An in-depth overview of Ukrainian art from the dawn of Modernism in the late nineteenth century to the start of the Russian invasion in Spring 2022.

This new volume in the World of Art series provides an overview of Ukrainian art, artists and art movements from the dawn of Modernism and the 1900s to the Soviet period, to post-Soviet times and the beginning of the war with Russia in February 2022. Ukrainian art and artists are discussed within historical and political contexts as well as how they have contributed to, and interacted with, Ukrainian culture and identity. Filled with rich illustrations, each chapter explores a different art period or movement.

We are at a historical moment where Ukraine and its cultural identity are in grave danger, and author Alisa Lozhkina offers a powerful opportunity to connect curious and empathetic readers with the Ukrainian art tradition.

About the Author:

Alisa Lozhkina is a leading art historian, critic, and curator. She was the editor-in-chief of the major Ukrainian art magazine Art Ukraine and served as a deputy director and chief curator of Mystetskyi Arsenal, Kyiv, the largest museum and exhibition complex in Ukraine. Lozhkina has curated numerous art projects in Ukrainian and international museums and art centers, and published several books. She has contributed to numerous publications including Texte zur Kunst, The Art Newspaper, ARTnews, Etudes sur L'histoire de l'art, and Los Angeles Review of Books. She is also an artist.

Discover the richness of contemporary creative culture from Ukraine with the best in interior design, architecture, art, photography, and fashion.

In the last decade, Ukraine has emerged as a hotbed of contemporary creativity, showcasing impressive contributions in fields such as interior design, fashion, architecture, photography, and art. The young Ukrainian creatives blend traditional crafts, materials, and aesthetics with a modern, cosmopolitan outlook.

Ukraine Rising is a book that celebrates the best of contemporary Ukrainian culture through compelling photography and insightful writing. It showcases the work of top creatives and features expert essays that offer a glimpse into the vibrant people, projects, and innovation the country has to offer. This collaboration with Ukrainian publisher Lucia Bondar is a testament to the creative spirit and energy of Ukrainians and a promise for a better future.

About the Author:

Lucia Bondar is an experienced media manager and publisher, the founder of CP Publishing. She has been working as a journalist and author of various professional publications for over 10 years. Under her leadership, CP Publishing has organized numerous well-known events in Ukraine, including an annual architecture and design forum.

Celebrate the rich culture of Ukrainian cuisine with these traditional Eastern European recipes infused with a fresh, contemporary approach for today’s home kitchen, from one of today’s most exciting young chefs of Ukrainian cuisine.

With its emphasis on fresh ingredients, time-honored heritage, and warm hospitality, Eastern European cuisine is having a culinary moment, in addition to Ukraine being of great current interest.

Meaning “cheers!” in Ukrainian, Budmo! is the first cookbook to celebrate classic Eastern European recipes with a modern, creative twist. Presented by Ukrainian-born, California-based chef, blogger, and culinary instructor Anna Voloshyna, bright flavors and vibrant ingredients sing from each plate. A gorgeous magenta pkhali comes alive with roasted beets and a tangy pomegranate molasses. Borscht is reinvented with green sorrels and semi-soft eggs. And Voloshyna even shares a personal recipe for her Ukrainian grandmother’s duck — roasted to a delicious crispy-brown perfection. These are the dishes that are perfect for gathering your favorite people with, and each one is bound to uncover the mouthwatering flavors and traditions of this endlessly fascinating part of the world.

About the Author:

Anna Voloshyna was born in southern Ukraine in 1990 and relocated to the United States in 2011. She is a chef, blogger, and culinary instructor who translates Eastern European cuisine and flavors into approachable dishes for the modern home cook, and is particularly known for her wildly successful pop-up dinners and workshops. She resides with her husband in the San Francisco Bay Area.

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Пролистать книгу BUDMO!: Recipes From a Ukrainian Kitchen на сайте издательства.

From the front lines of the war in Ukraine comes this compelling collection of images from world-class photographers that captures the humanity, perseverance, and determination of the nation's fight for freedom and independence against all odds.

Stunning collection of images from some of the most respected photojournalists of our time:

- Carol Guzy, four-time Pulitzer Prize-winning photojournalist
- Lynsey Addario, Pulitzer Prize-winning photojournalist andNew York Times bestselling author
- Paula Bronstein, award-winning photojournalist, and Pulitzer Prize finalist
- Justyna Mielnikiewicz, award-winning photojournalist
- Svet Jacqueline, award-winning photojournalist
-and 20+ other world-renowned photojournalists

Moving essays, published in both English and Ukrainian, by:

- Foreword by the Ukrainian ambassador to the United States, Oksana Markarova. Markarova provides an overview of how this war has shaken her country and what democracy and freedom mean to her people.
- Award-winning Ukrainian author Andrey Kurkov. Ukraine's most famous living writer, Kurkov provides an emotional, heartfelt reflection on what's happening to his country in relation to the pictures displayed in the book.
- Pulitzer Prize winner and personal photographer to President Gerald Ford, David Hume Kennerly. Kennerly speaks to the emotional and physical risk photojournalists take in covering war alongside their mission to show truth.

As Ukrainian President Volodymr Zelenskyy said in his address to U.S. Congress, Russia “went on a brutal offensive against our values, basic human values. It threw tanks and planes against our freedom, against our right to live freely in our own country, choosing our own future, against our desire for happiness, against our national dreams, just like the same dreams you have, you Americans.”Relentless Couragedelivers a gripping, visual portfolio of images that remind us of our shared humanity, what is right, and what’s at stake when independence and freedom come under attack.

Published to accompany the Royal Academy exhibition from 29 June to 13 October 2024, a major study of Ukrainian art from 1900 to the mid-1930s – with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel

How does artistic life flourish during revolution and conflict? Ukraine in the early 1900s endured unimaginable political upheaval, yet this became a period of true renaissance in Ukrainian art, literature, theatre and cinema.

In the Eye of the Storm: Modernism in Ukraine, 1900–1930s, presents the ground-breaking art produced in Ukraine in the early 20th century, focusing on the three key cultural centres of Kyiv, Kharkiv and Odesa. Against a complicated socio-political backdrop of collapsing empires, World War I, the revolutions of 1917 with the ensuing Ukrainian War of Independence, and the eventual creation of Soviet Ukraine, several strands of distinctly Ukrainian art emerged.

While émigrés such as Sonia Delaunay and Alexander Archipenko found fame outside their homeland, the followers of Mykhailo Boichuk focused on Byzantine revivalism, and the artists of the Kultur Lige sought to promote the development of contemporary Yiddish culture. The first avant-garde exhibitions in Ukraine featured the radical art of Davyd Burliuk and Alexandra Exter, and the dynamic canvases of the Kyiv-based Cubo-Futurist Oleksandr Bohomazov. In Kharkiv, Vasyl Yermilov championed the industrial art of Constructivism, while Vadym Meller, Anatol Petrytskyi, Oleksandr Khvostenko-Khvostov and Borys Kosarev revolutionized theatre design. The attempt to build a national identity in Ukraine resulted in a polyphony of styles and artistic developments across a full range of media – from oil paintings, sketches and sculpture to collages, cinema posters and theatre designs.

Twelve internationally renowned scholars, including curators from the National Art Museum of Ukraine, bring to life this astonishing period of creativity in Ukraine and all the movements it encompassed.

Table of Contents:

Foreword
Francesca Thyssen-Bornemisza
Acknowledgments
Introduction
Konstantin Akinsha

I. Kyiv

From Kyiv to Paris: The Cosmopolitanism of Alexandra Exter
Katia Denysova

The Beginning: The First Avant-Garde Exhibitions in Ukraine
Olena Kashuba-Volvach

The Art Section of the Kultur Lige: Yiddish Avant-Garde Art in Kyiv (1918–1922)
Hillel Kazovsky

Oleksandr Bohomazov: The Ukrainian Version of Futurism
Olena Kashuba-Volvach

Boichukism
Myroslava M. Mudrak

Bauhaus on the Banks of Dnipro
Olena Kashuba-Volvach

II: Kharkiv

The Tragic Sensuality of the Kharkiv Avant-Garde
Tetiana Zhmurko

Constructor Vasyl Yermylov: A Captive of the Material World 
Konstantin Akinsha

Visual and Spatial Experiments in Ukrainian Scenography of the 1920s
Olena Kovalchuk

Ivan Kavaleridze: Searching for the Hero of the New Age
Oksana Barshynova

Nova heneratsiia (1927–1930)
Myroslava M. Mudrak

III. Odesa

The Odesa Society of Independent Artists
Olha Barkovska

From Symbolism to Avant-Garde: The Emancipation of Ukrainian Cinema in the 1920s
Ivan Kozlenko

IV. Aftermath

In the Shadow of Russia: Ukrainian Art at the XVI Venice Biennale of 1928
Olena Kashuba-Volvach & Maryna Drobotiuk

The Émigrés from Ukraine: Archipenko, Delaunay and Baranoff-Rossiné
Katia Denysova

From Oblivion to Glory: Spetsfond or The Special Secret Holding
Yuliia Lytvynets

Plates
Authors’ Biographies
Picture Credits
Index

About the Author:

Konstantin Akinsha studied at the Shevchenko Art School in Kyiv, Ukraine, and in 1986 completed an MA in art history at the Moscow State University. He completed a PhD in art history at the University of Edinburgh. In the course of his career, Konstantin Akinsha has been curator at the Kyiv Museum of Western and Oriental Art, Moscow correspondent for ARTnews, contributing editor for ARTnews magazine, New York, as well as a Research Fellow at both the Germanisches Nationalmuseum, Nuremberg, and Bremen Kunstverein, East European Institute of Bremen University. From 1999 to 2000 he was also Deputy Research Director, Art and Cultural Property, Presidential Advisory Commission on Holocaust Assets in the United States, Washington, D.C. In 2006 he became the European Correspondent for ARTnews magazine in Budapest, and in 2007 he also became a Eugene and Davmel Shklar Fellow at the Ukrainian Research Institute of Harvard University. Akinsha has written a number of books, including Stolen Treasure (Weidenfeld & Nicolson, 1995), co-authored with Gregorii Kozlov, and The Holy Place, co-authored with Gregorii Kozlov and Sylvia Hochfield (Yale University Press, 2007).

In Chernobyl: A Stalkers’ Guide, researcher Darmon Richter journeys into the contemporary Exclusion Zone, venturing deeper than any previously published account. While thousands of foreign visitors congregate around a handful of curated sites, beyond the tourist hotspots lies a wild and mysterious land the size of a small country. In the forests of Chernobyl, historic village settlements and Soviet-era utopianism have lain abandoned since the time of the disaster – overshadowed by vast, unearthly mega-structures designed to win the Cold War.

Richter combines photographs of discoveries made during his numerous visits to the Zone with the voices of those who witnessed history – engineers, scientists, police and evacuees. He explores evacuated regions in both Ukraine and Belarus, finding forgotten ghost towns and Soviet monuments lost deep in irradiated forests. He gains exclusive access inside the most secure areas of the power plant itself, and joins the ‘stalkers’ of Chernobyl as he sets out on a high-stakes illegal hike to the heart of the Exclusion Zone.

Debut cookbook from the Observer's Rising Star in Food Award 2015, Mamushka is a celebration of the food and flavours of Ukraine and the "Wild East", with over 100 recipes for fresh, flavourful and unexpected dishes from across the region.

From the Moldovan giant cheese twist and Ukrainian buns with potatoes & shallots to Garlicky Georgian poussins with spicy plum chutney and Armenian pickled wet garlic; to Napoleon cake, Wasp nest buns and Apricot & sour cherry pie. To top it off, why not enjoy a digestif of Winter punch or Blackcurrant vodka?

1'...a joyful celebration of Eastern European cooking' - Observer

'My present to myself: not to be played with until my own writing is done!' - Nigella Lawson

'Exotic, earthy dishes, vibrant colours, big flavours. This is real cooking, written about with so much love' - Diana Henry

'From stuffed cabbage leaves to garlicky poussins, Olia Hercules's recipes are redolent of long summers in her mother's Ukrainian garden; rich, nourishing and enhanced by her stint as an Ottolenghi chef' - Observer Food Monthly

...a beautiful, fascinating and sumptuous tome. - Tom Parker Bowles

'There's something wonderful about food writer Olia Hercules' - The Telegraph

'The hottest new voice in food' - delicious. Magazine

'she will enchant your kitchen' - Grazia 

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Пролистать книгу Mamushka: Recipes from Ukraine & beyond на Google Books

Housing is the most omnipresent urban typology. Housing is also the essential architecture of the human condition. Perhaps more than any other architectural species, housing determines the ways urbanites construct their lives and build their shared futures.

The all-out war in Ukraine, started by the Russian Federation in 2022 has disproportionally affected housing and residential infrastructure. The destruction is so targeted, and the damage so significant that it has disfigured entire neighborhoods and erased entire cities. With the scale of damage and loss in mind, and the future wide-ranging reconstruction that will inevitably take place after the war, this study examines the history and typologies of mass housing in Ukraine. It does so in order to evaluate what is lost, explain the diversity of modes of urban living that exist in Ukrainian cities, and finally, reconsider the narrative of how Ukrainian housing came about.

The study covers the period of the last 100 years: the time of the most dramatic expansion and change in character of Ukrainian cities. It begins with the experimental buildings constructed in the Soviet Central and Eastern Ukraine and Polish Western Ukraine in the 1920s and 1930s, continues by looking at type projects from the Stalin era, as well as the serial apartment blocks built during the reigns of Khrushchev and Brezhnev and in the late USSR. Finally, it showcases individually designed, yet also typical residential buildings from the turbo-capitalist period of the 1990s and 2000s.

With the help of archival materials -- texts, blueprints, and photographs -- as well as contemporary documentation, the authors analyze 30 examples of Ukrainian-designed or modified housing types. Through uncovering the Ukrainian context, as well as the work of Ukrainian architects, design institutions, contractors, and developers, the history of Ukrainian housing is emancipated from the Russian narrative of the Soviet past. By doing so, we aim to write the history of a specifically Ukrainian building tradition and contribute to embedding it in the context of all-European architectural history.

Chapters:

1922–1938
Ukrainian residential architecture under the early USSR and the Republic of Poland     

Residential courtyard on vul. Stryiska, Lviv 
Tarnavskoho ensemble, Lviv 
Slovo House, Kharkiv
Settlement No. 6, Zaporizhzhia
Kharkiv Tractor Factory, Kharkiv
Zhovtnivka Cooperative, Kyiv
First prefabricated building, Kharkiv

1938–1958
Stalin and the end of Modernism      

Five Modernist apartment buildings, Lviv
Series I-302   
Khreshchatyk, Kyiv
Series 7
Series 11
Sobornyi prospekt, Zaporizhzhia
House with a Spire, Kharkiv
Series I-403
Series I-406

1958–1984
First- and second-generation series under and after Khrushchev

Series I-438
Series I-464A
Series 1-480
Series BK
Series II-57
Series 67
Series 84
Series 87
Series 94
Series 96
Series 121
Series T
Series KT

1984–2008
Late Soviet and early post-Soviet construction

Series APPS 
Series APPS Lux
Postmodernist Podil, Kyiv
Slavutych new town, Slavutych
Cast-in-place towers, Kyiv
Amphiteatr/Amsterdam, Dnipro
Vozdvyzhenka: pseudo-historicism, Kyiv

2008–2022
Turbo-capitalism and urban renaissance 

Residential complexes by Kadorr, Odesa
Karat, residential building, Kharkiv
Residential complexes by Budova, Odesa
Comfort Town, Kyiv
Fayna Town, Kyiv
Municipal housing, Vinnytsia

Housing is the most omnipresent urban typology. Housing is also the essential architecture of the human condition. Perhaps more than any other architectural species, housing determines the ways urbanites construct their lives and build their shared futures.

The all-out war in Ukraine, started by the Russian Federation in 2022 has disproportionally affected housing and residential infrastructure. The destruction is so targeted, and the damage so significant that it has disfigured entire neighborhoods and erased entire cities. With the scale of damage and loss in mind, and the future wide-ranging reconstruction that will inevitably take place after the war, this study examines the history and typologies of mass housing in Ukraine. It does so in order to evaluate what is lost, explain the diversity of modes of urban living that exist in Ukrainian cities, and finally, reconsider the narrative of how Ukrainian housing came about.

The study covers the period of the last 100 years: the time of the most dramatic expansion and change in character of Ukrainian cities. It begins with the experimental buildings constructed in the Soviet Central and Eastern Ukraine and Polish Western Ukraine in the 1920s and 1930s, continues by looking at type projects from the Stalin era, as well as the serial apartment blocks built during the reigns of Khrushchev and Brezhnev and in the late USSR. Finally, it showcases individually designed, yet also typical residential buildings from the turbo-capitalist period of the 1990s and 2000s.

With the help of archival materials -- texts, blueprints, and photographs -- as well as contemporary documentation, the authors analyze 30 examples of Ukrainian-designed or modified housing types. Through uncovering the Ukrainian context, as well as the work of Ukrainian architects, design institutions, contractors, and developers, the history of Ukrainian housing is emancipated from the Russian narrative of the Soviet past. By doing so, we aim to write the history of a specifically Ukrainian building tradition and contribute to embedding it in the context of all-European architectural history.

Chapters:

1922–1938
Ukrainian residential architecture under the early USSR and the Republic of Poland     

Residential courtyard on vul. Stryiska, Lviv 
Tarnavskoho ensemble, Lviv 
Slovo House, Kharkiv
Settlement No. 6, Zaporizhzhia
Kharkiv Tractor Factory, Kharkiv
Zhovtnivka Cooperative, Kyiv
First prefabricated building, Kharkiv

1938–1958
Stalin and the end of Modernism      

Five Modernist apartment buildings, Lviv
Series I-302   
Khreshchatyk, Kyiv
Series 7
Series 11
Sobornyi prospekt, Zaporizhzhia
House with a Spire, Kharkiv
Series I-403
Series I-406

1958–1984
First- and second-generation series under and after Khrushchev

Series I-438
Series I-464A
Series 1-480
Series BK
Series II-57
Series 67
Series 84
Series 87
Series 94
Series 96
Series 121
Series T
Series KT

1984–2008
Late Soviet and early post-Soviet construction

Series APPS 
Series APPS Lux
Postmodernist Podil, Kyiv
Slavutych new town, Slavutych
Cast-in-place towers, Kyiv
Amphiteatr/Amsterdam, Dnipro
Vozdvyzhenka: pseudo-historicism, Kyiv

2008–2022
Turbo-capitalism and urban renaissance 

Residential complexes by Kadorr, Odesa
Karat, residential building, Kharkiv
Residential complexes by Budova, Odesa
Comfort Town, Kyiv
Fayna Town, Kyiv
Municipal housing, Vinnytsia

On 24 February 2022, the invasion of Ukraine by Russian troops began. Since then, Russia's war of aggression has continued with increasing ferocity and destruction. Millions of Ukrainians have fled to neighbouring European countries. Ukraine is now a country caught between two stools: on the one hand, it is striving for rapprochement with NATO and the EU; on the other hand, good relations with Russia have also always been of fundamental importance to the country.

This is a picture book about a landscape and its country, which is going through dark times and is currently moving the whole world. Here we take a look at the beauty and the integrity of Ukraine.

The Ukrainian landscape is characterised by steppes, plateaus, lowlands and mountains. The Lemurian Lake in the south of Ukraine impresses with its pink colour, as it has a higher salt content than the Dead Sea. The mountain ranges of the Carpathians in the west of Ukraine captivate with their wonderful wild beauty. The Ukrainian steppe is part of the great Eurasian steppe, which runs through several countries of Eastern Europe and used to be the home of the Cossacks. The country is also criss-crossed by numerous river courses, with the Dnieper, Donets and Dniester rivers, which flow into the Black Sea and the Sea of Azov, being among the most significant.

Unparalleled scale, out-of-this-world colours and unique landscape shots from above make this book a tribute to the beauty of the Ukrainian landscape.

_A declaration of love by the young, award-winning Ukrainian photographer Yevhen Samuchenko to his homeland in dark times
_An opulent illustrated book that shows the beauty, diversity and richness of colour of the Ukrainian landscape
_By looking down on one, the dimensions of Ukraine as one of the largest European countries are made visible
_Text in English, German and Ukrainian

A quiet rural town until World War I, Zaporizhzhia exploded into a major industrial centre in the 1920s following the con­struction of the Dnipro Hydroelectric Station.

This book looks at a later period in the history of what is now one of the largest cities in Ukraine, the 1950s to 1980s, when the focus in Soviet policy shifted from industrialisation to welfare and from production to consumption. In this respect, Zaporizhzhia may be seen as ‘a local model of the birth of a modern society’ – Soviet consumer society. Historian Pavlo Kravchuk and historian and graphic designer Mykhailo Mordovskoi skilfully combine text and images to show how this shift played out in urban planning, architecture, and, more importantly, the lives of ordinary Soviet citizens.

Prefabricated construction techniques enabled the rapid erection of districts of mass housing, giving ordinary people a small apartment of their own for the first time. With this came a need for consumer goods. At the same time, sitting in their new kitchens, people gained a modicum of privacy and a space in which to meet and discuss, away from the controlling eye of the state. The new Soviet apartment was ‘a place of leisure’, but also of dissidence – the beginning of the end of the regime.

About the Authors:

Pavlo Kravchuk is a Ukrainian architectural historian. Chief specialist in historical and cultural heritage at the Department of Culture and Tourism at Zaporizhzhia City Council. One of the founders of the Zaporizhzhia Museum of Architecture. Creative director of the digital portal Zaporizhzhia Heritage. Author and coordinator of 'Programmes for protecting cultural and historical monuments of Zaporizhzhia City for 2018-2022'. Editor of the Ukrainian-German publication Fragile Heritage: Architectural Modernism of the Ukrainian South and East: late 1950s-1980s (2023).

Mykhailo Mordovskoi is a Ukrainian historian and -designer. Head of the municipal museum network in Zaporizhzhia. Author of the permanent exhibition at the Zaporizhzhia Museum of Architecture. Holder of the Heritage Solidarity Fellowship for Ukraine from Europa Nostra, Global Heritage Fund, and ALIPH (2022). Curator of the Rethinking Space cultural centre - the first public space in Ukraine focused on understanding the events of the current Russian--Ukrainian war (2023).

A celebration of Ukraine’s rich cultural heritage, drawing on over 100 of the country’s most important works of art and architectural monuments from prehistory to the present.

Showcasing more than one hundred objects and buildings — from Byzantine icons and wooden churches to gold-domed cathedrals, folk art, and avant-garde masterpieces — Treasures of Ukraine chronicles the rich arts and heritage of a country currently facing destruction and devastation. The significance of the pieces is explained by renowned artists, curators, and critics, revealing the nation’s complex history and its impact on the present. From the development of ancient cultures like Trypillia and Scythia to early states such as Kyivan Rus and the Cossack Hetmanate, to the dawn of Modernism and the striking contemporary paintings and political artworks being produced today, Treasures of Ukraine reminds us that art and monuments represent powerful sources of collective memory and identity.

All proceeds will be donated to PEN Ukraine, to help Ukrainian authors in need and support museums in Ukraine.

Contents List:

Introduction: Andrey Kurkov
Map of Ukraine
1. Pre-history to Early History Andriy Puchkov
2. Kyivan Rus Christian A. Raffensperger
3. The Lithuanian–Ruthenian State Diana Klochko
4. The Ukrainian Baroque Era Maksym Yaremenko
5. The Nineteenth Century and the Fin-de-Siecle Alisa Lozhkina
6. Avant-Garde Art and Theatre Myroslava M. Mudrak
7. Soviet Rule, the Ukrainian SSR and Non-conformist Art Oleksandr Soloviev
8. Postmodern and Contemporary Art Victoria Burlaka
Appendix: Folk arts Alisa Lozhkina
Timeline of Ukrainian History

About the Authors:

Andrey Kurkov is Ukraine’s most acclaimed living novelist and public commentator. Andriy Puchkov is a specialist in Ukrainian architecture and author of more than two dozen monographs. Christian Raffensperger is professor of history and department chair at Wittenberg University. Diana Klochko is a prominent art historian and author of 65 Masterpieces of Ukrainian Art. Maksym Yaremenko is Professor at the Department of History at the National University of Kyiv Mohyla Academy. Alisa Lozhkina is an art historian, critic and author of Permanent Revolution: Art in Ukraine, XX–early XXI century. Myroslava Mudrak is Professor Emeritus of Art History at the Ohio State University and a member of the National Academy of Arts of Ukraine. Oleksandr Soloviev is a leading art critic and a local expert in contemporary art; Victoria Burlaka also specializes in contemporary art.

In the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party’s propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process.

Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics’ plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.

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В эпоху, когда сфера культуры в Украинской ССР, как и в других республиках, регулировалась генеральной линией партии, местное монументальное и декоративное искусство развивалось на стыке партийной пропаганды и художественного эксперимента.

Сегодня украинская мозаика буквально вырвана из архитектурного контекста страны. Произведения искусства уничтожаются, исчезают со стен зданий, для которых они были специально созданы, и без разбора осуждаются как часть идеологической пропаганды, не имеющая никакой ценности. Кроме того, с юридической точки зрения мозаики не считаются искусством, что подвергает их опасности перед лицом действующей программы по декоммунизации.
Изначально задуманная как путеводитель, эта книга является не только полезным спутником в путешествии по современной Украине, но и позволяет читателю совершить скачок во времени и узнать больше об украинской культуре второй половины XX века. Издание включает около 120 уникальных панно, и эта внушительная коллекция противопоставляется упрощенному взгляду на советское художественное наследие Украины.

Книга проиллюстрирована уникальными фотографиями Евгения Никифорова, который продолжает собственное фото-исследование, ранее представленное в альбоме "Декоммунизация: Украинские мозаики советского периода". Вместе с искусствоведом Полиной Байцим, которая раскрывает связи мозаичных сюжетов с историческим контекстом, читатель познакомится со свидетельствами подлинного творчества украинских монументалистов, сумевшего расцвести даже в условиях многочисленных ограничений.

Inside Ukraine is a compelling visual portrait of the real Ukraine, lovingly put together by Ukrainians in the years leading up to the current war. 

The product of five years and 100,000km of travel around the country by the volunteers of Ukraïner, an organisation that aims to explain Ukraine to its inhabitants and promote it to the wider world, this unique book is a beautiful celebration of the land and its people. It captures the true variety of this vast country, the second largest in Europe, from picturesque forest villages to large urban housing projects, stunning mountain and estuarine scenery to industrial quarries and medieval fortresses.

It introduces the people of Ukraine and their stories, with a huge cast of characters including traditional carol singers, wild honey farmers, potters and railwaymen, artists and sheep-breeders and broom-makers. The natural world is represented too, with its populations of wild pelicans, roaming herds of buffaloes and the charming inhabitants of a bear sanctuary.

Also included are a wealth of QR codes that can be scanned to unlock longer articles on the Ukraïner website, along with more images and videos, giving a whole new dimension to the book.

With over 350 evocative images accompanied by illuminating text, this book will educate, surprise and enchant you, providing a fascinating insight into the side of Ukraine we don’t often see.

About the Author:

Ukraïner is a volunteer multimedia project launched in 2016. It is both inward- and outward-looking: it aims both to help Ukrainians discover the varied regions of their country and to promote Ukraine to the world. Its volunteers, currently over 300 in number, travel the country to uncover its landscape, customs and people.

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Пролистать книгу Inside Ukraine: A Portrait of a Country and its People на Google Books

In recent times, Soviet architecture in Ukraine has been rather in vogue abroad. At home, however, it is a different story: due to various political and economic factors and the stigma that is attached to everything Soviet, many buildings from the Soviet period are not maintained or even destroyed. The Ukrainian authors Alex Bykov and Ievgeniia Gubkina have decided to fight to save modernist architecture. Based on large-scale research, this book offers a rethinking of postwar Soviet architecture, with Bykov’s photographs documenting buildings in their current state and Gubkina’s criticism and analysis giving an unexpected spin on the multi-faceted modernist architectural movement, putting it in its correct global, historical, and political context. Gubkina also offers a revision of the term Modernism, which is most widely used in Ukraine, and the terms brutalism and post-modernist architecture. This lavishly illustrated title leaves us to question whether we should remain neutral to the steady destruction of these urban ruins and the attempt to wipe this legacy from our memory and whether this Soviet past that is portrayed is really past.

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Новая книга «Советский Модернизм. Брутализм. Постмодернизм» стала кульминацией комплексного исследования архитектуры советского модернизма на Украине. Авторы – архитекторы Алексей Быков и Евгения Губкина – посвятили многие годы изучению интернационального стиля. В этом издании они исследуют уникальность модернистских проектов во всех возможных формах (от дизайна интерьера до планировочной структуры города) на всей территории Украины и в течение трех десятилетий. Кроме того, в этой публикации анализируются основные понятия и идеи, фигурирующие в дискуссиях о позднесоветской архитектуре, в которых термин «брутализм» до сих пор понимался как исключительно западное явление.