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The battles on the streets appeared almost unreal, as though occurring in some medieval fable or legend. Visually my photos broke away from the specific context that this was all happening in Ukraine, in my hometown. What I tried to capture was the more abstract, universal conflict that was playing out, between light and shadow, between the thick black smoke and whiteness of the February snow, and in some sense between good and evil, though it was often impossible to tell which side was which."},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":"\nFrom the beginning the revolution felt like a performance, with scenes of carnage interweaving with incredible beauty. In that sense I think I did manage to remain objective, to remain impartial, while still feeling and expressing all the powerful emotions that were playing out. Through my photos I showed the scale of all that was happening, and in the process the line between reality and fiction sometimes became blurred. 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lets loose all the destructive forces of mankind against itself. What kind of insanity is this? It takes away the dearest people and hope, breaks fate, ruins dreams. War takes any meaning and breeds emptiness. An emptiness that burns all around leaving just ruins. Person’s mind, traumatized after the war, reminds these deserted landscapes of ruins, that continue its existence misunderstood and forgotten, storing the memories of war.\n\nProject INTER VITAM ET MORTEM (latin for “Between Life & Death”) is a reflection on the wars, which like cancer spread all over the earth. On the photos you can see my exploration of territories of Eastern Ukraine devastated by the war, of places that were of high importance before and during the fights, but after were standing abandoned. I visited the places where I was in 2014 while documenting the armed conflict in Donbas when everything was flooded with blood and lead. Areas that had recently witnessed bloody clashes, now stood abandoned in absolute silence. Schools, hospitals, factories, checkpoints - they looked like forgotten monuments of war.\n\nThis project is about scars that wars leave in human souls. It’s about emptiness and loneliness. Wars change everyone and everything. Soldiers who come back from war are most often forgotten by their state and misunderstood by their family and friends. Civil population, children, who faced the war, received big psychological traumas, that remains for rest of their life. They had to leave along with their fear, anger, pain. Who won and who lost is not a question. In war, no one wins or loses. There is only destruction.\n\nAfter facing the war myself, I already didn’t want to show its bloody, frightening appearance, nor to romanticize it. The commotion of death appears in these images as absolute silence. I’m using landscape photography, a more intimate approach, to convey feelings more deeply. Sometimes thoughts of the past and the scars of war are much more painful for the people and the country that survived the war than the battles themselves. These feelings will never stop. 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in Donbass is an armed conflict in the Donbass region of Ukraine. 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Rato’ nugalėtojas: Mano Herojai Nori Gyventi"},{"insert":"\n\nAr galima laimėti tarptautinį fotografijos konkursą net neturint savo fotoaparato? Ukrainietis Maksimas Dondiukas įrodė, jog tai įmanoma. Jo fotoistorija apie tuberkulioze sergančius žmones tapo konkurso „Gyvenimo ratas“ pirmosios vietos laimėtoja. „Vilniaus fotografijos ratas“, rengiamas mūsų spaudos fotografų, jau, atrodo, kaip reikiant įsisuko. Fotografai iš viso pasaulio siunčia konkursui savo darbus, spaudos fotografijos guru skaito pranešimus ir demonstruoja savo sukurtas fotoistorijas. Visada įdomu, kokie darbai komisijos bus pripažinti geriausiais, į kurią pusę krypsta spaudos fotografijos tendencijos.\n\nTaigi, Maksimas Dondiukas pasiskolino iš draugų „Canon Mark 3“ fotoaparatą bei fiskuotojo židinio objektyvus 24 mm ir 50 mm ir ėmėsi iš karto kelių fotografinių ciklų. Vienas iš jų projektas apie tuberkuliozės epidemiją Ukrainoje.\nMaksimas pradžioje buvo virėjas, ilgai dirbo įvairiuose restoranuose, o fotografijahobis. Tik 2007 metais pradėjo fotografuoti profesionaliai – rusų ir Vakarų spaudos leidiniams. Gyvena dažniausiai ten, kur kuria savo projektus. Norėdamas sukurti pasakojimą apie tuberkulioze sergančius žmones, vyksta trims keturiems mėnesiams į Ukrainos pietinius rajonus, kur išsinuomoja nebrangų būstą ir ieško būsimų savo projekto herojų.\n\nKaip kilo mintis imtis tuberkuliozės projekto?\nIr anksčiau žinojau, kad egzistuoja tokia liga – tuberkuliozė. Ėmiausi šio projekto iš smalsumo, norėjau sukurti pirmą rimtesnį socialinį fotografijų ciklą. Tačiau įsitraukęs supratau visą šios ligos tragedijos mastą. Prisimenate, buvo daug viešo triukšmo dėl kiaulių gripo, nuo kurio Ukrainoje mirė kelios dešimtys žmonių. O štai tuberkuliozė kasdien pasiglemžia vidutiniškai 30-ties žmonių gyvybes. Per metus prarandame apie 10 000 žmonių. Nors 2010 metų gegužę jau tvirtai buvau apsisprendęs įamžinti šį liūdną reiškinį, fotoaparato ilgai dar negalėjau naudoti – pusmečio prireikė, kol myniau slenksčius rūpindamasis leidimais patekti į ligoninių, kalėjimų, sanatorijų erdves. Ieškojau žmonių, kurie pažinotų sergančiuosius. Tikrai įdomu, jog kurdamas tokius projektus neapsiriboji vien fotografija – tai gilus bendravimas, gyvenimo istorijų išklausymas, kurias aš kruopščiai dokumentuoju įrašinėdamas į diktofoną. Stengiuosi nesikišti į kitų žmonių gyvenimą, tačiau buvo toks atvejis, kai susipažinau su vienu sergančiu vyru jo namuose, vėliau tą žmogų su fotoaparatu palydėjau į ligoninę, o galiausiai net teko padėti jį palaidoti, nes tuberkuliozės aukos mama buvo vieniša ir reikėjo pagalbos. Neišvengiamai tenka įsijausti visa širdimi į šią temą.\n\nVadinasi, fotografuojant neįmanoma būti nešališku stebėtoju?\nFotografas, kuris neatjaučia savo personažų, fotografuoja tik dėl profesinio smalsumo. Atvažiuoja, nufotografuoja mirštančius žmones ir išvyksta. O man svarbu pažinti žmogų, pakalbinti jį, aprašyti jo gyvenimo istoriją. Žinoma, visi pasirašo leidimus vėliau skelbti šias asmeniškas gyvenimo detales. Tiesa, ir pats labai išgyvenu, jei kuris nors iš mano herojų miršta. Jei aš pats neatjausčiau savo herojų, kaip galėčiau įteigti atjautą kitiems, žiūrintiems mano fotografijas? Juk vienas iš socialinės fotografijos tikslų – padėti žmonėms, kurių sunkų gyvenimą sunku net ir gyvenimu vadinti.\n\nJau nebereikės skolintis fotoaparato. Kaip vertinate laimėtą pa- grindinį prizą – „Nikon D3s“ aparatą. Ar jau pavyko išbandyti?\nFotografuoju su didžiausiu malonumu. Beveik nenaudoju blykstės. Nustačius ISO 6400 triukšmų nesijaučia. Patogus valdymas, o apie nuotraukų kokybę jau net nekalbu…\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:20:06","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Žurnalas FOTO Magazine, Interview by Marius Matulevičius | LT"},{"insert":"\n"}]},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T10:19:37","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"text","viewer_caption_enabled":false,"parent_id":"af1d7e7d-562b-4a4b-96c7-b2641d2a8a2e","slug":"untitled-96","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/zurnalas-foto-magazine-interview-by-marius-matulevicius-lt/untitled-96","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Untitled 96","published_at":"2019-05-09T10:20:06","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2147483519,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:20:06","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:48:20","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"zurnalas-foto-magazine-interview-by-marius-matulevicius-lt","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/zurnalas-foto-magazine-interview-by-marius-matulevicius-lt","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Žurnalas FOTO Magazine, Interview by Marius Matulevičius | LT","published_at":"2019-05-09T10:20:06","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"af1d7e7d-562b-4a4b-96c7-b2641d2a8a2e","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"2bc6d169-4ce1-4a0a-bec8-7e834a95328d","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Inside a Cossack Youth Camp"},{"insert":"\n\nThe Cossacks have a long military history in Eastern Europe. From establishing their own self-governed land through rebellion in the 1400s to guarding borders and carrying out attacks on ethnic minorities under the orders of other military leaders centuries later, the Cossacks’ reputation is a matter of perspective. To some, they are stoic warriors following a code of honor, yet bound to no country or government—like a knight or samurai from long ago. Others see Cossacks as mercenaries and enforcers, taking the law into their own hands and attacking those who they consider to be invaders. \n\nIn 2010, when photographer Maxim Dondyuk came across a training camp for Cossack children, he wasn’t sure what to make of it. He was in Crimea, a region along the coast of the Black Sea in Ukraine, to photograph Tatars for the Russian newspaper Izvestiya. While there he discovered a Crimea-Sich summer camp, which trains boys ages 7 to 16 in Cossack military and survival skills as well as religious instruction. Dondyuk explains, “I stayed [at the camp] only for a few hours and did a couple of photos, but promised myself to come back and photograph a full story.” \n\nHe did find his way back to the camp in 2012, and spent two weeks in the Crimean Mountains living as the campers did, while also making still images and shooting video. “For me, every story that I photograph is an analysis of the event and time period,” Dondyuk says. “I’m not interested in stereotypes, and need to understand the situation myself. I’m a fan of gonzo journalism and try … to lose myself in the topic that I’m shooting.” He immersed himself in the day-to-day experiences of the boys, many of whom had already received training at Cossack schools back home and come from families of military officers. “The privilege for the best young Cossacks from Russia, Ukraine, Moldova, and Belarus is the free training and living in the camp. Also any child, even if his parents are not officers, can get in for the minimal payment of 5 euros a day,” Dondyuk explains.\n\nThe training includes shooting targets with real weapons and live ammunition, setting up camp, hand-to-hand fighting and mountain climbing. Dondyuk was given complete access to the campers and the camp’s activities in part because he had befriended a Cossack Hetman (military officer) the first time he had visited the camp. He had also pitched the photo essay to Andrei Polikanov, director of photography at Russian Reporter, who supplied him with credentials and agreed to run the images in the magazine.\n\nPolikanov, who had published Dondyuk’s series on tuberculosis in Ukraine a few years ago and has since given him assignments, says one of the things that intrigued him about the subject matter was that “you don’t see stories of 7-year-old boys in real military training every day. It is quite extraordinary, and enormous.” Many of Dondyuk’s images do show children and teens dressed in camouflage uniforms while participating in a variety of situations that involve guns, whether it be marching with them, shooting at targets or defending themselves against armed men. The photographer admits to not having a very good impression of the boys at first. “I thought that they grow up to be professional killers,” he says.\n\nHis perception changed after spending two weeks at the camp. “I realized that they grow into defenders” of the Slavonic land, which Cossacks don’t view as individual countries, but rather a unified land, Dondyuk explains. “Here they are getting a good military practice and many of them have become sergeants in the army, as this camp has already been in existence for ten years.”\n\nDespite the weaponry and military fatigues, there is a romance and beauty to the images. The Crimean Mountains provide a majestic backdrop, and the lushness of the vegetation compliments the deep green of the boys’ uniforms. There is also a lot of motion in Dondyuk’s photos, as the campers are seen hiking, climbing and exercising. When not engaged in combat training, the boys could be mistaken for any group of summer campers, strumming guitars and playing chess to pass the time. Overall, the boys seem focused and determined—and not particularly evil or angry—which helps viewers to see them less as nationalist mercenaries and more as soldiers in training.\n\nThe Crimea-Sich images ran in the May 23, 2013, issue of Russian Reporter magazine. “Pictures are the core of the article and only very short, synoptic text and rather detailed captions accompany the images,” DOP Polikanov explains. \n\nDondyuk used a Nikon D3s with a Nikkor 35mm f/2 lens and Nikon ME-1 stereo microphone to shoot stills and motion footage at the camp. He believes the campers came to see him as one of their own, which helped them forget about the camera, allowing Dondyuk to capture their experiences in an honest and intimate way. “Every photographer who wants do photo stories must know basic psychology rules to communicate with people and be honest with them,” he explains. “The Cossacks didn’t perceive me as a stranger; I was a part of them, I had experienced all the difficulties and joys of the camp. Even now I correspond with officers and often have Skype conversations with them.” \n\nWhen asked whether he took into account the controversial history of the Cossacks, or the recent emergence of Cossacks as enforcers for the Russian government, Donduyk says, “I showed the Cossacks the way I was seeing them. It’s only my feeling, and attitude to that situation. I don’t take into account all that happens with the Cossacks in Russia.” \n\nHe adds, “I had known about the situation in Russia only after my photographing in the camp. I spent a lot of time with them, recorded interviews with Cossack Hetman and analyzed all that I saw there. I don’t think that they pretended all that time while I was there.”\nYet it is hard to ignore that these boys are training with an enemy in mind. Dondyuk notes that, historically, the Tatars have been the adversaries of the Cossacks, a conflict that has been fueled through the ages by the two groups’ religious differences: Cossacks are Christians and Tatars are Muslims. There is also a long history of Cossack military campaigns against minority groups, including Jewish and Turkish people. \n\nConsidering recent reports that Cossacks are seen as representatives of President Vladimir Putin and his conservative policies, and are acting as pseudo-law enforcement officers in Eastern European territories where Muslim populations are on the rise, it is not surprising Dondyuk’s essay stirred controversy when it was published in Russian Reporter. But Polikanov says, “The biggest part of the Russian Reporter audience believe that they are rather ‘good guys’ than ‘bad guys.’”\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:35:42","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"PDN Magazine, Text by Meghan Ahearn | 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EN","published_at":"2019-05-09T10:35:42","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"448ec37e-940b-400d-85f7-769b8215163d","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"df696ca8-5917-440b-9679-747ba7db8df2","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Максим Дондюк: «В нашей стране документальной фотографии отказывают в праве называться искусством»"},{"insert":"\n\nМаксим Дондюк: «В нашей стране документальной фотографии отказывают в праве называться искусством»\nМаксим Дондюк – документальный фотограф, автор нескольких проектов, получивших признание публики, как в Украине, так и за ее пределами. Несколько дней назад работы Максима были представлены в Musée international de la Croix-Rouge et du Croissant-Rouge (Женева, Швейцария), в рамках выставки фотографов, вошедших в короткий список премии Prix Pictet Award 2015.\n\nМаксим Дондюк. Musée d’Art moderne de la Ville de ParisМаксим Дондюк. Musée d’Art moderne de la Ville de Paris\nЕго профессиональная карьера началась в качестве фотокорреспондента в 2007 году. До этого занимался фотографией как хобби, первая фотография была опубликована в харьковской газете «События». Уже в 2010 году начал работать в качестве независимого фотографа, создавая и продвигая свои собственные проекты.\n\n«Умань, Рош а-Шана», «Эпидемия туберкулеза в Украине» – эти фотосерии продемонстрировали высокий уровень художника, его личный опыт и эмоции в осмыслении событий. А проект «Культура противостояния» явил миру сражение двух разных цивилизаций, максимально уходя от привязки ко всему украинскому.\n\nОб этом, а также об отношении к средствам массовой информации, о том, почему фотографы не хотят быть документалистами, и как разглядеть настоящего художника – прямая речь Максима Дондюка для читателей нашего сайта.\n\n«Нужно выслушивать обе стороны»\nУ меня было задание от одного журнала, и мне сказали, чтобы я прислал фотографии. Задание на другую тему, а я в это время уже находился на Майдане, и ответил что-то вроде: «Идите вы к черту». У меня вообще было ощущение, что все это уничтожат за неделю, и когда началась активная фаза, я помню, что приехал в час дня, вокруг все бушевало, и только в три часа ночи мне стало понятно, что я как пришел к памятнику Лобановскому, так и не уходил никуда. Слава Богу, что сейчас аккумуляторы долго работают, флешки огромны, и ты можешь не переживать по этому поводу. Вообщем, фотография, когда искренне ею занимаешься, она как наркотик. Просто теряешь ощущение времени, иногда бывает очень скучно, иногда пролетает пару дней без сна и отдыха, ты выдохся, но думаешь: «кайф».\n\nМои фотографии рассказывают мою точку зрения, я переубеждаю людей, и все-таки, я им эту точку зрения навязываю. Мне не хочется, чтобы я однобоко что-то рассказывал. У меня есть своя позиция, она была на стороне Майдана, но я всегда хотел попасть и на «ту сторону». Это было вначале невозможно, потому что я видел, как там избивают фотографов, забирают камеры, но у меня были конфликты и с беркутовцами, которые пытались меня избить (при этом подходил другой беркутовец и меня спасал). И были ситуации, когда доходило чуть ли не до драк с протестующими, и нас растягивали другие фотографы. Люди были и там, и там. Я раньше четко все разделял на белое и черное, а сейчас понимаю, что нужно выслушивать обе стороны, и попал я «туда» первый раз случайно, под самый конец 18-го февраля. Просто так случилось, что именно тогда сделал удачные кадры, и какие-то фотографии остались.\n\nК сожалению, у меня после опыта пребывания на войне очень сильно изменилось отношение к СМИ, я стараюсь себя к ним не причислять. Я работаю с журналами, которым доверяю, остальные просто игнорирую. На самом деле я считаю, что именно СМИ виноваты в том, что произошла война. Масс-медиа являются частью механизма пропаганды, как бы они не старались себя обелить, — что украинские, что русские.\n\nМне кажется, для того чтобы делать объективные вещи, нужно быть человеком со стороны, и это проще, когда ты приезжаешь на другую войну. У меня есть друг из Москвы, он к нам не приезжал потому, что понимал, почему начался конфликт. При этом он до этого снимал все войны в течении 25 лет. И когда я был пару месяцев на войне, это был сущий ад. И в данном случае я столкнулся с колоссальной проблемой, наши официальные органы меня никуда не пускали снимать. Мои материалы использовались нашими СМИ, но им было наплевать на мою безопасность.\n\n«Ехать на следующую войну?»\nПеред войной было мало документалистов, по крайней мере, молодых, которые что-то делали. Были какие-то попытки, у кого-то успешные, у кого-то нет, ведь ситуация не всегда зависит от автора, и тут резко 90 процентов молодых фотографов получили публикации в мировых СМИ. Башню сносит по полной программе, сумасшедшие гонорары, работа для международных институций, а что дальше? Ехать на следующую войну?\n\nГарольд Менк (фоторедактор журнала «Штерн» — авт.) как-то сказал, что если фотограф на войне ничего не снял, то он вообще никогда ничего не снимет. Многим кажется, что снимать войну очень сложно, на самом деле, это опасно для жизни, но фотографически самое простое. Нужно понимать, что это трамплин для карьеры и творческого развития, но зацикливаться на этом не стоит. Я уверен, появятся молодые фотографы, которые это поймут и начнут дальше заниматься чем-то другим.\n\n«Фотографы документалистами быть не хотят»\nУ меня есть четкий ответ, почему украинская фотография не востребована у себя на Родине. За рубежом фотографии покупают богатые люди, а у нас среднего класса не существует. Какая может быть культура в стране, где люди думают о еде? У нас я должен прийти и обьяснять три часа человеку, чем вообще уникальна эта фотография. А тем более, если разговор идет о документальной фотографии, которую у нас к тому же снимают как репортаж. Конечно, снимать можно как угодно, но здесь ее вообще не считают исскуством и причисляют большую часть живых документалистов к обычным репортерам.\n\nУ меня два года назад проходила лекция в Ганновере, в одном известном университете. Мне было очень нервозно, я без образования, прихожу, а тут люди, которые 6 лет обучаются фотографии. И парень принес мне портфолио, показал 5 историй. Я посмотрел и не знал, что сказать. И когда он мне показал серию работ, сделанную до учебы, у меня мозг взорвался. То есть его просто забили, подвели под клише, чтобы он зарабатывал деньги. Это тоже очень важно, потому что у нас этого нет, люди не знают, как заработать, где найти клиента и т.д. Я считаю, что рынок порождает спрос, у меня лекций и выступлений в Европе больше, чем в Украине. Выставок здесь вообще нет. Спроса на документальную фотографию нет. Фотографы документалистами быть не хотят, потому что не знают, как заработать. Я сюда приезжаю и иногда чувствую себя лишним, понимая, что такие люди как я здесь не нужны. Я приезжаю в страну, где то чем я занимаюсь, не считается искусством. Я из всего этого вышел, не потому что стал умным и начитанным, я подавался на конкурсы. Я решил снимать проект в Украине, выбрал тему туберкулеза. Потом это дало мне возможность выезжать за границу на выставки, и там я увидел что-то другое.\n\n«Лучше бумаги ничего нет»\nВ том году на фестивале Paris Photo я был просто потрясен. И не из-за фотографий, я вообще не смотрел на фотографии, половина — bullshit. Я просто сошел с ума от того, что фотограф, перед тем как нажать затвор думает, как это все будет выглядеть в выставочном зале. Потому мне сейчас интересны галереи и музеи, у нас приходишь на выставку и что? Все работы оформлены в одно паспарту. Или вот книги, когда я видел их здесь, это были классические фотоальбомы. Когда ты попадаешь в Европе на какие-то фестивали и видишь как там, реально башню сносит.\n\nЯ постепенно ухожу из Интернета, потому что, увидев свои фотографии в музее современного искусства размером полтора метра, я понял, что вообще больше никогда не буду смотреть их на компьютере. Когда я увидел, как проект можно показать в книге, то понял, что о сайтах не может быть и речи. Мне кажется, что фотография, которая остается только в интернете, незаконченная. Пока что лучше бумаги ничего нет, лучше книги, в которой представлен проект тоже ничего нет. Это другой эффект чем все эти изображения в Инстаграме или на Фейсбуке.\n\nP.S.\nЯ очень хочу познакомиться со Себастио Сальгадо. Так случилось, что вся моя левая рука в его фотографиях. И магнумцы мне сказали, что я должен обязательно с ним увидеться. Он по любому с тобой подружится! С человеком, который решился такое сделать!\n\nЯ его очень люблю, у меня был период, когда я находился под безумным впечатлением от его работ. Всегда кто-то создает определенное течение, в котором он лидер и за ним все идут. Тот же Роберт Каппа создал течение крейзанутых военных фотографов, из которых никто не стал лучше, чем сам Каппа. Это путь повторения, круто это знать, но не нужно этому следовать. Мне кажется, что настоящий художник, я только недавно понял, это человек, который освобождается от влияния. Каждого художника воспитывают в какой-то школе, в какой-то традиции. И вот наступает момент, когда он понимает, что мир намного шире. 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Bo, jak podkreślił w wywiadzie, którego udzielił dla “New York Timesa”, “każdego roku przez promieniowanie, kurz, deszcz, i wszystkie inne czynniki, panuje tam destrukcja”.\n\nMaxim mocno podkreśla, że jego projekt to nie tylko tragedia z 1986 roku, ale to historia, która powinna być dla nas przestrogą i nauczką. “Untitled Project” to dla swoiste medium dla jego deklaracji. – Dla wszystkich Czarnobyl kojarzy się tylko z tragedią w elektrowni jądrowej i jej konsekwencjami. Osobiście jestem przeciwny elektrowniom jądrowym, myślę, że są one szkodliwe dla naszej planety i dla nas, dla ludzi – deklaruje fotograf.\n\nI dodaje: – W tym projekcie chciałbym pokazać szczęśliwe, pełne miłości i radości życie ludzi, którzy tu mieszkali, zanim ich domy zostały wchłonięte przez radioaktywną chmurę. Chcę pokazać drugą stronę Czarnobyla – opowieść sprzed tragedii, pokazać życie, jak to było i kto tam mieszkał. To jest mój główny cel. 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Tchernobyl, le temps s’est arrêté en 1986"},{"insert":"\n\nAprès la catastrophe nucléaire de Tchernobyl en 1986, des milliers de kilomètres carrés sont devenus inhabitables. Leurs habitantes et habitants ont dû fuir dans la précipitation, sans même avoir le temps de prendre leurs affaires personnelles –et notamment leurs photos. Depuis 2015, le photographe ukrainien Maxim Donduyk a entrepris de rassembler et de restaurer ces images trouvées dans les maisons et les bâtiments de la région contaminée. «Avec ce projet, explique-t-il, je veux montrer la vie heureuse et pleine d’amour des gens de la région avant qu’elle ne soit absorbée par le nuage radioactif. Je veux montrer l’autre côté de Tchernobyl, l’histoire avant la tragédie, comment et qui vivait là-bas.»\n\n«Ce travail ne ressemble à aucun autre de mes projets. Avant, j’étais toujours l’auteur des photos. Le projet Tchernobyl est le premier pour lequel j’ai fait le choix de mettre en avant des photos trouvées, que je n’ai pas réalisées moi-même.»\n\n«En 2008, j’ai visité pour la première fois la zone de Tchernobyl. J’y suis allé en tant que photojournaliste, envoyé là-bas pour une mission. Jusqu’à la fin de l’année 2010, j’ai continué à y revenir, pour différents travaux. J’étais totalement fasciné par l’endroit, les maisons abandonnées à la hâte et la nature recouvrant progressivement les traces humaines.»\n\n«Je suis revenu dans la région en 2015, après avoir couvert la révolution et la guerre en Ukraine. À Tchernobyl, je ressentais et voyais les choses différemment. Je ne cherchais plus à faire de reportage; j’étais intéressé par la contemplation et l’exploration visuelle de la zone que j’avais déjà photographiée.»\n\n«Je m’intéressais aux bâtiments, aux maisons rurales à l’architecture singulière et aux traces d’installations militaires. J’ai commencé à être fasciné par les paysages, qui peuvent parfois en dire beaucoup plus sur ce qui s’est passé que les faits en eux-mêmes. J’ai mené un autre projet, intitulé “Entre la vie et la mort”, où j’ai utilisé la même approche visuelle. Les ruines laissées par la guerre, à mon avis, montrent beaucoup plus son horreur que les événements sanglants survenus en 2014.»\n\n«Dans la zone de Tchernobyl, presque toutes les maisons et les monuments détruits portent en eux-mêmes le souvenir de l’époque antérieure à la catastrophe. C’est ce qui m’attire, et me ramène plus de trente ans en arrière. Après tout, le temps s’est arrêté ici en 1986, à l’ère de l’Union soviétique. Lettres, meubles, architecture: tout était figé dans le temps. Et c’est fascinant, même si je suis évidemment contre ce qu’a fait le gouvernement soviétique à l’époque.»\n\n«Là-bas, tout me rappelle le pays où je suis né. De temps en temps, je trouvais des lettres et des photos de personnes qui vivaient dans ces régions, et cela m’a incité à vouloir en apprendre le plus possible sur la vie à Tchernobyl avant l’explosion et à sauvegarder ces objets visuels et historiques. Je ne m’attendais pas à trouver un tel nombre de photos.»\n\n«J’ai été étonné de voir comment le gouvernement soviétique avait évacué ces personnes. Il leur a promis qu’elles allaient pouvoir revenir quelques jours plus tard et qu’il n’était donc pas nécessaire de prendre avec elles des choses inestimables, telles que des lettres, des photos de parents ou d’amis. Imaginez que toutes les photos de votre famille disparaissent pour toujours, et qu’il vous soit impossible de garder ces souvenirs avec vous.»\n\n«Ce projet ressemble à une fouille archéologique. Aucun de ces objets n’était proprement posé sur une table ou une étagère. Une épaisse couche de boue et de déchets les recouvraient, dans des maisons abandonnées et presque détruites. Les photos étaient par terre, sous des meubles brisés, partout.»\n\n«J’ai évidemment dû restaurer les images. La plupart étaient abîmées. J’ai tout lavé, séché et scanné. Certains films ont été détruits par le nettoyage. Pour le moment, j’ai fini l’étape des scans. J’ai aussi trouvé des affiches de cinéma, des lettres, des cartes postales ou des films. Le travail qui reste à accomplir est titanesque.»\n\n«Pour tout le monde, Tchernobyl n’est associée qu’à la tragédie de la centrale nucléaire et à ses conséquences. Je suis farouchement opposé aux centrales nucléaires, je pense qu’elles nuisent à notre planète et à sa population.»\n\n«En plus de trente ans, aucune organisation gouvernementale ni aucun musée d’Ukraine n’a essayé de faire quelque chose pour sauver une histoire aussi inestimable. Je souhaiterais désormais retrouver les personnes qui figurent sur les photos. Je voudrais créer un site où les gens pourraient trouver sur une carte les maisons dans lesquelles ils vivaient, trouver leurs proches ou eux-mêmes sur des photos et télécharger des archives numériques. Mon frère Nikolai Dondyuk, réalisateur de documentaires, m’a rejoint dans ce projet et a commencé à tourner un film sur cette histoire.»\n\n"},{"attributes":{"link":"http://www.slate.fr/grand-format/vie-avant-tchernobyl-165707"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:23:38","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Slate.fr, Text by Fanny Arlandis | 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Dondyuk, b. 1983, Ukraine\nPhotographer, Documentarist, Visual Artist\n\nHis works were exhibited internationally at the Musée d’Art Moderne (Paris), Somerset House (London), MAXXI National Museum of XXI Century Arts (Rome), Stadtisches Museum im Kornhouse (Germany), International Red Cross and Red Crescent Museum (Geneva), the Biennale of Photography in Bogota (Colombia), among others.\n\nHe is a finalist of the Prix Pictet ‘Disorder’ Photography Prize, International Photographer of the Year in Lucie Awards, finalist of the W. Eugene Smith Grant in Humanistic Photography, winner of the Ville de Perpignan Remi Ochlik Award, Magnum Photos competition ‘30 under 30’ for emerging documentary photographers, to name a few. Maxim has been awarded an artist residency Cité Internationale des Arts in Paris, France and received NOOR-Nikon Masterclass in Documentary Photography in Bucharest, Romania.\n\nHis works are in the permanent collections of the National Museum of Photography (Colombia), Benaki Museum (Greece), Museum of The History of Ukraine in World War II (Ukraine) and private collections.\n\nHis projects were featured in GUP, British Journal of Photography, Rolling Stone, TIME, Newsweek, Der Spiegel, STERN, Polka, 6Mois, Paris Match, Le Monde, PDN, Bloomberg Businessweek, and others.\n\nMaxim is currently based between Chiang Mai, Thailand, Kyiv, Ukraine and Paris, France. 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Lost Photos of Life Before the Chernobyl Disaster"},{"insert":"\n\nMaxim Dondyuk is preserving evidence of people’s lives in the Chernobyl exclusion zone, before the nuclear explosion turned their communities into ghost towns.\n\nChernobyl.\n\nThe name evokes the chilling imagery of a ravaged nuclear reactor, tens of thousands of displaced Soviets fleeing radiation-contaminated homes, the ghostly overgrown landscape today. But that is not what the Ukrainian photographer Maxim Dondyuk has sought out during his exhaustive trips to the Chernobyl exclusion zone over the past few years.\n\nBefore the nuclear disaster in 1986 made 1,000 square miles of land uninhabitable to humans for thousands of years to come, Ukrainian families lived in cities and villages within the region, some for many generations. They attended school, went sailing, traveled, celebrated Christmases.\n\nMr. Dondyuk, who was born three years before the nuclear reactor exploded, found decaying pictures in the abandoned homes and buildings that encapsulated the previous era. He wants to ensure it isn’t forgotten.\n\n“It’s memory, it’s really important history, part of my life,” he said in a Skype interview. “And now every year, with radiation, with dust, with rain, with something else, it’s destruction, destruction.”\n\nAround 1:30 a.m. on April 26, 1986, sixteen years after construction on the Chernobyl Nuclear Power Plant began, alarms rang out at a local fire station.\n\nA test to determine how Reactor No. 4 would operate after losing power went awry, and a sudden increase in power levels triggered an explosion that spewed radiation into the air, and set the nuclear reactor ablaze. Hundreds of thousands of Soviet citizens were eventually evacuated from their homes in what would become the exclusion zone, taking with them only identity documents, food and clothing. Within days, many cities and villages had become ghost towns.\n\nMr. Dondyuk visited the restricted region 10 years ago on photojournalism assignments. But in 2015, after spending months photographing the Ukrainian revolution, he returned to the radioactive region, focusing on its representation of a former era. But while wandering and photographing the abandoned structures, Mr. Dondyuk began rummaging through drawers and piles of wreckage in rooms, only to find faded rolls of black-and-white film caked in dust and debris as well as old portrait photographs and letters — stained by moisture and the elements, but still legible.\n\n“I want to learn as much as possible about what was in Chernobyl zone before the explosion,” Mr. Dondyuk said in an email, “and to save these visual, historical objects, if in my country nobody bothered to do it for more than 30 years.”\n\nAfter collecting and storing the thousands of written and photographic documents he unearthed during his visits, Mr. Dondyuk began scanning and digitally archived his findings. He has called his efforts the “Untitled Project.”\n\nBy reading the letters and postcards decorated with roses and hammer-and-sickle iconography — conveying everything from generic well wishes for the new year, to solemn love letters like those between a woman and her army-enlisted partner — Mr. Dondyuk started following these narratives to try to piece together the former residents’ lives. In the case of the army couple, the woman wrote about creating a future with her husband in Chernobyl.\nAlthough not every photograph has a clear story, some portraits conveyed the serene normalcy the region enjoyed before 1986. Once cleaned off, the artifacts revealed a land that once hosted wedding processions in fields, or provided family bonding time through sunbathing on picnic blankets and fishing expeditions.\n\nIn a meadow, square-jawed young men wearing military fatigues share a light and enjoy a group smoke break. Out in the woods, a group of mop-topped musicians dressed in bell-bottoms and tweed have set up guitars and drums, possibly for an album photo shoot, much like bands today. And a woman and children, bundled up in head scarves as well as thick blouses and skirts, crack smiles while surrounded by snowfall and houses.\n\n“You started understanding the life of the people, how they lived, what they thought, who they loved, how they celebrated their weddings, and so on,” said Irina Dondyuk, Mr. Dondyuk’s wife, agent and translator, “so it’s quite interesting to follow the life of people.”\n\nThe Dondyuks admitted that the Untitled Project is an illegal venture. Nothing can be taken from the radioactive areas (although that hasn’t deterred looters from raiding money, furniture and other resources to sell). Even though the films, photographs and letters had been left behind for decades, Mr. Dondyuk said he hid the contraband during every checkpoint search at the exclusive zone. But in the future, in addition to preserving the items and exhibiting them in a book or even a museum setting, they hope to create a digital map with geo tags, allowing people to look up their homes and see artifacts previously lost to the disaster.\n\n“We have iPhones, we don’t have these photos everywhere, we won’t miss them,” Ms. Dondyuk said about our relationship to physical photographs. “But people from their time, they didn’t have these modern devices, and they had only these photos, only these letters that meant a lot to them. And at the moment, they don’t have them.”\n\n"},{"attributes":{"link":"https://www.nytimes.com/2018/07/31/lens/recovering-lost-photos-of-life-before-the-chernobyl-disaster.html"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:38:50","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"The New York Times"},{"insert":"\n"},{"attributes":{"bold":true},"insert":"Interview by Matthew Sedacca | 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Dondyuk, Sin título​, 2018"},{"insert":"\n\n“El arte de la guerra se basa en el engaño”.\nSun Tzu, El Arte de la Guerra,  TIKAL, 2012\n\nEn el otoño de 2017, el fotógrafo ucraniano Maxim Dondyuk estuvo en la ciudad de Bogotá para hablar de su proyecto titulado Cultura de la confrontación, un trabajo documental sobre la revolución ucraniana de Euromaidan vista desde adentro. Ese proyecto llevó a la edición de un libro de fotografía, un entrañable proyecto cartográfico y visual sobre el teatro de la confrontación en Kiev, con sus facciones, sus confrontaciones internas y su evolución. La crisis ucraniana no era un simple fresco de una revuelta espontánea, es mas un diario fotográfico de la compleja crisis que fue tomándose las calles de Kiev hasta convertir el espacio urbano en una zona de combate y pedir la demisión del presidente electo Viktor Yanukovich.\n\nEl libro tiene tres capítulos en los que se relatan tres momentos de la crisis en Kiev en tres periodos de tiempo (01.12.2013–18.01.2014, 19.01.2014–17.02.2014 and 18.02.2014–20.02.2014). Sin embargo no se trata de un trabajo periodístico o de una obra de denuncia, es más bien un libro de crónica, un diario sobre un conflicto que tanto Maxim Dondyuk como el periodista Americano Simon Shuster (enviado por TIME Magazine para cubrir los acontecimientos) intentan comprender mientras se desarrolla; junto con los pensamientos de esos dos testigos se despliega el enramado de una serie de enfrentamientos generados por la creciente injerencia rusa en la política y en la sociedad ucranianas.\n\nPUNTO DE FUGA empezó a indagar más a fondo sobre este documento fotográfico, escuchando los relatos de Maxim y u testimonio de la experiencia de la revolución en momentos de incertidumbre y de confrontación política. ¿Qué llevó a un fotógrafo y activista, testigo ocular, partícipe de las revueltas sociales y políticas de la juventud en Ucrania a documentar con precisión ese momento de tensión? ¿Hasta qué punto el periodista y el fotógrafo han conseguido jugar el papel del historiador? ¿Como se dio el proceso de reconstrucción de los hechos para convertir un teatro de guerra en un relato testimonial con valor histórico? ¿Cuál es el estatus de ese tipo de fotografías, se trata de testimonios o de documentos históricos?\n\nEl ultimo encuentro que se dio con el fotógrafo abrió el campo hacia un amplio portafolio fotográfico más complejo y más lleno de matices sobre el pasado y el presente de Ucrania, su sociedad, su política, su historia, sus cambios y sus múltiples desaciertos. PUNTO DE FUGA decidió revelar el contenido de un proyecto fotográfico Sin título, para conocer más a fondo las inquietudes de un fotógrafo que ha conseguido entrar en Chernóbil para documentar los efectos del desastre nuclear en la zona. Los documentos y las fotografías reunidas son un intento por documentar el abandono forzado de una región que sufrió un abandono masivo tras la explosión de uno de los reactores de la central nuclear Vladimir Illuch Lenin el 26 de abril de 1986. La mayor parte de esa región ha quedado en cuarentena. Maxim se ha adentrado en territorios aún marcados por la radiación para fotografiar los paisajes del desastre y entrar en las casas abandonadas buscando recolectar historias de vida o indicios de un pasado soviético olvidado.\n\nP.D.F.: Maxim, has estado trabajando en una serie de proyectos fotográficos sobre la historia reciente de Ucrania, el país en el que naciste. Uno de esos proyectos es un intento por restituir parte de la historia soviética de la región de Chernóbil, después del desastre nuclear de 1986. Me contabas que habías estado varias veces en la zona, infringiendo algunas de las normas de acceso. En uno de tus trayectos te encontraste una serie de documentos, de fotografías, películas y objetos que llamaste artefactos. Parece que tu compromiso político no solo te ha llevado a hablar de protestas actuales, también implica una comprensión mas complete de la historia de tu país. ¿Cómo empezó ese proyecto y porque consideraste necesario documentar la historia de Chernóbil a través de archivos y fotos?\n\nM.D.: Te agradezco esa pregunta. Pienso que es erróneo pensar que estoy politizado. En realidad, me interesan los hechos históricos. Es una de las razones por las cuales he estado documentando la epidemia de tuberculosis, la revolución y la guerra en Ucrania. Todos estos son eventos históricos, factuales.\n\nEste último proyecto sobre Chernóbil es el primero que hago con material documental encontrado y no únicamente con mis propias fotografías. He ido a esa región muchas veces, pero no había considerado hacer de ese viaje algún trabajo documental a largo plazo. En 2015 estuve en esa zona por un trabajo que me encomendaron y fue ahí donde todo empezó a tener más sentido para mi como fotógrafo. La revolución ucraniana había terminado y yo estaba sumergido en ese tema de investigación sobre los monumentos de la época soviética en esa zona. Tengo que decir que siempre he sido critico con respecto a la era soviética y a lo que el gobierno de esa época hizo en Ucrania. No concuerdo para nada con esa política. Pero al mismo tiempo, los monumentos históricos de la época soviética tienen un interés histórico, arquitectónico y visual para mi. Son construcciones que considero valiosas.\n\nChernóbil me recordaba mucho el país en el que nací. Las cartas y las fotografías que encontré dentro de las casas abandonadas hablaban de la intimidad y del cotidiano de las personas que vivieron ahí. Desde ese entonces me dediqué a averiguar lo más que pude sobre el área de Chernóbil, la explosión de 1986 y el valor de todos esos objetos encontrados que comencé a acumular por ser documentos de valor histórico. En mi país nadie se había preocupado por esos documentos, nadie los había ni siquiera buscado durante casi treinta años.\n\nP.D.F.: Chernóbil fue una ciudad de la antigua Unión Soviética. Era muy poco lo que se conocía de esa región antes de que los medios cambiaran por complete la opinión que muchos lectores de la prensa se hacían en el mundo entero sobre ese territorio. El desastre nuclear de 1986 hizo aparecer ese territorio como zona gris, el lugar que fue testigo del peor desastre ecológico del siglo XX. Tu proyecto empieza hacienda una pregunta muy interesante: qué conocemos sobre Chernóbil antes de ser absorbido por una nube radioactiva? ¿Qué impresiones tuviste al acercarte a ese territorio desconocido después de todo? ¿Qué fue lo que notaste al fotografiar los paisajes y descubrir los artefactos que contenían muchos de los recuerdos de esa época que no conocimos?\n\nM.D.: La primera vez que estuve en Chernóbil fue hace muchos años. Era un lugar fascinante para un fotógrafo como yo. Cuando ves las casas abandonadas de un día para otro y te das cuenta que esos rastros de vida van siendo remplazados gradualmente por la naturaleza, no eres indiferente a la realidad del territorio. Después de no ir por un largo periodo de tiempo regresé en 2005 como te contaba. En ese entonces ya era capaz de ver con más claridad todas esas cosas que no había podido entender, un desalojo masivo que no había percibido en todas sus dimensiones.\n\nMe interesaban los edificios aislados, casas construidas en zona rural con una arquitectura muy peculiar, rastros de antiguas construcciones militares en la zona. Ese tipo de construcciones eran las que me causaban curiosidad. Pero al entrar en esos lugares abandonados y descubrir la cantidad de documentos y de objetos que contenían empecé a tomar consciencia de la importancia d rescatar esa información, de archivarla y conservar la memoria de esos lugares. Quedé bastante impactado al conocer la brutalidad y la rapidez con la que el gobierno soviético evacuo a todos los habitantes de la zona, prometiéndoles que volverían en pocos días sin darles la posibilidad de llevarse recuerdos y pertenencias valiosos para ellos.\n\nMuchos de esos objetos eran fotos, cartas, registros de la memoria familiar, de la vida cotidiana. No sé si te alcanzas a imaginar dejar en la casa en la que creciste todas las fotografías, las cartas y los objetos que te recuerdan a tu familia. Esos recuerdos desaparecieron en la memoria de las personas que los abandonaron. Eso fue lo que le ocurrió a esas personas que dejaron Chernóbil pensando regresar pronto. Durante la evacuación esas personas no se dieron cuenta de lo dramático que fue el desastre nuclear. Esas familias no sabían que nunca más podrían regresas a las casas donde crecieron y donde vivieron toda su vida. Ese desarraigo fue el que me llevó a entender la importancia del trabajo documental.\n\nP.D.F.: Te pregunto esto porque tengo la impresión que mas allá de documentar la historia de Chernóbil, el pasado soviético de una región evacuada en 1986 hoy habitada, tu conseguiste romper con esa prohibición de acceso para recuperar esos artefactos que cuentan de otro modo las historias de vida de quienes abandonaron la zona. Esos documentos son como los registros de una vida que los noticiero y las crónicas periodísticas nunca mostraron. Tus fotografías por otro lado son imagines de ese paisaje ucraniano que no parece sumido en la tragedia. ¿Consideras ese trabajo como algo periodístico o crees que tu proceso es mas lento y va más allá de la cuestión informativa o de reclamo sobre el desastre nuclear que sacudió a ese territorio en una zona non grata? ¿La intención de tus imagines es recordar un evento trágico o es por el contrario un trabajo histórico, una labor documental distinta a la que se puede conocer a través de los medios?\n\nM.D.: Realmente no me considero un fotoperiodista. Este es mi segundo proyecto documental después de Cultura de la Confrontación, un trabajo más meditativo sobre el conflicto en ucrania, contado desde una perspectiva de más largo plazo. Esa mirada es por supuesto distinta de la que uno puede tener con el periodismo informativo. Después de Maidan, muchas cosas han cambiado, empezando por el lenguaje fotográfico. Sigo trabajando para periódicos y revistas pero mis proyectos personales van más a fondo, son más complejos y no hablan de la actualidad. Me considero más un artista. Mis proyectos han sido pensados para formatos de libro o de exposición.\n\nEse ultimo trabajo sobre Chernóbil es una obra contemplativa, de trayectos constantes y recorridos por toda la región. Es una obra en la que busco explorar a fondo el territorio. Cuando estoy recorriendo esos paisajes en destrucción sólo tomo una fotografía cuando considero que ese paisaje merece ser fotografiado. No se trata de documentar una tragedia o un evento específico, es más bien entender cuales son las tensiones contenidas en ese territorio, las historias de vida que han sido interrumpidas por el desastre nuclear. Es probable que muchos fotógrafos contemporáneos hayan fotografiado ese territorio. Es difícil hacer algo que sea autentico o radicalmente distinto de lo que comúnmente se ve en el mundo de la fotografía documental o de prensa sobre Chernobil. Desde que descubrí todos esos artefactos: postales, cartas, fotografías y películas abandonadas en las basuras o tiradas en el suelo de las casas, ese recuerdo se quedó grabado en mi memoria. Esa inquietante realidad del despojo me llevó a entender lo necesario que era constituir un archivo con todo lo que pudiera encontrar en la región.\n\nP.D.F.: Cuando conversamos sobre este proyecto me dijiste que tus viajes a la región no eran seguros. Tuviste que infringir algunas restricciones para adentrarte en ese paisaje radioactiva asumiendo una serie de riesgos para tu salud. Esa actitud transgresora tiene mucho en común con el trabajo del reportero, especialmente el reportero de guerra. A diferencia de ellos, tu vas y vienes en la zona sin intentar captar algún momento decisivo, ignorando por completo lo que pueda surgir con cada viaje. Buscas de pronto entender con mayor profundidad ese paisaje desordenado marcado por la explosión de una central nuclear treinta años antes. ¿En qué momento decidiste abordar esa zona a través de sus paisajes? ¿Esa era tu forma de decir algo más sobre Chernóbil, algo que otros fotógrafos no habían conseguido expresar con tanta sensibilidad?\n\nM.D.: La amenaza a la que se enfrenta cualquier persona que visite esa zona es invisible, se trata de la radiación. A pesar de que hayan pasado casi tres decenios desde la explosión del reactor nuclear hay muchos lugares en donde la radiación es muy alta. Cuando te expones a la radiación no te es posible notar la diferencia inmediatamente. Los efectos nocivos de la radiación pueden aparecer años mas tarde. Desde 2015 he tratado de alejarme del reportaje clásico para enfocarme en proyectos de más larga duración cambiando profundamente el lenguaje con el que expreso inquietudes muy reales. Trato siempre de explorar un territorio, recorrerlo varias veces y en distintos periodos de tiempo para captar eso que no se puede percibir inmediatamente.\n\nHace un tiempo trabajé en un proyecto que se titula Between Life and Death (Entre la vida y la muerte) y que buscaba aproximarse a una situación trágica de una perspectiva distinta a la del periodismo. En esa serie utilizo la misma experimentación visual: observo la realidad de lo que ocurre buscando entender lo que sucedió sin intentar registrar el evento o dirigir la atención hacia lo que es más obvio. En ese proyecto empecé a tomar conciencia del valor histórico de las ruinas de un territorio sacudido por la guerra. Las fotografías de esos restos de una guerra muestran con mayor profundidad los horrores de una guerra que los eventos sangrientos que tuve la oportunidad de fotografiar en 2014 cuando acompañe a la armada ucraniana en el frente de guerra.\n\nTodos esos documentos acumulados entre los muros de todas esas casas en ruinas han servido para conservar la memoria del cotidiano en esa región antes de la explosión. Lo fascinante de todos esos artefactos o documentos históricos es que nos permiten ir atrás en el tiempo para entender como se vivía hace treinta años. Después de todo, el tiempo se detuvo en Chernóbil desde 1986. Esa región quedó detenida en la época soviética, congelada en el tiempo. Las cartas, los alimentos en conserva y las fotografías quedaron realmente congelados en el tiempo. Eso me parece fascinante….\n\nP.D.F.: Me interesa saber cómo has ido aproximándote a esos documentos encontrados. Dices que son objetos históricos, congelados en el tiempo y en el espacio, relatos de historias familiares en donde quienes abandonaron el territorio vivieron felices. Esas memorias familiares no reflejan el ambiente de destrucción y de soledad de tus fotografías de paisajes nevados, casas en ruinas y bosques secos. Es más fácil asociar tu trabajo de documentación con la actividad de un cazador. Tus fotografías de los paisajes de esa zona revelan sutilmente esa violencia generada por el desastre nuclear y el abandono de la región por quienes la habitaban. El abandono y la ruina sólo se convierten en una evidencia cuando los confrontas con esas fotografías de la vida antes de 1986. ¿Crees que esas fotografías encontradas, esos documentos de archivo podrán algún día coincidir con esos paisajes que tu has ido retratando desde hace unos años? En otras palabras, ¿hay alguna forma de lidiar con el vacío producido por el desalojo a través de la fotografía o será que el mes de abril de 1986 será siempre un punto de ruptura, un año cero en tu proyecto documental?\n\nM.D.: No considero realmente mi trabajo como un gesto de caza. Pienso más bien que se trata de un trabajo arqueológico. Antes de entrar en una casa empiezo a buscar en la memoria de quienes habitaron la zona en basuras, entre montículos de arena y en el barro. El recorrido empieza en los alrededores de la casa. Son documentos que muestran el área en la que fueron encontrados tal y como quedó después de la tragedia. La esencia de este proyecto es la búsqueda de recuerdos dejados por quienes habitaron esa zona en el pasado antes de que ocurriera la tragedia. Esos recuerdos fueron destruidos también, abandonados y sometidos a la radiación del suelo. Muchos de ellos estaban siendo destruidos por las naturaleza. En mi país recolectar objetos de la zona es considerado como vandalismo o robo.\n\nEs por esa razón que nunca mencione a quienes me acompañaban en esos viajes que estaba recolectando todo ese material encontrado. Si alguien llegara a saber que estoy recolectando ese material probablemente sería arrestado y no podría volver a Chernóbil nunca más. Pero asumo el riesgo. Para mi toda esa documentación tiene un invaluable valor histórico mientras que para los museos locales y el gobierno se trata simplemente de basura. Espero que después de hacer publica esta investigación pueda seguir con mi trabajo de archivo sin atraer la mirada de las autoridades.\n\nP.D.F.: Muchos de esos paisajes fotografiados generan una sensación de tranquilidad. Las fotografías del paisaje son muy silenciosas. La mayoría de ellas contienen una fuerte carga estética, son sutiles, casi como si se tratara de pinturas al oleo profundamente descriptivas. No son fotografías que reenvíen automáticamente a la región de Chernóbil o a cualquier zona de desastre que uno se pueda imaginar. Tus paisajes descriptivos son extremadamente sensibles, todos parecen contener un profundo sentimiento de soledad y de tristeza. ¿Cuando fotografiaste esos paisajes estabas tratando de ser objetivo o distante hacia el territorio que recorridas? ¿Se puede decir que ese territorio abandonado está marcado por paisajes trágicos, lugares solitarios llenos de nostalgia o se trata más bien de un campo en ruinas, de un paisaje estéril, inanimado? ¿Cómo definirías tu esos paisajes que fotografiaste?\n\nM.D.: La fotografía es simplemente un contenedor de emociones, es el reflejo de lo que sentí al aproximarme a ese territorio. No hay objetividad en la fotografía, al menos no en la que yo hago. La fotografía de esos paisajes refleja un punto de vista subjetivo, una realidad pasada por el filtro de una cámara en la que se refleja toda mi sensibilidad, mi mundo interior, sentimientos relacionados con mi propio pasado. Cada fotógrafo descarta todo lo que es innecesario al dejarlo fuera del encuadre de la imagen. Todo lo que está sucediendo alrededor deja de ser importante. Pero ese mismo contexto que muchas veces parece haber sido excluido puede cambiar profundamente el sentido de una fotografía. La fotografía es el reflejo de una narrativa personal de un artista. En ella están contenidos los sentimientos, la sensibilidad, las decepciones y las esperanzas de quien mira. Es en otras palabras la mirada de un fotógrafo. Cuando veo algo que me conmueve siempre trato de registrar esas emociones a través de la fotografía. Es por esa razón que no me considero un fotógrafo documental clásico.\n\nP.D.F.: Tus incesantes recorridos por la región te llevaron a la ciudad soviética de Prioyat, un lugar lleno de vida antes del desastre de 1986. Esa ciudad como muchas otras situadas en el perímetro de la explosión nuclear desaparecieron de la noche a la mañana. Los habitantes de esa región también desaparecieron al ser evacuadas a múltiples ciudades y pueblos de la Unión Soviética. Al describir esa región decías: ¨Hoy en día casi todo el mundo conoce Chernóbil como una región altamente peligrosa por sus niveles de radioactividad. Para muchos es un territorio desierto, sin presencia humana. Ahora sabemos que es una región en la que hubo una intensa actividad. ¿Por casualidad has intentado buscar a las personas que habitaron esas casas en zonas rurales? ¿En donde vive toda esa genta hoy en día si es que todavía vive? ¿Piensas que esas personas serán capaces de reconocer su pasado cuando se enfrenten a todos esos recuerdos que dejaron atrás?\n\nM.D.: A este estado del proyecto, no he podido encontrar a nadie que haya vivido en esa zona. El principal objetivo por ahora es recolectar todos los objetos, las imágenes y los recuerdos que pueda para hacer crecer el archivo de la zona. Por una razón, todos esos objetos y documentos están siendo destruidos por la radiación y por las condiciones naturales que ahí se viven. Pero ciertamente quiero buscar a quienes vivieron en la zona. Estoy pensando crear con todos estos hallazgos una plataforma multimedia en donde la gente pueda encontrar las casas donde vivieron y reconocer todos los objetos que he ido recolectando. Me gustaría que muchos de quienes abandonaron el lugar puedan encontrar a sus familiares y descargar los archivos.\n\nMi hermano Nikolai Dondyuk, director de cine documental, se ha unido a este proyecto. Empezó a filmar y documentar todo el proceso. Hemos estado varias veces en Chernóbil y él ha ido registrando la forma como estoy recolectando toda esa documentación histórica. Algunas de esas tomas van a servir para promover el proyecto en las redes. Tengo un archivo extenso de casas en donde he encontrado una gran cantidad de material fotográfico y películas. Nos gustaría incluir los testimonios de quienes vivieron en esas casas para poder terminar con la labore de documentación. Me interesaría poder compartir toda esa información con ellos y ver su reacción. Saber por ejemplo si aprueban o condenan esta tarea histórica de recuperación de la memoria.\n\nP.D.F.: Veo que tienes un gran interés por cartografiar tus descubrimientos, registrando con mucho cuidado el lugar en donde encontraste la documentación y las fechas en que lo hiciste. Todos tus viajes pueden ser reconstituidos. Porqué has considerado que es importante registrar la hora y el lugar en donde encontraste cada uno de esos objetos archivados? Crees que al situar los objetos en el tiempo y en el espacio en el que fueron encontrados eso les da un valor histórico? En otras palabras, piensas que esa documentación es importante porque dicen algo del sitio y de la época en la que fueron encontrados o piensas que esos archivos pueden ser testimonios de algo mas universal como lo es el exilio forado y el abandono de la tierra?\n\nM.D.: Este proyecto sobrepasó en muchos aspectos mis expectativas. Ahora me doy cuenta que no se trata simplemente de una serie documental sino de un proyecto de museo. Soy un visitante asiduo de los museos de Europa y sé lo importante que es para esos lugares el documentar con exactitud el sitio y la época en la que fueron encontrados ciertos documentos de valor histórico. La cartografía facilita la investigación y permite establecer nuevas zonas arqueológicas para seguir recolectando material.\n\nEn 2018 pude regresar a una de las casas que ya había registrado. El mapa es importante por permite orientarse en la zona y también permite saber cual es el perímetro que ya ha sido intervenido y qué nuevas zonas quedan aun por investigar. Es una forma de saber cual es el porcentaje del trabajo realizado. Me gusta ser exhaustivo. La idea es que al visitar el futuro museo una persona pueda ir mas a fondo y descubrir las historias detrás de cada casa, de cada barrio o de cada zona.\n\nCreo que es muy importante darle una cierta estructura a cada proyecto mientras se va desarrollando. No pienso que es una buena idea que únicamente el artista sea quien pueda orientarse en un territorio para saber que es lo que acontece ahí. En mi caso, el curador de la exposición tendrá toda la libertad para determinar la museografía y establecer recorridos según su sensibilidad y su criterio.\n\nP.D.F.: Me pregunto si en todo ese proceso de recolección histórica tan arriesgado que estás llevando a cabo, poniendo en riesgo tu salud y también tu libertad para trabajar con documentos que normalmente no has debido recuperar de esa zona de riesgo no hay un pequeño espacio para la ficción. Lo digo porque hace poco estuve leyendo un libro de Sandor Marai, un escritor húngaro que tuvo que vivir en el exilio durante la época soviética. En una de sus novelas titulada El último encuentro, el personaje principal se encuentra con un amigo que no había visto por mas de cuarenta años. Entre estos dos amigos se va desarrollando un encuentro bajo el tono de un juicio moral e histórico. Las decisiones que estos amigos tomaron en el pasado son muchas veces condenadas o criticadas. La ficción tiene también un poder para describir las sutilezas de un tiempo que es difícil de recordar. Si tuvieras que escoger a un escritor o una novela para acompañar uno de tus libros, cual sería?\n\nM.D.: Es una pregunta muy inesperada. Pienso en la novela Batalist de Arturo Pérez Reverte. Es un escritor muy reconocido que hace mucho tiempo escribió reportajes periodísticos de zonas en guerra. Este libro en especifico trata la historia de un fotógrafo militar que paso su vida retratando la Guerra. Al final de su vida decidió irse a vivir a una iglesia para pasar sus últimos años en paz. Al interior de esa capilla empezó a crear un fresco para ilustrar todo lo que vivió y todo lo que vio en el pasado. Un encuentro inesperado con una persona le cambia profundamente la vida. Se trata de algún que durante 25 años estuvo buscando incansablemente a ese reportero para matarlo por las graves consecuencias que tuvo para el observar una de sus fotografías publicadas en la prensa. A partir de ese encuentro se produce un dialogo muy impactante para mí como fotógrafo.\n\nNo quiero herir a las familias que aparecen en las fotografías encontradas. Pero muchas veces el trabajo de la verdad genera ese tipo de situaciones embarazosas. Las revistas, los periódicos y las publicaciones en línea pueden generar ese tipo de conflictos cuando la tragedia aún no ha sido superada colectivamente. Muchas de esas imágenes retratan una realidad que no deja de ser polémica. Los archivos que he ido alimentando con cada viaje, contienen historias y recuerdos de un pasado soviético y son los registros de una vida antes del desastre de Chernóbil lo que las hace doblemente comprometedoras. Es una de las razones por las cuales no he incluido ningún retrato en mis fotografías. Quizás, dentro de 25 años o cuando esa región no sea considerada un peligro pueda dar a conocer las caras de todas esas personas que vivieron en la zona antes de 1986.\n\nNo quiero terminar esta conversación sin darle la gracias a todas las personas que han estado acompañándome en este proceso. Ellos son Oleg Sosnov, Dmitri Kupriyan y mi adorada esposa Irina con quienes he trabajado arduamente para terminar este proyecto.\n\nBiography\nMaxim Dondyuk es un fotógrafo ucraniano y director de cine nacido en 1983. Desde el 2010 se ha dedicado a realizar largos proyectos documentales sobre zonas azotadas por la enfermedad, la guerra y los desastres naturales. La mayor parte de esos proyectos son el resultado de una inmersión en el enramado socio político de la realidad de su país de nacimiento, Ucrania. Sus proyectos reconstruyen los enramados políticos, históricos y sociales de Kiev, Uman y la región de Crimea, territorios que han sido transformados por el conflicto y desastres humanitarios de diversas índoles.\n\nEn su más reciente proyecto titulado Between Life and Death(Entre la vida y la muerte) las memorias de la guerra aparecen reflejadas en el paisaje. Actualmente está dedicado a la creación de un archivo extenso con fotografías objetos, y otros documentos encontrados en las casas abandonadas por toda la región de Chernóbil, treinta años después de la explosión de un reactor nuclear en la zona.\n\nA los largo de su Carrera sus proyectos fotográficos han sido expuestos en el Museo de Arte Moderno en París, The Somerset House en Londres, The National Museum of XXI Century Arts en Roma yThe Museum of Photographic Arts en San Diego. Además de ser fotógrafo trabaja para el Comité Internacional de la Cruz Roja, La Organización Mundial de la Salud y el Deutsche Gesellschaft für Internationale Zusammenarbeit.\n\n"},{"attributes":{"link":"https://puntodefugabogota.com/2018/07/11/maxim-dondyuk-sin-titulo%E2%80%8B-2018/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:41:22","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"PUNTO de FUGA"},{"insert":"\n"},{"attributes":{"bold":true},"insert":"Interview by Laura Carbonell | 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POINT OF CONFLICT"},{"insert":"\n\n“Peace is not the absence of conflict, but the ability to cope with it,” Mahatma Gandhi said. While woe-filled women and men have wondered since time immemorial whether true peace is possible, conflict has nevertheless played an important role in making us who we are today. It’s a tool to express our emotions, assert our values and learn what to do when others do the same. Yet, despite the prospect of positive gains, conflicts turn and twist in the blink of an eye: the tiniest spark can ignite the flames of battle.\n\nUkrainian photographer Maxim Dondyuk (b.1983) experienced first-hand what it meant to be in a conflict area. In his series Culture of Confrontation, he documented the bloody wave of protest in capital city Kiev during the winter of 2013, better known as Euromaidan. This civil unrest was sparked by disagreement as to whether Ukraine would be better off allying itself with Russia or the European Union. When the Ukrainian government suspended the signing of an association agreement with the EU, protests kicked off, and were fuelled by the perception of corruption, abuse of power and violation of human rights.\n\nDondyuk’s cinematic images show the rumblings of civil discontent that escalate into metaphor as a battle between light and dark, good and evil. Experimenting with scale, he inspires various narrative interpretations of one culture that fought with great passion and intensity for a better future and another culture more nostalgic about their past. Throughout the series, it’s quite discomforting how ‘appealing’ the images appear. Dondyuk himself described the distressing beauty of the revolutionary canvas, as bloody scenes interweave with visually aesthetic views. He states: “Euromaidan became one of the most beautiful revolutions, like scenes from [a] Hollywood film.”\n\nYet, we should not get so lost in the beautiful metaphor that we lose the sense of horror. As Tim O’Brien writes in his book The Things They Carried: “If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie.”\n\nIn Dondyuk’s next series, Between Life and Death, he shows us that time doesn’t heal all wounds. We see the gloomy wrecks of tanks and look-out bunkers covered in clean white snow. It’s the aftermath of the conflict.\n\nThe series engages with the difficulty of moving on, after a conflict has supposedly been resolved. While there’s a clear conceptual contrast between black and white, in reality, between the two is a full spectrum of grey. Likewise, in conflict situations, boundaries are often blurred. Good and evil are naïve simplifications, and while any conflict might have its ‘end’, those involved can be haunted by it, ever after. “War takes any meaning and breeds emptiness,” Dondyuk writes. “An emptiness that burns all around leaving just ruins, storing the memories of war. A person’s mind, traumatized after the war, is like the deserted landscapes of ruins.”\n\nDondyuk’s series illustrate that battles are ultimately won and lost in the mind. Photography, therefore, can help us to explore the emotions experienced. It makes the invisible visible and holds up a mirror to man’s inhumanity, as we move back and forth between the light and the dark. Through his symbolic images, we’re reminded that the real enemy is within us.\n\nThe Turning Point of Conflict was featured in GUP#56, the Transition issue.\n\n"},{"attributes":{"link":"http://www.gupmagazine.com/articles/the-turning-point-of-conflict"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:41:40","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"GUP Magazine, Text by Marije Pöpping | 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Pierwsze zderzenie ze światem zdjęć nastąpiło, kiedy miałem pięć lat. Moja mama była entuzjastką fotografii i pamiętam, że przyglądałem się, jak wywołuje zdjęcia rodzinne w ciemni. Niedługo potem dostałem swój własny aparat, radziecką smienę i zacząłem sam robić zdjęcia. Kiedy upadł Związek Radziecki, kupowanie filmów i ich wywoływanie stało się bardziej problematyczne i dużo droższe, więc oboje z mamą zawiesiliśmy to zajęcie. Drugie podejście nastąpiło w wieku 12 lat. Tym razem zapisałem się do kółka fotograficznego i nauczyłem się sam wywoływać swoje zdjęcia. Niestety mój entuzjazm nie trwał długo. Trzecie podejście do fotografii zaliczyłem w wieku 24 lat. Pracowałem wtedy w zupełnie innym obszarze, ale robienie zdjęć stało się moim hobby. W każdej wolnej chwili studiowałem tajniki fotografii, dużo czytałem, a przede wszystkim ćwiczyłem. Rok później rzuciłem swoją dotychczasową pracę i zostałem fotoreporterem w ukraińskich mediach. W 2010 roku zrozumiałem, że potrzebuję o wiele więcej wolności, więc zrezygnowałem z pracy w mediach i rozpocząłem działalność jako freelancer, by poświęcić się tworzeniu i promowaniu osobistych długoterminowych projektów.\n\nCo kochasz najbardziej w fotografii? Co było dla ciebie najważniejszą lekcją?\nZanim zająłem się fotografią, pracowałem w branży restauracyjnej i spędzałem cały swój zawodowy czas w jednym miejscu. Lubię fotografię, bo dzięki niej moje życie ciągle się zmienia. Poznaję nieznane mi wcześniej miejsca, sytuacje i ludzi. Fotografia jest moją filozofią. Poprzez obserwowanie i wczuwanie się w sytuacje i ludzi, których poznaję, zmieniam samego siebie. Wszystkie projekty są integralną częścią mojego życia. Przykładem jest mój projekt dotyczący epidemii gruźlicy na Ukrainie. Poświęciłem mu dwa lata, zapominając o wszystkim innym. Poznałem ludzi, których losy śledziłem aż do samego ich końca. Co tydzień umierał ktoś, kogo dotyczyła moja fotograficzna historia, co sprawiało, że żyłem cały czas w bardzo bliskim kontakcie ze śmiercią. Ten projekt i wszystkie kolejne zmieniły mój światopogląd i układ priorytetów. Gdyby nie fotografia, pewnie nigdy nie miałbym szansy na takie doświadczenia.\n\nSkąd czerpiesz inspirację?\nW większości przypadków inspirują mnie pisarze i malarze, a nie fotografowie. Kiedy przyjeżdżam do nowego kraju, odwiedzam muzea i galerie. Uwielbiam malarstwo realistyczne, bo ukazuje wielkie bitwy i momenty historyczne przez pryzmat niezwykłej estetyki i piękna.\n\nCzym jest fotografia?\nFotografia jest moim wizualnym pamiętnikiem. Nie jest dla mnie ani pracą, ani hobby. Jest moją filozofią i religią. Pomaga mi odkrywać i rozumieć świat. Z pomocą fotografii mogę wchodzić w życie innych ludzi, brać udział w wielu trudnych zdarzeniach i wczuwać się w ich atmosferę.\nKiedy fotografuję, zawsze myślę o uczuciach, ponieważ fotografia to nie tylko strona wizualna. Nie odpowiada ona tylko na pytania „co?”, „gdzie?”, „kiedy?”, ale ukazuje też związki między różnymi ludźmi i zdarzeniami. Mogą to być wspomnienia z dzieciństwa, treść ulubionej książki, filmu…\nDobre zdjęcie to zdjęcie nasycone emocjami. Odbiorcy powinni czuć zarówno uczucia osób, które były fotografowane, jak i emocje samego fotografa. Zdjęcie dobre technicznie, ale pozbawione emocji, jest martwe. Oczywiście fotografowie muszą znać się na technicznych aspektach swojego zajęcia, ale na pewnym etapie powinni o nich zapomnieć i poddać się emocjom.\n\nOpisz swój system pracy przy projekcie „Culture of Confrontation”\nMaksim DondjukW połowie 2013 roku z wielu powodów zacząłem myśleć o kręceniu filmów dokumentalnych. Wydawało mi się, że dają o wiele większe i głębsze możliwości opowiadania historii ludzkich niż fotografia. Zdecydowałem się nakręcić film dokumentalny na temat mojego projektu „Crimea Sich”. W lecie 2013 roku pojechałem z bratem w Góry Krymskie, wydawszy ostatnie oszczędności na potrzebny nam sprzęt. Chciałem znaleźć odpowiedzi na pytania, które nurtowały mój umysł. Otrzymałem grant dla reżyserów dokumentalnych oraz zaproszenie na American Documentary Film Festival na Ukrainie. Dokładnie w tym samym czasie rozpoczął się Euromajdan. Aż do 1 grudnia 2013 nie wiedziałem, czy powinienem pracować nadal nad filmem, czy raczej pojechać na Majdan z aparatem. Nie wiedziałem, co miałbym tam dokładnie robić, więc ograniczyłem się do przyglądania się cudzym relacjom, które miały dać odpowiedź na wiele pytań. Nagle zrozumiałem jednak, że wszystko to było analizowaniem sytuacji na podstawie materiałów z drugiej ręki, a nie na podstawie własnych doświadczeń i własnych fotografii.\n\nNie próbowałem pokazywać Majdanu okiem fotoreportera. Swoimi zdjęciami chciałem zwrócić ludziom uwagę na ogrom emocji, których sam tam doświadczyłem. Dla mnie nie była to rewolucja na placu Niepodległości, tylko sceny rodem z legend i baśni. Pomiędzy starciami policji z protestującymi czułem się jak w innym, fikcyjnym świecie, w którym toczy się walka dobra i zła, światła i cienia, ognia i lodu. Rewolucyjne płótna wypełniały się obrazami zarówno niezwykle krwawymi, jak i bajecznie pięknymi. Zniknęła granica między fikcją i rzeczywistością. Zrozumiałem wtedy, że fotografia nie jest dla mnie samym opowiadaniem historii. Fotografia to ukazywanie całej palety emocji oraz umożliwianie ludziom interpretowania rzeczywistości i znajdowania odpowiedzi na egzystencjalne pytania.\n\nDlaczego zdecydowałeś się na robienie właśnie takich zdjęć jak te, które możemy oglądać w projekcie „Culture of Confrontation”?\nZacząłem fotografować te zdarzenia, bo działy się w moim kraju, w mieście, w którym mieszkam. Zrozumiałem, że wszystko to dotyka mnie osobiście i że jest to historyczny moment dla mojej ojczyzny.\n\nTytuł „Culture of Confrontation” nie powinien być brany zbyt dosłownie. Nie jest to sztuka, która konfrontuje się z kimś lub czymś konkretnym. Wszystko, co wydarzyło się na Ukrainie, zaczynając od Euromajdanu, jest konfrontacją dwóch odmiennych kultur. Jedna z nich próbuje zatrzymać czas w swojej nostalgii za Związkiem Radzieckim i wspomnieniami dawniejszego życia. Druga myśli zupełnie inaczej. Patrzy w przyszłość i wierzy w szczęście swojego narodu. Poprzez słowo kultura rozumiem pogląd na świat, styl życia, religijność, ludzkie przemyślenia. Majdan nie dotyczył sporu dwóch różnych generacji, tylko zderzenia dwóch wizji społecznych, które mieszkają na jednym terenie.\n\nTa konfrontacja jest globalna i odwieczna. Zaczęła się dawno temu i będzie trwać, dotycząc nas wszystkich, niezależnie od kraju.\n\n"},{"attributes":{"link":"https://www.szerokikadr.pl/inspiracje/maxim-dondyuk"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:27:12","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Szeroki Kadr, Interview by Aleksander Wasyluk | 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Kadr, Interview by Aleksander Wasyluk | 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with Maxim Dondyuk"},{"insert":"\n\nWith its visceral and visual clashes of police and protesters, the images of the 2013 revolution in Ukraine are difficult to forget. Over the course of the next years, the civil war in Eastern Ukraine and the annexation of Crimea left deep scars in the country. Maxim Dondyuk, from Ukraine himself, photographed the EuroMaidan revolution and documented child soldier camps and tuberculosis in Crimea. Are We Europe sat down with him and his wife, Irina, to discuss their work together as well as Maxim’s experience as a photographer on the front line.\n\n“People didn’t live in Russia, but they lived in the Soviet Union, they remember how it was, it’s a dream about being young again, about going back to the way things were.”\n\nMaxim is 30 years old, has a long beard and tattoos. He’s restless, sympathetic and passionate. He and his wife Irina are staying at the artist-in-residence housing in central Paris for a few months. What is perhaps the most striking about his photos is the scale of the clashes he captures. Just as he says himself: they look like epic historical battles.\n\n“After I was in Ukraine for 2 weeks, I opened my eyes. I forgot about the real situation and started to see it like another world.” When I ask him how it felt to stand so close to the protesters and to actually be there, surrounded by flying Molotov cocktails, he quickly stands up, pretends to have a camera in front of his face and clicks away. “I tried before to take pictures this close. But in Maidan I started to take in the whole scene, with those hundreds of people. It was very hard not to create a picture or painting.”\n\nHe is silent for a while, then says “I don’t believe, I don’t believe, I don’t believe, I don’t believe,” while still holding the camera in front of his face.\n\nHe tells me there were in total about 200 photographers, with 20 photographers right next to him most of the time. All with big lenses, snapping away mostly at people’s faces.\n\n“But I was just thinking about stories. I kind of lost my mind and only saw battles, legends and I tried to put what I saw in the camera, in the frame. I wanted to put my emotion in the frame. It didn’t matter what happened, it was not the Ukrainian revolution anymore. For me the legends just continued.” \n\nBattles and Legends\n\nThe legend’s spell broke with a bang. A grenade exploded nearby and a shard shot into his left leg two days after he got there. He touches his leg and says, “at first, I didn’t even feel it. And then my leg really started to hurt and my friends took me to a hospital. It was a 40-minute operation – they took out the shard.”\n\nThe next day, all bandaged up, he slumped his way between the protesters again. He reenacts this for me, limping his leg and pretending to climb barricades and dodge Molotovs. “I couldn’t, I could not not go. I needed to go, go, go.” His sentences are short and active, with his English sometimes failing him, yet it doesn’t take away from his powerful acting. Now Irina steps in, having mostly listened to him and occasionally helped him with translating. “It was good, because after he was wounded, it was more peaceful. He could rest for a few days.”\n\nWe drink our coffee and look out over Paris for some time. We even talk about the weather, the beautiful buildings and the things they’ve done and seen here. But then Maxim takes us back to the battleground.\n\n“It wasn’t all as dangerous as what people think about it. But sometimes protesters threw grenades next to me and in other situations, police officers helped me. It was a crazy situation. Some policemen were crazy though.”\n\n“In every life, every culture, some people are bad and you can really see that in protests.”\n\nSuddenly we are back and right in between the protesters and the police, with Molotov cocktails flying over. He whistles a ”wooooo” sound, like a falling bomb. This is not a place where you can be without any risks. “You need to feel the situation,” he says. “Sometimes young people just go and think ‘I’m young and a journalist’. You need to have experience; think about it. Can I run and snap, or not?”\n\nHe keeps on standing up from his seat, producing comical movie sounds while acting out the intensity of the protest, waving his arms, moving up and down in his char. But his photos tell the story even better. The violence, the clashes – they truly are spectacular images.\n\nBut amidst the waterfall of words, he says something I didn’t expect.\n\n“I was very happy. The revolution was so sad, but sometimes it was so beautiful. Sometimes, if you forget about what happened, it was better than a movie. It was such an unreal situation.”\n\nThe Battle – Good vs. Evil\n\nHe continued talking about legendary battles, the good versus evil look-and-feel of it. Did he feel like it was Russia vs. Europe?\n\n“With this project I didn’t really think about Russia being evil. EuroMaidan was not necessarily anti-Russian. But afterwards people started to understand that Russian media create another reality. There were more than half a million people at the Maidan square, but Russian television always talked about 200 radicals.”\n\nHe goes on to give some historical context, and comes back to the Crimean annexation. ”After Crimea, Russia was evil for me.” So I asked him again, especially since his series is named Culture of Confrontation. “No, it’s not between Europe and Russia. It’s between two cultures. Two cultures that want a change in life. One doesn’t want to be like Europe, they just want to live without corruption. The other one is not about Russia, it’s about their dream about the Soviet Union.”\n\nEast and West Ukraine are completely different countries, he says. Kiev is mixed, sure, but if you go to the East, it’s like a complete mirror of the West. And with a lot of excited hand gestures, Maxim talks about his own very early memories of the Soviet Union, and mirrors it with his travels through Europe. “People didn’t live in Russia, but they lived in the Soviet Union, they remember how it was, it’s a dream about being young again, about going back to the way things were.”\n\nTuberculosis and child soldiers\n\nSomething else that you’d think was a thing from the past is tuberculosis. But Maxim shot a compelling photoseries about tuberculosis in Crimea. The government in Crimea was not very cooperative, but he kept pushing, until a director of a hospital gave him permission to take pictures. He tells me how he spent 3 months in Sebastopol and comes back to something he only briefly mentioned before: Crimea Sich – a military training camp for children between 7 and 16, situated in the Crimean Mountains. “I kept coming back to Crimea, spending one year taking pictures there. Then I started to think about a documentary movie, which is better for storytelling than pictures.” \n\nHis brother, a young Ukrainian filmmaker, convinced him to go back again and shoot in the mountains. “I lost 7 kg per two weeks climbing mountains, with my gear. It was intense.” He pants heavily, reenacting the scene. “We climbed mountains with the cameras. It was so good, so beautiful, but also pretty crazy.” One of his filmmaker friends from Europe told him he is crazy. And as if he agrees, he repeats the word multiple times: “crazy, crazy … crazy.”\n\nMaxim and his brother came back with over 40 hours of footage of child soldiers from Ukraine, from Russia and Moldova. He tried to kickstart the documentary, but couldn’t get the money together. According to him, there are not enough rich people in Ukraine. \n\nFinally, I ask him if he’s looking forward to going back to Ukraine in December. He is silent for ten seconds, coughs a few times and then says solemnly “It’s a very, very sensitive question. Unfortunately, in the Ukrainian situation, not a lot has changed. The old system is still in place. Old politics, old people who don’t want change. It might be better after 10 or 20 years”.\n\nWhen I am almost ready to go, he suddenly asks me about what I thought about him, his photos, his English. I give him some compliments, and I mean them, but he doesn’t really seem to register it.\n\nThen he says, “I don’t like a system or any structure. I’m just a person that lives on this planet. Why do people start a war? I have friends in Russia, and they are very good. I don’t have problems with Russians, with the government, with people who believe propaganda. In Europe it’s the same, people watch TV and just believe that. It’s about the Ukrainian revolution and you try to help people understand, but not everyone understands. It’s still a war that’s going on. A war between cultures.”\n\n"},{"attributes":{"link":"https://www.areweeurope.com/confrontation-interview-maxim-dondyuk/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:27:32","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Are We Europe, Text by Mick ter Reehorst | EN"},{"insert":"\n"}]},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T10:05:28","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"text","viewer_caption_enabled":false,"parent_id":"a6490173-0b6a-4efa-984d-40fcc94cef13","slug":"untitled-79","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/are-we-europe-text-by-mick-ter-reehorst-en/untitled-79","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Untitled 79","published_at":"2019-05-09T10:27:32","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2139095039,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:27:32","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:35:14","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"are-we-europe-text-by-mick-ter-reehorst-en","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/are-we-europe-text-by-mick-ter-reehorst-en","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Are We Europe, Text by Mick ter Reehorst | EN","published_at":"2019-05-09T10:27:32","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"a6490173-0b6a-4efa-984d-40fcc94cef13","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"e805174d-1d0c-4e5e-816c-84ad2b11067e","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Maxim Dondyuk: “Być szczerym wobec tych, których fotografujesz”"},{"insert":"\n\nCrimea Sich, militarno-patriotyczny obóz dla młodych Kozaków. Chłopcy w wieku od siedmiu do szesnastu lat uczą się jak używać (prawdziwej) broni i przetrwać w trudnych warunkach w razie konfliktu. W międzyczasie grają razem w szachy, skaczą beztrosko do jeziora. Oficerowie kładą duży nacisk na rozwój fizyczny, ale i duchowy.\n\nMaxim Dondyuk, który dwa lata temu został doceniony przez Magnum Photos w ramach selekcji 30 under 30, fotografował życie w obozie przez dwa lata, próbując zrozumieć czemu w czasach pokoju dzieci trafiają w takie miejsce. Sytuacja jednak uległa zmianie ze względu na aneksję Krymu przez Rosję w 2014 roku.\n\nJak trafiłeś na obóz Crimea Sich?\nPierwszy raz odwiedziłem obóz w 2010 roku, podczas robienia reportażu o Tatarach krymskich dla jakiejś gazety. Wtedy spędziłem tam tylko na kilka godzin i zrobiłem parę zdjęć, ale historia przyciągnęła moją uwagę i obiecałem sobie, że tam wrócę. Potem, przez dwa lata z rzędu wracałem tam każdego lata, by zebrać pełen materiał. Moim celem było zrozumieć, dlaczego dzieci w tak młodym i delikatnym wieku uczy się jak używać prawdziwej broni w czasie pokoju, kim są te dzieci i czemu tam trafiły.\n\nPonoć żyłeś i trenowałeś na takich samych zasadach jak reszta obozowiczów przez ponad dwa tygodnie. Czy coś cię wyjątkowo zaskoczyło?\nKiedy pierwszy raz przyjechałem na obóz, nie zdawałem sobie sprawy z tego, jak głębokie historie w sobie kryje. Nie był dla mnie niczym specjalnym, ot, obóz dla dzieci. Jedyna rzecz, której nie mogłem zrozumieć, to czemu dzieci mają być uczone jak radzić sobie z bronią, podczas gdy mamy pokój. Ale im więcej czasu z nimi spędzałem, tym bardziej docierało do mnie, że ta historia wcale nie jest tak prosta, jak mi się wydawało…\n\nJak udało ci się zdobyć zaufanie chłopców? Jak reagowali na ciebie i, przede wszystkim, na twój aparat?\nMyślę, że na każdego fotografa reaguje się inaczej. Jeden może pojechać na targ zrobić reportaż i zostanie pobity, inny dostanie tam upominki i wróci z wieloma zdjęciami. Każdy fotograf musi znać podstawy z zakresu psychologii, mówiące o tym jak się komunikować z ludźmi i być z nimi szczerym. To bardzo ważne – być szczerym wobec tych, których fotografujesz.\n\nDla mnie każda historia, którą fotografuję, jest analizą wydarzenia, pewnego okresu czasu. Nie interesują mnie stereotypy i muszę sam zrozumieć sytuację, którą fotografuję. Staram się zatracić w temacie. Na obozie stałem się jednym z Kozaków: mieszkałem z chłopcami w tych samych warunkach w namiocie, wychodziłem na treningi, jadłem z tego samego garnka, grałem w karty… Jedyną różnicą było to, że jednocześnie robiłem zdjęcia czy kręciłem film. Kozacy nie uznawali mnie za obcego, stałem się ich częścią, doświadczyłem wszelkich trudności i radości z jakimi musieli się na co dzień spotykać.\n\nWspomniałeś o filmie. Poza materiałem fotograficznym z obozu, który już powstał, jesteś w trakcie pracy nad filmem dokumentalnym o Crimea Sich. Kiedy narodził się ten pomysł?\nW połowie 2013 roku, z wielu powodów zacząłem poważnie myśleć o filmach dokumentalnych. Wydawało mi się, że mogą opowiedzieć ważne społecznie historie znacznie lepiej niż zdjęcia. Postanowiłem zrobić film na temat jednego z moich projektów o Crimea Sich. Uświadomiłem sobie po prostu, że ta historia jest znacznie głębsza niż mi się wydawało i nie jestem w stanie opowiedzieć jej jedynie za pomocą zdjęć. To dlatego zdecydowałem się nakręcić dokument – wydaje mi się, że za pomocą takiej formy jestem w stanie wiele przekazać w sposób bardziej zrozumiały dla odbiorców. Ale zanim ukończę film nie mogę za dużo zdradzić, mam nadzieję zrozumiecie to lepiej po obejrzeniu.\n\nW 2013 wróciłem na obóz, tym razem z moim bratem. Zaczęliśmy kręcić. Po paru miesiącach wybuchła rewolucja na Ukrainie, potem Rosja zaanektowała Krym i rozpoczęła się wojna w Donbasie, na Wschodzie Ukrainy. Okazało się, że uchwyciliśmy ostatni rok kiedy obóz istnieje w swojej oryginalnej formie – obóz, na którym dzieci z Ukrainy, Rosji, Mołdawii i Białorusi trenują razem.\n\nNa koniec rozmowy zejdźmy na temat samej fotografii. Czy jest jakiś twórca, który cię inspiruje?\nNajwiększy wpływ mają na mnie nie fotografowie, a pisarze i malarze. Za każdym razem gdy przyjeżdżam do jakiegoś kraju pierwszy raz, zwiedzam muzea i galerie. Uwielbiam malarstwo artystów żyjących w okresie Realizmu. Malowali tak ważne sceny walki, uwieczniali historyczne momenty, ale nigdy nie zapominali o aspekcie estetyki. Ich obrazy są piękne i bardzo mnie inspirują.\n\nA co najbardziej pociąga Cię w fotografii?\nNajbardziej lubię fotografię dokumentalną, gdy fotograf nie ingeruje w rzeczywistość, nie prosi o sztuczne pozowanie, ma tylko krótką chwilę na zrobienie zdjęcia. Poprzez fotografię odkrywam nie tylko świat wokół mnie, ale i mój własny świat. Dzięki fotografii nauczyłem się dostrzegać niektóre rzeczy, doceniać to, czego wcześniej nie doceniałem i zapamiętywać to, co może zostać zapomniane. Zmieniła wiele w moim życiu i w mojej głowie. Fotografia nie jest jedynie moją pracą czy moim hobby. Naprawdę, to dla mnie jakby filozofia, która każdego dnia napełnia mnie nową energią. Wierzę, że fotografia, jak każda inna sztuka, jest zbiorem emocji. Prócz tego co widzimy lub słyszymy, odczuwamy również emocje, które autor włożył w zdjęcia. Czasem wizualnie nudne zdjęcie może być bardzo emocjonalne, i vice versa. Emocje są dla mnie bardzo istotne w fotografii.\n\nJakie są twoje fotograficzne plany na najbliższe miesiące?\nNa chwilę obecną moje główne plany to ukończyć moją pierwszą książkę fotograficzną o rewolucji na Ukrainie w latach 2013-14 i skończyć postprodukcję filmu Crimea Sich. Staram się zebrać pieniądze poprzez kampanię na Kickstarterze, jako że jest to naprawdę drogi etap pracy nad filmem. Mam również kilka pomysłów na kolejne projekty, ale nie jestem jeszcze pewien, czy którykolwiek dojdzie do skutku.\n\n"},{"attributes":{"link":"https://www.fotopolis.pl/inspiracje/wywiady/27667-maxim-dondyuk-byc-szczerym-wobec-tych-ktorych-fotografujesz"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:27:51","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Fotopolis, Interview by Julia Kaczorowska | 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Interview by Julia Kaczorowska | 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of War: Q&A with Maxim Dondyuk"},{"insert":"\n\nIn the summer of 2013, months before Euromaidan started, photographer Maxim Dondyuk had traded his camera for video equipment. He was in Crimea, trying his hand at documentary filmmaking, when 2,000 protesters peacefully gathered in Kiev’s main square after the government decided to suspend its process of integration into the European Union. He watched as the protests intensified and, on November 30th, as the authorities started cracking down. The next day, he was at Maidan. “Euromaidan became one of the most visually beautiful revolutions,” Dondyuk wrote after spending three months in the square. The photos he came back with are incredibly cinematic, like scenes from a Hollywood film, and show another side to a widely-documented event. Now he’s making a book, in which aesthetics and emotions take the lead.\n\nRoads & Kingdoms: When did you first visit Maidan?\nMaxim Dondyuk: Everything happened in the city I live in. The first mass assembly was on December 1st 2013, and it included people from all walks of life. I took a photo from the subway where you can see how crowded it was. The two blocks around Maidan were absolutely packed. People were coming from the entire country, not only to support European integration, but to protest against the impunity of those who beat up students there a few days earlier. People were coming out to defend civil rights. That was my first day at Maidan and I couldn’t have imagined were it would be leading me. That day, the authorities made a mistake: on Bankova street, right near the office of the President, demonstrators and journalists were beaten up. That same day, demonstrators started occupying City Hall and barricades started going up. Despite that, I was sure that by the morning the police would have cleared the entire place. I didn’t have the slightest idea that I would spend the next three months there.\n\nR&K: At what point did you decide this project would be something different than a photojournalistic reportage?\nDondyuk: During the first few weeks of December, before the first attempt to clear the square, I didn’t know what I wanted to photograph and in what way. There were hundreds of journalists in Kiev. Sometimes you would see 20 people with cameras standing in a single square meter. It was very difficult to photograph in such conditions, especially as I do not cover news. The more time I spent at Maidan, the more I realized that my subconscious distorted reality. I found myself in front of battle scenes that reminded me of what I had seen in museums, in Realist paintings. It became important to interpret what I saw and felt rather than answer the questions what? where? when? I decided to document Euromaidan through emotions and visual language.\n\nR&K: How did you achieve that way of photographing?\nDondyuk: As soon as I stopped trying to control my subconscious, I stopped following the rules imposed on me, and gave myself complete freedom. I was transported in a different reality, far from the demonstrations in Kiev. In front of me, I saw scenes that were both beautiful and horrible. My camera became my notebook, my visual diary.\n\nR&K: Did you feel like your role changed at that moment?\nDondyuk: I was at Maidan from the 1st of December to the end. It was a very tragic period for my country. But I was happy that I could be present at this historic moment to convey what I saw to future generations and to people from different countries. Being a documentary photographer, I think it was my duty.\n\nR&K: How was the work received? People must have been surprised at how different it looked.\nDondyuk: I worked mostly with international magazines that I trust. They contacted me. I was not looking for assignments, and often refused them if they didn’t coincide with my interests. So far, I haven’t had any offers to create an exhibition in Ukraine, but the book I’m working on will present 100 to 150 photos. It divides the Revolution in three different visual phases. I want people to see what I saw. I want to explain to people who live far from Ukraine why a completely peaceful demonstration turned into armageddon. Why people left everything, their work, their home, and came to the capital of Ukraine to fight for freedom. But you will know more after the book is ready, I don’t want to reveal all my secrets.\n\nR&K: How has this project changed the way you practice photography?\nDondyuk: After this project, I started to feel more like a visual artist. I became interested in exhibitions and galleries rather than what was being published in the media, which I paid a lot of attention to before. Photography is my philosophy and my religion. I don’t believe in God, but photography helps me discover and understand this world. I believe that photography, just like any other type of art, is a container of emotions. And a documentary photographer only has a quick moment to work before everything ends.\n\n"},{"attributes":{"link":"https://roadsandkingdoms.com/2016/theater-of-war-qa-with-maxim-dondyuk/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:28:15","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Roads and Kingdoms, Interview by Pauline Eiferman | 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MY BAG | MAXIM DONDYUK"},{"insert":"\n\nOver the moon to have the award winning photographer and visual artist Maxim Dondyuk back up on our blog today. He’s been a very busy boy since we spoke to him last (check our past interview with him here), so we are well pleased he’s made time for us once again. This time Maxim has kindly given us a run down of what’s in his photography bag and why… He also speaks about his photohgraphy, and has provided us with some killer back stage fashion week pictures all edited with our cross process film emulation presets +PS LOOKS N°3.\n\nMaxim’s Gear\nEverything is quite simple, starting from 2015 I use Nikon D810, before that I had a Nikon D3s, which I won in a contest for my project «TB epidemic in Ukraine». As for the lenses, I use only one lens 35mm, it’s an old film lens with autofocus. I’m used to this focal length and don’t need zoom. I must be half a meter from the object I am shooting. It is a very close distance, so you began to feel the same emotions, fear, happiness or sadness. When people look at such photos, they also feel emotions of your character. I also have a 50mm film lens, but it’s more like an emergency lens, if it happens that my 35mm lens breaks or in case I need to make some portraits for magazines.\n\nI don’t like artificial light and don’t use a flash. I take photos only in RAW format, as color correction is very important for me, I pay special attention to it. And I don’t use continuous shooting.\n\nMaxim’s Photography\nMy photography it’s my personal visual diary. It’s not a hobby or work for me, it’s my philosophy and my religion. It helps me to discover and understand this world. With the help of photography I can live the life of any person, to be present during different events and to empathize with them.\n\nWhen taking photos I always think about the emotions they evoke. Photography has both an emotional and visual side. Photography does not only answer questions like – what, where and when, but it also evokes personal associations. For example – the plot of your favorite book, film or memories from your childhood. A good photo is an emotional photo. People should feel all of the emotions from the moment the picture was taken, and of course – you should feel your own emotions too. If a photo is technically good but has no emotion, this type of photo in my opinion is dead. Of course all photographers need to know the technical aspects of photography.. But I believe they need to learn them once, and then forget about them – and just make everything organically – only with emotion.\n\n"},{"attributes":{"link":"https://presetshop.com/whats-bag-maxim-dondyuk/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:29:23","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Preset Shop, Text by by Shanna June | 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Dondyuk"},{"insert":"\n\nHow and when did you come up with the idea of working in photography?\nI came to a photography professionally at the third try. The first experience I had when I was 5, with my mother, who was enthusiast, I used to watch how she processed family photos in a darkroom. Later I was given my first soviet camera SMENA, and started doing my own photos. After the collapse of the Soviet Union to buy and process film became more difficult and expensive, so my mother stopped doing it and me too. The second try was at the age of 12, than I joined the photo club, began shooting film and processing photos myself. But my enthusiasm didn’t last long. The third time I came back to photography was at the age of 24. I had a routine job, which I went every day, year after year, time flew quickly and nothing changed in my life. I understood that I need some hobby. I became interested in photography. All my free time I studied photography, read all kinds of literature and practiced. It allowed me to travel around the region I lived at that moment, after I started travel around the country. With the help of photography I can live the live of any person, to be present during different events and to empathize with them. My professional career began in Ukrainian media as a photojournalist in 2007. Since 2010 I’m a freelancer, work on creating and promoting my own documentary projects. Photography it’s my personal visual diary. It’s not a hobby or work for me, photography it’s my philosophy and religion. I don’t believe in God, but photography helps me to discover and understand this world.\n\nWhat equipment do you use?\nEverything is quite simple, starting from 2015 I use Nikon D810, before I had Nikon D3s, which I won at the contest for my project «TB epidemic in Ukraine». As for the lenses, I use only one lens 35mm, it’s an old film lens with autofocus. I’m used to this focal length and don’t need zoom. I must be half a meter from the object. It is very close distance, you began to feel the same emotions, fear, happiness, sadness. When people look at such photos, they also feel emotions of your character. I also have 50mm film lens, but it’s more like emergency lens, as it happened that 35mm broke or in case I need to make some portraits for the magazines. I don’t like artificial light and don’t use flash. I take photos only in RAW format, as color correction is very important for me, I pay special attention to it. And I don’t use continuous shooting.\n\nWhere do you get your creative inspiration from?\nMostly I’m influenced not by photographers but by writers and painters. Each time I come to a new country, I visit museums, galleries. I love paintings of artists who worked in realism. They painted such important battle scenes and historical moments but never forgot about aesthetic side. Their paintings are very beautiful.\n\nHow would you define your own photographic style?\nI’m a documentary photographer. But emotions and visual language are more important than facts (what, where, when?). I feel myself more like an artist than a photojournalist. What, from your point of view, are the major challenges in photography? I work a lot with international magazines and know that in this sphere there is a big problems now. They already don’t have such budgets as some years ago, and mostly really good stories were shoot by photographers independently, without assignments. But if to talk about contemporary photography, I think in this field everything is more than good, and it has great perspectives.\n\nCan you describe your workflow for „culture of confrontation“?\nIn mid 2013, because of a number of reasons, I seriously thought about documentary films. It seemed to me that they tell socially relevant stories much better than photography. I decided to make a documentary film about one of my projects about the Crimea Sich. In summer 2013 I with my brother, went to the Crimea Mountains, spending the last money for the equipment. It was an attempt to find answers to the questions that griped my mind. After I was selected to a grand for directors of documentary films, it was held by an American Documentary Film Festival in Ukraine. During that period began Euromaidan in Ukraine. Prior to December 1, 2013 I couldn’t understand whether I need to continue working on my film, or to go to Maidan with a camera. I also didn’t know what I want to do at Maidan, to shoot video or photo. So at the beginning I just watched, analyzed, tried to find the answers. But, suddenly, I was given the second photographic\nbreath and understood that I looked at Maidan through associative images, which contains the second associative level. I wasn’t trying to show what was happening as a photojournalist. With my photos, I wanted to awake people’s strongest associations and emotions, wanted them to see what I saw. For me it wasn’t a revolution at the Independence Square, in front of me opened battle scenes from legends and fairy tales. During clashes between police and protesters, I felt myself like in a parallel, fictional world. It was a battle between good and evil, light and shadow, fire and frost. On the revolutionary canvas creepy bloody scenes interwove with incredibly beautiful, from visually side, views. The line between reality and fiction had gone. I understood that photography for me isn’t just the way to tell the story, but also a visual image that holds emotions, allows the viewer to interpret the reality and think about important life questions.\n\nWhy do you take this pictures (culture of confrontation)?\nI began to shoot for the reason that it happened in my country, in the city where I live. At some point I realized that it touches me personally, and this is a historic moment in my country.\n\n"},{"attributes":{"link":"https://www.mologue.de/de/ausgabe/maxim-dondyuk/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:28:31","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"MOLOGUE, Johannes Brümmer | EN"},{"insert":"\n"}]},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T10:07:43","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"text","viewer_caption_enabled":false,"parent_id":"b7fb5cbd-cda4-4a6c-875c-5c4bf81ca7db","slug":"untitled-82","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/mologue-johannes-brummer-en/untitled-82","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Untitled 82","published_at":"2019-05-09T10:28:31","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2145386495,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:28:31","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:37:01","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"mologue-johannes-brummer-en","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/mologue-johannes-brummer-en","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"MOLOGUE, Johannes Brümmer | EN","published_at":"2019-05-09T10:28:31","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"b7fb5cbd-cda4-4a6c-875c-5c4bf81ca7db","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"dcea79e4-ba64-4aee-b658-065d376737f5","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Український військовий фотограф: чому українці неправильно бачать війну"},{"insert":"\n\nМаксим Дондюк – український фотограф-документаліст. Знімав проект, присвячений людям із туберкульозом, робив фото з війни на Донбасі для закордонних агенцій. Працював для ЗМІ США, Польщі, Німеччини, Фінляндії тощо. Один із авторів виставки «Забуті світом», яка експонується цими днями у львівському Палаці мистецтв.\n\nЩо Ви думаєте щодо негативної реакції частини відвідувачів на виставку?\nУ мене було відчуття віддзеркалення Донецька, просто інший бік дзеркала, де люди неспроможні сприймати не те, щоб іншу сторону, а взагалі бачать лише свою позицію, лише біле або лише чорне. І це дуже-дуже сумно, тому що демократична країна будується зовсім іншим шляхом.\nЯ і полякам казав: ви повинні розуміти, що ви проведете виставку, а тут люди, яких торкнулась ця трагедія, це війна! І от прийдуть на виставку ті, в кого загинули близькі, а ви показуєте прапори «ДНР», Росії… Вони зробили ризикований хід, що зробили виставку тут. Якби привезли її у Київ, це було би трохи інша реакція.\nА тут дійсно віддзеркалення того, що є там. Там гіперболізована любов до «совка», а тут – прагнення бути незалежними. І зараз знову окупаційна війна, тож це болюча тема. Але ж Росія не вторглася у Львів, Росія вторглася в Донецьк і люди у Львові мають зрозуміти, що там люди трохи інакше міркують, ніж тут.\nДля цього треба відсторонитись і подивитись на це інакше. Але для організаторів це теж досвід. Бо вони там в Польщі думають, що тут всі демократичні, що всі розуміють, що і як. А от приїхали і побачили, як є. Я думав про те, аби зняти всі підписи на виставці, але організатори ж європейці, для них це шок, вони вважають це цензурою.\nЯ був і тут, і там, тож трохи з різних боків усе бачив. Але я не знаю, як би я поводився, якби мешкав тут, у Львові постійно і якби у мене забрали брата, сина, родича, і якби він там загинув від рук російських окупантів. І що б я тоді казав?\n\nМене якраз виставка і здивувала тим, що вона про різні боки конфлікту. Відчувається, що вона робилась для зовнішнього глядача, для європейського, який хоче відсторонитись і зрозуміти суть. Як думаєте, а тут це можливо?\nВарто розуміти, що організатори не українці і не росіяни, вони поляки і вони щиро співпереживають. І для них, як і для іншого світу, важливо дивитись, що трапилось дійсно, а не лише з одного боку.\nЯк мені здається, тут би хотіли побачити лише поховання українських військових, тільки зруйнування, спричинені російською артилерією. Але ж ми всі розуміємо, що якщо хтось думає, що війна це тільки шкода з одної сторони, то це абсурд\nВійна – це дуже велика біда для людей, котрі там мешкають. Вона чілпяє кожну людину і з одного, і з іншого боку. Але війна рано чи пізно скінчиться. Ми маємо розуміти, що ми мешкаємо в одній країні і не пройде таке, що ми туди прийдемо, всім скажемо: вдягайте вишиванки, розмовляйте українською. Треба шукати компроміси. Я це дуже добре розумію, хоч я втратив на цій війні багато друзів та знайомих, це і моя особиста війна, особиста трагедія. Але я був і по цей, і по той бік…\nХочу ще наголосити, що саме «завдяки» українській владі та українській прес-службі в зоні АТО ми бачимо так багато картинок по той бік (на окупованій частині території, – ред.). Тому що вони (прес-центр АТО, – ред.) не давали дозволу знімати.\nІ коли я був кілька місяців з того боку під «прикриттям» російської прес-карти, поки мене не «викрили» українські ЗМІ, то мені давали дозвіл знімати все. Все, що я хотів. Бо російська пропаганда знає силу медіа, вона розуміє, що треба пускати медіа. І закордонні журналісти там мали змогу знімати все. А коли я почав знімати з української сторони, то я вже проїжджав на лінію фронту як військовий, на якихось броньовиках, з військовими, з якими домовлявся сам, бо прес-служба АТО возила всіх по одних і тих же блок-постах і показувала добру і гарну картинку.\nАле у той же час були насправді місця, де військові по три місяці жили в окопах, їли тушонку, не маючи жодної гарячої їжі, тобто, трагічна ситуація була. Але влада не хотіла цього показувати!\nНі закордонні, ні українські медіа не допускались. І лише певні окремі журналісти, яким було важливо туди потрапити, самі влаштовували собі ці поїздки, самі домовлялись про все з волонтерами чи батальйонами, чи військовими… І я з кількома фотографами був в Іловайському котлі. І в нас залишились фотографії, завдяки яким люди можуть бачити, що там було. Але є така трагедія як Савур Могила, звідки немає жодної фотографії, ми навіть не знаємо і не бачимо обличь цих наших героїв. І це тому, що нікого не хотіли туди пускати.\nА закордонні журналісти приїжджають, їм треба це якось показувати, а тут їм не дають, не пускають, показують якусь фігню… Вони думають, що журналісти, котрі вже по 20 років працюють на війні, поведуться на блок-пости оці випещені, де все добре? Вони їдуть на той бік, де їм кажуть «знімайте все», їдьте в морг, на передову, куди хочете: «Ти сам за себе відповідаєш, а якщо загинеш – то твоя справа». А з нашого боку це було можливим тільки з батальйонами і тільки завдяки ним.\nЯ так потрапив в Іловайський котел із батальйоном «Донбас». Я поїхав туди власним коштом, просто зі мною була камера. І от хлопці кажуть: «Ти ж розумієш, що ми вже в оточенні, і виїжджати ти будеш уже з нами». І так і вийшло, що на цій виставці я один, хто був ще з українського боку фронту. Звісно, тут представлена дуже маленька частина того, що у мене є. Але, власне, так і сталось, що світ бачить цю війну крізь трагедію та страждання тієї сторони, бо наша сторона дуже і дуже не хоче показувати, що дійсно відбувається.\n\nА як довго Ви там були?\nЯ 1 грудня вийшов на Майдан. Я три місяці був на Майдані під час усіх активних фаз, далі – Крим. Був десь місяць у Криму до «референдуму», коли анексія почалась. І коли почались події на Донбасі, окупація… Хоча це ж треба розуміти, що якби на Майдані дали б всім автомати, почалась би війна. Є збурені люди, котрі хочуть якихось змін. І якби їм дали не бруківку, а автомат, також почались би те саме. Але туди приїхали росіяни, дали зброю, було декілька спецзагонів, які координували це.\nІ з нашого боку ж теж масла у вогонь підливали. Тож потім я там був аж до Іловайського котла. Потім я виїхав… і ще в грудні повертався уже з «Червоним Хрестом», їздив по зруйнованих містах з нашого боку. І з 2015 року я вирішив для себе, що не хочу туди повертатись, я вже не розумів для себе, що я там буду робити.\n\nА чому? Війна ж продовжується…\nКоли ти розумієш, що можеш сьогодні загинути, але водночас ти робиш важливу справу, то це одна річ. А коли ти повинен постійно сперечатись з якоюсь там владою, військовими, домовлятись… До того ж я просто «видохся» за цей рік. І за той час я багато працював зі світовими медіа, з українськими я зовсім не працюю, бо виникло багато розчарувань. І я зрозумів, що мені потрібна перерва.\nНасправді, коли був Іловайськ, це дійсно було трагічно, бо нам по радіо чи телефону казали, що там парад готують, що міністр приймає нову зірку, а тут у хлопців 4 чи 5 БМП («бойова машина піхоти», – ред.), а на нас танк приїжджає прямою наводкою б’є…\nІ жодного танку в нас нема, зв’язку нема, хлопці самі в кредит брали рації, щоб якось орієнтуватись у цих коробках. І є дуже багато є питань і ці всі трагічні програші, це програш не нашої армії мужньої, а нашої влади, яка, на жаль, себе не виправдала\nІ от за рік ти розумієш, що прес-служба робить усе, аби ти нічого не зняв, що українські медіа дуже часто цікавить тільки одна сторона, яка показує лише одну правду, а іншої правди бути не може, що інша правда – це проросійська пропаганда… Багато військових повертаються туди, бо тут у них немає іншого життя, бо ними ніхто не займається, держава ними не займається. Влада зовсім не розуміє, що люди, котрі були на війні, іншою мірою все вимірюють і їх треба до чогось долучатись, їм треба допомагати. І зламана душа, бо вона ж дійсно зламана, бо, коли ти бачиш як люди гинуть, як твої друзі гинуть, а сюди приїздиш, то тут дуже тяжко. І це проблема країни, а не тільки їх самих.\nВони там герої були, захищали країну, а тут приїжджають, не можуть вирішити якісь проблеми, їм ніхто не допомагає, то починаються різні неприємні речі… У мене відчуття, що у владі взагалі не розуміють того. І, не дай Бог нам третього Майдану. Бо перший був «лайт», революція у 2013 була така «мідіум», а «хардкор» буде наступний, бо будуть військові, для них стріляти – це вже нормально. І всі ми розуміємо, що зараз в Україні багато незареєстрованої зброї і, якщо почнеться хвиля, а влада потроху до цього йде, не знаю, зо може початись…\nАле є й позитивні зрушення, бо частково військові потрапили і в нормальні ситуації, наприклад, помічниками депутатів абощо, тож якийсь дрібний відсоток присутній і у владі. І я дуже сподіваюсь, що це розумні люди, сподіваюсь, що вони все ж будуть розуміти, що єдині, кому ми можемо довіряти – це фронтовикам, тим, хто допомагав цим людям.\nМи можемо Донбас повернути, але силою, якщо й вийде, то просто патріотизм там буде інший, бо там лишились люди, які постраждали, зокрема, і від нашої армії. Так трапилось…\nБудь-яка людина, що вміє думати, розуміє, що там можна було це все на початку ще згладити, що можна було зробити це все не так криваво, що просто хтось (навіть не з того боку, не з Росії) дуже-дуже хотів, що у нас почалась кривава м’ясорубка. І що влада може заробляти на війні, і що там ми втратили дуже багато патріотів, які могли би змінити країну, але пішли на фронт і загинули. Бо ж 2014 рік це була дійсно м’ясорубка, бійці просто в маршрутках заїжджали на фронт проти танків.\nЯк було на Майдані, коли снайпери стріляли в людей, які захищались якимись алюмінієвими щитами, то на сході 2014 року було те ж саме, але не сотні – тисячі. І коли з Іловайська виходили, то російська армія мала зв’язок і все, що треба, а у нас… Ми коли там були, то хлопці дзвонили по мобільному і наводили артилеристів, але ж ті все прослуховують, захотіли – заглушили мобільний зв’язок нашим – просто халепа. А люди воювали на патріотизмі. Я досі не розумію, як Муженко не те, що служить, як його не заарештували досі.\n\nВаші світлини, представлені на виставці, дуже тяжкі. Як, власне, і більшість світлин на виставці. З людської саме позиції, наскільки важко так працювати – знімати смерть, похорон, травми…\nКожен документаліст, який працює з такими темами, шукає власні шляхи, як це подолати. Ще до війни я працював з тяжкими темами у документалістиці і багато бачив трагічних подій. Це важко, але я думаю, що мені легше, аніж людині, яка того не бачить. Контакт з постійною трагедією, смертю, змінює людину, відбувається переоцінка цінностей.\n\nЯкщо знову до виставки. То чи така подача на часі? Бо війна досі є…\nЯ вважаю, що є культурна еліта, яка розуміє все, яка проти війни і розуміє, що ненависть породжує далі війну, помсту і тому подібне. Напевно, якщо привезти до Одеси виставку, реакція буде іншою. Там же через цей відсоток проросійський будуть зовсім інше пропагувати.\nЗнаєте, будь-які фотографії такі можуть бути розтлумачені кожною стороною по-своєму. Тут така реакція, в Одесі буде інша, а якщо в Москву її повезти, то скажуть, що це взагалі проукраїнська пропаганда\nОт є фото на виставці, де українські військові звільняють людей. Люди два тижні в дитсадку сиділи, в підвалі. Прийшли двоє хлопців військових, принесли їжу, якісь ліки. І люди там плачуть і підпис, що військові їх звільнили. А у Москві то показати, так скажуть, що вони прийшли людей розстрілювати, бо військові з автоматами, а люди плачуть. Кожен буде тлумачити по-своєму. Це постійна суперечка.\nІ коли голова ЛОР говорив, що він не вірить, що військові вбили ту дівчину в Краматорську, це ж про мою фотографію мова. Я там був і це бачив. І якщо він думає, що українська армія нікого не вбиває, то, значить, він не був на війні. Там таке трапляється… І я не оцінюю – це погано чи добре. Але ми мусимо розуміти, що крім військових страждають і мирні люди. Насправді, я думаю, що такі виставки треба показувати дещо пізніше, коли рани вже загоються. Бо я розумію, наскільки тяжко приходити і на це дивитись.\nАле невже хтось розраховує, що весь світ має жаліти Україну, знати досконало історію України… І без того світ багато для нас зробив\nНа Заході усі розуміють становище ,усі проти агресії Росії, али вимагати від поляків, щоб вони показували тільки проукраїнську виставку – безглуздо.\nДуже прикро й соромно, що у нас є діти, яким ця організація, цей проект допомагають. Бо ж на них тут ставлять на них хрест, а поляки збирають кошти, забирають ту дитину, лікують її, і виліковують. Вони сімом дітям допомогли вже. А у Львові всі прийшли, покричали свої патріотичні лозунги і майже ніхто копійки не дав. І це дуже-дуже соромно, бо українці хочуть, аби всі нам допомагали, а самі собі допомагати не хочуть.\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:08:41","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Divis.info, Interview by Valeria Dubova | 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Interview by Valeria Dubova | UA ","published_at":"2019-05-09T10:08:41","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"05901042-5860-4de2-bbc8-5c89bddf9baf","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"2ef1788c-84db-4737-b7d4-86f8ce3e4b0f","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Максим Дондюк"},{"insert":"\n\nTalktome разносторонне интересуется искусством, и искусство фотографии для нас является одним из самых впечатляющих и насыщенных. \nМы поговорили с Максимом Дондюком — фотографом, чьи проекты и принты — это нечто большее, чем просто фиксирование отдельных моментов. \n\nПривет. Рад, что получилось тебя настигнуть перед очередным путешествием. Далеко уезжаешь?\nВ Грузию. На фестиваль KOLGA TBILISI PHOTO, там будет выставка победителей и финалистов конкурса. Пока еще непонятно, кто победил. Все это будет длиться дней 5, а потом еще остаемся на пару недель – мы никогда не были в Грузии, а тут такая возможность.\n\nА «мы» — это…?\nЯ с Ирой – это моя невеста, она же и является моим артист-менеджером. В последний год она занимается вопросами по переписке, логистике, продаже принтов. В общем, она взяла на себя тяжелый удар. Я занимаюсь творчеством, она занимается бизнесом. Я очень не люблю онлайн общение – это выбивает меня из колеи, мне хочется больше натуральной жизни.\n\nМожет ли художник сочетать в себе два этих мира – творчество и бизнес?\nЯ сочетал до того, как встретил Иру, и это было очень тяжело.\n\nДругого выхода просто не было?\nДругого выхода просто не существует. В идеале, мы все равно сейчас ищем известного куратора или известную галерею, если мы говорим о работе в documentaryart, когда автор настроен на презентацию своих работ в галерейном и музейном пространстве. Маленькие галереи, которые на нас выходили, меня не устраивают, потому что этот объем работы мы и сами тянем, а с крупными галереями все сложно –туда не зовут кого попало, как и в крупные коллективы, вроде Magnum, которые зарабатывают больше на продаже принтов. Нужно работать и работать. В последний год я радикально изменил свой вектор – работа с журналами и медиа ушла на второй план. Я работаю только с проверенными людьми и с проверенными изданиями, с интересными изданиями и хорошими гонорарами, но абсолютно не делаю на это упор. Пытаюсь зарабатывать от продажи фотографии коллекционерам.\n\nТакая модель заработка невозможна в Украине?\nВообще невозможна. Продажа фотографий может и есть, но тот уровень цен, за которые я продаю в Европе, отличается от уровня цен в Украине. Здесь человек подойдет и будет спрашивать у меня: почему твоя работа стоит такую-то сумму?\n\nНужно объяснять, чем уникальна фотография?\nДа. В Европе человек подходит и не спрашивает, почему она столько стоит. Он интересуется типом бумаги, на чем была напечатана, в каком принтхаусе она была напечатана, какой лимит, какие размеры. Покупатель понимает, что лимитированные принты – это уникальные вещи и уважающий себя коллекционер не будет покупать не «limitededition». Но это мир, который существует там, а в Украине документальная фотография не относится к искусству вообще. Меня тут кем угодно могут считать — и репортером, и документалистом, но точно не человеком, который зарабатывает на продаже принтов.\n\nА кем ты себя ощущаешь, в первую очередь?\nЯ себя ощущаю документалистом, но в тоже время я, как это называют в Европе, visualartist. То бишь, мне не интересна фотография в плане «что? где? когда?», мне не интересна просто хроника. Мне не интересно рассказывать просто историю, хотя это идет вразрез с идеологией документальной фотографии. Меня больше интересует личная интерпретация автора, его наблюдения и фотография, пропущенная через его сознание и мироощущение.\n\nТо есть, ты не снимаешь репортаж?\nЯ начинал как репортер. Но сейчас я больше отстраняюсь от этого. Есть фотожурналисты, которых я уважаю, но большая часть из них мне не интересны.\n\nПочему?\nИз-за идеологии, которую они ведут. Нужно быть честным и говорить честно, а не снимать все с одной стороны.\n\nЭто касается, в основном, военной фотографии?\nВ том числе. Я не считаю, что военная фотография останавливает войну, она ее пропагандирует. Я раньше считал, что военная фотография может изменить что-то, а сейчас мне интереснее являться человеком искусства, который работает в документальном жанре и выставлять работы в музее или галерее, а не печататься в журналах, ведь там у меня совсем другая свобода – другой формат фотографий, правильный свет, на правильной бумаге.\n\nНо ты снимал войну (военный конфликт на Донбассе – прим. ред.), причем с обеих сторон…\nДа, да. В данном случае это был очень важный experience. С двух сторон я научился снимать еще когда туберкулез делал (фотопроект об эпидемии туберкулеза в Украине – прим. ред.). Снимая с одной стороны, очень сложно понять, что происходит. Ты становишься очень близок к одной из сторон, начинаешь ей доверять и кажется, что она говорит только правду. Как у меня было с больными туберкулезом, которые говорили, как все печально, как все плохо, что нужны деньги, а ты идешь к врачу и узнаешь, что герой кого-то изнасиловал или убил. И весы восприятия сразу стабилизируются. Так же мне было важно быть на Майдане с двух сторон, и в Крым поехать, и на Донбассе была возможность сначала как московский журналист работать, а потом с украинской армией снимать.\n\nСкажи, из интернета ты тоже стараешься уходить?\nДа вообще ушел. Есть друзья близкие, с которыми я общаюсь, и они знают, чем я занимаюсь. А остальные вообще, наверное, не понимают, что со мной происходит. Для меня перестало быть значимым, чтоб другие люди знали, чем я занимаюсь, или оставаться в поле зрения. Люди, которые покупают работы, не в интернете меня находят. Если у тебя нет выставки в музее или галерее, то они тебя не найдут.\n\nНовостная фотография тебе тоже не интересна?\nДа. Она стала мне безразлична. Даже когда в Париже был теракт, то я отказывался от съемок.\n\nТы считаешь, что какие-то кадры лучше оставить неснятыми?\nЯ снимаю все, что происходит, все, что я могу и хочу снимать. Но, может быть, часть вещей нельзя показывать.\n\nТы можешь дать определение хорошей фотографии?\nСложно сказать. Это же не спорт, где соревнуются «кто выше прыгнет». Когда меня попросили отобрать десять лучших своих фотографий, я не смог этого сделать. Они все разные, у них у всех разные истории. Что значит лучшие? Визуально хорошие или эмоции, которые я переживал в тот момент, или что случилось позже? Я понял, что я не могу выделить вообще ни одной своей фотографии. В каждой моей фотографии часть моей души и часть того, что останется после меня. Со временем у человека вырабатывается визуальный вкус и становится легче отличить хорошую фотографию от плохой. Но все равно это какой-то стандарт, ведь когда мы смотрим на фотографию, наш разум работает как компьютер, и многих вещей может просто не осознавать, а фотография может быть шедевром в данный момент. Разум может этого не понимать, но человек это почувствует.\n\nТвои стандарты к хорошей фотографии сильно изменились с начала карьеры?\nМое сознание меняется очень быстро. То, что год назад было для меня идеалом, сейчас находится на противоположной стороне. Я сам меняюсь, и меняется мой подход к творчеству. Именно поэтому я не хочу вести группы учеников и читать какие-то глубокие лекции, мне интереснее рассказывать о своем пути.\n\nВ одном из своих интервью ты рассказывал, что во время выступления перед студентами-фотографами, один из учеников показал тебе свои работы до и после поступления в университет. Те, что были сделаны «до», оказались живее сделанных «после». Как ты тогда сказал, парня просто научили зарабатывать деньги. Ты на себе эти шаблоны чувствуешь?\nМожет мне кажется, но я избавился от влияния очень многих факторов. До этого я воспитывался здесь всевозможными фотографами, своим кругом общения, которые навязывал мне свое мнение, определенное мышление. Это все делает нас узниками сознания, потому что творческий человек может делать все, что захочет и не важно, кто что скажет. Упала планка важности «что про тебя скажут, что про тебя подумают». Иногда тебе навязывают какую-то точку зрения, с которой ты соглашаешься, но чувствуешь дискомфорт внутри. Потому что так надо, так сказали наставники. Я сейчас живу по другим принципам – если я чего-то внутри чувствую, что хочу это делать, а разум говорит, что это катастрофа и полный абсурд, то разуму я говорю гудбай. Разум всегда говорит только о плохом, но если посмотреть на мое развитие в фотографии, то это все иррациональные действия, которые я никак не предсказывал.\n\nНу да. Туберкулез ты снимал совершенно без денег. Не было желания плюнуть и уйти в студию или снимать свадьбы?\nНу… Наверное, привычка еще со службы на флоте – рубить концы, называется. Это означает, что ты не можешь пристать к причалу. Есть вещи, которые мне не нравятся, они как адамово яблоко – соблазняют меня. В тот момент я четко и агрессивно давал понять, что свадьбы я снимать не буду. Тогда я оставил для себя два варианта заработать: либо получить публикации, либо выиграть на конкурсе. Все остальные варианты были отрублены полностью. Но ничего не дается легко.\n\nТебя поддерживал хоть кто-то? Может, родители?\nНет (смеется). Сложный вопрос. С родителями у меня непростые отношения, я с ними давно не живу, и они не вмешиваются в мою жизнь. У меня тогда появились новые друзья, которые мне помогали. Саша Гляделов много помогал – давал советы, познакомил меня с врачом, когда я думал, что заболею.\n\nЭтот проект изменил твою жизнь?\nДа, произошла полная переоценка ценностей. Мне было тяжело приезжать в Киев и общаться с друзьями, которые рассказывали о своих проблемах – у одного украли телефон, у другого ушла девушка. А я знаю человека, принявшего то, что завтра или послезавтра он умрет. И он счастлив – выходит на улицу, дышит воздухом.\n\nА что, по-твоему, счастье?\nШикарное чувство, когда ты свободен и никому ничего не должен – ни объяснять, ни доказывать, ни рассказывать. Нет этого чувства долга. Я вообще против понятия коллективного счастья, когда всем хорошо. Есть мое личное счастье и счастье близких мне людей. А вот это «я должен» – это какая-то навязанная обществом идея. Для того чтоб избавиться от этого влияния, ты должен снизить свою важность и просто жить в свое удовольствие. Найти равновесие.\n\nА ты это равновесие нашел? Ты счастлив?\nДа. Я сейчас вообще в каком-то раю нахожусь. Хотя, это скорее навязано сознанием. Думаю, раньше моя жизнь была ничуть не хуже, просто я по-другому смотрю на одни и те же вещи. Думаю, фотография и есть моя философия – она меня меняет, я развиваюсь вместе с ней.\n\nА каким ты был до фотографии?\nДумаю, это лучше спросить у кого-то другого. Наверное, был более резким, критичным, самоуверенным. Я и сейчас такой, но мне не нужно ничего доказывать. Я понял, что если я хочу, чтоб люди воспринимали меня таким, какой я есть, то и мне нужно воспринимать людей такими, какие они есть, и не пытаться их изменить и особенно указывать им на их недостатки. Просто, наверное, постарел.\n\nРитм жизни тоже стал более размеренным?\nТемп жизни у меня идет скачками. Но раньше я бежал и куда-то опаздывал. Вся моя жизнь заключалась в том, чтоб что-то успеть. А сейчас у меня больше времени – я успеваю заниматься собой, ходить в спортзал, читать книги, встречаться с друзьями, работать и не зацикливаюсь на том, чтобы кому-то что-то доказывать. При этом жизнь стала более ритмичной, но чувствую я себя увереннее и спокойнее. Это как взять пилота Формулы-1 – он спокоен, сосредоточен, он контролирует ситуацию, у него нет паники, но при этом скорость у него безумная. И в этом сейчас вся моя жизнь.\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:29:02","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Talktome, Interview by Philip Dotsenko | RU"},{"insert":"\n"}]},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T10:09:55","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"text","viewer_caption_enabled":false,"parent_id":"f09a1faa-4cbb-4414-842c-11f0df907bfd","slug":"untitled-84","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/talktome-interview-by-philip-dotsenko-ru/untitled-84","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Untitled 84","published_at":"2019-05-09T10:29:02","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2146959359,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:29:02","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:39:34","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"talktome-interview-by-philip-dotsenko-ru","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/talktome-interview-by-philip-dotsenko-ru","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Talktome, Interview by Philip Dotsenko | RU","published_at":"2019-05-09T10:29:02","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"f09a1faa-4cbb-4414-842c-11f0df907bfd","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"e071aa70-2e0d-47d8-bbbc-edf99c4310ea","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Фотограф Максим Дондюк – о войне, Майдане, Украине, России и стене, сдвигающейся на восток."},{"insert":"\n\nФотограф Максим Дондюк снимал Майдан и войну на востоке Украины, с обеих сторон. Он может рассказать, как ему грозили расстрелом пророссийские сепаратисты, как он был в окружении под Иловайском и как ему мешали работать украинские штабисты.\n\nНакануне второй годовщины победы Майдана, бегства президента Виктора Януковича и последовавших за этим российской аннексией Крыма и войной в Донбассе Радио Свобода публикует еще неизданные фотографии Максима Дондюка.\n\nОн родился на западе Украине, в Хмельницкой области, в небольшом городке Славута, затем вместе с семьей (отец Дондюка – военный) переехал на юг, в Херсонскую область, в Новую Каховку, где и прошла большая часть его детства.\n\nДондюк рассказывает, что фотографии его учила мать, описывает, что сидел с ней в “красной” комнате, называет советские камеры: “Зенит”, “Смена”. Позже он стал ходить в кружок фотографии. И, наконец, уже в 24 года, после армии, в Харькове, работая поваром, он вдруг вернулся к фотографии, занимался ею все свободное время, читал книги по фотоискусству, экспериментировал. Через год он бросил работу, стал профессиональным фотографом, переехал в Киев. Поначалу, говорит Дондюк, речь не шла о документалистике:\n\nВначале я смотрел в сторону каких-то студийных вещей, пейзажных вещей, занимался сферическими панорамами – это очень технически сложная вещь тогда была. По сути дела, что такое репортаж в хорошем смысле, я уже узнал, когда переехал в Киев. Потому что в Харькове очень сильная художественная школа, все, что я там видел из репортажей, – это очень скучные газетные вещи, новости, которые никак не вдохновляли. В то время я бы очень удивился, если бы мне кто-то сказал, что я буду документалистом.\n\n​Как вы стали документалистом? Каким образом вы стали автором проекта про туберкулезных больных, за который получили призы?\nЭто был первый серьезный проект. До этого я переехал в Киев, работал в новостном агентстве. Я долгое время ездил в командировки по всей стране. Это было вначале захватывающе, съемки были на темы от политики, футбола и села до митингов и Верховной Рады. Это хороший опыт и колоссальная школа, но через несколько лет мне стало скучно, я сильно погрузился в документальную фотографию, очень был вдохновлен. В тот момент я понял, что хочу заняться более глубоким проектом на какую-то социальную тематику. Через какое-то время я пришел к проблеме туберкулеза, о котором сам тогда ничего толком не знал. Мне тогда казалось, что я управлюсь за месяц или два, что это не так сложно и займет не так много времени, но получилось, что этот проект полностью засосал меня – такая черная дыра, в которую я попал и которая полностью изменила мою жизнь. Я провел два года, снимая этот проект, больше ничем не занимался. Жизнь, которая была до этого проекта, полностью исчезла, работа, семья, отношения, многие друзья, мое мировоззрение. Человек, который после этого проекта образовался, – это уже был совсем другой человек. Поэтому для меня это оказалось проектом становления как другой личности. Для меня фотография – не работа, не хобби, это философия, я ее очень сильно за это люблю, что она позволяет мне меняться благодаря жизни с людьми в других ситуациях, в которые я не смог бы попасть, если бы не был документалистом.\n\n​Вам не страшно было работать с туберкулезными больными?\nНе страшно, наверное, только сумасшедшим. Вначале не было сильного страха, я понимал, что делаю. Были вспышки паники, конечно, но они быстро устранялись, я делал для себя выводы, решал – продолжаю я это делать или останавливаюсь. И продолжал. Я пытался побороться со стигмой, существующей в обществе, с предвзятостью, с неосведомленностью об этой проблеме. Я сам был частью этого общества, я тоже считал, что, если человек переболел туберкулезом, он чуть ли не заразный. Я абсолютно ничего не понимал. Это был большой опыт, потому что туберкулез – это не война, но ты постоянно сталкиваешься с медленной смертью. Контакт с такой жизнью сильно сказывается на тебе. К концу проекта я понимал, что я теряю ощущение реальности, у меня начались проблемы с реальной жизнью, когда я возвращался. Я уволился, я потерял семью, мне негде было жить в Киеве, я в какой-то момент стал жить в больницах, потому что мне некуда было возвращаться. Может быть, на фоне всего, что я снимал, мои проблемы не казались какими-то значимыми. Через два года я стал понимать, что теряю грань, что я живу только той жизнью, абсолютно не понимаю, что происходит в другой жизни. У психологов называется выгорание.\n\n​Но вы вернулись в обычную жизнь?\nКонечно, вернулся, все нормально. Просто какой-то период адаптации был, так же, как когда ты возвращаешься с фронта. У меня были друзья, которые болели туберкулезом, есть люди, которые умерли, я был у них на похоронах. Для меня важно, когда я куда-то уезжаю, стараться, чтобы я был там не гостем, чтобы это было полное погружение, чтобы я был частью того, что происходит. Я уезжал, допустим, в Донецкую, Луганскую или Херсонскую область, потом в Крым, договаривался с областным врачом о том, что я хочу у них снимать, – все это на личных контактах, я не работал в СМИ, у меня не было ксив, даже камеры не было, друзья заняли. Некоторые врачи посылали, а некоторые говорили: круто, молодец, что тебе надо? Мне надо было разрешение на съемку и чтобы я мог переночевать, поесть, у меня нет денег гостиницу снимать, неделю давайте поживу в этой больнице, неделю в той. Иногда снимал квартиру в том же городке, дешево выходило. С тюрьмами точно так же договаривался. Они говорили: пробей хоть какое-то разрешение, чтобы твоя фамилия была, а мы тут тебе уже покажем все, что можем.\n\n​Давайте поговорим о Майдане. Два года назад он победил. Вы осмыслили то, что произошло, спустя два года?\nМне кажется, я и тогда все понимал, и моя точка зрения не изменилась. Для меня то, что произошло на Майдане, – это Берлинская стена, которая пала, – она просто продолжает свое продвижение к Красной площади, меняет географическое расположение. На Майдане в центре Киева произошло противостояние между двумя абсолютно разными культурами, двумя разными пластами восприятия и мировоззрения. Это не означает, что были молодые против старого поколения. Просто одна культура – это попытка быть независимыми, попытка изменить жизнь, стать частью… – я бы не сказал частью Европы, мы понимаем, что у Украины много проблем и стать частью Европы очень сложно, – но попытаться жить самостоятельно, без навязанной точки зрения, жить, как нам нужно жить. Другая культура ностальгирует, хочет вернуть былые времена, ей неинтересно это другое будущее. Мой проект назывался “Культура конфронтации”, это противостояние двух абсолютно разных культур было в Берлине, Чехия до этого, “Солидарность” и так далее. Стена движется, и влияние России постепенно сдвигается, вот здесь и произошел такой раскол. Потому что многие люди – те, кто в возрасте, – запуганы. А молодежь, которая родилась в 1991 году, в независимой Украине, они вообще не понимали, когда им говорили, мол, мы хотим Советский Союз или бывшую империю, – они говорили: я не знаю, что это, я родился в Украине, я не понимаю, о чем вы. Для меня это противостояние абсолютно разных культур. Нельзя сказать, что одна хорошая, а другая плохая, они смотрят просто совсем в разные стороны.\n\n​Вы работали в Донбассе фактически военным корреспондентом. Как вы относитесь к тем, кто, грубо говоря, на другой стороне?\nПервые несколько месяцев я был на Донбассе нелегально, делал вид, будто я русский корреспондент, пока меня наши доблестные украинские СМИ не вскрыли. Я там находился с русскими ксивами как москвич, акал, бекал. Для меня было важно находиться там с людьми, которые оккупируют мою страну, с российскими флагами, я хотел все это видеть не через телевизор, а лично. Я видел, как сепаратисты, оккупанты, которые приезжали с оружием уже из Крыма, захватывают мою страну. И бывало, что киевское правительство усугубляло взрывоопасную ситуацию, чего можно было избежать. К людям, которые взяли там оружие, конечно, я отношусь негативно, потому что я сам сидел под обстрелом российской артиллерии, я потерял друзей и знакомых из-за людей с российскими флагами. У меня личные претензии, потому что захватили часть моей страны. Меня допрашивали, меня вели расстреливать, мне на голову надевали мешок, я оказывался в печальных, плачевных ситуациях. Поэтому у меня как у гражданина Украины и просто как у человека, на которого наводили автоматы эти люди, к ним большие претензии.\n\nНа самом деле вся ситуация стандартная – это повторение того, что было в Приднестровье, в Осетии, все по кругу идет. Просто жалко людей, которые поверили и вышли, увидев, что Крым так мирно присоединили, – они подумали, что их присоединят так же. Это обычные люди, у них нет даже загранпаспорта, они говорят: я в Киеве никогда не был, я в Ростов езжу на базар. У них абсолютно свой мир. В Луганской и Донецкой области с флагами “ДНР” и “ЛНР” выходили с 2005 года, и правительство в Киеве никак не реагировало на это, никто не поднимал шум. Эти флаги придумали не в 2014 году. Конечно, Россия помогла вооружением и людьми, которые это все захватывали. Но то, что люди на той территории и в Крыму были настроены против Украины, – это большая проблема 20-летней политики Украины по отношению к этим людям. Они просто не захотели жить в этой стране и помогли оккупантам и людям с оружием.\n\n​У вас был проект в Крыму о детском военно-патриотическом лагере, который тоже раскололся на проукраинскую и пророссийскую части.\nСейчас я работаю над первым документальным фильмом, который был снят за несколько месяцев до Майдана, – именно про этот лагерь “Крым-Сичь”. Уже в этом фильме четко видно, что эта проблема не из-за Майдана, она существовала, просто Майдан был последней точкой, когда каждый должен был сказать, на чьей он стороне. Конфликт существовал, и его не гасили. Почему они там не встали на сторону Украины? Там трудяги, в шахту спустились-поднялись, многие в Киеве не были за всю свою жизнь. Вот он живет в Макеевке или в Луганске, он вообще не был никогда в Киеве. Он в этой пропаганде погряз, он не знает, что происходит. Это проблема страны, почему туда не доносили, почему не помогали. В новостях про Луганскую область вообще не вспоминали никогда, пока не началась война. Как про Северный полюс. А там уже флаги “ЛНР” были, митинги, жесткие праздники 9 мая, которые ничем не отличались от того, что сейчас, такой же бред происходил и раньше.\n\n​А что за история, когда вас на расстрел выводили?\nЭта в Славянске было. Я вошел настолько близко в контакт, что мог заходить в кабинет к Пономареву, такой мэр был, я знал всех, кто захватывал Краматорск и Славянск. У меня были два друга, действительно москвичи, российские корреспонденты, хорошие друзья. Они на самом деле мне жизнь спасали намного больше, чем многие украинские СМИ, из-за которых потом у меня было много проблем. Они прикрылись русскими паспортами, а я липовыми корочками, мы типа втроем москвичи, – они знали, что я не москвич, просили меня, чтобы я не полностью сливал, что происходит, потому что тогда головы всем снесут. Я постоянно выставлял фотографии в “Инстаграме”: заявление делает Аваков (министр внутренних дел Украины. – Прим.), что все блокпосты в Славянске уничтожены, Национальная гвардия полностью захватила Славянск. Украинские СМИ тогда врали так, что у меня уши заворачивались. Я ехал, снимал на телефон все блокпосты, где стоят сепаратисты, и это выставлял в “Инстаграме” – типа, чуваки, это не так. Когда украинская армия переходила на их сторону, я снимал номера БМП, все время показывал, что очень много врут украинские каналы. Так как я там был из украинцев, то украинские СМИ начали делать материалы, где какой-то журналист выходит на черном фоне и говорит: я веду спецрепортаж из Славянска. Называют мое реальное имя, фамилию, которое у меня в российских удостоверениях, и говорят: вот он нам сообщил. Начинают нести какой-то бред, показывать мои фотографии с бойцами, которых я снимаю в “Инстаграм”, начинают говорить: он нам сообщил, что они спецагенты ГРУ. Из-за этих действий меня арестовывали, выводили на расстрел, но, как оказалось потом, – просто пугали, все было холостое. Мешок на голову, 6 часов интересных разговоров, но все закончилось хорошо.\n\n​Вы наблюдали вблизи так называемое “ДНР”, у вас какое впечатление – это идейные люди?\nПоначалу все идейные из местного населения, потому что они хотят быть частью России, они увидели, что в Крыму произошло. А эта верхушка, что воевала, там приезжают те, кто в Чечне воевал, в Осетии воевал. “Стрелок” (Игорь Стрелков, бывший министр обороны так называемой “ДНР”. – Прим.) воевал в Боснии. Знаете, есть такие туристы военные. Они за идею, но за какую, хрен поймешь, просто, наверное, повоевать. У каждого свой “русский мир” в голове был – я не могу сказать, что это не за идею. Точно не за то, чтобы им заплатили кучу бабла. Большинство – это люди, которые приехали из России, из Крыма, с вдохновением, азартом, много местных. Но были наркоманы, алкоголики, которые за 300 рублей стояли на блокпостах, – но если видели БМП, они все бросали и уезжали. На самом деле это очень отработанная система, которую Россия использовала много раз не только в Украине, все повторяется и повторяется.\n\n​А как вы работали с “украинской” стороны?\nКогда я с “той” стороны снимал, я один раз попал под обстрел украинской армии и понял, что если меня убьют на Донбассе, то я умру со стороны России, буду объявлен сепаратистом, мне не очень этого хотелось. Я решил попытаться снимать со стороны украинской армии и столкнулся с колоссальным сопротивлением пресс-службы АТО, украинского правительства и всех, кого только можно. Если ты находишься на той стороне, у тебя полностью зеленый свет на все, а с нашей стороны тебе все запрещают. Ты приезжаешь куда-нибудь к бойцам, как это было в начале, бойцы говорят: да. А пресс-служба присылает за тобой и тебя увозят. Были батальоны такие, как “Донбасс”, “Айдар”, “Правый сектор”, с которыми намного проще это все решалось. В какой-то момент, когда пресс-служба опять ничего не давала снимать, я сказал Саше (фотограф Александр Гляделов. – РС), что знаю командира Семенченко, поедем в Донбасс, посмотрим, что там можно делать. Так сложилось, что мы приехали перед Иловайскими событиями (когда подразделения украинской армии попали в окружение. – РС) и вместе с ними поехали в Иловайск, проезжали через все блокпосты вместе с ними на их машинах. На блокпостах никто не знал, что мы пресса. Да и слабо можно назвать нас прессой, потому что мы нигде не работали, никто нам за это не платил, ехали сами, а потом уже как выйдет. Документировали все.\n\nНе мне судить, из-за чьих ошибок попали в окружение, как и все бойцы, ждали, надеялись. К сожалению, все закончилось плачевно для очень многих, кто там был. Нам с Сашей повезло, Сашу ранило через несколько дней после того, как мы туда зашли, не тяжело. Мы рядом были, меня не задело, ему задело ногу, я ему оказывал медицинскую помощь. Очень много было раненых, медиков было всего пара человек, они занимались, в основном, бойцами, я Саше помогал, потом его увезли вместе с ранеными. Смешная история была, у Саши, когда его увозили, все пленки, которые он сделал в Иловайске, выпали. И какой-то боец принес мне все его пленки, когда Сашу уже увезли. Я думаю: вот прикол, теперь мне нужно выбраться из “котла” с моими фотографиями, еще и с Сашиными. Мне повезло, я уехал раньше, за пару дней до того, как всех расстреляли. Нас выпустили на автобусе, обстреливали минометами, но лобового сопротивления, чтобы кто-то вышел прямо на какой-то коробочке, БМП или танке, – не было, хотя за день до нас такой же автобус расстреляли. Мне нужно было уезжать, у меня была выставка о Майдане во Франции, у меня был уже самолет, меня даже совесть мучила, что я не хотел уезжать, хотел до конца быть. Но я вынужден был ехать с бойцами, которые вывозили раненых, мы уезжали на микроавтобусе. Я помню, был парень с перебитым позвоночником, я его поддерживал, потому что на кочках мы очень сильно съехали, по нам минометом сильно шарахали. Он, помню, держал гранату в руках и говорил: “Макс, без обид, но если засада, я ее на хер взрываю”. Так мы 10 километров по красной линии ехали, три бойца были или четыре, раненые и я, выбирались оттуда. Через несколько дней много погибло парней.\n\n​Вы описывали, как вы сидели в Иловайске, потом выходили оттуда, потому что у вас самолет во Францию на выставку. Это очень сильный перепад – сидеть под бомбежкой, а потом во Франции выставка. Вы как чувствуете себя в этой вилке? Где вы больше себя ощущаете как дома?\nНа самом деле все было психологически сложно, хотя я не понимал это тогда. Мои друзья после этой выставки повезли на Лазурный берег, где-то в Сан-Тропе или в Ницце. Мне друг говорит: “Как ты себя чувствуешь? Пять дней назад ты был под артобстрелом”. Эти все синдромы послевоенные не чувствуются, на тот момент я не понимал, что у меня какой-то перепад. Сейчас я осознаю, что, конечно, очень нервный, психованный был, очень сильно сказывается. Где я себя лучше чувствую? Мне кажется, я себя лучше чувствую в своей жизни, моя жизнь там, где я нахожусь. Я знаю многих фотографов, которые, уезжая с войны, не могут нормально жить мирной жизнью, возвращаются на войну. Я к таким не отношусь, потому что мне есть чем заняться и на гражданке. Я не считаю себя военным фотографом. Я был на войне, потому что я захотел там побывать. Не потому, что я репортер, который должен это снимать. Это произошло в моей стране, это история моей страны, я начал ее снимать с Майдана, я был в Крыму, потом я был на Донбассе, изначально принципиально поехал на ту сторону. Для меня это моя история, я был со всех сторон. Это мой опыт. Сейчас я туда не возвращаюсь, потому что я не понимаю, что я буду там делать. Я там был в тот момент, я себя чувствовал комфортно, когда я был там, сейчас я себя чувствую комфортно не на войне.\n\n​Вы снимали на Майдане, вы снимали украинских солдат на войне, это часто сильное воодушевление, движение духа. Трагические события были на Майдане и на войне, но без сомнения, в этом было что-то возвышающее. У вас сейчас ощущение, что это прошло, ушло куда-то, это воодушевление людей, которые меняли Украину, отстаивали ее?\nВсе это вдохновение должно подпитываться чем-то, на самом деле оно сейчас держится на энтузиастах, но это не благодаря, а вопреки тому, что происходит. К сожалению, то, за что вышли люди, произошло в очень минимальном процентном соотношении по отношению к тому, что хотелось бы. Во власти осталось много старых людей, система не очень изменилась. Старая система другими способами пытается . Старой системой я называю не систему Януковича: система Порошенко, система Тимошенко, система всех политиков, которые были тогда, – они ничем не отличаются. Новая власть в виде новых людей, которые пришли после Майдана, – это очень малое процентное соотношение, мы бы хотели, чтобы все произошло намного быстрее. К сожалению, теперь нам остается надеяться на то, что постепенно молодая кровь будет вытеснять старую. Но старая система очень борется, есть очень большое сопротивление, и это очень тяжело. У меня много знакомых, которые ушли из бизнеса, пошли в политику или в министерство какое-то, у них были очень хорошие зарплаты, а там им дали зарплату пять тысяч гривен, 200 долларов. Они два года работают, говорят: у меня все сбережения закончились. Я работаю, я депутат, в министерстве, и у меня нет денег. И им говорят: мы все ждем, пока вы устанете, уйдете, мы дальше будет опять делать, что делали. К сожалению, сейчас единственный шаг – это медленно, постепенно молодая свежая кровь должна вытеснять этот старый режим. Флаги поменялись, а мировоззрение наверху у людей не поменялось. Я не говорю про всех, я считаю, что одна треть, хотя бы одна треть – это люди, которые пытаются изменить страну. Но существуют две трети, которые не хотят ничего менять, они не приспособлены к новому европейскому государству. Все бы хотели, чтобы они собрались со своими деньгами и куда-нибудь укатили, чтобы молодое поколение, интеллигенция вела бы страну в какие-то новые времена. Многие люди возвращались из Европы сюда, чтобы что-то изменить, но я знаю сейчас тенденцию – они уезжают, потому что разочарованы, что ничего не изменилось.\n\nЯ хочу вернуться к тому, с чего вы начали, к этому движению стены. Стена, которая рухнула в Берлине, на Майдане ее частично обрушили, и она…\nСдвинулась в Донбасс.\n\nДвижется на восток. Я хотел вас спросить, как вы относитесь к России, чем это движение стены, с вашей точки зрения, закончится?\nЭто очень сложный вопрос, потому что у меня в России есть много друзей, с которыми у нас очень хорошие отношения. До всего, что случилось, я часто приезжал в Россию, был в Москве. Это больше похоже на помешательство. Я отношусь хорошо к людям, которых знаю в России, а к общей массе у меня плохое отношение, потому что они поддерживают то, что делает их правительство. Они молчат, боятся, не хотят ничего говорить. У меня, наверное, больше не ненависть, а разочарование или непонимание, как можно не видеть, что происходит. Потому что ощущение, что это возвращение назад, полностью в Советский Союз, и люди счастливы от того, что это происходит. Люди довольны, люди поддерживают войну, люди максимально разжигают ненависть – все эти лозунги, призывы и то, как они реагировали, говорило о том, что проблема не в Майдане. Стоило только назвать украинцев фашистами, сразу же большая часть населения России это поддержала. Это говорит о том, что эта мысль в голове культивировалась, Малороссия, все остальное – было уже в головах, это не могло появиться за одну неделю. Отношение истинное… Мне кажется, большая проблема россиян – это империализм, они хотят вернуть свою империю, свое влияние на соседние государства. Они не могут найти ничего другого, как сделать это силой, и в этом именно моя претензия к России. Они убивают мой народ. Как можно рассказать детям, у которых стоят дома фотографии их родителей, отцов, которые были убиты людьми с российскими флагами, что это наша братская страна? Та война, которая произошла, уже нас разделила. На самом деле это за год, за два, даже за пять, за десять лет – не разрешится, потому что эта война затронула каждого. У каждого кто-то из знакомых погиб, или пришел раненый, или был на фронте, или он был там сам. На самом деле это глобальная проблема, потому что люди потеряли близких. И с той стороны та же ситуация.\n\n​А про стену?\nТак получилось, что в Украине сейчас процентное соотношение людей – еще до Майдана было – немного другое, они хотят другой жизни, не хотят возвращаться в ту жизнь с Советским Союзом, в те времена. А на Донбассе – люди, которые отстаивают это. Стена – это граница империализма, она сдвигается. Это просто геополитическое влияние. Сейчас Россия не имеет такого влияния на Украину – на ту часть Украины, которая контролируется украинской армией, украинским правительством, – как она влияла до Майдана. Эта стена – влияние России на соседние государства, влияние на умы. Потому что когда человек перестает смотреть только российское телевидение, только российские новости, то он начинает иметь другую точку зрения. Мы все думаем, что у нас у всех есть свобода, мы можем зайти в интернет, все увидеть, все почитать, но большинство людей, что в России, что в Украине, включают телевизор и смотрят то, что там показывают, слушают, читают газеты, общаются. Когда я был в Крыму и в Донбассе, то порой доходило до смешного, люди рассказывают такие сказки. Я был свидетелем какой-то ситуации, а люди через час уже все настолько перевирали и в это верили, какой-то “Правый сектор”, который кому-то отрезал голову, сидит где-то в погребе. В чем Россия хороша, так это в информационной войне. На самом деле вся война России в Украине началась благодаря СМИ. У меня иногда много вопросов к СМИ, потому что люди верят.\n\n"},{"attributes":{"link":"https://www.svoboda.org/a/27564707.html"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:30:55","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Radio Liberty, Interview by Valentin Baryshnikov | 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87","published_at":"2019-05-09T10:30:55","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2147418111,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:30:55","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:41:11","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"radio-liberty-interview-by-valentin-baryshnikov-ru","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/radio-liberty-interview-by-valentin-baryshnikov-ru","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Radio Liberty, Interview by Valentin Baryshnikov | RU","published_at":"2019-05-09T10:30:55","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"2daabd7d-0205-411b-b6b8-1fa3c06d31ea","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"0e2a5ff8-764f-4440-9481-5afe98520ac6","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Maxim Dondyuk: ‘Photography To Me Is Like a Diary: Snap It and Move On’"},{"insert":"\n\nUkrainian photographer Maksim Dondyuk talks about why he doesn’t shoot in black & white, doesn’t work with film and can’t stand criticism.\nThis year, Maksim Dondyuk’s photo series about the Maidan events received the prestigious Rémi Ochlik Award and is now on display at the largest photojournalism festival, Visa pour l’Image, which takes place in Perpignan. In the past, Dondyuk rose to fame because of his other project dedicated to the tuberculosis pandemic that he worked on for two years. Bird In Flight spoke to Maksim about why budding photographers shouldn’t strive for quick recognition, why professional fanaticism is detrimental, and who would be better off staying away from documentary journalism.\n\nUnlike those competitions where you submit your works and pay entry fees, the Rémi Ochlik Prize is an award that other photographers and photo editors nominate you for. You might not even be aware of the fact. During closed voting the jurors decide who out of the suggested candidates in their opinion have accomplished something extraordinary in the field of documentary photojournalism. My Maidan project was nominated by photo editor Paris Match. My win in this competition was totally unexpected.\n\nAt this point of my life the Rémi Ochlik Prize is highly important to me. All previous triumphs served as gradual building blocks, and without them this last one would hardly be possible. Regardless of how good my photographs might be, I wouldn’t be nominated if people didn’t know about me. What often happens to creative individuals is that they wait for someone to show up and announce: “Aren’t you a genius!”. In actuality you need to learn the skill of self-presentation.\n\nAbout getting into photography\n\nI started doing photography after my third try. When I was a boy I’d been given a “Smena”. My Mom was an avid photographer who taught me film developing. It didn’t go any further than that as we had a shortage of film at the time and it just didn’t stick with me. When I turned twelve my friend’s Dad started teaching an after-school photography class. We began shooting, processing. Everything was on the technical level, no artistry involved. Then cheap single-use cameras came out, printing services became popular, and the class got cancelled. I went on to serve in the navy. Later I moved to Kharkov and got a job as a chef. A week at the kitchen, a week at home. Decided that I needed a hobby and Photoshop stirred my curiosity. Bought a thick manual, started doing retouching of the old damaged photographs from my Mom’s collection. Eventually I came to realize that I need to be editing my own pictures so I purchased a camera.\n\nIn 2006 I began shooting spheric panoramas. At the time there were only three or four of us doing this in Ukraine. I got a camera, Nikon D70, and earned my first few bucks photographing. Some time later I was introduced to photographer Sergey Kozlov who took me on a reporting mission. I liked it. Afterwards I began working pro bono for an agency. I kept my night job as a chef while during the day I would always be heading out to see some house fires etc.\n\nAbout your calling\n\nDo not take photographs too seriously. Do not get upset when something isn’t working out. Do not crawl out of your skin to have your photos published. Take on projects after you advance to a serious level. Only now did I reach the point of opening an exhibition, producing a book, however quite often that’s what many photographers start out with.\n\nThose who want to do photography for living need to choose a commercial direction: advertisements, weddings, something else. If one wants to enter the field of documentary photography they need to make it their drug. They shouldn’t wait for someone to pay them to go to a danger zone, they should finance it on their own. They need to understand that expositions are not a self-goal but the side effect of success.\n\nWhen photography becomes integral part of your life, when you get fanatical about it then you stop treating it as a job. During Lumex-fest I was checking out portfolios of young photographers. One guy used to shoot incredibly well before college, yet five years into the study he was shooting ten times worse – too much thinking about composition, about what format was needed for a magazine…but in the past he used to take some impressive, mind-blowing shots. He and I spoke about it and he agreed.\n\nAbout personal goals and motivations\n\nI believe in no God, or anything else for that matter. Photography is my philosophy. It’s my tool of universal discovery that I use to understand what’s important and what’s not, what’s good and what’s bad. Through my own experience and through my interaction with others. My occupation allows me to take on roles of a surgeon, a soldier, a pilot, of anyone really. I can turn into a TB patient for a year, live his life and go back to my own with his experience. Such experience is highly meaningful.\n\nI try to invest my emotions into photographs. I firmly believe that a photo is not just a technical image but a capsule which contains my own sentiments.\n\nFrequently a photographer attempts to contemplate, constructing a frame, a composition – and lets the emotions slip by! As a result he ends up with a beautiful, balanced, and completely dead picture.\n\nMy photograph is purposely void of the authorial intent. Its perception level is what’s truly important. We all can see the image where riot police “Berkut” fights the protesters. That’s the initial stage. The next stage is the subconscious one which is connected to your own experience, to your inner world, – that’s when you can either perceive the image as a drawing or some iconic representation, or as a dream of yours. Then it affects you in a different, much deeper way.\n\nAt some point I decided I didn’t like photography at all. Out of boredom I went to Crimea and started shooting a movie there. It made me realize that film can tell a better story. Then I went back to photography and during Maidan I already had the complete understanding of the difference between a story, a journalistic tale, and the static images. Those are emotional. I encountered some insane scenes while at Maidan. And I tried to capture them in such a way so that they would be impacting others not just today but in 50 years too.\n\nAbout visual language and awareness\n\nMany young authors have a concept, an idea, a text, and the characters. They have everything but the visual language. Because they are utterly lacking understanding of what visual communication with a viewer actually means. I have a theory that photography is a container where you store your emotions. When you feel, agonize, and come into close contact with what’s happening – you simply can not produce unemotional photography. On the other hand, if you are standing around thinking that your deadline is coming up in 20 minutes and that you need to take a photograph which would make it into an Associated Press report, then you will never capture feelings.\n\nVisual awareness is when you take photos of some expert, let’s say, James Nachtwey, or endlessly browse through thousands of images in the Magnum Agency archive, and then for a month try to replicate them in each reportage, like a monkey. When you end up copying a hundred authors you’ll have bits and pieces of each in your photographs – and that’ll be your style. This insight is vital for visual composition, and the next level will be incorporation of the emotional element, when you are implementing a Hemingway story, poems, music into your photography. This will be your art composed out of particles of everything. When you reach this level you’ll start practicing creative thinking instead of copying others.\n\nIt’s essential to learn the way to correctly convey what you see and what touches you. A photographer often attempts to contemplate, constructing a frame, a composition – all while missing the emotions! As a result he ends up with a beautiful, balanced, and completely dead picture.\n\nWhen I see what I want to shoot I pick up my camera right away and start shooting. Since I only have one set of lens I know the frame’s limits and don’t aim. When you begin measuring how to shoot, whether to stand or to kneel, or to lie down, messing with focus and mode… you loose track of what it is that you’ve been photographing. I do it differently: snap and move on. Photography is like Twitter to me.\n\nAbout idols and sources of inspiration\n\nMany photographers pick two or three role models and start replicating them. Why not expand the circle of idols to at least a dozen? If I like a certain author I’ll try to analyze his thought process, why he was thinking this way and not the other. I’ll read all his interviews, watch every movie, go through each and every photo, find out where he lived and whether he had a mistress – I’d be interested in every detail about him.\n\nWhile shooting the tuberculosis asylum project, I became very inspired by Hunter Thompson. I got fully immersed into the history and started thinking of myself as “Gonzo”. I even tried taking photos with me in the stills – drinking vodka or playing card games with the patients.\n\nJames Nachtwey influenced me greatly as well, I worship him. His shoots are inhumanely demanding. I only shot the TB ward – and he’s made many of similar series. I understand how psychologically difficult it can get to unconditionally submerge yourself into each project.\n\nI like Hemingway. His books generate more ideas for photographs than works of any famous photographer. I have a dream to shoot a story about fishermen only because I read his book “The Old Man and the Sea”.\n\nWhile shooting the tuberculosis asylum project, I became very inspired by Hunter Thompson. I got fully immersed into the history and started thinking of myself as “Gonzo”. I even tried taking photos with me in the stills – drinking vodka or playing card games with the patients.\n\nIn the field of black & white photography my role model is Sebastiao Salgado. When it comes to color, I like Georgiy Pinkhasov. But only the way he works with color. There is plenty of imagery in his photography, yet it seems too drug-induced and overly visually aesthetical. It’s cool but what truly matters to me is factuality. Horst worked correctly with color.\n\nWhen I started working with colors I was advised as a novice not to use more than three at a time in order to avoid mush. With a photo editing software you need to wash out a photograph down to the color spots. If you like the result then the color composition is correct. If the colors are not working well together you need to make corrections. In time you train yourself to increase the number of colors on a photograph up to ten and make each work well with others.\n\nOn equipment and choosing between film and digital\n\nI shoot everything with one lens – 35 mm. I also have a “fifty”, but only use it in two instances: when I need to shoot a portrait for “Spiegel” or when my 33 mm isn’t in working condition. I’m tired of fixing it and finally taped it together with some Scotch.\n\nDigital is still young and gets frequently misinterpreted. What’s important is not what you shoot with but the end result. I like film, yet it’s pricy and unpractical. I can make a RAW file look like a film still. Therefore I do not see advantages in film, it’s pure aestheticism.\n\nI couldn’t care less what to shoot with. Pretty soon everybody will be shooting with iPhones. Older photographers don’t like digital because equipment is now affordable and there are crowds of people who fancy themselves photographers, and because of the visual noise that they create it’s allegedly harder to channel attention to good pictures. And many of them dislike digit because they don’t know how to edit a digital file so it could look like film photography.\n\nI didn’t have photo editing lessons. I learned through visual cognizance: by looking at numerous color prints in order to understand which ones showed the sky coloring better. Take any film photography, put it in front of your face and keep editing the blue on the digital shot until it turns the shade off the print. At some point you’ll begin sensing color.\n\nAbout mentors, a personal journey and recognition\n\nI would advise budding photographers to self-evaluate and not listen to their colleagues. Because all photographers are competitors. Only a virtuoso, a highly accomplished individual can give you a truly valuable advice. With that said, some mentors try molding you into something that they couldn’t become. And when you choose another, unfamiliar to them path they stop understanding you.\n\nPhotographer Platon who took the infamous portrait of Vladimir Putin with his wide-angle lens for Time Magazine recalls in his interviews: for twenty years he’d been told that it was the wrong way to shoot, that a wide-angled image shot from below is defective. He didn’t deviate and kept on shooting the same way, he was fired. And now it became classical. If you’re the only person who thinks it’s the correct way while everyone else disagrees with you, then perhaps you are a genius.\n\nWhen you strive to achieve something for a while, you’ll inevitably encounter the moment of despair when you start thinking that your goal is unattainable and all the rest were correct trying to talk you out of it.\n\nThe project about life of the tuberculosis victims was integral part of my life. I couldn’t go out to have a beer with friends in the evening because all my friends, all people within my social circle\nwere the hospice patients. I’d gone into debt, lost my family, many of my loved ones didn’t want to keep in touch. They didn’t understand why it was so important to me. I lived with the ill folks, kept a blog where I posted my pictures, but over the course of the year no publishers took interest in those, even though I was offering it free of charge. When I talk about it at my lectures in Europe, students get puzzled. Because they wouldn’t start doing anything without a payment. They are taught this in college: first you receive a grant, then an order, and only then you begin shooting. And it certainly makes sense. You need to have a clear understanding of what to expect. I, on the other hand, have been swimming upstream.\n\nNothing is worse than all-surrounding praise. I don’t want to be liked by every person. When it comes to creating it’s crucial not to get reduced to kitsch. It’s okay to be told: “Your shooting sucks”. I heard it many a time while photographing the TB patients! At first no one even thought that anything would come out of it.\n\nPersistence is vital. When you strive to achieve something for a while, you’ll inevitably encounter a moment of despair when you start thinking that your goal is unattainable, and all the rest were correct trying to talk you out of it. But the truth is, it’s just life throwing you a curveball. If you stay the course and don’t get sidetracked – a new door will open for you soon. Patience is a great virtue.\n\n"},{"attributes":{"link":"https://birdinflight.com/inspiration/experience/maksim-dondyuk-photography-like-diary-snap-move.html"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:35:38","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Bird in Flight, Interview by Eugene Safonov | 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in Flight, Interview by Eugene Safonov | EN","published_at":"2019-05-09T10:35:38","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"9e772fa9-9496-43dd-9075-a41903e3d5e3","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"e7915cd2-aa00-49d6-9723-31085cb1ee67","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"insert":"”No me interesa el periodismo objetivo a secas”\n\nPocos fotoperiodistas dicen alto y claro que cuentan la realidad desde su particular punto de vista. Maxim Dondyuk es de los que no lo esconde. El ucraniano defiende una fotografía documental con un marcado trazo personal, emocional. Una fotografía periodística pero al mismo tiempo artística. Quizás estemos ante uno de esos casos en que las fronteras se diluyen y las diferentes disciplinas convergen, y quizás sea por eso que su impresionante trabajo sobre las revueltas de Maidán no tuvo cabida –como él mismo se lamenta- en los World Press Photo. Dondyuk, que el año pasado fue galardonado con el premio Rémi Ochlik en Visa pour l’Image, nos habla de su intensa y absorbente relación con la fotografía.\n\n¿Cómo te metiste en esto de la fotografía?\nComencé con la fotografía al tercer intento. Mis dos primeros acercamientos fueron durante mi infancia: cuando me regalaron mi primera cámara -una Smena- y al cabo de un tiempo cuando me uní a un grupo de fotografía, pero el entusiasmo no me duró demasiado.\nPero a la tercera va la vencida. Trabajaba como cocinero en un restaurante en Járkov [al este de Ucrania]. Me pasaba dos semanas en los fogones y una en casa, así que decidí que necesitaba un hobby. De esta forma comenzó mi relación con la fotografía. Al inicio leí muchos libros sobre artes visuales y fotografía y practicaba lo que había aprendido al salir del restaurante. En ocasiones llegué a trabajar como fotógrafo. No por dinero, sino para ganar experiencia.\n\nDespués de un año dejé el restaurante y pasé a trabajar como fotoperiodista para los grandes medios de comunicación ucranianos. Allá por el 2010 entendí que necesitaba más libertad, así que dejé de trabajar para ellos y me hice free lance, para poderme dedicar a crear y promover mis propios proyectos a largo plazo.\nNo he tenido una educación muy artística que digamos. En mi familia no hay artistas ni fotógrafos. Todo lo que sé lo he aprendido en libros, exposiciones, museos y clases magistrales.\n\nBásicamente fotografío cosas que me interesan o que son muy importantes para mí. Cuento la historia mediante la fotografía, pero no pongo mucho interés en si soy fotoperiodista, fotógrafo documental o artista visual. Siento que la fotografía forma parte de mí mismo, de mi alma.\nEn Maidán me resultó difícil verme rodeado por cientos de compañeros fotógrafos porque estoy acostumbrado a trabajar solo: somos la historia que estoy contando y yo. El principal motivo por el que fui a Maidán es porque estaba ocurriendo algo en mi país y en mi propia ciudad. Se convirtió en algo personal de lo que no podía mantenerme al margen.  \n\nTu proyecto sobre el conflicto en Ucrania tiende mucho más hacia la fotografía documental que hacia el fotoperiodismo. ¿Qué te hizo decantar la balanza?\n\n¿Qué crees que es necesario para hacer buena fotografía?\nLa fotografía, como cualquier otra obra artística, es una especie de cápsula que encierra las emociones del artista. La buena fotografía ha de ser emocional. El espectador debería sentir las mismas emociones que tú sentiste en el momento de fotografiar. Si una fotografía es técnicamente buena pero está vacía de emociones, es una fotografía sin vida. Por supuesto que los aspectos técnicos son importantes, pero una vez aprendidos hay que automatizar el proceso, olvidarse de él y poner toda la atención en las emociones.\n\n¿Qué fotógrafos te han influido más y de qué manera?\nDesde el momento en que comencé a fotografiar he ido evolucionando junto a mi trabajo. Mientras vivía en Járkov estuve influido por la escuela fotográfica de la ciudad. Ni siquiera podía imaginar que un día podría ser fotoperiodista. Todo cambió cuando me mudé a Kiev, donde me introduje en ese mundo y no tardé en absorber sus influencias; seguía a diario las webs de las agencias de noticias como Reuters o AP.\n\n”No pongo mucho interés en si soy fotoperiodista, fotógrafo documental o artista visual. Siento que la fotografía forma parte de mí mismo, de mi alma”\n\nFinalmente me sumergí en el mundo de la fotografía documental. Revisaba los archivos de los fotógrafos de Magnum, me inspiré con las imágenes de James Nachtwey, Sebasitao Salgado o Yuri Kozyrev. Pero creo que me siento más influido por escritores y pintores que por fotógrafos. Cada vez que voy a un país nuevo visito museos y galerías. Adoro los cuadros de los realistas que llegaron a pintar importantes escenas de batallas sin olvidar la importancia de la estética. Son cuadros muy bonitos.\n\nEn lo que respecta a mi mundo personal, la fotografía me ha ayudado a vivir un montón de vidas diferentes junto a los personajes de mis historias. Algunas de ellas muy tristes, otras emocionantes. Por supuesto, todos estos momentos me han cambiado, han moldeado mi pensamiento y me han ayudado a ver mi propia vida desde otro punto de vista.\n\nTambién haces proyectos multimedia. ¿Qué te lleva a contar una historia con vídeo o foto?\n\nA mediados de 2013 empecé a considerar seriamente por varios motivos la opción del vídeo documental. Por aquel entonces me parecía una herramienta más potente para contar historias con cierto calado social. Así que me lancé a grabar un documental para mi proyecto “Crimea Sich” [sich es una derivación de sikty, que significa cortar o talar y hace referencia al clareado de un bosque para construir una fortificación]. Fui con mi hermano a Crimea y nos gastamos hasta el último céntimo en el equipo. Fue un intento de encontrar respuestas a las preguntas que me rondaban por la cabeza.\n\n”Si una fotografía es técnicamente buena pero está vacía de emociones, es una fotografía sin vida”\n\nFui seleccionado para la beca a directores de vídeo documental en el American Documentary Film Festival de Ucrania. Fue durante este periodo que estalló el conflicto en el Euromaidán. No sabía si continuar con mi proyecto o ir a Kiev. Tampoco tenía claro cómo quería documentarlo: ¿con fotos o con vídeo?\n\nAl principio me dediqué a mirar, analizar y encontrar respuestas. Si creía que la historia era importante para mí, tenía que hacerla en vídeo. Pero de repente le di una segunda oportunidad a la imagen fija, porque entendí que estaba viendo todo aquello mediante imágenes asociadas que contenían respuestas al qué, el dónde, el cuándo y también a un nivel más asociativo.\n\nAlguna vez has dicho que para ti la fotografía es como Twitter. ¿En qué sentido?\nLa cosa tiene gracia porque yo no afirmé eso. Simplemente en una entrevista le comenté al periodista que odio las redes sociales, Twitter en especial. Para mí la fotografía es como mi diario visual, un diario de mis propias emociones. ¡A eso me refería!\n\nEn el último año has alcanzado un gran reconocimiento: el premio Rémi Ochlik en septiembre de 2014, el Professional Fine Art Photographer of the Year hace unas semanas… ¿Qué importancia tienen para ti estos premios?\n\nA decir verdad esta historia [en referencia a su trabajo sobre Maidán] tampoco ha cosechado tantos premios. El concurso de fotoperiodismo con mayor reconocimiento [el World Press Photo] la pasó por alto. El premio Rémi Ochlik [al joven fotoperiodista] fue una excepción, y fue realmente muy importante para mí.\n\n”Una parte de la comunidad periodística no está preparada para aceptar mis fotos como documentales. Para ellos son como cuadros sin una relación directa con la realidad”\n\nEl resto de premios están más relacionados con la esfera del arte. Está siendo un año muy interesante. Una parte de la comunidad periodística -no toda- no está preparada para aceptar mis fotografías como documentales. Para ellos son algo así como cuadros sin una relación directa con la realidad. Al mismo tiempo he recibido la aceptación de algunas comunidades artísticas que ahora ya no me ven solo como un fotoperiodista.\n\nLo cierto es que no sé qué decir cuando alguien me dice que mis fotos parecen irreales, como si estuvieran photoshopeadas. No es el caso: la realidad fue así. ¡Qué quieres que le haga si yo veo el mundo exactamente de esa manera!\n\n¿Qué supuso para ti fotografiar el conflicto en Ucrania a nivel emocional, periodístico y político?\nYo solo trabajo a un nivel, el emocional. Y solo cuento mi punto de vista, que es subjetivo.\n\n¿Cuál fue ese punto de vista en Maidán y el este de Ucrania? ¿Qué querías contar?\nYo solo quería observar y documentar lo que estaba sucediendo en mi país. La historia que fotografié en el este de Ucrania todavía no se ha publicado. De hecho ni siquiera he hecho una edición final. Es una página de ese diario personal a la que todavía no estoy preparado para volver. No estoy listo para mostrarlo.\n\nMuchos colegas me dicen que invierto demasiado tiempo en pensar la historia. Pero es que precisamente hay ocasiones en las que el análisis y el entendimiento conllevan más tiempo que la propia fase de fotografiar. No concibo la fotografía como un trabajo. Por eso no me marco plazos. Necesito estar preparado y seguro [para hacer público mi trabajo].\n\nEstamos hablando de tu propio país, de tu gente. ¿Cómo compatibilizas toda esa subjetividad de la que hablabas con la veracidad?\nTodos tenemos nuestra propia verdad, así que no le doy muchas vueltas. Yo tan solo tengo un punto de vista propio que comparto a través de mis fotos. Se trata de una guerra en mi país, así que claro que detesto que se den ciertas situaciones. Eso lo puedes ver y sentir a través de mis imágenes.\n\n”Yo solo trabajo a un nivel, el emocional. Y solo cuento mi punto de vista, que es subjetivo”\n\nPero en todo momento busco la forma de contar y entender la historia desde ambos lados. En Maidán estuve con los manifestantes y la policía; en Donbass, con los separatistas y el ejército ucraniano. Pero en cada caso me posicioné con unos u otros. No me interesa el periodismo objetivo a secas.\n\nMuchos fotógrafos -por ejemplo, Donald Weber en un famoso artículo para Vantage- han afirmado que los fotoperiodistas se centraron demasiado en la plaza Maidán, dando una versión apocalíptica de Ucrania mientras en las calles adyacentes la vida continuaba su curso normal. ¿Crees que eso ha proporcionado a la opinión pública una información sesgada?\n\nTodo se gestó como si un pequeño pueblo en el centro del país se declarase independiente [Dondyuk hace referencia a lo que representó Euromaidán durante aquellos días]. Los fotógrafos que estaban allí mostraron exactamente lo que estaba pasando. Cualquier persona en su sano juicio es capaz de entender que no se trataba ni de toda la ciudad ni de todo el país. Cualquier persona mínimamente capaz entiende que en un país puede haber batallas y celebraciones festivas simultáneamente.\n\nRespecto a lo que dijo Donald Weber, sus historias modificaron la situación de la misma manera: también daban a entender que eso estaba ocurriendo en todo el país. Creo que sus fotos de las armas que portaban los manifestantes, los cócteles molotov y los retratos posados cuentan la historia de lo que ocurrió en Ucrania de forma incluso peor.\n\n¿Qué rol crees que tienen las agencias en esto?\nNo tengo relación con las agencias, así que no puedo responderte a esta pregunta.\n\nEn 2011 trabajaste con enfermos de tuberculosis. ¿Es un problema grave en Ucrania? ¿Qué fue lo que te motivó a fotografiar este tema?\nEn un determinado momento me di cuenta de que me interesaban los temas sociales. Creo que podría deberse a mi pasión por los trabajos de James Nachtwey y Sebastiao Salgado. En ese momento de mi vida leí un montón de entrevistas que habían dado, y no me cansaba de ver sus fotografías, intentando entender qué les motivó a ellos.\n\nComprendí que no necesitaba salir de mi país, porque aquí tenemos tantas problemáticas de tipo social que lo único que me hacía falta era decidir una que me interesara descubrir. Me decanté por la tuberculosis porque yo también me creía todos los estereotipos alrededor de la enfermedad y no me imaginaba que a nivel nacional pudiera tener el estatus de epidemia.\n\nEl tema me fue absorbiendo a medida que me adentraba en él, y le fui dedicando cada vez más parte de mi tiempo libre. Cuatro meses después de comenzar el proyecto perdí mi trabajo y mi novia me dejó. No tenía dinero ni dónde vivir. Pero cuando comparaba mis problemas con lo que estaba documentando, los míos no parecían tan terribles.\n\n”El tema [de la tuberculosis] me fue absorbiendo a medida que me adentraba en él. A los cuatro meses perdí mi trabajo y mi novia me dejó”\n\nTuve que irme de Kiev porque no podía permitirme pagar un alquiler. Por un tiempo viví en las regiones donde estaba trabajando, incluso en hospitales para tuberculosos. Este proyecto se convirtió en parte de mí. Traté de sumergirme en la vida de un hombre con tuberculosis tanto como pude. Por aquella época tenía un gran interés por las novelas de Hunter S. Thompson, que influyeron mucho en el planteamiento del proyecto.\n\nTras dos años exhaustivos comprendí que necesitaba parar porque ya no distinguía los límites y había entrado en algo demasiado profundo con todo aquello. El contacto tan cercano con la muerte, particularmente lenta en el caso de la tuberculosis, me enseñó a apreciar cada día de mi vida y a acostumbrarme a la muerte. Tengo que agradecer a todos los amigos que me ayudaron en aquel periodo. Mis valores vitales han cambiado.\n\nHay varias historias terribles en este proyecto.\nTienes razón: hay demasiadas historias emocionales y conmovedoras. La de Gena es una de ellas. Le conocí en un el patio del hospital. Estaba sentado en un banco. Nos presentó su mejor amigo de la infancia, Valera, con quien ya estaba trabajando [en el mismo proyecto]. Entonces no fui capaz de advertir que aquel breve encuentro podría tener serias consecuencias para ambos.\n\nMientras tomábamos cerveza me comentó que hacía ya seis años que contrajo la enfermedad sin saber cómo. Trabajaba en un barco pesquero en [la península de] Kamchatka cuando recibió una carta de su madre en la que le explicaba que estaba muriendo, así que regresó a Jersón. Allí tuvo que afrontar el problema de no encontrar trabajo y comenzó a beber, pero al menos podía continuar pescando y ganarse el pan.\n\nCon Gena prácticamente nos veíamos cada semana. Le visitaba en el dispensario para tuberculosos de Jersón para verle y fotografiarle. Su estado fue empeorando, y comenzó a necesitar un bastón para caminar. En el hospital conocí a su madre, que se había recuperado. Tuvo que vender todo lo que tenía y recogía botellas que llevaba a reciclar para pagar el tratamiento y la comida de su hijo. Pero el tratamiento no fue eficaz.\n\nGena apenas podía caminar y había perdido el apetito. Recuerdo el día en que lo fui a ver al hospital y le llevé su zumo de fresas preferido, puré de frutas y cigarrillos. Se sentía muy mal, casi no se podía mover. Charlamos durante un par de horas.\n\nAquella fue la última vez que lo vi con vida. Llamé a la mañana siguiente, pero no pude hablar con él. De camino al dispensario me llamó su madre: Gena había muerto a las 8:30 de la mañana. La ayudé a llevar sus cosas a casa. Me enseñó fotos familiares, me contó historias y sonrió, pero lloraba al mismo tiempo, sin llegarse a creer que su hijo hubiera muerto. No pude ni imaginar un dolor tan humano. Valera vino después del trabajo y nos quedamos con la madre de Gena hasta que se durmió.\n\nEl día siguiente fue el más duro. Tuve que acompañar a la madre de Gena a la funeraria para que escogiera un ataúd, una cruz y las coronas de flores. Lloró sin parar, así que no la dejé sola ni un momento y le hice casi todas las gestiones. Dábamos la impresión de ser abuela y nieto. El día del funeral fuimos a la morgue a recoger el cuerpo de Gena y llevarlo a casa para la ceremonia ortodoxa y luego al cementerio.\n\nAyudé a colocar el cuerpo en el ataúd porque no había nadie más para hacerlo. A Valera solo le queda un pulmón funcional y tiene dificultades hasta para caminar. Fue un funeral muy modesto. Tuve que pedir sillas a los vecinos para colocar la caja y estar atento a su madre porque ya se había caído una vez. Poco después llegaron algunas personas más.\n\nGena, que me llamaba Maksik y siempre se alegraba de verme, que se mantuvo risueño hasta el final, había muerto. Nunca antes había fotografiado el funeral de una persona; solo el entierro colectivo de unos mineros, rodeado de prensa. Como solo había tres hombres para llevar el ataúd tuve que echar una mano.\n\nDe esa manera crucé mi propia frontera, que separa el fotógrafo de la persona. Siempre había dicho que un fotógrafo no debe ayudar cuando su labor es testimoniar con la cámara, pero, ¿cómo podía hacer eso cuando no había nadie más alrededor, cuando yo era el único que podía echar una mano?\n\nEsas imágenes son muy atmosféricas y se han convertido en parte de tu estilo. ¿Qué importancia le das al aspecto visual frente al narrativo? ¿Han de ir siempre de la mano?\nYo creo en la fotografía documental, en la que el fotógrafo no interviene en la realidad, no pide que se escenifique nada y cuenta solo con ese instante antes de que todo pase. Pero a veces tengo la sensación de que el lenguaje fotográfico actual no me es cercano. Encuentro más inspiración en los artistas realistas del pasado siglo. Me gusta crear arte moderno, pero yo trabajo más como un escultor que como un pintor. Desde mi postura, la realidad es un bloque del que extraigo las partes innecesarias para crear imágenes.\n\n”Si solo queremos ver lo que ocurrió, podemos consumir noticias directamente de la agencia o los telediarios de las cadenas de televisión”\n\nYo creo que la historia se va hilando a través del lenguaje visual de las fotografías que la componen. Son esas imágenes las que crean atmósfera y muestran emociones. A nivel narrativo creo que no es necesario mostrar todos los aspectos de la vida de una persona (cómo se levanta, qué desayuna el personaje) como hacen muchos fotógrafos. El sentido narrativo de la historia se crea solo a partir de la unidad de todas las fotografías que lo componen.\n\n¿Qué opinas de la controversia que suscitan algunas fotografías casi artísticas, con una luz, un color y una composición bellas para contar una historia triste?\nCreo que la fotografía clásica en blanco y negro ha dramatizado las historias mucho mejor que cualquier fotografía en color. Yo estoy a favor de la fotografía subjetiva, a través de la cual el espectador puede sentir al artista. Si solo queremos ver lo que ocurrió, podemos consumir noticias directamente de la agencia o los telediarios de las cadenas de televisión.\n\nTu trabajo se centra en Ucrania. ¿No has trabajado en otros lugares?\nPor el momento no, pero está dentro de mis planes: saldré de de Ucrania sin lugar a dudas, porque estoy un poco cansado. Por supuesto que me gustaría fotografiar en otro país, pero hasta el momento no he tenido ningún encargo y no tengo suficiente dinero para hacerlo por mi cuenta porque no quiero ir a un lugar durante solo un par de semanas. Necesito al menos tres meses.\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:31:23","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"Quesabesde, Interview by Ivan Sanchez | ES"},{"insert":"\n"}]},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T10:14:16","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"text","viewer_caption_enabled":false,"parent_id":"c55fd2c6-9b07-49f1-a8bb-0e9427cc8ee5","slug":"untitled-89","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/quesabesde-interview-by-ivan-sanchez-es/untitled-89","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Untitled 89","published_at":"2019-05-09T10:31:23","text_content3":{},"parent":{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","subtype":"text","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{},"position":2147467263,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:31:23","part_of_stacked_page":false,"text_columns":"One","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","cover_image":null,"text_content1":{},"horizontal_viewer_enabled":false,"text_image_enabled":false,"published":true,"invert_colors":false,"set":null,"index_layout":"Grid","imagegrid_ratio_orientation":"Landscape","inserted_at":"2019-05-09T09:42:35","cover_media_autoplay":false,"site_id":"63cff860-2a49-4d8f-a534-f9fab068f116","index_text_size":"S","menu":null,"cover_text_size":"M","slideshow_show_image_title_enabled":true,"index_text_media_size":"None","horizontalscroll_layout":"Equalheight","type":"index","viewer_caption_enabled":false,"parent_id":"d6a6b9ad-bd4c-4994-bb6c-6d7a220dc4f2","slug":"quesabesde-interview-by-ivan-sanchez-es","content_size_type_text":false,"cover_text_color":"#2d2d2d","video_loop":true,"description_alignment":"Left","image":null,"text_media":"None","menu_disabled":false,"cover_media_size":"L","horizontalscroll_size":"Default","imagegrid_align":"Center","imagerid_viewer_enabled":true,"path":"texts/quesabesde-interview-by-ivan-sanchez-es","horizontalscroll_gutters":"S","viewer_count_enabled":true,"alignment":"Left","viewer_backstory_enabled":false,"viewer_image_title_enabled":true,"menu_id":"1f95cb09-7e1d-4974-9036-7f286a7969b0","imagegrid_horizontal_align":"Justified","video_autoplay":true,"title":"Quesabesde, Interview by Ivan Sanchez | ES","published_at":"2019-05-09T10:31:23","text_content3":{},"parent":null,"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"c55fd2c6-9b07-49f1-a8bb-0e9427cc8ee5","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":true,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},"index_caption_enabled":true,"description_enabled":false,"cover_media_fit":"cover","cover_media_navigation":false,"id":"00462b19-2203-4bc2-8dbd-04901813ac50","slideshow_show_count_enabled":true,"imagegrid_caption_enabled":false,"stacked":false,"horizontalscroll_align":"Center","slideshow_show_caption_enabled":true,"site":null},{"video_controls":true,"tag_ids":[],"imagegrid_layout":"Contained","horizontalscroll_caption_enabled":false,"imagegrid_ratio":"1:1","menu_representation":"page","content_text_size":"One","logo_disabled":false,"slideshow_show_backstory_enabled":false,"children":null,"description_content":{},"slideshow_ratio":"auto","text_content2":{"ops":[{"attributes":{"bold":true},"insert":"Prix Pictet Shortlist: Maxim Dondyuk"},{"insert":"\n\nUnder the lens of this imaginative photographer, the frozen, fiery battlefields of Ukraine are transformed into immersive, mythical scenes, in which emotion takes precedence over fact. Come enjoy an intense multimedia presentation of the work along with a revealing Q&A.\n\nMaxim Dondyuk’s series “A Culture of Confrontation” has been named to the shortlist of the 2015 Prix Pictet. His emotionally searing and graphically stunning look at the ongoing unrest in Ukraine caught our eye, so we decided to reach out to Dondyuk to find out more.\n\nLC: What first drew you to photography? How has your relationship with it changed over time? I can’t imagine you were making photos like we see in “The Culture of Confrontation” from the very first time you pressed a shutter…\nMD: I have no artistic or photographic education. There were no artists or photographers in my family. All the knowledge I have comes from books, exhibitions, museums, master-classes.\n\nFrom the moment I started photographing, I found myself changing along with it. Living in Kharkov, I was under the influence of the photography school there. After moving to Kyiv, the situation changed and I was introduced to the world of photojournalism. I quickly came under its sway. Every day I looked at the sites of news agencies, such as Reuters, AP. After that, I was plunged into the world of documentary photography. I looked over the archives of Magnum photographers, was inspired by James Nachtwey, Sebastiao Salgado, Yurii Kozurev. It was then that I realized news photos were not so interesting. I realized I wanted to work on long-term documentary projects.\n\nIn mid-2013, I seriously thought about making documentary films—it seemed to me that they tell socially relevant stories much better than photography. That summer, I went to the Crimea, spending the last of my money for equipment. It was an attempt to find answers to the questions that gripped my mind.\n\nIt was during this period that Euromaidan began in Ukraine. I wasn’t sure whether to keep working on film or to go to the Maidan with a camera. I also didn’t know what I wanted to do at Maidan—video or still? So I stayed back. I watched, analyzed, tried to find answers. I knew it was important for me to tell this story—but I had to figure out how.\n\nAs I spent time at these dramatic scenes, I was given a second photographic breath. I understood that I could look at Maidan with the help of associative images rather than direct ones. I wasn’t trying to show what was happening only as a photojournalist—I wanted to awaken people’s strongest associations and emotions, wanted them to see how I saw.\n\nI wasn’t witnessing a revolution in Independence Square—what had opened in front of me were battle scenes from legends and fairy tales. During the clashes between police and protesters, I felt myself transported to a parallel, fictional world. It was a battle between good and evil, light and shade, fire and frost. On the revolutionary canvas, bloody scenes interwove with some incredibly beautiful visual tableaux. The line between reality and fiction had disappeared; as had the distinctions between time, place, and reason. I understood that photography isn’t just a way to tell stories, but a means of conveying visual images that hold deep emotions. Photographs don’t just show reality but allow the viewer to interpret reality and confront important life questions.\n\nNow, some of the journalistic community are not ready to take my photographs as documentaries. For them, my work is more like paintings, that have no relation to the truth. At the same time, I have heard approval from artists, who say I’m “not only” a photojournalist any more. Regardless, I just try to photograph this world in the way I see it.\n\nLC: You describe yourself as a “visual artist working in documentary photography.” That seems to be treading the line you mentioned above. Can you explain more?\nMD: I am still fond of documentary photography, especially work in which the photographer doesn’t intervene into reality. But personally, I find myself most inspired by the artists from the past century, those who worked in realism. I think of my work more as a sculptor than as a painter—in my possession there is a block of reality, from which I have to cut unnecessary parts to create my images.\n\nThis is certainly a very subjective point of view. It involves total immersion into the situation. I try to find a way to live with my subjects and plunge into their atmosphere. In the end, I believe that photography, just like any other art, is a container of emotions. 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When I was a child, when my mother and I were sitting in a red room. She was an amateur photographer and constantly took pictures of our whole family on camera ZENIT. I remember I was given a camera SMENA, but my enthusiasm didn’t last long. Again I took the camera when I was 12 years old, than I joined a photography club. I went there for a couple of months, filmed several dozen of films, developed them and than threw the whole thing. When I was 24, I worked in a totally unrelated field to photography, I was a chef in a Kharkov restaurant. A week at the kitchen, a week at home. Decided that I needed a hobby. I read a lot of literature about visual arts, photography, tried to read everything I could find in Russian. Photoshop stirred my curiosity. Bought a thick manual, started doing retouching of the old damaged photographs from my Mom’s collection. Eventually I came to realize that I need to be editing my own pictures so I purchased a camera. In 2006 I began shooting spheric panoramas. At the time there were only three or four of us doing this in Ukraine. I got a camera, Nikon D70, and earned my first few bucks photographing. Some time later I became a photojournalist, worked for free just for the experience. I kept my night job as a chef and as a photojournalist in the afternoon. But after half a year I left my main job and became a photojournalist in a daily newspaper.\n\nWhere do you get your creative inspiration from?\nMostly I’m influenced not by photographers but by writers and painters. Each time I come to a new country, I visit museums, galleries. I love paintings of artists who worked in realism. They painted such important battle scenes but never forgot about aesthetic side. Their paintings are very beautiful.\n\nWhat is it like being a documentary photographer this days?\nNowadays it is a hard time for the whole non-commercial photography. Magazines can’t allow themselves to cover such photographers’ expenses as they did it before. More and more magazines are being closed. Many documentary photographers look into the galleries direction. It’s a critical time, which is usually difficult for the photographers who work in this sphere.\n\nWhat is your most memorable story in photography?\nTrue to say, each my project, story or photo is important, memorable and has a huge background. They are the part of someones life or death, so it is hard to tell what it more special for me. Each project it’s a certain period of my life.\n\nWhich series/project was most challenging for you so far?\nThe most difficult was my first serious project, TB epidemic in Ukraine. I worked as a photojournalist in one Ukrainian agency, but realized that I want to shoot my own projects. So I quipped and decided to work on this social story. I chose the problem of tuberculosis, as at that moment I also believed in all the stereotypes of the disease and didn’t suspect that the epidemic of tuberculosis has a status of the national problem in Ukraine. The more I got into this topic, the more it was sucking me. I had no job, my girlfriend left me, I had no place where to live and no money. This project became a part of me. I tried to plunge into the life of man suffering from tuberculosis as much as possible. At that time I was interested in the novels of Hunter Thompson and they made a great influence on my approach to the project. After two years of such a life, I understood that I need to stop, as the borders were lost, and I was plunging too deeply in all this. In Ukraine there are no photojournalistic or documental universities, so I faced with a lot of problems at that time. And this project became my own «university», I made a lot of mistakes but at the same time I gained huge experience.\n\nWhat do you do besides photography?\nI’m very interested in art. So all my spare time I spend reading book, listening to the music, watching films, going to the museums. Through photography I discover not only the world around me, but also my own. Due to photography I learned to notice what I didn’t notice before, to appreciate what I didn’t appreciate before and remember what can be forgotten. I’m very grateful to photography for all my changes in life and mind. Photography isn’t just my job or a hobby. It’s a philosophy of my life, which every day fills me with new energy.\n\nWhat is your favorite photography book?\nThere are a lot of them. But one of the latest it is book of Larry Towell «Afghanistan». 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of the Confrontation: live from the Ukrainian Revolution"},{"insert":"\n\nIPA Series runner-up Maxim Dondyuk’s astonishing, cinematic images of Euromaidan, Ukraine’s bloody wave of protest\n\nAs winter approached in late 2013, the rumblings of political, social and civil discontent in Ukraine was growing louder by the day. When Viktor Yanukovych, the nation’s president, rejected a deal with the European Union for a $15bn aid package from Russia, many citizens were furious. Promising greater political integration and closer cultural ties, lots of Ukrainians saw the EU deal as a new path for the country, whose economic predicament was worsening. \n\nOn the 21st November, up to 20,000 protesters gathered in Kiev’s Maidan Nezalezhnosti (Independence Square) after spreading messages on social media. By the 24th, their numbers had swelled – somewhere between 50,000 and 200,000, depending on who you asked. As pro-EU demonstrators chanted and marched, a small group attempted to storm the Government Building.\n\nThat’s when the trouble really began.\n\nThe wave of civil unrest flooded the streets, fuelled by a heady mix of Cold War-era hostilities, far-right opportunism and pan-European democratic idealism. What became known as Euromaidan led to the Ukrainian Revolution, with President Yanukovych being ousted from power in February 2014.\n\nUkrainian photojournalist Maxim Donyduk documented this iconic moment in his nation’s history in his project Culture of the Confrontation – a Series runner-up in the 2016 International Photography Awards – depicting the bloody battles of Euromaidan in 2013.\n\n“FOR ME, EMOTIONS ARE MORE IMPORTANT THAN FACTS.”\n\nHis extraordinary images, which were also shortlisted for the sixth edition of the Prix Prictet, speak to the kind of bravery all photojournalists need to document scenes of conflict, but their weathered beauty takes them to an epic scale where lines blur; legend and reality, past and present.\n\nFor Dondyuk, inserting himself into the drama and tumult that was unfolding was less a choice, and more a moral obligation. “I am a documentary photographer – I have faced dangerous situations before and I will again, so I absolutely didn’t think about the dangers of going to Maidan. I began to shoot because this was happening in my country, in the city where I live. At some point I realised that it touches me personally, that this is a historic moment in my country.”\n\n“I SAW NOT THE UKRAINIAN REVOLUTION – I SAW BATTLES FROM PREVIOUS WARS, LEGENDS AND FAIRY TALES.”\n\nIn Dondyuk’s Euromaidan, we see voluminous shafts of light emerge between gigantic plumes of blackened smoke, the rising fires breaking out on the steps of centuries-old buildings and tattered Ukrainian flags marked with the dirt and blood of those flying it proudly. Dondyuk has previously called Euromaidan “one of the most beautiful revolutions, like a scene from a Hollywood film”.\n\nThe aesthetic qualities of the images do raise an uneasy question – is it misleading, even dangerous, to make these scenes of violence look appealing?\n\n“Photography is my visual language, because sometimes it is difficult to find the words to convey what I see.\n\n“From the very beginning Euromaidan turned into a real performance, a battle of opposites. Good and evil, light and shadow, thick black smoke and whiteness of the February snow, orange helmets against black. I kept being reminded of Realist paintings, who long before photography, documented historical events in the same manner. When you look at their works in a museum, you don’t question [their process].\n\n“It wasn’t so important for me to answer the ‘what, where, why?’ of the situation. I wanted to evoke peoples’ associations and memories and get them to see what I saw. I saw not the Ukrainian revolution at Independence Square, I saw battles from previous wars, legends and fairy tales.”\n\nThe title of the series is a clear nod to the clash of two distinct groups in Ukrainian society – an older culture nostalgic about the Soviet Union and a younger generation attempting to build a new future. But as Dondyuk makes clear, the ideas within the project and the title sprawl wider than the confines of nationalism:\n\n“At Maidan it was not two different generations – it were two cultural layers who live on one territory. This confrontation is eternal, it started long ago and will continue again and again. The country it happens in doesn’t even matter. For me, in photography emotions are more important than facts.”\n\nA list compiled by Ukrainian media watchdog Telekrytyka in December 2013 listed over 40 injured journalists and photographers, with many reporting deliberate beatings by riot police despite holding journalist credentials – including a photographer from the New York Times.\n\n“EVERY WEEK, SOMEONE I PHOTOGRAPHED WOULD DIE.”\n\nImpassioned protestors, hard-right disruptors and Western photojournalists were being treated with equal disdain. One particular moment is particularly vivid in Dondyuk’s memory, as he recounts:\n\n“The first and last time I really felt fear was when snipers opened fire on protesters on the Independence Square. When all the protesters ran towards the attack, I ran with them, staying with a small group of protesters near the stairs of the October Palace.\n\n“From the building emerged men in black holding guns and opened fire in our direction. We were running away from the fire, hiding from the shots behind the trees. I saw bodies of dead protesters for the first time, and countless wounded being carried to the Hotel Ukraine, which was used as a [makeshift] field hospital.\n\n“At that moment, I felt fear.”\n\nThat kind of exhilarating proximity to the situation is partly what drives photojournalists. Dondyuk’s first experience of this “immersion” was on a project he shot in 2010 and 2011, shooting the TB epidemic in Donbass:\n\n“It was my first serious project, and it became very difficult psychologically. I became acquainted with people and over time I followed them to their grave. I was living in close, constant contact with death; every week someone I photographed would die. These projects change me personally – I don’t know how I could get this experience without photography.”\n\n"},{"attributes":{"link":"http://www.bjp-online.com/2016/01/culture-of-the-confrontation-live-from-the-ukrainian-revolution/"},"insert":"Link"},{"insert":"\n"}]},"position":0,"imagegrid_columns":"L","tags":null,"updated_at":"2019-05-09T10:31:15","part_of_stacked_page":true,"text_columns":"Two","index_text_layout":"Left","imagegrid_gutters":"S","hide_from_menu":false,"slideshow_size":"Default","content_size":"Default","viewer_size":"M","text_content1":{"ops":[{"attributes":{"bold":true},"insert":"The British Journal of Photography"},{"insert":"\n"},{"attributes":{"bold":true},"insert":"Text by Brennavan Sritharan | 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ese momento pensé que Ucrania se estaba rompiendo en diferentes países"},{"insert":"\n\nEstaba participando en una masterclass en Bielorrusia cuando todo se desató en Kiev. Al regresar, la situación era muy complicada e incluso había agresiones a periodistas. En mi primer día allí, el 1 de diciembre [de 2013], participé activamente en todos los acontecimientos como fotógrafo documental con mi cámara, sin tomar parte de la lucha ni lanzar cócteles molotov.\n\nNo tenía ningún encargo, pero se trataba de un momento histórico para mi país, así que necesitaba documentarlo todo. Fue algo muy inesperado no solo para mí, sino para todos los ucranianos. Desafortunadamente, todas las señales que vaticinaban malos augurios se cumplieron y la situación fue empeorando día a día.\n\nEstuve en Maidán prácticamente todo el tiempo, hablando con los manifestantes y conociéndoles. Estaba claro que las protestas no iban a ser el final del conflicto, así que después estuve en el este de Ucrania -Donetsk, Slaviansk, Lugansk- y también en Crimea. Estuve dos meses con los separatistas rusos y el último mes trabajé con el ejército ucraniano.\n\nEn un cierto momento, sin motivo aparente, los manifestantes comenzaron a correr y a lanzar consignas a favor de Ucrania. El escenario era el de una película de guerra muy antigua, con los militares corriendo y gritando. Yo corrí detrás de ellos, no sabía bien qué estaba ocurriendo, pero sabía que debía seguirles. Y entonces el hombre que porta la bandera apareció frente a mí. Fue un momento histórico.\n\nFue algo muy simbólico, porque antes de la revolución la bandera no tenía tanta importancia para el pueblo, pero ahora es muy importante y necesaria. Algunos ucranianos han muerto bajo esa bandera y por la independencia de Ucrania. Maidán fue solo el principio de la lucha por la independencia de Ucrania respecto a Rusia.\n\nPara mí es muy difícil hablar de metáfora cuando analizo la imagen, porque depende mucho del conocimiento y la personalidad de cada uno. Todos tenemos nuestra propia forma de entender las cosas y construir metáforas. En ese momento lo único que me pasó por la cabeza es que Ucrania se estaba rompiendo en diferentes países.\n\nEn épocas anteriores y durante mucho tiempo Ucrania ha estado bajo el control de diferentes países, siempre ha sido un objetivo. Bajo el signo de esta bandera, la gente luchó por la independencia de Ucrania ya antes de la Unión Soviética y de nuevo tras su desintegración.\nMe da la sensación de que lo que está ocurriendo en el Donbass es solo el comienzo de algo más grande. Es algo que no podemos solucionar tan fácilmente como se podría pensar. Si cedemos la región del Donbass de forma sencilla, igual que pasó con Crimea, Rusia después querrá anexionarse otras regiones como Járkov. No podemos ceder en esto porque hay mucha gente que está a favor de Ucrania, no de Rusia. 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There is nothing worse than war – both sides always lose,” says the Ukranian photographer.\n\nHundreds of people crowd in the city of Ukraine, wearing helmets and holding flags, while a fire breaks out. A person wearing white gloves wipes the blood off the face of a young man. Police line up with their bulletproof shields: one stands on the bonnet of a van preparing to fire his rifle.\n\nMaxim Dondyuk is a documentary photographer. 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dintr-un război continuu"},{"insert":"\n\nMaxim Dondyuk este fotograf și artist vizual ucrainean. Dondyuk a lucrat câțiva ani ca fotojurnalist, iar din 2010 s-a dedicat full-time proiectelor documentare personale. Imaginile lui cu revoluția din Kiev au fost expuse, publicate și premiate internațional. Acum lucrează la cartea Culture of Confrontation, pentru care tocmai a reușit să strângă bani pe Kickstarter, și care va fi lansată anul viitor. \nPe 21 noiembrie 2013, s-au adunat în piața centrală din Kiev în jur de 2.000 de oameni, după ce președintele de atunci al Ucrainei, Viktor Ianukovici, a refuzat să semneze acordul de asociere cu UE, la Vilnius. În câteva zile protestele s-au răspândit în toată țara, iar în Kiev oamenii au început să iasă cu zecile de mii, iar Ucraina a început să se scindeze. Așa a început revoluția ucraineană. \nEuromaidanul a atras fotojurnaliști, documentariști, artiști vizuali din toată lumea. Unii au dezvoltat proiecte documentare, unii au lucrat în stilul daily news, pentru ziare și agenții, câțiva au construit mici studiouri foto în piață: Anastasia-Taylor Lind a făcut portrete pe fundal negru cu protestatari și familiile celor care și-au pierdut viața în piață, Donald Weber a fotografiat cocktailurile molotov, Tom Jamieson a fotografiat armele contruite de oameni din ce aveau prin casă.  \nInspirate de picturile clasice reprezentând scene de război, imaginile lui Dondyuk vorbesc despre universalitatea conflictului. Iar acum, la cinci ani după Maidan, cartea lui spune povestea conflictului dintre generații, dintre lumi, dintre mentalități. \nAm vorbit cu Dondyuk despre fotografia documentară în vremea războiului, despre responsabilitatea noastră ca artiști față de momentul în care ne aflăm, despre unde se duce speranța din spatele unei revoluții atunci când se duce.\n\n"},{"attributes":{"bold":true},"insert":"Poți descrie experiența Euromaidanului și cum s-a schimbat atunci felul în care faci fotografie?"},{"insert":"\n\nMaxim Dondyuk: Chiar de la început, acest proiect a fost o adevărată provocare pentru mine. Era prima oară când nu eram singur pe teren, în jurul meu mai erau sute de fotografi din toată lumea. Am înțeles că trebuie să găsesc un mod personal de a documenta ceea ce se întâmplă. Inspirat de reprezentările clasice ale războiului din picturi, am decis să fac un pas în spate, să mă distanțez de pornirea de a critica, să încerc să uit că se întâmplă în Ucraina – cu poporul meu, în orașul meu. Tot ce se întâmpla în fața ochilor mei îmi amintea de bătălii din trecut, de imagini cu războaie și revoluții din istoria artei. De acolo a apărut un limbaj vizual. Practic am încercat să urmez calea pictorilor care au documentat teme istorice. \n\nPe Maidan am simțit un nou suflu fotografic și am înțeles că pentru mine fotografia este artă. Nu m-am gândit la poveste, m-am concentrat doar pe limbajul vizual, pe imagini, asocieri și paralele. Am arătat realitatea, însă filtrată prin întâlnirea dintre ce vedeam și ce simțeam. Imaginile sunt documentare, fotografiile arată ce se întâmpla, însă pentru mine luptele de pe străzi păreau aproape ireale, de parcă se întâmplau într-o legendă medievală. Așa că m-am desprins de contextul specific și am încercat să surprind universalitatea conflictului, lupta dintre lumina și umbră, dintre fumul negru gros și albul zăpezii de februarie, dintre bine și rău, chiar dacă de cele mai multe ori era imposibil să îți dai seama care era binele și care era răul.\n\n"},{"attributes":{"bold":true},"insert":"Ce s-a întâmplat cu energia, cu speranța, cu nevoia de schimbare pe care s-a construit revoluția din 2013? Care e atmosfera acum în Ucraina?"},{"insert":"\n\nDin păcate, schimbările pe care oamenii le așteptau după revoluție nu au sosit. Oligarhii și corupții au rămas aceiași. S-au repetat greșelile tuturor guvernărilor anterioare, doar că de data aceasta discursul politicienilor conține mai multe sloganuri patriotice. \n\nMulți dintre oamenii buni, care ar fi putut schimba ceva, au murit în luptă. Cei care au supraviețuit – revoluționarii, veteranii – au început să se implice în politică. În felul ăsta continuă revoluția din Kiev: tinerii care încearcă să schimbe sistemul din interior se luptă cu vechea clasă politică, cu cei care refuză schimbarea. Acum ne luptăm atât cu inamicul extern (cu Rusia în estul Ucrainei), cât și cu inamicul din interiorul țării – cei care sunt la putere. Cred că în timp situația se va îmbunătăți, dar e păcat că guvernul care s-a instaurat cu ajutorul revoluției nu își dorește schimbarea. \n\n"},{"attributes":{"bold":true},"insert":"Într-un interviu pentru British Journal of Photography spui: „Acum sunt împotriva oricărei propagande și oricărei prezentări romanțate a războiului și a revoluției. Nimic nu e mai rău decât războiul, ambele părți pierd întotdeauna.” Cum sunt reprezentate în media războiul și revoluția? Care e responsabilitatea noastră, ca fotografi, față de subiect și față de public? Ce putem îmbunătăți în modul în care consumăm imagini și informații despre război?"},{"insert":"\n\nMi-am schimbat părerea despre media nu după Maidan, ci după război, pe care l-am documentat timp de un an, după revoluție. Am fost foarte dezamăgit de ce am văzut acolo: jurnaliști care alergau după senzațional pentru a arăta ororile războiului. De multe ori arătând doar aceleași lucruri, ignorând noi evenimente doar pentru că acestea se întâmplau prea departe de hotelul confortabil în care stăteau. Oamenilor le era livrată propaganda dinspre ambele tabere, fiind instigați astfel unul împotriva celuilalt din ce în ce mai mult. \n\nCred că războiul din Estul Ucrainei nu ar fi atât de crud dacă mass-media din ambele părți nu ar intensifica tensiunea. Am fost uimit să văd cum până și publicații renumite au mințit. Astfel de lucruri s-au întâmplat de ambele părți, fiecare avea propriul adevăr. Bineînțeles, există și jurnaliști și fotografi foarte serioși, care încearcă să înțeleagă subiectul în profunzime, pe care îi admir foarte mult. Din păcate, în Donbass nu erau prea mulți. \n\nAmbele tabere [cea guvernamentală și cea pro-rusă – n.r.] îți folosesc fotografiile și textele, distorsionându-le mesajul atât de mult încât nu le mai recunoști. De aceea cred că doar prezentând un proiect în expoziții, cărți foto sau lucrând la filme documentare te poți feri de astfel de deformări, poți păstra controlul. Cartea Culture of Confrontation prezintă punctul meu de vedere, viziunea mea personală; nu pretind obiectivitate.\n\n"},{"attributes":{"bold":true},"insert":"Pe cotorul cărții Culture of Confrontation scrie: „Tot ce s-a întâmplat în Ucraina, începând cu Maidanul, este o confruntare a două culturi diferite. Una dintre culturi a încercat să se agațe de vremurile de demult, de vechile mentalități. Erau nostalgici după un trecut care pentru ei, pentru părinții și bunicii lor a însemnat mult. În același timp, exista o altă cultură, care se raporta cu totul altfel la lucruri, care privea înainte, spre o țară cu totul diferită. Prin «cultură» înțeleg o viziune asupra lumii, o atitudine. La Maidan nu a fost vorba doar de o ciocnire între două generații diferite. Ci de două straturi de cultură care se ciocnesc pe teritoriul aceleiași țări.” Simți că Euromaidanul și războiul din estul Ucrainei au schimbat acest lucru? Cum e acum distanța dintre cele două generații? Sunt mai înțelegători și mai empatici unii față de ceilalți sau fisura s-a lărgit?"},{"insert":"\n\nDistanța există în continuare, în mare parte din cauza propagandei rusești și a susținătorilor regimului sovietic, aceia care visează să se întoarcă în timp. Dar mulți dintre simpatizanții Uniunii Sovietice și-au schimbat părerile după izbucnirea războiului. Mulți au văzut și au simțit agresiunea pe pielea lor, mulți au fost forțați să își părăsească locuințele. Cred că războiul cu Rusia îi poate uni pe ucraineni mai mult decât o poate face orice președinte. \n\n"},{"attributes":{"bold":true},"insert":"Povestește-ne puțin despre proiectul Between Life and Death."},{"insert":"\n\nAm început să lucrez la proiect în iarna lui 2017, în estul Ucrainei. Am mers de-a lungul graniței cu republicile autoproclamate Luhansk and Donețk (LPR și DPR). Ideea mi-a venit în 2014, când documentam conflictul armat din estul Ucrainei. În pauze am început să fotografiez peisajele sterpe ale Donbassului, care, cu tăcerea lor, mă fascinau și mă înfricoșau în același timp. În zonele în care se desfășuraseră lupte sângeroase acum era o liniște absolută. Începeam să uit focul de mitralieră, atacurile cu mortiere, corpurile rănite. Dar stresul nu dispărea. Urmele lăsate de război, mirosul fricii, speranțele distruse, ură și durerea, mereu mă aduceau înapoi la realitate. \n\nÎn iarna lui 2017 m-am întors pe front, prin zonele pe care le-am explorat în 2014 și prin alte locuri abandonate, devastate: școli, grădinițe, spitale, fabrici, puncte de control etc. Toate erau monumente ale războiului. După experiența mea personală cu războiul, încerc să nu-i arăt fața sângeroasă și copleșitoare, încerc să evit orice fel de prezentare romanțată. Aleg, în schimb, să exprim emoțiile care mă copleșesc explorând vizual peisajele fostelor bătălii. Nu este viață în fotografii, dar privindu-le poți să-ți imaginezi cum arăta viața acolo înainte de luptă. Nu mai caut cadre de reportaj, ci mi-am propus o documentare contemplativă a zonei, care cred ca descrie ceea ce s-a întâmplat acolo mai bine decât prezentarea unei acțiuni, a unui eveniment. Ruinele lăsate în urmă spun mai multe despre ororile războiului decât evenimentele sângeroase pe care le-am documentat în 2014 pe front. 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