Exhibition dates: 5th October – 18th November, 2023
Curators: Jan Pohribný and Igor Malijevský
Artists: Pavlo Dorohoy, Andriy Dubchak, Yurko Dyachyshyn, Alexey Furman, Alena Grom, Mstyslav Chernov, Serhii Korovayny, Kostiantyn and Vlad Liberov, Evgeny Maloletka, Sergi Mykhalchuk, Mikhail Palinchak, Olga Kovalova, Danilo Pavlov, Viacheslav Ratynskyi, and Alina Smutko
Warning: this posting contains distressing images of atrocities against innocent civilians.
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Matviy’s 43-year-old grandmother Natalia Pototska cries in a car as they wait to be processed upon their arrival from Vasylivka at a reception center for displaced people in Zaporizhzhia, Ukraine. May 2, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
I have spent many days immersing myself in the world of Ukrainian war photographers and the graphic and devastating images of conflict that they have captured.
I am grateful to these brave and talented artists for the perspicacity of their vision, their dedication to documenting the injustices of man against man, and the crimes that have been committed against the Ukrainian country and its people. Children, pregnant women, civilian targets. Death, despair, misery.
Why, why, why after all these thousands of years does the human race still persist with vile war. To put it succinctly it comes down to five reasons – men, power, religion, money and nationalism… and resistance to these elements suffered under the duress of oppression.
Resistance is never futile… for freedom is at stake.
Dr Marcus Bunyan
PS. I wish there had been more photographs to show you by Kostiantyn and Vlada Liberov because I really like the intensity and stillness of their work. Two other exemplary photographers in the exhibition are Mstyslav Chernov and Evgeniy Maloletka, some of whose images are akin to “cinematic photography, which is a style of photography that emulates stills or frames from movie scenes to tell a moving story or scene. It is a highly effective storytelling technique that can create images with depth and feeling.” But really, all the photographers images are worthy of our attention. Outstanding work.
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Many thankx to FotoFest for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“One of the greatest mistakes that we have repeatedly committed throughout history that we have often been unable or unwilling to believe in absolute evil. The human mind is more predisposed to interpreting cruelty, injustice, and violence through the lens of comfortable corporate policies or neighbourly bickering. It is easier for us to see evil as a glitch in the system, as a misunderstanding that sooner or later will be somehow resolved through good will. Years ago, former German chancellor Angela Merkel asked Putin – quite literally, with an almost endearing guilelessness, “What is it that you actually want?” He didn’t answer. Evil’s intentions are tautological – they circle back in on themselves. They take nothing and no one into account. The goal of evil is evil.”
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Text from the exhibition
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Mariana Vishegirskaya stands outside a maternity hospital that was damaged by shelling in Mariupol, Ukraine, March 9, 2022. Vishegirskaya survived the shelling and later gave birth to a girl in another hospital in Mariupol
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mstyslav Chernov (Ukrainian, b. 1985) / AP
The body of woman killed during Russian bombardment of a residential neighbourhood in Kharkiv, Ukraine, July 7, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Doctors unsuccessfully try to resuscitate a girl hit by Russian shelling in Mariupol, Ukraine. February 27, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mstyslav Chernov (Ukrainian, b. 1985) / AP
A Ukrainian serviceman guards his position in Mariupol, Ukraine, March 12, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Fighting: Ukrainian War Photographers is an exhibition featuring images captured by sixteen Ukrainian artists and photojournalists who are documenting the invasion of their country by Russia. Organised for the U.S. by FotoFest and curated by Jan Pohribný and Igor Malijevský with support from the Ukrainian Association of Professional Photographers, Fighting: Ukrainian War Photographers offers a firsthand, in-depth view into the efforts of Ukrainian citizens and military to preserve their sovereignty.
In February 2022, the Russian military launched a full-scale invasion of Ukraine to forcefully reclaim the former Soviet country as part of Russian President Vladimir Putin’s “Greater Russia” annexation project. Putin’s stated plan was to launch a rapid full-scale military campaign in Ukraine and achieve a quick surrender. To the surprise of Putin and the global intelligence community, a conflict predicted to last three to five weeks has, over a year later, persisted due to the resistance, bravery, and resilience of the Ukrainian people.
Fighting: Ukrainian War Photographers presents the stories of the Ukrainian people through the photographs of sixteen Ukrainian photographers who are serving on the front lines of the Russian invasion. These photographers are dedicated to showing the world the insurmountable costs and deadly reality of war. Several of the included photographers have received Pulitzer Prize, World Press Photo, and the Ukrainian State Badge of Honor recognition for their commitment to public service and breaking news journalism.
The exhibition is divided into six discrete chapters: The Struggle, Flight, Death, Hope, An Ordinary War, and Mariupol, which in total contain 255 images that span from the documentation of destruction and loss of life to the ensuing Ukrainian refugee crisis and the strength and determination of Ukrainian citizens who have remained in their country to protect their homeland.
Fighting: Ukrainian War Photographers includes photographs by Pavlo Dorohoy, Andriy Dubchak, Yurko Dyachyshyn, Alexey Furman, Alena Grom, Mstyslav Chernov, Serhii Korovayny, Kostiantyn and Vlad Liberov, Evgeny Maloletka, Sergi Mykhalchuk, Mikhail Palinchak, Olga Kovalova, Danilo Pavlov, Viacheslav Ratynskyi, and Alina Smutko.
Fighting: Ukrainian War Photographers is on view at Silver Street Studios between October 5 – November 18, 2023, with an opening reception taking place on October 5, 6-8pm. The exhibition is complemented by a series of free public programs including an exhibition tour, a contemporary classical concert co-presented with Musiqa, and a screening of Mstyslav Chernov’s acclaimed 2023 film 20 Days in Mariupol presented in partnership with the Holocaust Museum Houston.
The exhibition is presented with support from the Ukrainian Association of Professional Photographers and the Association of Professional Photographers, Czech Republic.
About FotoFest
FotoFest is a Houston-based contemporary arts organisation co-founded by photojournalists Frederick Baldwin and Wendy Watriss. FotoFest is dedicated to advancing photography and visual culture through the presentation of exhibitions, public programs, and publications. The examination of society, culture, and contemporary life through the lens of photography and related media is central to FotoFest’s mission. In addition to the organisation’s year round programming, FotoFest organises a city-wide biennial project in the form of large-scale central exhibitions, curated lectures, performances, a symposium, and film programs. The organisation also hosts several professional development programs, including annually held Meeting Place Portfolio Reviews, which host over 400 artists and 150 professionals working in the field of art and photography. Through its Literacy Through Photography curriculum, FotoFest organises K-12 classroom-based learning projects designed to encourage creativity and strengthen student writing, comprehension, and expression, reaching thousands of students. A platform for art and ideas since 1983, FotoFest is committed to promoting lasting international dialogue, cultural exchange, scholarship, and community enrichment by working with artists, audiences, academics, curators, and influential figures in art, culture, and society.
About the Ukrainian Association of Professional Photographers
The Ukrainian Association of Professional Photographers (UAPP) is a nonprofit public organisation that has been involved in educational, social, and cultural projects since 2013, supporting Ukrainian photographers, photography schools, and publishers. UAPP deals with educational, social, and cultural projects and represents Ukrainian professional photography in the international photographic community. UAPP is an official member of the Federation of European Photographers (FEP), an international organisation, which represents more than 50,000 professional photographers in Europe and around the world.
The Ukrainian Association of Professional Photographers unites professionals from all spheres of commercial, documentary, and artistic photography of Ukraine, represents them in the international photographic community, and protects interests and rights at the national and international levels. The members of the Association are the winners of international competitions of professional photography, and the authors of many personal exhibitions, projects, and publications. UAPP members have the exclusive right to obtain EP, QEP, and MQEP qualifications to certify their professional level in European countries.
The educational, social, and cultural projects are the main activities of the Ukrainian Association of Professional Photographers. The aim of UAPP is the development and promotion of Ukrainian photography. UAPP aspires to unite the Ukrainian professional photographic community; develop cultural exchange; establish new partnerships with international organisations, and art institutions, and work with grants.
Press release from FotoFest
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Serhii, father of teenager Iliya, cries on his son’s lifeless body lying on a stretcher at a maternity hospital converted into a medical ward in Mariupol, Ukraine. March 2, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
The surgeons leaving the operating room don’t make eye contact. One of them holds up his hands. Another looks down, defeated. It’s then that the father waiting at the doorway grabs his forehead, tears welling, and turns away, a wail about to escape his throat.
The man, identified only as Serhii, enters the room and finds his 16-year-old son, Iliya, is still and draped by a blood-stained sheet.
Serhii drops down, hugs Iliya’s lifeless head, and convulses with grief. Iliya was fatally wounded Wednesday while playing soccer in Mariupol when shelling started amid the Russian invasion of Ukraine. The explosive hit the soccer field near a school in the Azov Sea city.
Mstyslav Chernov. “Father mourns 16-year-old son killed in shelling while playing soccer in Mariupol,” on The Times of Israel website 5 March 2022 [Online] Cited 06/10/2023
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Firefighters work to extinguish a fire at a house after a Russian attack in Kharkiv, Ukraine. April 11, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Dr. Oleksandr Dikalo shows the location of his hospital on a map in a labyrinthine basement in Kharkiv, Ukraine, January 28, 2022. Elsewhere in Kharkiv, Dikalo dragged two creaky exam chairs into a labyrinthine basement and refilled yellow jerrycans with fresh water. The public dental clinic he runs is on the ground floor of a 16-story apartment building, and the warren of underground rooms is listed as an emergency shelter for hundreds of residents
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
MSTYSLAV CHERNOV is a Ukrainian photojournalist, filmmaker, war correspondent, and novelist known for his coverage of the February 2014 Revolution of Dignity; War in Donbas, including the downing of flight MH17; Syrian civil war; Battle of Mosul in Iraq; and the 2022 Russian invasion of Ukraine, including the Siege of Mariupol. Chernov’s work has been recognised with numerous awards, including the 2022 Pulitzer Prize for Public Service, the Deutsche Welle Freedom of Speech Award, the Georgiy Gongadze Award, the Knight International Journalism Awards, and the Biagio Agnes Award. He was also included in the nationwide Ukrainian ratings “People of the HB 2022 in the year of war” and “14 songs, photos and art objects that became symbols of Ukrainian resistance” by Forbes Ukraine. Chernov’s work has been exhibited in galleries and museums around the world. He is the author of the book The Dreamtime: A Novel (Cherry Orchard Books, 2022) and the director of the documentary film 20 Days in Mariupol (2023), which was awarded the Audience Award in World Cinema Documentary at 2023 Sundance Film Festival.
Chernov is an Associated Press journalist, the president of the Ukrainian Association of Professional Photographers (UAPP) and has been a member of Ukrainian PEN since July 2022. His activity ranges from current affairs to long-term projects related to conflicts, social issues, and environmental crises in all media formats. Chernov’s images and video have been published and aired by multiple news outlets worldwide including CNN, BBC, The New York Times, The Washington Post, and others. He has both won and been a finalist for prestigious awards including the Livingston Award, Rory Peck Award, Reporters Without Borders Press Freedom Prize, and multiple Royal Television Society awards.
Mstyslav Chernov (Ukrainian, b. 1985) / AP
Anastasia Erashova cries as she hugs her son in a corridor at a hospital in Mariupol, eastern Ukraine. March 11, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alexey Furman (Ukrainian, b. 1991) / Getty Images
A young girl cries as a man bids his daughter goodbye at the railway station in Lviv, Ukraine, on March 22, 2022. Lviv has served as a stopover and shelter for the millions of Ukrainians fleeing the Russian invasion, either to the safety of nearby countries or the relative security of western Ukraine
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alexey Furman (Ukrainian, b. 1991) / Getty Images
Svitlana Nazarenko, sister of Mykhailo Tereshchenko, is comforted by her son during her brother’s funeral on June 14, 2022 in Kyiv, Ukraine. Tereshchenko, 50, was a Ukrainian soldier who was killed in the Ukrainian region of Donbas
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alexey Furman (Ukrainian, b. 1991) / Getty Images
Khrystyna Hrynchuk, 29, and Hanna Bespalko, 54, the mother of Denys Hrynchuk, carry the Ukrainian flag past the body of Denys Hrynchuk in Bila Krynytsia, Chernivtsi region, Ukraine, on March 6, 2022. Denys Hrynchuk served in the Ukrainian army and was killed on February 28, 2022, near Volnovakha, Donetsk region. He is survived by his mother, five brothers, a sister, his wife, and his one-year-old son
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alexey Furman (Ukrainian, b. 1991) / Getty Images
Volodymyr Tykhonov, 76, opens the door of his garage covered in numerous bullet holes in Zahaltsi, Ukraine. The towns around Kyiv are continuing on the long road towards what they hope is recovery, following weeks of brutal war as Russia attempted to take Ukraine’s capital. As Russia concentrates its attack on the east and south of the country, residents of the Kyiv region are returning to assess the war’s toll on their communities. April 28, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
ALEXEY FURMAN is a Ukrainian visual storyteller, University of Missouri alumnus, and co-founder of New Cave Media, an immersive storytelling studio based in Kyiv, Ukraine. He covered the Ukrainian Revolution of 2013-2014, the annexation of Crimea and the ongoing war in eastern Ukraine. Furman’s coverage of the conflict has been recognised by Pictures of the Year International (POYi), The National Press Photographers Association (NPPA), PDN Photo Annual, and the Bayeux-Calvados Award for War Correspondents. His work has been published in TIME, The New York Times, The Washington Post, Al Jazeera America, 6MOIS, Der Spiegel, The Guardian, De Standaard, and Financial Times. Furman was awarded the The International Academic Forum (IAFOR) Documentary Photography Award for his series, Life after Injury (2014-), which documents the experiences of Ukrainian soldiers returning home from the front lines after sustaining life-changing injuries. In 2016, Furman co-founded immersive storytelling studio New Cave Media which creates immersive solutions for brands in Ukraine and elsewhere. New Cave Media’s recent clients include UNICEF, WWF, Mitsubishi, and GIZ.
Alexey Furman (Ukrainian, b. 1991) / Getty Images
A man pets a dog near a makeshift stove in the courtyard of a heavily damaged apartment building in Horenka, Ukraine. April 23, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alexey Furman (Ukrainian, b. 1991) / Getty Images
A burnt-out Ukrainian tank on May 31, 2022 in Kolychivka, Ukraine. Chernihiv, northeast of Kyiv, was an early target of Russia’s offensive after its February 24 invasion. While they failed to capture the city, Russian forces battered large parts of Chernihiv and the surrounding region in their attempted advance toward the capital
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
“Elegy” by Arno Babajanian
Sorush Zali, Ukrainian artist, performs the Arno Babajanyan Elegy in the destroyed house of culture in Irpin, Ukraine in June 2022. He dedicates this performance to all sorrow and grief Ukrainians endured during the occupation.
Piano: Soroush Zali
Director: Maksym Matsiuk
Camera: Nikolai Slivianchuk
I experienced the tragedy of Bucha and Irpen not far from the catastrophe, heard and saw terrifying explosions.
I stood in front of the ghost of the House of Culture. The Ruined House and the Sun…
I stayed, the innocents left… Then Mahsa, Mehrshad and our other angels left for Iran.
I dedicate “Elegy” to all of them. I dedicate to the hero-city of Irpen, to the suffering Ukrainians and to all my departed compatriots!
Andriy Dubchak (Ukrainian, b. 1986) / Donbas Frontliner
Call sign “Kepka,” commander of the Nokhchi (Chechen) volunteer battalion named after Dzhokhar Dudayev as they prepare for a training exercise to sharpen their skills. The battalion recently returned from a combat mission in Bakhmut, which in early December was considered to be the most dangerous location on the front. Kyiv region, Ukraine. December 3, 2022
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Courtesy of Ukrainian Association of Professional Photographers
ANDRIY DUBCHAK is a correspondent and photographer who has worked for Radio Free Europe/Radio Liberty’s Ukrainian Service since 2003. He specialises in telling the stories of soldiers and civilians caught up in the conflict in eastern Ukraine. He received a 2022 Free Media Award from the Fritt Ord and ZEIT foundations for his “courageous professional reporting from battle zones.” He also received a Lovie Award for his coverage of the Maidan protests in 2014 and a Gold Medal in the LifePressPhoto competition in 2020. Dubchak earned his master’s in mechanical engineering from the Vinnytsia National Technical University, and degrees in network engineering at the Kyiv Polytechnic Institute, journalism from the Mohyla School of Journalism, and he has taken courses in photography from the Kyiv Photography School.
Andriy Dubchak (Ukrainian, b. 1986) / Donbas Frontliner
Children with a Ukrainian flag and uniforms flash the victory sign on the central square of Kherson during celebrations of the city’s liberation by Ukrainian army. November 12, 2022
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Courtesy of Ukrainian Association of Professional Photographers
Andriy Dubchak (Ukrainian, b. 1986) / Donbas Frontliner
Local youth dance during emotional celebration of liberation of the Kherson by Ukrainian army at the central square of the town (Liberty square). Ukraine. 12 November 2022
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Courtesy of Ukrainian Association of Professional Photographers
Andriy Dubchak (Ukrainian, b. 1986) / Donbas Frontliner
Ukrainian soldiers on a road near recently liberated Lyman, Kharkiv region. October 3, 2022
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Courtesy of Ukrainian Association of Professional Photographers
Andriy Dubchak (Ukrainian, b. 1986) / Donbas Frontliner
Three children (Vlada, Katrin, Danilo) in the window of an emergency evacuation train from Kharkiv to Lviv as it is passing through Kyiv’s railway station. The carriages have no heat, water, or toilets. March 3, 2022
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Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Ukrainian emergency workers and volunteers carry an injured pregnant woman from a maternity hospital that was damaged by shelling in Mariupol, Ukraine, March 9, 2022. The woman and her baby died after Russia bombed the maternity hospital where she was planning to give birth
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
After Russian forces shelled a maternity hospital in Mariupol last week, images of the destroyed building and distraught evacuees made headlines around the world.
One particularly memorable photo shows a pregnant woman lying bloodied on a stretcher, being carried through the bombed-out courtyard by several first responders. The scene, seen as embodying Russia’s aggression toward innocent civilians, was shared widely.
The woman and her baby have since died, the Associated Press reported on Monday.
The unidentified woman suffered a crushed pelvis and detached hip in Wednesday’s attack and was rushed to another hospital on the front lines.
“Realizing she was losing her baby, medics said, she cried out to them, ‘Kill me now!'” the AP reports.
Surgeon Timur Marin told the AP that medics delivered the baby via cesarean section but saw “no signs of life.” They were unable to save the mother’s life after more than 30 minutes of resuscitation efforts, he added.
Rachel Treisman. “The pregnant woman from the iconic Mariupol photo has died. Many more are at risk,” on the NPR website March 14, 2022 [Online] Cited 06/10/2023
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
The glass of a hospital window is shattered by shelling in Mariupol, Ukraine. March 3, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
An explosion is seen in an apartment building after Russian’s army tank fires in Mariupol, Ukraine. March 11, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Russian tanks marked with a white “Z” fire at a residential area in Mariupol. 12 March 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
EVGENIY MALOLETKA is a Ukrainian war photographer, journalist, and filmmaker. He has been covering the war in Ukraine since 2014. He has also covered the Euromaidan Revolution, the protests in Belarus, the Nagorno-Karabakh War, and the COVID-19 pandemic in Ukraine. His images have been published on major international news outlets including Associated Press, Al Jazeera, Der Spiegel, The New York Times, The Guardian, TIME, The Washington Post, Le Monde, El País, La Repubblica, The Globe and Mail, and The Sydney Morning Herald among others. His video work has aired on global outlets including the BBC, Euronews, NBC, and television outlets around the globe. Maloletka’s personal projects include The Hutsul Project, which documents the ethnic Hutsul community in western Ukraine, and Donbass, which follows the ongoing conflict in eastern Ukraine from the perspective of Ukrainian civilians and military personnel. In 2022, Maloletka’s work during the siege of Mariupol was recognised with the Knight International Journalism Award, the Visa d’or News Award and the Prix Bayeux Calvados-Normandie for War Correspondents (Photo Category – International Jury Nikon Prize.) In 2023, Maloletka was awarded two Pulitzer Prizes, one for public service, which he shared with Mstyslav Chernov, Vasilisa Stepanenko, and Lori Hinnant, and another one for breaking news photography, shared with Felipe Dana, Emilio Morenatti, Rodrigo Abd, Nariman El-Mofty, Vadim Ghirda, and Bernard Armangue, as part of the Associated Press team for coverage of the war in Ukraine.
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
A woman in front of a fire truck that was destroyed by shellfire. Mariupol, Ukraine. March 10, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
People queue to receive hot food at an improvised bomb shelter in Mariupol, Ukraine. March 7, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Chaotic shelling of a residential area in Mariupol; dead bodies on the streets and in shelters. Ukraine. March 7, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Bodies are placed into a mass grave on the outskirts of Mariupol, Ukraine. People cannot bury their dead due to heavy shelling by Russian forces. March 9, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
People lie on the floor of a hospital during shelling by Russian forces in Mariupol, Ukraine. March 4, 2022
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Printed in 2023 by Jan Pohribný
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Marina Yatsko and her boyfriend Fedor carry her 18-month-old son Kirill, who was wounded during shelling in Mariupol, Ukraine. March 4, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
A body lies covered by a tarp in the street in Mariupol, Ukraine. March 7, 2022
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Printed in 2023 by Jan Pohribný
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
A destroyed railway bridge on the Siverskiy Donets River near Raigorodka, Donetsk region, eastern Ukraine. April 30, 2022
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Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Unidentified graves of civilians and Ukrainian soldiers who been killed by Russians forces since the start of the war are seen at a cemetery in the recently recaptured area of Izium, Ukraine, September 15, 2022. A mass grave of Ukrainian soldiers and hundreds unknown buried civilians were found in the forest of recently liberated Izium. “Russian soldiers buried Ukrainian soldiers in a mass grave in the forest” said Oleg Kotenko, the Commissioner for Issues of Missing Persons under Special Circumstances
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Printed in 2023 by Jan Pohribný
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
A paramedic bandages an injured man after a Russian attack on Barabashovo market in Kharkiv, Ukraine. July 21, 2022
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Viktor Kolesnik cries over the body of his wife Natalia, who was killed during the Russian bombardment of a residential neighborhood in Kharkiv, Ukraine. July 7, 2022
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Valentina Saroyan sits in the basement of a school in Yahidne, near Chernihiv, Ukraine. Residents say more than 300 people were trapped for weeks by Russian occupiers in the basement of the school in Yahidne. April 12, 2022
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Maksym and Andrii, both 11, hold plastic guns as they salute Ukrainian soldiers while playing by a makeshift checkpoint on a highway in Kharkiv region, Ukraine. July 20, 2022
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Printed in 2023 by Jan Pohribný
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Ukrainian servicemen of Khartia battalion take cover in a shelter at the frontline near Kharkiv, Ukraine, on Tuesday, July 12, 2022
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Evgeniy Maloletka (Ukrainian, b. 1987) / AP
Families from occupied territories arrive at a reception center for displaced people in Zaporizhzhia, Ukraine. May 3, 2022
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An Introduction
Jan Pohribný
How can we avoid succumbing to misinformation, the economic and psychological consequences, and the fatigue caused by Russia’s aggression in Ukraine, which has lasted for more than a year and a half?
War photographs by leading Ukrainian photographers, members of the Ukrainian Association of Professional Photographers, provide us with powerful testimonies of the hardships of ordinary people, their brave fight for their own freedom and ours. The exhibition is a symbolic expression of deep solidarity with our colleagues in the sister association of professional photographers, who did not choose this fate voluntarily. Before the invasion of their country, most devoted themselves to completely different photographic genres. Now, they are often on the front lines.
Fighting
Igor Malijevský, Co-Curator
The all-out attack on Ukraine launched by Russia without justification on 24 February 2022 differs in one respect from similar tales of Russian imperialist aggression: it is taking place during the information revolution, and so we can confront the Kremlin’s lies quite literally in real time.
The wartime photographs of members of the Ukrainian Association of Professional Photographers are a powerful testimony to the suffering of ordinary people and their brave struggle for freedom. Before the war, many of the photographers in this exhibition had been focused on entirely different genres, but now they often find themselves on the front lines. Pulling from an archive of several thousand photographs by sixteen Ukrainian photographers, Jan Pohribný and I organised a selection of images that paint a three-dimensional picture of the war’s development, especially its early stages, while also focusing on several important themes – life during war, the situation faced by refugees, the struggle for freedom, the consequences of the war, and, finally, hope, which is constantly present in even the most difficult moments. An important part of the selection consists of images taken in places that have seen some of the heaviest fighting and where the retreating Russian forces have committed crimes against the local inhabitants: Bucha, Irpin, and especially Mariupol.
The Struggle
The goal of evil is to spread and multiply. Those already enslaved serve their slave masters, trying to enslave those who remain free. It is not surprising that much of Putin’s army consists of prisoners and members of the Russian Federation’s disenfranchised ethnicities. But they must be opposed by free people.
Several soldiers are traveling to Lviv on leave. They arrive just as the city is hosting the Book Forum, one of Ukraine’s most important book fairs. In a few days, they will be returning to the front, on their backs a satchel with their military gear, in both hands plastic bags stuffed with freshly purchased books.
Fighting on the Ukrainian front today are authors and readers, opera singers and their audiences, rock stars, movie directors, and actors, and the young people who idolise them. Nobody is threatening to shoot them in the back; they fight because they have chosen to do so of their own free will. They have chosen the only dignified alternative to slavery or flight. Should they fail, it is a choice we may soon have to make as well.
Mariupol
Sometime in April 2022, when the last journalists were being evacuated from Mariupol under dramatic circumstances, twenty-year-old Tanya from Lviv received a phone call from a former classmate whom she hadn’t seen in a while.
“Hi, Tanya. You’re not angry that I’m calling, are you? Listen, me and the guys are in Mariupol, and we just caught a signal, our SIM card is charged. We can call anywhere in the world. But everyone’s saying they can’t do anything for us at all. So just in case you can think of something…”
We know nothing more of that soldier’s fate. What we do know is that there isn’t a single institution in the entire universe that can help you when the shit really hits the fan; when the level of violence and injustice is greater than you can physically bear. No helpline, no organisation, no power – none of these are capable of providing effective aid in a situation like this. They are mere abstractions. Your last and only hope of someone with any real power to move things forward is a weak, living, breathing, flesh-and-blood human being, someone who won’t abandon you. Your old classmate, Tanya. And you, me… all of us who owe a debt to Mariupol. The only way we can oppose absolute evil is through unwavering solidarity.
Flight
Evil spreads pain in circles that affect an ever-greater territory, like a windstorm spinning around the dead, blind eye of a hurricane; like the devastation caused by an explosion. There are places on Earth where family tombs have graced the same cemetery for centuries, where each additional name on the tombstone reflects the long, uninterrupted course of life. And then there are places that are repeatedly blown down by the storms of the apocalypse, where every few decades the graves are churned by soldiers’ boots and heavy machinery. Stories without a name, houses without a builder, the names on the graves effaced from the stone like carefully guarded state secrets. Violence, if left unpunished, produces an endless stream of people, always the same, century after century, stumbling in flight from the gaping maw of a prehistoric predator. The force by which living beings are thrown into the world strips them down to their existential nakedness, the kind that we first experience at birth and then again when the forces of absolute evil tear us from our land and hurl us into the unknown. With no means, no past, and often without even those closest to us. Endless lines at train stations, camps, registration centers. Children hugging exhausted stuffed animals – surrogate providers of comfort while their mothers struggle with paperwork and luggage. The frightened, tired gazes of adults and the curious, shy eyes of children.
Death
One of the greatest mistakes that we have repeatedly committed throughout history that we have often been unable or unwilling to believe in absolute evil. The human mind is more predisposed to interpreting cruelty, injustice, and violence through the lens of comfortable corporate policies or neighbourly bickering. It is easier for us to see evil as a glitch in the system, as a misunderstanding that sooner or later will be somehow resolved through good will. Years ago, former German chancellor Angela Merkel asked Putin – quite literally, with an almost endearing guilelessness, “What is it that you actually want?” He didn’t answer. Evil’s intentions are tautological – they circle back in on themselves. They take nothing and no one into account. The goal of evil is evil. It is dizzyingly simple, and perhaps that is why it is so difficult to understand. Evil occasionally rationalises its actions, then only to hide its true objectives behind a smokescreen in which it envelops those who desperately yearn to negotiate with it. But in the end, the result of such negotiations is always the same: the death. You won’t find any win-win here. Bucha, Irpin, Mariupol, Bakhmut. A mother, a neighbour, a fiancé, a three-year-old boy. Uncle Vasya. Real people with real names. The faces of the dead that emerge from the smokescreen of words do not yearn for dialogue. They demand justice.
An Ordinary War
“The stars in the sky never stop shining, either,” says Mrs. Olena with circles under her eyes, and so you go to the market for smoked fish like any other morning. And the trains will continue to run until judgment day and the conductors will hand out tea and wish the people a pleasant journey regardless of whether they’re heading for the front or trying to escape. Children will play on bombed-out playgrounds as enthusiastically as they did before, except that they will more frequently wave their arms and call out povitrina trivoha – air raid alert! And the band that you’ve spent years hoping to see will keep playing until the sirens sound, and then you again wander the unlit city, looking out of the corner of your eye to see if the stars are falling on your head. So that you’ll have time to make a wish. People have to believe in a little bit of luck, since even on this unassuming front every inch of life is at stake, and once it’s gone it’s not coming back. So you silently study the sky above the darkened housing estate and say aloud: Never before could one see the stars so clearly over Kyiv. And if, by some miracle, the electricity comes on at three in the morning, Mrs. Olena with circles under her eyes turns on her ancient PC and does the accounting, because what if there’s another blackout during the day. As they say, clara pacta, boni amici. And besides, she adds, “nobody should use the war as an excuse.”
Hope
Evil creates cruel lines of force around its victims. Stigmata, like around a source of misfortune, a warning to others: “Don’t come any closer!” One can easily cross the border from the train station in the Polish town of Przemyśl. All one has to do is change platforms and wait for the next Ukrainian Railways train. And yet, “here” it is referred to with a certain sacred awe as a place that begins “there.” Once you’re sitting in the modern train car, however, surfing the internet and looking forward to a cup of coffee, you wouldn’t even notice the little hill with the signs if it wasn’t for children’s voices calling out from all directions, “Hooray!!!” And the children are so proud of themselves, proud that they have managed to be so well-behaved until their mothers took pity on them and allowed them to go and visit their fathers for a few days. And if they got a few days this time, then they will be even more well-behaved, take out the trash, learn to clean up after themselves, brush their teeth from morning to evening, so that next time Mom will surely allow them to visit Dad forever. And they won’t have to live with Grandpa anymore, they’ll get to go home!
Text from FotoFest
Pavlo Dorogoy (Ukrainian, b. 1985)
The words “No war” are written on a destroyed apartment building in Kharkiv, Ukraine. March 12, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
PAVLO DOROGOY is a documentary photographer and film director based in Kharkiv, Ukraine. Since February 2022, he has documented the effects of the Russian invasion on the people and landscape of his hometown. His images and videos have been published by international news outlets including The Associated Press, The New York Times, CNN, The Wall Street Journal, NPR, and Al Jazeera among others. Prior to the war, Dorogoy trained his lens on late-socialist architecture in Ukraine and the Czech Republic. His architectural projects were the subject of several exhibitions and screenings and were supported by national cultural grants and awards. Between 2020-2021, Dorogoy was the director and videographer for the project “Architectural Encyclopedia of Ukraine” and for “ENEA,” a video essay on the current state and life of Kyiv.
Pavlo Dorogoy (Ukrainian, b. 1985)
A building destroyed by missile strikes in the center of Kharkiv, Ukraine. March 16, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Sergi Mykhalchuk (Ukrainian, b. 1972)
Ukrainian soldiers during a combat operation on the front lines in Ukraine. September 11, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
SERGI MYKHALCHUK is a Ukrainian cinematographer and photojournalist currently based in Kyiv, Ukraine. He is known for his work on films and television series such as Collapse: How Ukrainians Destroyed the Evil Empire (2021), V. Silvestrov (2019), Under Electric Clouds (2015), and The Guide (2014). Since February 2022, Mykhalchuk has worked as a photojournalist, documenting the Russian invasion of Ukraine. His images have been presented in several exhibitions at major museums and galleries around the globe and have been published on international news media outlets including The Times and the Kyiv Post. Born July 13, 1972, in Lutsk, Ukraine. Mykhalchuk graduated in 1994 from the Kyiv Theater Institute of Karpenko-Karyj. In addition to film work, Mykhalchuk has also produced documentaries and television feature films, music videos, and advertising features.
Sergi Mykhalchuk (Ukrainian, b. 1972)
Evacuation of civilians from Irpіn, Ukraine. March 4-5, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mikhaylo Palinchak (Ukrainian, b. 1985)
Sandbags protect a monument to Dante Alighieri against Russian shelling in Kyiv, Ukraine. March 26, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
MIKHAIL PALINCHAK is Ukrainian photographer living and working in Kyiv, Ukraine. He has been a member of the Ukrainian Photographic Alternative (UPHA) since 2012 and the Ukrainian Association of Professional Photographers (UAPF) since 2014. Between 2014-2019, Palinchak served as the official photographer of the President of Ukraine. He is the founder of the online Ukrainian magazine and gallery Untitled, and is the co-founder of the Ukrainian Street Photography group. His images have been published by international news and entertainment outlets including TIME, The New York Times, El Mundo, The Washington Post, The Daily Mail, Le Devoir, Reuters, the Associated Press, Reporters, and multiple Ukrainian media outlets. Palinchak’s images have also been the subject of numerous solo and group exhibitions including Home at Williamson Art Gallery and Museum (Liverpool, 2023), Russian War Crimes at the Russian War Crimes House (Davos, 2022), The Body of Propaganda at the Latvian Museum of Photography (Riga, 2019) among many others. His books include Living the War: Volume 1 (Method Buro, 2022), The Information Front (Schilt Publishing, 2022), UPHA Made in Ukraine (Booksha Publishing, 2021), and his self-published books Anamnesis and Maidan Faces (both 2020). In addition to receiving multiple awards for his photographic work, Palinchak’s work is represented in private and museum collections around the world.
Mikhaylo Palinchak (Ukrainian, b. 1985)
A girl stands on the turret of a destroyed Russian tank near Makariv village, Kyiv region, Ukraine. May 7, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Mikhaylo Palinchak (Ukrainian, b. 1985)
Wedding of Anastasiia Mokhina, 24, and Viacheslav Hohlyuk, 43, two members of the Kyiv Territorial Defense who married under martial law in Kyiv, Ukraine. April 7, 2022
2022
Courtesy of Ukrainian Association of Professional Photographers
Yurko Dyachyshyn (Ukrainian, b. 1980)
Volunteers of a humanitarian aid center rest among bags of clothes donated for evacuees in the western Ukrainian city of Lviv on March 19, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
YURKO DYACHYSHYN is an artist and photographer based in Lviv, Ukraine. Since 2003, he has documented daily life in his hometown, producing numerous series including Terra Galicia (2020), Saint Franklin (2015), and His Dreams (2012). His artworks been exhibited internationally in museums, galleries, and festivals in Ukraine, Russia, Poland, Australia, and Cambodia. Dyachyshyn’s images have been published in international media outlets including The New York Times, The Telegraph, Der Spiegel, Die Weltwoche , The Mirror, La Repubblica, Metronews, Publimetro, De Standaard, Gazeta PL, Esquire Ukraine, L’Hebdo, The Los Angeles Times, The Wall Street Journal, The Washington Post, and Feature Shoot among many others.
Alena Grom (Ukrainian, b. 1976)
Maxim, March 23, 2022
Maxim’s family was unable to leave Mariupol because their car broke down. The boy witnessed the horrors of war, which caused him to cry at first, then withdraw into himself, and ultimately stop responding altogether. Russia destroyed Mariupol’s infrastructure, including kindergartens, schools, shops, factories, sports facilities, and a drama theater. The city is almost non-existent. Two bombs hit Maxim’s grandmother’s house, first the roof and then the wall, leaving a large crater. The family fled to several different bomb shelters, running from place to place as glass shattered, walls collapsed, and fires ignited. When there was nowhere left to hide, they decided to use their only chance for escape and left the city on March 17 in their broken car. While fleeing, the car’s rumbling sound was mistaken for gunfire by Russian soldiers, who opened fire on the vehicle. The family raised their hands and shouted, “Don’t shoot, the car is broken!” The car ran out of fuel in Urzuf and was abandoned there. The family was helped to board a train to another city. As they passed through Zaporizhzhia and other cities, they heard explosions. An air raid began in Alexandria, Maxim became afraid, asking his grandmother, “Is that a plane? Is that a plane? It it going to bang now?” The boy has experienced several major bombings and now flinches at the slightest sound of bombardment. Maxim and his family eventually made it to Slovakia
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alena Grom (Ukrainian, b. 1976)
Timur, April 3, 2022
When heavy shelling began in Kharkiv, Timur’s mother was terrified. Timur, 12, stroked her face and asked, “Mom, mom, what’s wrong?” They lived on the top floor of a high-rise building, and they could see the shelling from there. The basement of their building was flooded and unusable, so Timur and his mother moved in with friends on the ground floor. The sound of bombardment was different on the ground floor; It was quieter downstairs. They learned that when the streets went quiet, shelling was about to start. Every night, when they went to bed, they were afraid they wouldn’t wake up. In late March, the shelling in Kharkiv intensified. Timur’s mother’s friends helped them get to the local train station. As they drove past damaged Russian equipment, Timur carefully examined it. He was interested in military equipment and had studied and read a lot about it. Now he was seeing it with his own eyes. Timur and his mother fled to Slovakia
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alena Grom (Ukrainian, b. 1976)
Valentina, March 24, 2022
Valentina, born in 1941, lived through World War II as a child. She married a disabled veteran and knew firsthand the horrors of war. She never imagined that she would experience war again. Valentina lived in a village near Chernigov with her son. Their house was bombed on March 9th, and they were forced to hide in a damp cellar for more than three weeks. During that time, fellow villagers were killed, and neighboring homes burned down. The village was surrounded by Russian fire, and there were Ukrainian troops nearby. Valentina and her son packed their belongings and walked along a country road until they were picked up by volunteers. They saw burning fields and smoking military equipment as they left the Chernihiv region. They took a train to Zakarpatie, but Valentina began to panic when they passed the mountains. She had never seen mountains before and felt confined by them. She asked her son to take her to the steppe area, and they eventually left for Spain
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Ukrainian artist ALENA GROM works at the intersection of social reportage and conceptual photography. Her work focuses on the decade-long war between Russia and Ukraine, highlighting the societal effects of war on citizens, refugees, and children. In 2014, Grom and her family were forced to relocate due to the Russian invasion of her hometown in Donetsk. In 2022, she was once again forced to leave her home in Bucha in response to the current war. Grom now documents the lives of those who have a similar story to hers, focusing her lens on subjects who are persevering despite precarious circumstances. Grom is a graduate of the Bird in Flight School and Victor Marushchenko Photography School, Kyiv. Her work has been presented in numerous solo and group exhibitions around the world including You know that you are a person at Galerie Eigenheim (Berlin, 2023), Women at War at The Art Gallery at Stanford (Washington D.C., 2023), and Ukraine on My Mind at the Ukrainian Orthodox Church (Atlanta, 2022).
Alena Grom (Ukrainian, b. 1976)
Eva, March 13, 2022
Marina, 26, fled the bombing in Kharkiv with her grandmother and two daughters. Her 1-year-old daughter, Eva, is constantly fussy. It is difficult to prepare milk formula and bottle-feed an infant while on the run. The family first arrived in Uzhgorod, Ukraine, and then left the country
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alena Grom (Ukrainian, b. 1976)
Nikita, March 30, 2022
Nikita, his mother Svetlana, and his siblings were forced to flee the war in Krivoy Rog. They had nowhere to hide during air raids, and they felt in constant danger. Nikita’s father stayed behind to join the military, even though he could have avoided mandatory service because he had three children. He didn’t want to hide behind his children; he wanted to protect them. Volunteers in Slovakia settled the family in a village. Nikita missed his father terribly, and he constantly asked to go home. When they learned that the Russian military had been pushed back from the city and the situation had stabilised, Nikita’s mother decided to return home
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alena Grom (Ukrainian, b. 1976)
Sonya, March 17, 2022
Sonya, 13, and her family fled Dnepropetrovsk, Ukraine, after air raid alerts became more frequent and hostilities grew closer to their region. They are now seeking refuge in Croatia
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Alena Grom (Ukrainian, b. 1976)
Russian military forces launched artillery and air attacks on residential buildings in Irpin, resulting in significant damage and destruction. Approximately 70% of the buildings in the area were affected. A resident of Irpin is seen rebuilding his apartment in a destroyed building. Irpin, Ukraine. July 2022
2022
Courtesy of Ukrainian Association of Professional Photographers
Kostiantyn and Vlada Liberov (Ukrainian) / AP
Soldiers of the Ukrainian Armed Forces on the front lines of the Eastern Front in Ukraine
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Kostiantyn and Vlada Liberov (Ukrainian) / AP
A wedding ceremony for soldiers on the front lines in Ukraine. October 14, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
KOSTIANTYN AND VLADA LIBEROV are a Ukrainian husband-and-wife photography team who have been documenting the war in Ukraine since 2014. The Liberovs met in 2006 while studying photography at the Odessa State Academy of Arts. Before the war, the Liberovs worked as wedding and portrait photographers, taught photography workshops, and gave lectures on the history of photography. When the war broke out in 2014, the Liberovs travelled to the front lines and photographed military combat, refugee migration and displacement, and the civilian victims of war. The Liberovs’ images have been published in major newspapers and magazines around the world including The New York Times, The Guardian, The Washington Post, Le Monde, El País, La Repubblica, The Globe and Mail, and The Sydney Morning Herald among many others. In 2022, the Liberovs received numerous awards for their work documenting the war in Ukraine including the 2022 World Press Photo of the Year, the 2022 Visa d’or News Award, and the 2022 Prix Bayeux Calvados-Normandie for War Correspondents.
Kostiantyn and Vlada Liberov (Ukrainian) / AP
The Armed Forces of Ukraine liberated the city of Kherson from Russian invaders. November 13, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Viacheslav Ratynskyi (Ukrainian, b. 1989)
A woman takes a selfie next to anti-tank barricades on Independence Square amid Russia’s invasion of Ukraine. Kyiv, Ukraine. May 12, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
VIACHESLAV RATYNSKYI is a photojournalist and documentary photographer based in Kyiv, currently covering the Russian invasion of Ukraine. His images have been printed in multiple Ukrainian publications such as Ukrainian Pravda, Hromadske, Novoe Vremya, Focus, Forbes, Ukrainian Week, Reporters, as well as in international publications including TIME, The Guardian, The Wall Street Journal, The Washington Post, The Telegraph, Daily Mail, The New York Times, El Pais, Radio Free Europe, BBC, Reuters, and Der Spiegel. Ratynskyi is currently a full-time photojournalist for Ukrainian Independent Information Agency of News (UNIAN) and a freelance journalist for Reuters. He has collaborated with numerous international organisations including The United States Agency for International Development (USAID), The United Nations Development Programme (UNDP), and UNICEF.
Viacheslav Ratynskyi (Ukrainian, b. 1989)
Local doctor Nadia Zhyhalova provides first aid training to citizens. Zhytomyr, Ukraine. February 26, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
Viacheslav Ratynskyi (Ukrainian, b. 1989)
People practice throwing Molotov cocktails in Zhytomyr, Ukraine. March 1, 2022
2022
Printed in 2023 by Jan Pohribný
Courtesy of Ukrainian Association of Professional Photographers
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