The Khanenko Museum as Noble Double-wounded

Authors

DOI:

https://doi.org/10.29311/mas.v21i2.4301

Keywords:

Russia's war on Ukraine, woundedness, noble, touch

Abstract

In this article, I consider the Khanenko Museum as noble and double-wounded, a concept that emerges from two trains of thought. The first pertains to the attack on Kyiv on 10 October 2022, which destroyed the Khanenko Museum, famous for owning the largest collection of global art in Ukraine. The second stream of thought is related to theories of wounding as a specific condition, an aesthetic mode, a way of experiencing time and space. These theories allow us to conceive of the grief and pain caused by destruction, but not necessarily to surmount it.

Author Biography

Anfisa Doroshenko, The Bohdan and Varvara Khanenko National Museum of Arts (Kyiv, Ukraine). NaUKMA (Kyiv, Ukraine).

2017 – now. Senior Research Fellow (The Khanenko Museum, Department of European Prints and Drawings Research)

2021 – now. PhD student (NaUKMA).

2022 – now. Guest Researcher (Faculty of Humanities, Centre for the Arts in Society, Leiden University).

My interests in the museum field include the study of works on paper, with an emphasis on 19th and 20th-century prints. My research interests also extend to art history and visual culture, working with concepts of cultural theory.

 

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Published

07/24/2023

How to Cite

Doroshenko, A. (2023). The Khanenko Museum as Noble Double-wounded. Museum & Society, 21(2), 24–27. https://doi.org/10.29311/mas.v21i2.4301

Issue

Vol. 21 No. 2 (2023): Dispatches from Ukraine

Section

Articles

License

Copyright remains with the author(s) of the article. This article can be re-used according to the terms of the CC BY-NC-ND 4.0  licence.