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Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Photographer
Yana Kononova
Radiations of War
Gomma Photography Grant 2022 Finalists

Gomma Photography Grant 2022

Radiations of War

Photographer

Yana Kononova

Radiations of War

11 Jan, 2023

Since the end of March 2022, I've been working on an artistic study of the war of aggression waged against Ukraine by Russia. I take pictures of war crimes, destroyed civilian infrastructure facilities and various services activities with human bodies on my medium format film camera. The inner motive of the series is a ‘soft’ critique of the ‘post-Holocaust’ times humanitarian program which comprehended the Holocaust issue in terms of a cultural gap, the inconceivable event and the inexpressibility of trauma and declared the inadmissibility of that episode repetition in human history. The aesthetic correlate of that relationship to the experience of victims of mass destruction were the abstract experiments with form, desined to embody an unrepresentability of trauma, silence and blackness. But the negativity and its derivatives destined to provide an unprecedented understanding of human condition, does not withstand the real threat of a crushing, total Nothing that the Soviet past, the heiress of which is modern Russia, brings to the world. The ruins of war and the victims bodies, reporting the terrible expressibility of their experience, teach their ‘practical lessons’ the aesthetic ideals of modernism. And history, which returned to the stage after her announced death, repeats itself.

About the photographer

Yana Kononova

Yana Kononova is an artist with an academic background in philosophy (PhD). She was born in the Caspian Sea on the Pirallakhi island, which is the place of oil extracted, where in ancient times Zoroastrians worshipped a fire. During Russian Imperial times the island's name was ‘The Saint’. During the First Nagorno-Karabakh War, her family emigrated to Ukraine. After relocating to live in the countryside in the Trachtemiriv peninsula, which also has a strong geological and cultural history, she turned to photography. Yana graduated from the Photoschool of Viktor Marushchenko and then studied the photography course during the long term programme from Image Threads Collective (USA). She won the Bird in Flight Prize in Emerging photographer nomination in 2019.