Each grant holder, located in South and Central-Eastern Europe, will explore and reflect on one or more of the conference’s key panel topics, examining issues of polarisation from the perspective of their unique backgrounds and regional insights.
The article below is written by guest author Kateryna Didenko, culturologist, independent researcher, and producer for museums, archives, and educational projects (Serbia). The words and opinions expressed are solely those of the author.
Silenced Voices: War in Ukraine and its Impact on Russian Cultural Institutions
This article explores the wave of censorship and repression that has swept through Russian museums and other cultural institutions in the context of the major escalation of the Russo-Ukrainian War in 2022–2024.
The Russian full-scale invasion of Ukraine in February 2022 has had far-reaching consequences, impacting not only the conflict zone but also cultural institutions within Russia itself. In the immediate aftermath, many Russian cultural workers took a stand against the invasion. On February 25, 2022, just a day after the start of what Russian authorities call a "special military operation," the contemporary culture webzine Spectate published an "Open Letter from Russian Cultural and Artistic Workers Against the War with Ukraine." Within a week, over 18,000 people, including myself, had signed it, expressing opposition to President Putin's policies.
However, the introduction of the so-called "fake news law" on March 2, 2022, imposed severe penalties for disseminating information that contradicted the official narrative. This quickly stifled the initial outcry. Spectate was forced to hide the letter's text and the list of signatories to protect their safety. Many cultural workers who signed the letter faced dismissal or threats if they spoke or wrote publicly about the topic. These actions were part of official orders from local Departments of Culture to subordinate institutions — and this was only the beginning.
The Garage Museum of Contemporary Art in Moscow, known for its cutting-edge exhibitions and international collaborations, announced in February 2022 that it would suspend all exhibitions until the "human and political tragedy" in Ukraine ceased. In a more muted approach, Garage shifted its focus to its archive and collection, exhibiting part of it in an open storage format. By the autumn of 2024, its partnership with the National Research University Higher School of Economics on the Master's program "Curatorial Practices in Contemporary Art" was unilaterally suspended, The Garage itself has faced investigation and is allegedly seeking a new owner.
The Russian government's response to dissent in the cultural sector has been comprehensive and severe. Vague legislation criminalizing "false information" about military actions has cast a long shadow over museums and cultural institutions, making it nearly impossible to present objective historical narratives or contemporary art that might be construed as critical of the state. Cultural workers in Russia find themselves walking a tightrope, and the question "Can We Talk?" resonates deeply. How can they fulfill their mission while navigating an environment that increasingly views critical thinking as a threat?
The case of the Sakharov Center in Moscow is particularly poignant. In December 2023, this museum and cultural center dedicated to the legacy of Soviet dissident and Nobel Peace Prize laureate Andrei Sakharov was forced to close after being labeled a "foreign agent" by the Russian government. This closure not only represents a significant loss for Russian culture but also symbolizes the shrinking space for open dialogue and dissent within the country.
The invasion of Ukraine has also triggered a significant brain drain in Russia's cultural sector. While exact figures are difficult to verify, estimates suggest that thousands of cultural workers have left the country since February 2022. This exodus has severely disrupted the operations of many cultural institutions, although it pales in comparison to the shortages and losses faced by Ukrainian cultural ranks. Nevertheless, the loss of these voices further limits the diversity of perspectives within Russia's cultural landscape, exacerbating the effects of state censorship.
In response to these permutations, pockets of resistance and creativity have emerged in foreign countries where Russian-speaking immigrant communities have formed over the past two years. This includes a diverse range of artists and initiatives, such as Emigration for Action in Georgia and the Russian Democratic Society in Serbia, where I currently reside. Their influence and contributions are yet to be fully acknowledged.
As a Ukrainian citizen who, by a twist of fate, has worked within the Russian cultural sector, I observe these developments with a mix of professional concern and personal anguish. The suppression of dissenting voices within Russian cultural institutions mirrors the broader assault on Ukrainian culture and identity. While the invasion put Ukrainian cultural treasures at risk on every front, and Russian museums — whether by choice or by force — are participating in propaganda and wrongdoings, this situation serves as a powerful reminder of the inseparable connection between cultural institutions and political life.
The question remains: In parts of the world where opportunities for dialogue are shrinking, how can we safeguard cultural spaces for scholarly knowledge, creativity, and human expression, furthermore at risk of oppression?
Biogprahy of Kateryna Didenko
Kateryna Didenko is a culturologist, independent researcher, and producer for museums, archives, and educational projects. Her main passion is making the visitor experience better — more engaging and rewarding — for different types of audiences using a wide spectrum of instruments. Along with this, she works with qualitative research for businesses and startups, and with educational content as a writer, editor, and podcast-maker.
