Ihor Bondarenko
Ihor Bondarenko is a Ukrainian artist from Kyiv. He works mainly with photography.
“Art for me is some kind of ordering of reality, as well as my self-expression in the world. Therefore, my works are focused mainly on issues of reflection of the world, time, memory, reality and truth” — from the artist’s bio.
Works of Ihor Bondarenko have been exhibited in many Ukrainian and foreign galleries
He took third place at the Documentary Family Awards 2020 (USA). In 2021 he was shortlisted for The Royal Photographic Society (UK).
– How did a full-scale war come into your life?
I remember the first impression. On the morning of February 24, my wife and I woke up at half past five from the sounds of powerful explosions. It was still dark and the children were asleep. From the news feed, we learned that other cities in our country are also under missile strikes, and russian columns are crossing the border.
The anticipation of the war lasted for several months. Despite this anticipation, I felt a certain emotional numbness. But still I managed to take myself in hand and start doing some necessary things at that moment, almost on the machine.
Of course, the first shock lasted more than a day and a week. And, obviously, we will never be the same as we were before this February morning.
– Do you feel the ability to work creatively in such conditions?
The war has been going on for eight years and after what happened, it is difficult to work, but the works of art created during this terrible time will be as deep as possible. Even if they are not about war, they will still be about war.
– In your opinion, what role did russian culture play in resolving the russian-Ukrainian war and why?
Once in a conversation in Oleh Tistol’s studio, he spoke interestingly about Muscovian culture as something insignificant: “It either glorifies the Kremlin or curses it… but it is still about the same Kremlin.” Tistol uses the term “cargo culture” for this phenomenon.
The fact is, this culture is not a reflection on the present and is not included in global processes and dialogue, but has only the hallmarks of culture. It is mostly used as a tool of propaganda, which, of course, played a key role in solving this crime against Ukraine, Europe and humanity in general.
But in my opinion, today it would be interesting to paraphrase the question: “How did the unleashed russian-Ukrainian war affect russian culture?” The world actively used its own special operation codenamed “cancel culture”.
– What can and should be done now to preserve the national cultural heritage and ensure support for the artistic community?
Everything is possible and impossible. After all, the goal of the savage invasion is the destruction of Ukrainian culture, which makes us a unique European nation with a very long and rich history. It is our cultural heritage that exposes the fake thesis that Ukraine is allegedly part of “Greater russia”.
What is important today is what is being done today by people, volunteers, institutions – from preserving existing funds and wrapping monuments to hiding the works of contemporary artists from their workshops and homes. It is also important to speak loudly in the world about the danger to Ukrainian monuments, which are under the protection of UNESCO and are the pearls of Western civilization, but today are under threat from russian bombing and rocket fire.
As The Washington Post recently wrote, “The survival of much Ukrainian art will depend on where the bombs fall.”
As far as the support of the art community is concerned, a lot is being done now, both inside the country and at the initiative of foreign friends. This includes targeted financial assistance to artists who remain in Ukraine, as well as programs, residencies for those who have temporarily left the country. Holding exhibitions of Ukrainian artists abroad, popularization of Ukrainian art, charity auctions.
I am now also in close contact with European and American institutions regarding participation in such projects.
As a sign of solidarity, the Museum of Contemporary Art in New York has opened an exhibition of works by artists born in Ukraine. At the same time, MoMA launched the Notes from the Ground project with video works by contemporary Ukrainian artists created between the 2014 Revolution of Dignity and this year’s full-scale russian invasion.
This, of course, supports Ukraine and demonstrates the position of the world community.
– How do you see the culture of Ukraine after the Victory?
I think it will be very relevant in the world. Ukraine has become a new symbol of the struggle for democratic values and freedom. Throughout history, freedom has always been its foundation for our people. And today this “battle of David and Goliath” is rather a struggle of civilized culture and savagery.
I think that after the Victory the cultural environment will be competitive and polyphonic. It is doomed to development, because we have great potential.
– In what direction will contemporary Ukrainian art / literature / theater, etc. evolve?
I think it will develop in the direction of freedom. After all, when a nation pays an incredible price for this freedom, it cannot but be reflected in art. Courage and the ability to go beyond makes it interesting.
I think that it will reach new levels of self-awareness and move towards further integration into global artistic processes and interaction.
– What can cultural and artistic figures do today and after the Victory on the cultural-artistic and information fronts?
Every personal action or gesture that brings Ukraine closer to Victory is important. It can be many things: creating works, selling them on foreign sites (NFT is especially relevant now), transferring funds to charitable foundations, volunteering, working on social networks, caring for your loved ones. I think everyone knows what to do, and they do it. Victory will be ours, because with us is the truth and God.
Interviewed by Robert Dovganych
Translated by Dionysii Vynohradiv