{"id":27634,"date":"2026-07-03T11:10:11","date_gmt":"2026-07-03T11:10:11","guid":{"rendered":"https:\/\/heartefact.org\/on-wounded-spaces-emerging-culture-of-remembrance-and-a-european-metropolis-during-war\/"},"modified":"2026-07-03T13:50:23","modified_gmt":"2026-07-03T13:50:23","slug":"on-wounded-spaces-emerging-culture-of-remembrance-and-a-european-metropolis-during-war","status":"publish","type":"post","link":"https:\/\/heartefact.org\/en\/on-wounded-spaces-emerging-culture-of-remembrance-and-a-european-metropolis-during-war\/","title":{"rendered":"On Wounded Spaces, Emerging Culture of Remembrance, and a European Metropolis during War"},"content":{"rendered":"\n
Written by Aleksa Krsti\u0107<\/em><\/h5>\n\n

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My first trip to Kyiv in May 2026 was a deeply significant experience for me, one whose full meaning only became clear after I returned. Even after many hours spent on trains and buses (since civil air traffic has not existed in Ukraine since 2022), and after attending important theatre performances, exhibitions, and meeting many people, it was only upon my return that the experience fully settled. This was partly because, less than a month after my visit, the places where I had watched films, attended theatre performances, exchanged ideas, and formed friendships –\u00a0 were damaged, destroyed, or no longer exist.<\/span><\/p>\n\n

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Independence Square, Kyiv, photo: Anastasiia Telikova<\/em><\/figcaption><\/figure>\n\n

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This speaks to the fragility of culture that societies have long been building and continue to build, but also to the sheer force of armed conflict, which interrupts dreams, plans, everyday life, and the quiet eight-hour sleep that has become a rare privilege for residents of Kyiv.<\/p>\n\n

People from the former Yugoslavia likely remember past bombings, and it seems that this is most often discussed in Belgrade, where both oral history and official historiography recount and retell stories of life in the shelters of apartment buildings. Ukrainians, however, have been living in shelters for more than four years, with no end in sight. Millions have moved classrooms into underground shelters, and metro stations have been transformed into massive dormitories.<\/span>It may be difficult to imagine empty museums, galleries, and studios, completely empty, because artworks, paintings, sculptures, and installations have been packed into protective materials and moved into bunkers or sent to countries in Central and Western Europe, far from bombs and shrapnel. It is also difficult to imagine theatre performances interrupted by the sound of air raid sirens. <\/span>Yet for the citizens of Kyiv, culture is a matter of identity and a sign of resist\u0430nce;<\/strong> theatres are sold out, and galleries that display only a single artwork – sometimes with the permission and risk of living artists – are still visited.<\/span><\/p>\n\n

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The need to find community, to understand oneself and others, the need for identity, is also a need to remain in contact with art, to communicate through it, and to use it as a tool for understanding, or attempting to understand, the self and one\u2019s environment, the communities to which we belong, and also as an attempt at remembrance and at including other and different communities.<\/strong><\/blockquote><\/p>\n<\/blockquote>\n\n

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In front of the Bohdan and Varvara Khanenko National Museum of Arts, Kyiv, photo: Anastasiia Telikova<\/em><\/figcaption><\/figure>\n\n

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For example, the <\/span>Veterans\u2019 Theatre<\/span><\/a> seeks new ways to reintegrate war veterans, many of whom live with disabilities and severe physical impairments, into broader society and into Ukraine\u2019s cultural life. This is also a valuable example for societies not affected by armed conflict, showing how those transformed by war, or those who were marginalized even before it, can be included. The Veterans\u2019 Theatre opens a space for radical change and empathy, transforming violence and trauma into dance, movement, and sound through, for instance, new readings of <\/span>Eneida<\/span><\/i> by Ivan Kotliarevsky and other important works of Ukrainian literature.<\/span><\/p>\n\n

It is also important to mention the performance <\/span>Confronting the Shadow<\/span><\/i>, directed by Tamara Trunova, which addresses fear as an integral part of everyday life. Trunova, one of the most significant contemporary Ukrainian directors, constructs the performance through fragmentation, interruption, and multiple perspectives, without attempting to stabilize the experience of war, the large city, and the people who live in it, while also hiding within it, into a single narrative.<\/span>There are also the productions <\/span>The<\/span><\/i> Trojan Women<\/span><\/i>, which explores the experiences of women whose partners have become soldiers and are now at the front, and <\/span>M\u014ddraniht. Songs of Winter War<\/span><\/i><\/a>, a contemporary opera about the importance of water during and after war, as well as the exploitation of water as a vital resource. I saw all of these performances during the KI\u0407 Fest, which had its first edition this year and aimed to present contemporary Ukrainian theatre production to domestic and international audiences, critically engaging with war and society during wartime, and boldly addressing questions of the missing, the displaced, and those affected by war.<\/span><\/p>\n\n

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Dress rehearsal of the opera M\u014ddraniht. Songs of Winter War, photo: Anastasiia Telikova<\/em><\/figcaption><\/figure>\n\n

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It is also essential to mention the Kyiv Pechersk Lavra, <\/span>Mystetskyi Arsenal<\/span><\/a>, the <\/span>Dovzhenko Centre<\/span><\/a>, and the National Chernobyl Museum, places I visited in May of this year, which, during a series of attacks on Kyiv in mid-June 2026, suffered significant damage. These are sites of great importance for Ukrainian culture and identity, now partially or completely destroyed.<\/span><\/p>\n\n

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In Ukraine, I also learned that war does not begin and end on the front line, nor only in cities targeted by Shahed drones and ballistic missiles. It affects spaces and communities far beyond them.<\/strong><\/blockquote><\/p>\n<\/blockquote>\n\n

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Even at the beginning of my journey to Kyiv, at the bus station in Warsaw, the war in Ukraine was visible: people with large suitcases traveling to and from Ukraine, a sense of fear I myself felt, and uncertainty as I traveled along a largely empty highway from the Polish border to Kyiv – a journey of more than 15 hours. The war does not concern only those mobilized, but also their families and friends. It concerns those who spend nights in shelters and must work during the day despite not having slept. It concerns artists – those at the front, and those who continue to create art, trying to respond to questions such as how to remember the victims, what has happened to the missing, where displaced people from occupied territories in eastern Ukraine are, and what their condition is. \n<\/p>\n\n

During my seven-day stay in Kyiv, I went to a shelter five times. Going to shelters is part of everyday life in the city, and local residents have developed a specific relationship with it after years of constant air raid alerts. I met a mother with a child who lives 15 minutes from the nearest shelter. During the work week, she wakes up early and cannot afford to miss work simply because she had to walk to and from the shelter with her child the previous night. Whether or not to go to a shelter has become a matter of personal choice, daily time management and sheer exhaustion. In order to gain extra sleep, she often does not go to the shelter at all, even though air raid sirens in Kyiv sound several times a week, often every night.<\/span><\/p>\n\n

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In the shelter of the Hotel Ukraine, Kyiv, photo: Aleksa Krsti\u0107<\/em><\/figcaption><\/figure>\n\n

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Shelters themselves are not monumental spaces. They are underground areas, garages, corridors, improvised rooms in buildings, and most commonly metro stations, where the largest number of people can gather. People nap, sit, stand, talk, or remain silent. The shelter becomes part of everyday routine. During my stay, I used an app that shows real-time air raid alerts and maps of regions under threat. I tried not to open it too often, as the red zones were constantly expanding and contracting across the map of Ukraine in a highly dynamic way.<\/p>\n\n

A particularly difficult aspect of the war is faced by residents of cities suffering damage to energy infrastructure, frequent power outages, and heating problems during cold months. In some parts of Kyiv, especially on the eastern side of the city, during periods of intense attacks on the energy grid, people had to find ways to protect themselves from the cold. They would set up tents in their living rooms or bedrooms and sleep in sleeping bags, often dressed in multiple layers of clothing.<\/p>\n\n

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In the central section of the Kyiv-Pechersk Lavra, photo: Danylo Boiko<\/em><\/figcaption><\/figure>\n\n

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The war also affects queer people. The queer community in Ukraine faces numerous challenges, although in recent years there have been notable improvements in visibility and social acceptance. While Ukrainian society remains relatively conservative, human rights organizations and LGBT+ activists actively work to improve rights and protection. Since the beginning of the Russian invasion in 2022, queer experiences have been further shaped by wartime conditions. Many community members have engaged in humanitarian work, civil defense, or national defense.<\/span>The war has also introduced new risks, including displacement, loss of home, and limited access to support services. In the shared experience of war, queer people have found themselves on the same side as those who previously considered them \u201cothers,\u201d which in some cases has opened space for a new form of social integration. At this point, I feel it is important\u00a0 to pay tribute to Artur Snitkus, a Ukrainian artist, musician, and stylist from Ternopil. As an openly queer person, he was for years part of Ukraine\u2019s art and alternative scene, participating in projects in Kyiv, Odesa, and other cities. He was known for his creativity, charisma, and engagement in the queer community. His electronic music was included in a compilation that raised funds for women and LGBTQ+ people from eastern Ukraine. After the start of the war, he joined the armed forces and was killed in June 2024 during a combat mission in the Donetsk region.<\/span><\/p>\n\n

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The culture of remembrance in Ukraine develops not only through official state memorials, but also through initiatives emerging directly from communities.<\/strong><\/blockquote><\/p>\n\n\n\n

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In Kyiv, particularly striking are so-called grassroots memorials – sites of remembrance created by citizens, families, and friends of the fallen, often spontaneously and outside formal institutions. One of the most well-known examples is located in Maidan Nezalezhnosti, in the very heart of Kyiv. After the start of the war in 2014, photographs, flags, flowers, and personal messages dedicated to the fallen began to appear in the square, mostly honoring soldiers. Over the years, the memorial has grown, especially after the full-scale invasion in 2022, when thousands of flags were placed in memory of the fallen.<\/p>\n\n

Another important site is located along the wall of the St. Michael\u2019s Golden-Domed Monastery in central Kyiv. Along this wall is the People\u2019s Memorial to the Fallen Defenders of Ukraine, composed of photographs of soldiers and volunteers who have lost their lives since 2014. Families, friends, and comrades continue to add new photographs, each representing an individual life and story. These sites represent dynamic social processes of remembrance shaped by citizens of Ukraine, creating spaces of consolation and collective identity.<\/p>\n\n

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At the National Art Museum of Ukraine, Kyiv, photo: Danylo Boiko<\/em><\/figcaption><\/figure>\n\n

<\/p>\n\n

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War is an everyday condition within which people live and create. Art, culture, and war are constantly intertwined. Within this entanglement, it is especially important to observe how culture responds to war, but also how war continuously interrupts, transforms, and reconfigures cultural flows: making them both a form of resistance and a lasting testimony of human experience.<\/strong><\/blockquote><\/p>\n\n\n\n

<\/p>\n<\/blockquote>\n\n

The seven-day visit to Kyiv was realized within the framework of an international program of visits for cultural workers in Ukraine, organized by <\/span><\/i>Insha Osvita<\/span><\/i><\/a> in cooperation with <\/span><\/i>proto produkciia<\/span><\/i><\/a>, <\/span><\/i>Asortymentna kimnata<\/span><\/i><\/a>, the <\/span><\/i>Antonin Artaud Fellowship Program<\/span><\/i><\/a>, and <\/span><\/i>Opera Aperta<\/span><\/i><\/a>.<\/span><\/i><\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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