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The Rebellious Kharkiv School of Photography Now Has Its Own Documentary Mini-Series on ARTE

The Rebellious Kharkiv School of Photography Now Has Its Own Documentary Mini-Series on ARTE

They shook up the norms of Soviet photography, challenged and explored the medium's boundaries, and continue doing it today. Each of the five episodes of the documentary mini-series ‘Kharkiv: Capital of Alternative Photography’ covers one decade of the photographic practice of one of the most famous schools of artists in Ukraine.

4 min read
Authors
Iva Kucherenko
Iva Kucherenko
Art Director

Ukrainian film producer Karina Kostyna initiated the idea for a documentary series in 2022, a few months after the beginning of Russia’s full-scale invasion. However, it wasn’t until early 2024 that the project received the green light. Driven by a deep desire to share Ukraine’s story, the project came to life with the support of many dedicated individuals, ultimately airing on ARTE, Europe's leading documentary broadcaster.

Directed by Olga Chernykh and written by Alice Boccara and Nadiia Bernard-Kovalchuk, this mini-series invites viewers to see a side of Ukraine that transcends stereotypes, revealing a narrative rich in rebellion and intrigue. It was produced by Imagissime, Mediawan (France), in co-production with ARTE France and Grace Films (Ukraine).

Mythologie. Yevhenii Pavlov.
Mythologie. Yevhenii Pavlov.

A legacy of rebellion

The narrative of Kharkiv: Capital of Alternative Photography unfolds against the backdrop of the stifling atmosphere of 1970s Soviet Ukraine, where the omnipresent surveillance of the KGB and relentless propaganda bred apathy and paranoia among the population.

Boris Mikhailov.
Boris Mikhailov.

"Whenever someone presented a work that strayed from the rigid norms of Sovetskoye Foto , the shadow of the KGB loomed immediately", recalls Yevhenii Pavlov, one of the founders of the Chas  group.

Uniting eight rebel photographers from Kharkiv, including Boris Mikhailov, Oleg Maliovanyi, and Oleksandr Suprun, this group developed the "blow theory." This is the idea that photography must strike the viewer in the face, jolting them out of their inertia.

Alternative. Yevhenii Pavlov.
Alternative. Yevhenii Pavlov.

During Gorbachev's perestroika emerged a second generation of Kharkiv photographers, forming new collectives. One of the most notable ones was the Derzhprom group, named after the iconic Derzhprom building in Kharkiv, one of the first examples of constructivist architecture in the Soviet Union. This era brought the winds of change, inspiring hope for transformation. During the 1980s, these photographers embraced new dimensions of documentary photography infused with irony and self-deprecation, capturing the last breaths of the Soviet Union.

The Derzhprom Building. Serhii Bratkov.
The Derzhprom Building. Serhii Bratkov.

After the collapse of the Soviet Union in 1991, a wave of optimism swept across the nation, tempered by uncertainty and disorientation. In this transitional era, Kharkiv photographers critically examined the emerging reality, offering profound insights into the process of State-building. Boris Mikhailov and Serhii Bratkov revealed new social roles, while Serhii Solonsky used photography as a therapeutic tool to express the loss of direction and identity.

Moonshiners. Serhii Solonsky.
Moonshiners. Serhii Solonsky.

New wave and the country’s transition to democracy

With the emergence of a new generation in the 2000s, intergenerational dialogue among photographers in Kharkiv became a tradition, ultimately solidifying into the phenomenon known as the "Kharkiv School of Photography." In the works of the SOSka  and Shilo  groups, photography continued to serve as a critical and subversive tool: the artists, employing direct actions and bold imagery, actively engaged in Ukraine's democratic transition. 

‘Bolnichka’ Series. Vladyslav Krasnoshchok.
‘Bolnichka’ Series. Vladyslav Krasnoshchok.

However, this dynamic was overshadowed by the ominous echoes of war in Donbas.

Today, as Kharkiv faces relentless bombardment from Russian forces, the series concludes with a poignant question: how does one continue to create amidst such war? Photographers from three generations grapple with the dual necessity of seeking safety and the pressing need to document the harrowing realities of war and its aftermath. As Vladyslav Krasnoshchok who remains in Kharkiv, where he continues to capture and reflect the brutal realities of the ongoing war.

A vision for sharing Ukraine’s story

Kharkiv: Capital of Alternative Photography is now accessible to more then 7 million viewers on ARTE.TV, which embark on an extraordinary exploration of Ukraine.

“Our development process with Imagissime and Arte was lengthy and involved discussions about various documentary ideas connected to Ukraine and it's culture”, recalls Karina Kostyna. “Ultimately, we reached a consensus that the Kharkiv School of Photography powerfully conveys its rebellious spirit, both historically and in the present, resonating with us through the compelling voices of its photographers as seen through their lenses."

Cover Photo: Boris Mikhailov.

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Sovetskoye Foto (translated as "Soviet Photography") was the official style of photography promoted in the Soviet Union, that emphasized idealized, positive depictions of Soviet life, often focusing on themes such as industrial achievements, collective labor, military strength, and the glory of the Soviet state.

"Chas" means "time" in Ukrainian. The group can also be found by the alternative name "Vremya", meaning the same in Russian.

The group's name, "SOSka," is derived from the word "SOS," a signal of distress or a call for attention, reflecting their work's focus on social issues, urgent themes, and often overlooked aspects of life in post-Soviet Ukraine.

"Shilo," which means "a sharp blow" in Ukrainian