War Remains And What Remains of War

I explore the ruins, rubbles, debris, as forms of knowledge that reshape how war is remembered, narrated, and archived. My research examines the material afterlives of violence, asking how damaged objects, landscapes, and incomplete archives become witnesses that challenge linear histories and open new ways of understanding memory.

The project that was done within this frame of mind is the exhibition Everyone Is Afraid Of The Baker, But I Am Grateful (Irpin, 2022). You may also read the text Poppies and Hedgehogs (Apofenie, 2022). I am currently thinking about ruins through the lens of critical theory: what we call a ruin, a rubble, a debris, how fragments relate to language, and what role they play in ontological and epistemological justice.

Why Do Images Fade Away?

The role of images in contemporary warfare is profoundly significant. I am interested in the ways photographs circulate, and in how certain images come to be selected as emblematic or historically significant in representing and bearing witness to war. While my writing often focuses on photography, it also engages with contemporary visual art that works through photographic and moving images. In particular, my research explores the relationship between the image and the body, as well as the conditions of visibility within today's overwhelming surplus of images of war. Please read Exactly That Body: Images Against Oppression (e-flux Journal, 2023), Why Do Images Fade Away? (e-flux Notes, 2025), Which Images Remain Invisible During Wartime? (Institute of Network Cultures, 2026).

Art and Language in Times of War

My research investigates how artistic practices respond to war beyond representation. I am interested in art as a form of testimony, cultural infrastructure, and critical imagination—one that documents, questions, mourns, and creates conditions for thinking about the ethical, political, and material consequences of violence. For example, as a response of war I wrote a documentary postdramatical libretto Напередодні війни, що триває, або Ті, що бачили смерть [On the Eve of the Ongoing War, or Those Who Saw Death].

Women Artists and Invisible Histories

I examine the histories of women artists and the overlooked narratives of Ukrainian art through feminist and intersectional perspectives. My work seeks to recover practices, archives, and forms of knowledge that have remained marginal, revealing how care, vulnerability, and embodied experience have shaped artistic production and cultural memory. Please check a book Why Are There Great Women Artists in Ukrainian Art (2019) and selection of the statements on Secondary Archive.

Donbas: Landscape, History, and Injustice

My research on the Donbas region approaches the region as a cultural and historical landscape shaped by layered histories, colonial violence, and environmental transformation. Through archives, literature, visual culture, and lived experience, I explore how the region resists simplified narratives and continues to redefine questions of memory, belonging, and historical justice. Please read a book Donbas as Metaphor (2026) and essay Black, White, and Colourless (The Ecologist, 2022).