{"id":173412,"date":"2026-09-27T10:17:23","date_gmt":"2026-09-27T08:17:23","guid":{"rendered":"https:\/\/tie2.lt\/?p=173412"},"modified":"2026-09-27T16:36:36","modified_gmt":"2026-09-27T14:36:36","slug":"ukrainian-theatre-critic-and-publisher-hanna-sherman-the-line-between-saving-human-life-and-saving-art-almost-disappeared","status":"publish","type":"post","link":"https:\/\/tie2.lt\/en\/ukrainian-theatre-critic-and-publisher-hanna-sherman-the-line-between-saving-human-life-and-saving-art-almost-disappeared\/","title":{"rendered":"Ukrainian Theatre Critic and Publisher Hanna Sherman: \u201cThe Line Between Saving Human Life and Saving Art Almost Disappeared\u201d"},"content":{"rendered":"

Kostiantyn Doroshenko<\/em><\/p>\n

While working with Ukrainian media, theatre scholar Hanna Sherman did not limit herself to critiquing cultural output and analysing social processes. Alongside words, she has always preferred action. <\/strong><\/em>Today, Hanna Sherman is the director of the Antikvar Publishing House and editor-in-chief of the magazine of the same name, as well as editor-in-chief of the magazines Ukrainian Theatre and Kino-Kolo. She initiated the creation of the Art Periodicals Media Holding, which brings together three publications and their print and digital platforms. <\/strong><\/em>From 2005 to 2025, Sherman taught theatre criticism and the fundamentals of journalism at the Kyiv National I. K. Karpenko-Karyi University of Theatre, Cinema and Television. In July 2026, the critic and media manager became a member of the Committee for the Taras Shevchenko National Prize of Ukraine.<\/strong><\/em><\/p>\n

\"\"
Presentation of an issue of Antikvar dedicated to the heritage of the Trypillia\u2013Cucuteni archaeological culture. Photo courtesy of the Art Periodicals Media Holding.<\/figcaption><\/figure>\n
,,The Antikvar”<\/a> Publishing House began with the magazine of the same name, focused primarily on art and collecting. Later, you initiated the creation of the Art Periodicals Media Holding. How did this development unfold, and why, despite the general shift of media to digital platforms, do you continue to publish print magazines?<\/strong><\/div>\n
<\/div>\n

I joined Antikvar in 2007, a year after it was founded. At the time, it was a publication largely focused on the antiques market, art and collecting. My experience in journalism allowed me fairly quickly to take a broader view of the magazine. We began producing thematic issues. Through the history of a particular collection, artist, museum or archive, or through a specific historical subject, it became possible to talk not only about an art object but also about much broader cultural and social processes. In this way, Antikvar gradually evolved into a cultural studies publication.<\/p>\n

At the same time, our working model began to take shape. After the 2008 financial crisis, it became clear that the magazine had to sustain itself through its own publishing projects: finding a subject, partners, institutions, authors, archives, collections and visual material, and bringing all of these elements together into a complete issue. Over the years, we have produced many special issues, books and joint projects with museums and cultural institutions.<\/p>\n

Then ,,Ukrainian Theatre”<\/a> became part of this story. This publication is particularly special to me because I am a theatre scholar by training and contributed to it while I was still a student. The magazine has a long professional tradition rooted in Ukrainian theatre periodicals dating back to 1917. In 2018, Ukrainian Theatre ceased publication, and a major professional field was effectively left without a specialised publication of its own.<\/p>\n

In 2020, I initiated the revival of the magazine and registered Ukrainian Theatre in my own name as a private individual and citizen of Ukraine. Today, the founder and publisher of the magazine is the Antikvar Publishing House. What had to be restored was not simply the title, but the professional community surrounding the magazine \u2014 authors, critics, theatre scholars, directors and actors. Working alongside me is Vitalii Zhezhera, my first theatre teacher; our professional collaboration has lasted for almost forty years.<\/p>\n

It was around that time that the idea of the Art Periodicals Media Holding also began to take shape. In September 2021, between the COVID pandemic and the full-scale war, I was sailing on the Dnipro with friends who are yachtsmen. We were discussing the future of Ukrainian Theatre and looking for a viable model for a professional arts publication. A trimaran passed us \u2014 a vessel consisting of three connected hulls. It is precisely this structure that gives it greater stability. That was when a simple idea emerged: we already had Antikvar, Ukrainian Theatre was being revived, so we needed a third publication. That became ,,Kino-Kolo”<\/a>.<\/p>\n

This is how the structure of our media holding emerged: three professional magazines \u2014 devoted to art and cultural heritage, theatre, and cinema. Not three identical media outlets under one roof, but three independent environments capable of supporting one another. It took almost three years to relaunch Kino-Kolo. The war significantly delayed the implementation of this idea, but at the same time made the need for such publications even more evident.<\/p>\n

There is a formula I keep returning to: a professional print publication is evidence of the maturity of an artistic field itself. As for print, my position is quite pragmatic. Today, a printed periodical really is an anachronism if we are talking about the speed at which information circulates. No one is going to wait two months for a magazine to get the news. But as a tool for organising and structuring content, it remains unique.<\/p>\n

We live amid an enormous volume of isolated pieces of information: we read something, scroll past it, move on. A magazine allows us to stop and assemble different materials into a coherent whole. A text, an interview, an archival document, a photograph, a museum object and the perspectives of different authors begin to work together.<\/p>\n

This is particularly evident with Antikvar: each issue is essentially a separate publishing project and does not lose its relevance when the next one appears. Some readers have been collecting our issues for years. Ukrainian Theatre and Kino-Kolo are more closely connected with current developments. But what is happening today becomes history tomorrow. The first relaunched issues have already documented how Ukrainian theatre and cinema are living and changing during the full-scale war.<\/p>\n

Print is not opposed to online media. We have three websites, social media channels and digital formats. It is all one media space; its different parts simply perform different functions.<\/p>\n

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Cover of Kino-Kolo magazine. Photo courtesy of the Art Periodicals Media Holding.<\/figcaption><\/figure>\n

In its war against Ukraine, Moscow is resorting to urbicide \u2014 the destruction of cities as centres of modern communities, identity and cultural diversity. Museum and private collections are under threat of destruction. How has the situation regarding the preservation and collecting of art in Ukraine changed under these circumstances?<\/strong><\/p>\n

After the beginning of the full-scale invasion, we produced a special issue of Antikvar about protecting cultural heritage during wartime. While working on it, it became clear that this experience could not be discussed solely in the language of instructions, evacuation plans or museum statistics. First and foremost, these are stories about people.<\/p>\n

One of them is the story of the Grynyov Art Collection in Kharkiv, Borys Grynyov<\/a> and the collection\u2019s curator, Maryna Konieva. The collection was evacuated from Kharkiv in four trips by minivan, with assistance from volunteers from the Papa Karlo group. The journey to Poltava, which in peacetime would take only a few hours, could then take an entire day because of traffic jams. One driver made all four trips. He helped save the collection, but after returning to Kharkiv he was killed by a missile fragment when he went out to buy bread for the military.<\/p>\n

This story captures the reality of the first months of the war with remarkable precision. It may seem that this is a story about evacuating paintings, but behind every work that was saved were specific people, their decisions, the risks they took and, sometimes, their lives.<\/p>\n

The most valuable part of the Grynyov Art Collection \u2014 around nine hundred works \u2014 was later successfully evacuated to France. Approximately 14 kilograms of accompanying documentation were prepared for crossing the border. This detail is extremely telling. Saving a work of art does not simply mean physically removing it from an area under bombardment. Its provenance, history, description and documentation must also be preserved.<\/p>\n

Another story is that of Dariia Dobriian and Ihor Ponamarchuk and the Spiritual Treasures of Ukraine Museum. They began packing the collection on 6 March. Their first priority was to save Ukrainian icons, early printed books and works by classics of Ukrainian painting, including Murashko and Pymonenko.<\/p>\n

In those days, vehicles were almost never carrying art alone. Sick people and pets might travel in the same van alongside paintings and icons. This is a very accurate image of the first weeks of the full-scale war. The line between saving human life and saving art almost disappeared. We saved everything we could: people, animals, icons, books, paintings.<\/p>\n

There is also the extraordinary story of Yurii Savchuk, director of the National Museum of the History of Ukraine in the Second World War. As early as 25 February, he personally transported some of the exhibits in his own car because the situation was changing faster than official decisions could be made. He was involved in a road accident along the way and spent the night in a field under missile attacks \u2014 yet he still managed to transport the museum objects first to Vinnytsia and then to Lviv.<\/p>\n

In Chernihiv, on 24 February, virtually the entire staff of the Vasyl Tarnovskyi Regional Historical Museum came to work. To the sound of explosions, they dismantled around 5,500 exhibits \u2014 almost the entire exhibition. The director, Serhii Laievskyi, his wife and several colleagues effectively lived in the museum until 10 April. Around fifty Chernihiv residents sheltered with them in the museum basement.<\/p>\n

The museum staff even gave lectures to the people sheltering there. The city was being shelled, people were living in a basement \u2014 and yet the museum remained a museum. Someone talked about history; someone listened. This says a great deal about why human beings need culture at all.<\/p>\n

The Khanenko Museum in Kyiv had a very different experience. An action plan had been prepared there even before the full-scale invasion. The collection had been divided in advance according to evacuation priority, and the team worked on conserving objects that could not simply be picked up and carried away. They even removed valuable light fixtures from ceilings seven metres high. European colleagues supplied professional packing materials, specialised paper and crates.When a Russian missile exploded very close to the museum on 10 October 2022 and its windows were blown out, this advance preparation \u00a0saved tens of thousands of works.<\/p>\n

Then there is the Oleksii Shovkunenko Kherson Art Museum \u2014 a story with the opposite ending. For some time, the staff tried to conceal the collection from the occupiers, convincing them that it had already been evacuated. Eventually, however, the Russians gained access to the museum\u2019s holdings and, before retreating from Kherson, removed thousands of works to occupied Crimea.<\/p>\n

So the experience of these years is not simply a story about evacuating cultural treasures. In some places, a plan prepared in advance worked. Elsewhere, informal networks and assistance from colleagues made the difference. Sometimes it was one person who simply got behind the wheel. Elsewhere, it was an entire team that came to the museum on the morning of 24 February and began taking exhibits down from the walls.<\/p>\n

These are stories about people who, at a moment of catastrophe, understood with remarkable clarity what they were responsible for.<\/p>\n

\"\"
Hanna Sherman with collectors Borys and Tetiana Hrynyov. Photo courtesy of the Art Periodicals Media Holding.<\/figcaption><\/figure>\n
With the beginning of the full-scale war, some Ukrainian museum collections were taken abroad in order to save them. We are now learning of situations in which problems may arise over returning these works to Ukraine. In particular, the descendants of Prince Adam Lubomirski have asserted rights to two paintings from the collection of the Lviv Historical Museum that were evacuated from Lviv to Poland. What should Ukraine do to safeguard its national heritage?<\/strong><\/div>\n

 <\/p>\n

This immediately brings to mind the 14 kilograms of documentation that accompanied the evacuation of part of the Grynyov Art Collection to France. It is a very telling detail. Physically saving a painting is not enough, especially when it crosses a national border. Together with the work, its entire history passes into another jurisdiction: who owned it, how it entered the museum, how borders and states changed, and what happened to the collection during wars, revolutions and nationalisations. The case involving works from the Lviv Historical Museum demonstrates precisely this.<\/p>\n

I would not want to offer a legal assessment of a specific court dispute. But something else is clear: the international relocation of a museum collection \u2014 even when the purpose is to save it \u2014 cannot be merely a matter of transportation and permission for temporary export.<\/p>\n

Before departure, the fullest possible information about each object must be assembled: its provenance, the history of how it entered the museum, its legal status, documentation and any potential legal conflicts. And a museum should not be left to deal with such a problem on its own. If a question arises abroad concerning an object from a Ukrainian state museum collection, it becomes a matter of state protection of cultural heritage, requiring the involvement of specialists in culture and international law, the Ministry of Justice and the diplomatic service.<\/p>\n

In 2022, an enormous amount was accomplished thanks to the personal responsibility of museum professionals. People often acted faster than the system could be put in place. Now this experience needs to be transformed into a system \u2014 so that next time a museum director does not have to decide alone where to drive with exhibits in a car under shelling, and so that every object leaving Ukraine is not only properly packed but equally well documented and legally protected.<\/p>\n

\"\"
Art Periodicals Media Holding: Vitalii Zhezhera, editor-in-chief of Ukrainian Theatre; Iryna Bulanenko, online projects coordinator; Volodymyr Voitenko, editor-in-chief of Kino-Kolo; and Hanna Sherman.<\/figcaption><\/figure>\n
Despite the war, Ukraine is experiencing a genuine theatre boom. Tickets for some productions \u2014 including those based on Ukrainian classics \u2014 sell out months in advance. How do you explain this phenomenon? As a theatre critic, what trends do you currently see in Ukrainian theatre?<\/strong><\/div>\n
<\/div>\n

Artistic life during the war has not merely continued \u2014 it has intensified. As early as 2024, tickets for some Kyiv productions had to be bought several months in advance. Today, this has become even more noticeable.<\/p>\n

I do not think everything can be explained simply by saying that during wartime people need consolation, emotion or an opportunity to switch off for a while. That is certainly part of it. But something much more interesting is happening: theatre has entered into a very powerful resonance with what society is seeking.<\/p>\n

The full-scale war has changed our system of cultural coordinates. Throughout virtually the entire period of independence, Ukrainian theatre, like other art forms, remained dependent to one degree or another on the Russian and Soviet system of narratives and evaluations. We could argue with it, but it still remained the point of reference.<\/p>\n

The war has broken that circle. Now we have to answer a great many questions for ourselves. What constitutes the Ukrainian theatrical canon? Which texts are we rereading? Which authors are we bringing back? What do we see today in Kvitka-Osnovianenko, Karpenko-Karyi, Kulish and Lesia Ukrainka? What language do we use to talk about our own theatre? By what criteria do we evaluate it?<\/p>\n

That is why the enormous interest in Ukrainian classics is not surprising at all. We are, in effect, rereading them. And what matters is not simply that the name of a Ukrainian classic has appeared on a theatre poster. What is far more interesting is what contemporary theatre has discovered in that text and why it has chosen to engage with it precisely now.<\/p>\n

The results, of course, vary greatly. There are genuinely new interpretations, and there are cases of exploiting a successful title. A theatre boom does not automatically mean a boom in theatrical quality. This is precisely why professional criticism is so necessary today.<\/p>\n

I see a great many productions \u2014 in Kyiv and other cities, in major theatres and independent projects. Working with Ukrainian Theatre gives me the opportunity to observe the process constantly as it develops rather than reducing it to a handful of high-profile Kyiv premieres.<\/p>\n

The picture is extraordinarily diverse: theatres in frontline cities, evacuated companies, major national stages, independent projects, new drama and musical theatre. Each has its own experience of the war and its own response to it.<\/p>\n

I have twenty years of experience teaching theatre criticism and the fundamentals of journalism at Karpenko-Karyi University. Criticism here is not an appendage to theatre, but one of the ways in which theatre reflects on and describes itself.<\/p>\n

So the most interesting question today is not even why people have begun going to the theatre in such large numbers. What is interesting is what Ukrainian theatre will do with all this attention.<\/p>\n

\"\"
Presentation of an issue of Antikvar devoted to the preservation of cultural heritage during the war. Kyiv, Lavra Gallery, during a blackout. December 2022. Photo courtesy of the Art Periodicals Media Holding.<\/figcaption><\/figure>\n
You have joined the Committee for the Taras Shevchenko National Prize of Ukraine, the country\u2019s foremost award in the arts. What kinds of artistic works do you see today as most fitting for the Prize and for the spirit of the poet and artist whose name it bears?<\/strong><\/div>\n
<\/div>\n

We have already had meetings and sessions of the Committee, so my first impression of this work has already taken shape: responsibility. Responsibility to the Prize, to the people whose work we will evaluate, and to the colleagues with whom we will have to make decisions.<\/p>\n

I have known many of the Committee members for a long time. I have collaborated with many of them on joint projects, interviews and in professional contexts. It is very interesting to meet now in a different capacity. Around one table, we discuss things that have no simple answers: what constitutes an outstanding cultural phenomenon today, what criteria should be used to evaluate it, and where the boundary lies between social significance and artistic quality as such.<\/p>\n

The Committee includes people from very different artistic fields, generations and professional backgrounds. This professional dialogue itself is extremely interesting. You may know someone for many years and know their work, and then suddenly hear how they think about an entirely different art form, which arguments matter to them, what they agree with and what they challenge. I have great respect for that.<\/p>\n

It is also important that the discussion is not limited to particular candidates or future laureates. We discuss the strategy of the Prize itself, its development, its working principles and new categories. This is a fundamental issue. Ukrainian culture is changing very rapidly; new practices and new forms of work are emerging, and the country\u2019s principal arts prize must be capable of recognising them.<\/p>\n

As for the \u201cspirit of Shevchenko\u201d, this phrase should be used with care. Shevchenko is not a set of themes that one must address in the \u201ccorrect\u201d way in order to qualify for the Prize. He is compelling as an artist and poet who was extraordinarily contemporary for his time, a person who responded with exceptional acuity to what was happening to him, to society and to his country.<\/p>\n

That is why the works that are convincing today are those that engage with their own time with the same precision. They do not illustrate a ready-made \u201ccorrect\u201d idea; they are capable of articulating something themselves.<\/p>\n

And here, the professional criterion remains fundamental. During wartime, a subject in itself acquires enormous emotional weight. But the significance of a subject and the quality of artistic expression are not the same thing.<\/p>\n

One of the Committee\u2019s most difficult tasks is to identify, among the great number of important, sincere and talented works, those that genuinely become significant phenomena in Ukrainian culture.<\/p>\n

This is only the beginning of our work, and it is very interesting to go through this process together with people whose professional experience and opinions I respect.<\/p>\n

\"\"
Yurii Melnyk, CEO of the agricultural holding Myronivsky Hliboproduct, Viktor Yushchenko, the third President of Ukraine (2005\u20132010), and Hanna Sherman at the presentation of Antikvar magazine. Ukrinform, Kyiv, December 2025.
Photo courtesy of the Art Periodicals Media Holding.<\/figcaption><\/figure>\n

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Kostiantyn Doroshenko While working with Ukrainian media, theatre scholar Hanna Sherman did not limit herself to critiquing cultural output and analysing social processes. Alongside words, she has always preferred action. 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