Abstract
ABSTRACT In this article, which blends aspects of scholarly inquiry, opinion writing, travel reporting, and exhibition critique, the author explores the new temporal condition of Ukrainian culture in a state of emergency during the Russo-Ukrainian war. Specifically, he focuses on the noticeable shift from a permanent to a transient mode of existence of artistic activities, which piqued his interest during his visit to Kyiv in summer 2023. He examines the experience of time amidst the war, its weaponization, and its role in the establishment of hegemony – subsuming the victim within the temporal regime of the aggressor. First, guided by Nikolai Bakhtin’s theoretical framework, he characterizes Russia’s temporal regime as emblematic of the epic time of the Absolute Past and proposes the dynamics of kairos as an effective subversion of the aggressor’s temporal modality. He then uses this theoretical framework to analyze the following cultural artifacts that he experienced firsthand during his visit: an exhibition by contemporary Ukrainian artist Zhanna Kadyrova at the Pinchuk Art Centre; the Module of Temporality by Balbek Bureau; and the Babyn Yar Synagogue by Swiss architect Manuel Herz.
Published Version
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