about the exhibition
Despite the ingrained stereotypes, war has always been everyone's concern. Gender does not shield from bullets, rockets, and the violence of occupiers. In the current war of russia against Ukraine, thousands of women defend their country against the aggressor. Female warriors, medics, and volunteers heroically protect their homeland. However, in war, numerous other roles and experiences emerge – especially women – which we will discuss in this exhibition.
Ten years ago, the russian federation invaded Ukraine, temporarily and illegally occupying Crimea and parts of the Donetsk and Luhansk regions. Two years ago, it escalated into a full-scale invasion of other territories of the independent state. Thousands were killed, millions lost their homes, and hundreds of thousands found themselves in temporary occupation. What has been the experience of women during these events? The exhibition listens to women's voices and seeks to find answers, even when it's just silence.
The artistic space created by female artists tells the story of their own war experiences and those of other women who have had or are currently experiencing similar situations. The focus is on the last decade in temporarily occupied Crimea, primarily around the stories of women who, in the conditions of occupation, dare to openly fight for their rights and freedoms, risking becoming political prisoners of the occupying russian regime. Alongside this extreme experience, other ways of living through the traumatic reality and strategies for coping with an uncontrollable situation are explored. Simultaneously, historical and cultural contexts of women's history on the peninsula are touched upon to understand the roots of evil and find sources of resilience and resistance.
How do women from Crimea live their lives along different frontlines, and what strategies of resistance do they choose? What do Ukrainian women have in common in various equally challenging circumstances? How to survive occupation and muster the courage to resist? Where does the strength of female resistance come from? What sustains solidarity? How to preserve memory and nurture identity in threatening circumstances? Ultimately, what drives a woman to sacrifice herself for the future of her homeland and become a symbol of resistance for future generations? And what can art be in time of existential threat?
The exhibition "Lomykamin’. Women’s Resistance in Crimea" revolves around these questions, attentively listening to the individual life stories of each woman. They all have different experiences that cannot and should not be compared. They all deserve equal representation, expression, and acknowledgment.
Lomykamin’ (Saxifraga) is a delicate inconspicuous flower that grows in the highlands of Crimea. An endemic of Crimea, it was poetically named by Lesya Ukrainka when she saw this embodiment of resilience amid frozen rocks and moss. The threat to all living things in temporarily occupied Russian territories extends even to this remarkable flower, which has become a symbol of female resistance in Crimea and lent its name to this exhibition.
Tetyana Filevska, Curator, Creative Director, Ukrainian Institute With a background in art management, curation and writing, Tetyana Filevska is the Creative Director at the Ukrainian Institute. She has a record in Philosophy with experience in Contemporary art and Ukrainian Art History of the 20 century. Among others, Filevska is author of the books “KAZIMIR MALEVICH. Kyiv Period 1928-1930,” “Kazimir Malevich. Kyiv Aspect,” and “Dmytro Gorbachov. Sluchayi”.Lastly, Filevska curated the public programme for the Ukrainian Pavilion at the 59th Venice Biennale, dedicated to decolonization.
Ten years ago, the russian federation invaded Ukraine, temporarily and illegally occupying Crimea and parts of the Donetsk and Luhansk regions. Two years ago, it escalated into a full-scale invasion of other territories of the independent state. Thousands were killed, millions lost their homes, and hundreds of thousands found themselves in temporary occupation. What has been the experience of women during these events? The exhibition listens to women's voices and seeks to find answers, even when it's just silence.
The artistic space created by female artists tells the story of their own war experiences and those of other women who have had or are currently experiencing similar situations. The focus is on the last decade in temporarily occupied Crimea, primarily around the stories of women who, in the conditions of occupation, dare to openly fight for their rights and freedoms, risking becoming political prisoners of the occupying russian regime. Alongside this extreme experience, other ways of living through the traumatic reality and strategies for coping with an uncontrollable situation are explored. Simultaneously, historical and cultural contexts of women's history on the peninsula are touched upon to understand the roots of evil and find sources of resilience and resistance.
How do women from Crimea live their lives along different frontlines, and what strategies of resistance do they choose? What do Ukrainian women have in common in various equally challenging circumstances? How to survive occupation and muster the courage to resist? Where does the strength of female resistance come from? What sustains solidarity? How to preserve memory and nurture identity in threatening circumstances? Ultimately, what drives a woman to sacrifice herself for the future of her homeland and become a symbol of resistance for future generations? And what can art be in time of existential threat?
The exhibition "Lomykamin’. Women’s Resistance in Crimea" revolves around these questions, attentively listening to the individual life stories of each woman. They all have different experiences that cannot and should not be compared. They all deserve equal representation, expression, and acknowledgment.
Lomykamin’ (Saxifraga) is a delicate inconspicuous flower that grows in the highlands of Crimea. An endemic of Crimea, it was poetically named by Lesya Ukrainka when she saw this embodiment of resilience amid frozen rocks and moss. The threat to all living things in temporarily occupied Russian territories extends even to this remarkable flower, which has become a symbol of female resistance in Crimea and lent its name to this exhibition.
Tetyana Filevska, Curator, Creative Director, Ukrainian Institute With a background in art management, curation and writing, Tetyana Filevska is the Creative Director at the Ukrainian Institute. She has a record in Philosophy with experience in Contemporary art and Ukrainian Art History of the 20 century. Among others, Filevska is author of the books “KAZIMIR MALEVICH. Kyiv Period 1928-1930,” “Kazimir Malevich. Kyiv Aspect,” and “Dmytro Gorbachov. Sluchayi”.Lastly, Filevska curated the public programme for the Ukrainian Pavilion at the 59th Venice Biennale, dedicated to decolonization.
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participants
Lia Dostlieva and Yulia Po
A small physical object, a stone that easily fits in a palm becomes a carrier of memory about pleasure-from-place, a material proof of certain enjoyable events in the past. Now, after the occupation of Crimea, these souvenirs obtain for Ukrainians additional symbolic meaning and become a fragile link between acquired and lost, mental and physical, imaginary and eye-witnessed.
Emine Ziyatdinova
The project "Crimea. Home" is a visual sequence that reflects on the photographer’s family and larger Crimean Tatar community experience, finding Home in the complicated geopolitical environment preceding and following Russia’s occupation of Crimea in March 2014. For Ziyatdinova, the camera and recorder became tools to search for answers: Who am I? Where do I belong? What is Home? They allowed her to uncover the family stories of Crimea’s past and present, which are absent or distorted by lingering Soviet and Russian propagandistic narratives.
Artist also reflects on Russia’s occupation of Crimea in 2014, when Crimean Tatars as a group once again became a target of political state persecution. The photographs capture the quiet moments of daily life and landscapes in Crimea, with an almost invisible political tension growing through the sequence. The sense of Нome is replaced by the feeling of instability and fear, accompanied by the state’s repressive political machinery and propaganda.
The photographs for the project were taken between 2008 and 2016. The video sequence was filmed and produced in 2015–2016.
Artist also reflects on Russia’s occupation of Crimea in 2014, when Crimean Tatars as a group once again became a target of political state persecution. The photographs capture the quiet moments of daily life and landscapes in Crimea, with an almost invisible political tension growing through the sequence. The sense of Нome is replaced by the feeling of instability and fear, accompanied by the state’s repressive political machinery and propaganda.
The photographs for the project were taken between 2008 and 2016. The video sequence was filmed and produced in 2015–2016.
Emine Ziyatdinova
This photo series is a visual sequence that reflects on the experience of Crimean Tatars finding Home in the complicated geopolitical environment preceding and following Russia’s occupation of Crimea in March 2014. When this took place, Crimean Tatars once again became a target of state political persecution. All of the photographs capture the quiet moments of daily life and landscapes in Crimea, with almost invisible political tension growing through the sequence. The sense of home is replaced by the feeling of instability and fear that is accompanied by the state’s repressive political machinery and propaganda. Photos taken in Crimea between 2008 and 2021.
Alevtina Kakhidze
Alevtina Kakhidze dedicated one of her projects to Iryna Danylovych – a human rights defender and activist who faced persecution from the Russian Federation in Crimea. Following the Russian invasion of Ukraine in 2022, Iryna was arrested by the Russian occupation administration in temporarily occupied Crimea. Currently, Iryna remains in detention.
In her works, Kakhidze repeatedly addresses the issue of individuals unlawfully detained by occupiers in Crimea – a large number of political prisoners, activists of Ukrainian and Crimean Tatar origin, as well as the peaceful population. Ongoing information emerges that the detained individuals are not provided with proper medical care, subjected to torture, and mistreated. Alevtina Kakhidze emphasizes these situations, making their stories visible.
In her works, Kakhidze repeatedly addresses the issue of individuals unlawfully detained by occupiers in Crimea – a large number of political prisoners, activists of Ukrainian and Crimean Tatar origin, as well as the peaceful population. Ongoing information emerges that the detained individuals are not provided with proper medical care, subjected to torture, and mistreated. Alevtina Kakhidze emphasizes these situations, making their stories visible.
Alevtina Kakhidze
During the Second Parliamentary Summit of the Crimea Platform in Prague on October 24, 2023, a side event took place, during which Alevtina Kakhidze presented a performance and art intervention titled "Making spaces." This event involved the creation of "living pictures," where the artist portrayed the history of Crimea, starting from ancient times.
Within the framework of the performative event, Kakhidze depicted significant events abot Crimea history. At the conclusion of the performance, the artist honored those who were unlawfully imprisoned by the occupiers in Crimea.
Within the framework of the performative event, Kakhidze depicted significant events abot Crimea history. At the conclusion of the performance, the artist honored those who were unlawfully imprisoned by the occupiers in Crimea.
Maria Kulikovska
The social sculpture «Raft CrimeA» is a long-term project, which was started in August 2016 and is still continuing. Under this project, some ten performances, several exhibitions and the lection-performance were organized. In Kyiv, Ukraine, from 16 to 19 August, among luxury restaurants and yachts, temporarily appeared the migratory Parliament of the Displaced «Raft CrimeA» – a life raft with neon sign.
On board the raft lived the Ukrainian artist Maria Kulikovska – a native Crimean, who received the status of the «displaced person» on 18 March 2014. The survival of the artist was dependent on compassion of other people that became the specific act through which Maria wanted to stress vulnerability of people that lost their homes and to appeal to the community to empathize with them. The «Raft CrimeA» was and is an alive dot on the map, which had become the place for meetings.
After that, Maria continued this project abroad, where she held eight more performances.
On board the raft lived the Ukrainian artist Maria Kulikovska – a native Crimean, who received the status of the «displaced person» on 18 March 2014. The survival of the artist was dependent on compassion of other people that became the specific act through which Maria wanted to stress vulnerability of people that lost their homes and to appeal to the community to empathize with them. The «Raft CrimeA» was and is an alive dot on the map, which had become the place for meetings.
After that, Maria continued this project abroad, where she held eight more performances.
Yulia Po
All the photos in this journal are screenshots from live broadcasts, video recordings taken by journalists, as well as clips from passersby, uploaded to the Internet during the occupation of Crimea in February-March 2014.
"Zla Mavka" Resistance Movement
Zla Mavka is a women's resistance movement that unites more than a hundred of its participants in the occupied territories of Ukraine. These are brave women who resist the Russian invaders every day.
Diaries are their way to tell their stories, share their feelings and be heard outside the occupation. Mavka's diary entries are published in the Telegram channel "Zla Mavka" https://t.me/zlaya_mavka. The exhibition presents the stories of the Mavka`s community from occupied Crimea.
Diaries are their way to tell their stories, share their feelings and be heard outside the occupation. Mavka's diary entries are published in the Telegram channel "Zla Mavka" https://t.me/zlaya_mavka. The exhibition presents the stories of the Mavka`s community from occupied Crimea.
Iphigenia in Tauris. Lesya Ukrainka in Crimea
This exposition presents objects and documents collected during the curatorial research for the exhibition and outlines the historical context in which our contemporaries find themselves. What narratives, myths, figures, and experiences of women's resistance existed around Crimea before its temporary occupation? What voices resonate among contemporary activists, artists, and citizens? What roots and sustains the strength of women's resistance in Crimea?
Alevtina Kakhidze
On December 4, 2022, Russian authorities detained Crimean Tatar Leniie Umerova after crossing the Georgian-Russian border, supposedly for violating the rules of the restricted zone. Leniie was traveling from Kyiv to the occupied Crimea due to the deteriorating health of her father, who has cancer. Until March 16, the Russian authorities have kept Leniie in captivity. The Russians accused her of allegedly “violating the regime of the state border” and compiled a series of administrative protocols. The first time, she supposedly did not submit her documents; then, allegedly, she refused to hand over her phone, and subsequently, twice for “not leaving the car and resisting”. Several times, she was sentenced to 15 days of administrative arrest. On May 5, 2023, the Lefortovo Court in Moscow arrested Crimean Tatar Leniie Umerova on suspicion of so-called “state treason”. A year has passed since Leniie was detained by Russian security forces. The court extended her arrest until January 2024, and these are the latest known news.
Alevtina Kakhidze
This year, 93-year-old Mumine Murtaza-Karabash passed away in the occupied Crimea. Mumine was a participant in the Crimean Tatar national movement and a mother of many children, awarded the Order of "Maternal Glory" II degree. In 1944, she was deported to Uzbekistan along with her sister, but for many years, Mumine dreamed of returning home: "We witnessed such suffering, but I never erased Crimea from my heart. The mountains, gardens, the Black Sea, Uskut – we dreamed of returning to Crimea. We hoped to return to Crimea." There, she married her husband Rustem Karabash.
team
Initiator – Tamila Tasheva
Curator – Tetiana Filevska
Producer – Karina Kachurovska
Manager – Vita Kotyk
Coordination and Communications – Yevhen Bondarenko, Nelia Hrynyshyn, Mariana Sachyk, Yana Boyko, Maria Tomak, Anna Sytnikova, Kateryna Vasylieva, Taisia Tkachenko, Kseniia Kalyna, Olena Makaieva
Translation – Elvina Khalilova, Mukhtar Mukhtarov, Akhtem Amzaev
organizers and partners
thanks
Oleksandra Visych
Olena Chervonyk
Olga Mukha
Tamara Skrypka
Tamara Hundorova
Dana Pavlychko
Oksana Konstantynivska
Iryna Shchukina
Valentyna Prokip
Rustem Skybin
Elmira Ablyalimova
Lyudmyla Skrynnikova
Lyudmyla Motsiuk
Marta Kuzma
Gulnara Abdulayeva
contacts
Press Service of the President's Representation in the Autonomous Republic of Crimea