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Sophia Kishkovsky

Contributor to The New York Times and The Art Newspaper

Sophia Kishkovsky is a seasoned journalist and expert in Russian and East European Studies, with a solid educational background from Yale University.

She has made significant contributions to the field of art reporting, having worked as a Contributor for The Art Newspaper, showcasing her in-depth knowledge and passion for the arts.

Sophia has an extensive journalism career, including roles at prestigious organizations such as The New York Times Moscow Bureau and the International Herald Tribune.

Her professional journey symbolizes a commitment to excellence in reporting, especially focused on the art and cultural landscape in Russia and Eastern Europe.

Highlights

Aug 23 · linkedin

Ukrainian culture workers are targeted by Russia for enforced disappearance. Museum researcher Olena Pekh was raped and subject to mock execution:

https://lnkd.in/e7TkPnum

The release on 28 June of the Ukrainian museum researcher Olena Pekh from Russian captivity, has shed light on the plight of other forcibly disappeared Ukrainian cultural workers. Pekh worked at the art museum in Horlivka, a city in eastern Ukraine that was a flashpoint in the battle between Russian-backed forces and the Ukrainian military after the illegal annexation of Crimea in 2014. A Ukrainian citizen, Pekh had moved to Odesa, but was detained in 2018 when she went to Russian-controlled territory near Horlivka to visit her sick mother. In 2020, she was sentenced to 13 years in prison on charges of state treason against the Russian-controlled Donetsk People’s Republic. Her release—along with nine others, including two Ukrainian Catholic priests—was mediated by the Ukrainian president Volodymyr Zelensky and Pope Francis. Pekh’s daughter, Isabella, kept her mother’s case on the agenda by lobbying Zelensky as well as international human rights groups and cultural organisations for her release. Isabella regularly described the torture, rape, and mock executions her mother experienced [...] Isabella Pekh recounted the details of her mother’s imprisonment in a report titled “Unpunished Crimes: Sexual Violence of the Russian Occupying Forces Against Ukrainian Women” [...]. The report is illustrated with graphic drawings by Serhiy Zakharov, a Donetsk artist who was dubbed the “Banksy of Donetsk”. He was imprisoned for a month-and-a-half in 2014 for mocking the Russian occupation through his street art. Zakharov now lives in Kyiv and works with Izolyatsia, an art foundation that had to be evacuated from its base in a Donetsk factory after Russian-backed forces turned it into a prison. In moving footage, Pekh was led out of Kyiv airport on 29 June with Ukraine’s blue-and-yellow flag wrapped around her shoulders. She appeared gaunt and haunted from her six-year ordeal, yet elated by her release. Pekh and her daughter spoke via video, in tears. “Don’t cry my baby, I love you very much,” Olena told Isabella. “I’m in Ukraine,” she said. [...] Borys Petrunok, a researcher with Zmina, a human rights organisation in Kyiv that has identified culture workers as one of the groups of Ukrainian citizens most vulnerable to arbitrary detention by Russian forces, says it is incredibly difficult to compile a comprehensive list of the missing [since Russia] “mostly holds captured civilians incommunicado,” [...]. [...] Zmina has been unable to obtain information about Halyna Kucher, a curator at the Melitopol Museum of Local History, who was kidnapped after she refused to lead a Russian-speaking man in a white lab coat to the museum’s [...] Scythian gold. The whereabouts of Viacheslav Mashnytskyi, an artist and curator who founded the Museum of Contemporary Art in Kherson, are also unknown. [...]

Aug 9 · linkedin

Ukraine is protesting against Russia's destruction of Tauric Chersonese, a Unesco-listed site in Russian-occupied Crimea. Russia has turned it into a propaganda vehicle. My latest story for The Art Newspaper:

https://lnkd.in/e8XVdHQf

Ukraine has appealed to the United Nations (UN) to protect Tauric Chersonese in Crimea, a Unesco World Heritage Site, after Russia completed work transforming it into a “historical and archaeological park”. The site, an ancient city founded by Greek colonists in the fifth century BC, was inscribed on Unesco’s list in 2013—less than a year before Russia illegally annexed the Black Sea peninsula from Ukraine. The new complex, located in what was a suburb of the old city, features a Russian Orthodox monastery as well as several museums. These include a Museum of Christianity and the Museum of Crimea and Novorossiya, which is the term that Russia uses for the territories it illegally annexed from Ukraine. Vladimir Putin has visited Tauric Cheronese in the past and spoken of it and Crimea more widely as central to Russian statehood, adding to feeling that the decision to reimagine it is an elaborate propaganda exercise. The new complex, which was constructed by Russia’s ministry of defence and funded by Transneft, a state corporation, was officially opened on 28 July. It has been named “New Chersonese”. Putin has charged Metropolitan Tikhon Shevkunov, a senior cleric who has promoted Chersonese as the heir of Byzantium, to oversee the project and the new monastery. Ukrainian experts say Chersonese is not recognisable as the archeological landmark they once studied. On 24 July, Dmytro Lubinets, the Ukrainian parliament commissioner for human rights, appealed to the UN to intervene, saying that the damage to Tauric Chersonese was part of a Russian policy to erase Ukrainian cultural heritage. In the statement, which he posted on his Telegram channel, Lubinets said that “the Russians have completely destroyed the authentic monument”, adding that they are “actually building a new city—the so-called historical and archaeological park”. Lubinets says that “many archaeological finds“ had also been “stolen by the Russian Federation and taken to Russian museums.” [...] Yevheniya Kravchuk, a Ukrainian MP who is chair of the Committee on Culture, Science, Education, and Media of the Parliamentary Assembly of the Council of Europe (PACE), spoke to The Art Newspaper about Russia’s motives. “Crimea is for them very important, both because it contains the oldest sites, the oldest cities on the territory of Ukraine,” she says. At New Chersonese, she continues, “the strategy from Russia was to excavate all the old foundations, throw them away, and build something conveying the idea that they build better than the ancient Greeks.” Kravchuk was the author of a resolution passed in June by the Parliamentary Assembly of the Council of Europe accusing Russia of “erasure of cultural identity” in Ukraine. [Click for full story]

Sophia Kishkovsky
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Location

Sea Cliff, New York, United States