urbanism — most notably, Arts and Politics, Art of Maidan, and Kyiv Art Space. Her works have been published in Ukraine, USA, Canada, Belgium, Great Britain, Norway, Poland, and Switzerland. Moussienko is an Advisory Council Member of the Kennan Institute of the Woodrow Wilson International Center for Scholars in Washington, DC, with which she has closely collaborated for many years, and an alumna of the Fulbright Program. Furthermore, she is a member of the National Union of Cinematographers of Ukraine and the International Federation of Film Critics (FIPRESСI). Moussienko plays an active role in the civic movement for Kyiv’s preservation and is a Council Member of Europa Nostra — the voice of cultural heritage in Europe.