Producing Feminist Discourses in the Debris of Destruction
Maria Kulikovska’s Response to War in Let Me Say: It’s Not Forgotten
Bibliographic Data
| ID | 21974444 |
|---|---|
| Authors | Kalyna Somchynsky (Shevchenko Scientific Society of Canada, Toronto, ON M9A 3W6, Canada, corresponding author) |
| Year | 2025 |
| Volume | 14 |
| Issue | 4 |
| Pages | 71 |
| Publication date | 2025-06-26 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts14040071 |
| OpenAlex | W4411737370 |
| Language | EN |
| References cited | 11 |
The Ukrainian–Crimean artist Maria Kulikovska’s artistic practice has addressed war in Ukraine since the Annexation of Crimea and outbreak of war in the Donbas regions of Ukraine in 2014. In 2019 she created the video-performance Let Me Say: It Will Not Be Forgotten that responds to the ways artworks and women’s bodies are targeted by derisive retaliation and physical attacks during periods of political instability. Informed by explorations of feminism in post-Soviet countries, theories of prosthetic memory, and destruction art of the 1960s, I argue that Kulikovska does not let the destruction of her artwork silence her, but, rather, she uses destruction as a strategy to take control of oppressive forces. In their place, I argue that Let Me Say: It’s Not Forgotten demonstrates subjective and complex ways of building resilient feminist presents and futures that overcome oppressive violence and testify to continual perseverance
Aesthetics · Art · Art history · Debris · Geography · Humanities · Meteorology · Political science · Sociology · Eastern European Communism and Reforms · Gender Studies · German History and Society · History
| Highly cited | No |
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