Reflections on Reality: Contemporary Ukrainian Visual Art and Role in Society

Authors

DOI:

https://doi.org/10.63931/ijchr.v7iSI1.345

Keywords:

artistic interpretation, cultural heritage, design, national identity, painting

Abstract

The study aimed to determine how contemporary Ukrainian visual art contributes to the formation and strengthening of national identity in the context of rapid socio-cultural change. The methodology included content analysis and comparative analysis of artworks, as well as a semiotic approach, which was used to interpret national symbols and cultural markers in contemporary art. The main findings show that contemporary Ukrainian visual art actively integrates national symbols and historical themes, reinterpreting them in new forms that meet cultural and social demands. Through art, contemporary artists address topics such as national identity, war, freedom and social justice, making these works meaningful to a wide audience. The artists are actively exploring how traditional cultural symbols can be adapted to new challenges, giving them new meaning and embodying the ideas of decolonization and the revival of national values. In addition, the study determined that Ukrainian art not only focuses on national motifs but also creates new visual codes that shape cultural memory for future generations. The analysis of the works of several artists shows that art is becoming a way of understanding socio-political realities, uniting the audience based on common values and historical heritage. The findings of the study emphasize the importance of contemporary Ukrainian visual art as a means of expressing national identity and reflecting on social challenges, which contributes to the preservation of national cultural identity and the development of cultural dialogue in modern society.

References

[1] Bakieva, M. (2023, March 2). Roman Minin and his ‘Metamorphosis of Donetsk’: How an artist creates a fairy tale about the region. DTF Magazine. https://donttakefake.com/roman-minin-i-jogo-metamorfozy-donbasu-yak-hudozhnyk-stvoryuye-kazku-pro-region

[2] Bakirov, B., & Petrenko, D. (2023). Contemporary Ukrainian visual culture on the way to the international cultural space. Perspectives on Culture, 41(2), 91–109. https://doi.org/10.35765/pk.2023.410202.08

[3] Baltaziuk, I. (2021). The sacred in the symbols of Ukrainian painting at the turn of the 21st century. Roczniki Kulturoznawcze, 12(2), 143–156. https://doi.org/10.18290/rkult21122-9

[4] Bedelbayeva, M., Novozhenov, V., & Zhusupov, D. (2023). Sacred landscapes of Betpakdala. Kazakhstan Archeology, 22(2), 9–33. https://doi.org/10.52967/akz2023.4.22.9.33

[5] Berdynskykh, S., Iakovlev, M., & Pashkevych, K. (2025). Creative experimentation and the generation of innovative ideas in artistic design. Art and Design, 8(1), 11–22. https://doi.org/10.30857/2617-0272.2025.1.1

[6] Biedarieva, S. (2022, May 23). The documentary turn in new Ukrainian art. BLOK MAGAZINE. https://blokmagazine.com/the-documentary-turn-in-new-ukrainian-art-excerpts/

[7] Chaika, O. (2024). The impact of Russian cultural suppression on Ukrainian national unity. International Journal of Philology, 28(3), 41–56. https://doi.org/10.31548/philolog/3.2024.41

[8] Cherniyavskyi, V., Dubrivna, A., Cherniyavskyi, K., Galchynska, O., & Bilozub, L. (2022). Digital art as new modern global trend in socio-cultural space of Ukraine. Amazonia Investiga, 11(60), 150–155. https://doi.org/10.34069/AI/2022.60.12.16

[9] Dmitrenko, N., Khrystych, N., Prokopchuk, N., Kalinina, L., & Bodyk, O. (2025). Cultivating intercultural competency: The role of sustainability in pre-service teacher professional development. Scientia et Societus, 4(1), 39–49. https://doi.org/10.69587/ss/1.2025.39

[10] Dobrolyubska, Y., Semko, Y., Tytar, O., Yuhan, N., & Byedakova, S. (2024). Art as an instrument of sociocultural transformation: A case study in the context of contemporary social change. [Journal info missing], 16(1), 445–460.

[11] Doszhan, R. (2023). Multi-vector cultural connection in the conditions of modern globalisation. Interdisciplinary Cultural and Humanities Review, 2(1), 27–32. https://doi.org/10.59214/2786-7110-2023-2-1-27-32

[12] Efremov, A. (2025a). Psychiatry in the context of changing cultural norms: Mental disorders among migrants and refugees. Journal of Behavioral and Cognitive Therapy, 35(4), 100544. https://doi.org/10.1016/j.jbct.2025.100544

[13] Efremov, A. (2025b). The psychology of faith and religious identity: How theology shapes worldview and self-perception. Pharos Journal of Theology, 106(3), 1–15. https://doi.org/10.46222/pharosjot.106.3020

[14] Galchynska, O., Filonenko, L., Lozev, R., Sydor, M., & Drotenko, V. (2024). Public art as a driver of change: Exploring its socio-political impact in the modern era. Revista Amazonia Investiga, 13(79), 217–231. https://doi.org/10.34069/AI/2024.79.07.17

[15] Gonçalves, J. C. (2024). What is (not) aesthetic education? Bakhtiniana, 19(2), e63561e. https://doi.org/10.1590/2176-4573e63561

[16] Holubets, O. (2022). Ukrainian art of the twentieth century. Kolir PRO.

[17] Hudziienko, L. R. (2024). Natalia’s Verhun painting and drawings in Ukrainian museum collections. Ukrainian Art Discourse, 1, 48–54. https://doi.org/10.32782/uad.2024.1.6

[18] Jagnicka, O. (2019). Contemporary art and its boundaries: Permeation or pervasion? Art Inquiry, 21, 149–160. https://doi.org/10.26485/AI/2019/21/10

[19] Jumabekova, G., Bazarbayeva, G., Novozhenov, V., Altynbekova, E., Gontscharov, A., & Manapova, A. (2024). “Sun and Steppe – Eternal Entities”: A museum reconstruction model with a mace from the Trans-Tobyl region (Northern Kazakhstan). Kazakhstan Archeology, 26(4), 143–180. https://doi.org/10.52967/akz2024.4.26.143.180

[20] Kaluzhynska, Yu., & Shynkar, T. (2024). Current trends in the use of archives for studying the history of information technologies and media. Society. Document. Communication, 9(4), 72–87. https://doi.org/10.69587/sdc/4.2024.72

[21] Karpenko, O. V. (2022). Analysis of the main trends of modern Ukrainian wartime painting and artistic parallels. National Academy of Culture and Arts Management Herald, 2, 127–134.

[22] Kashshay, O. (2024). The Ukrainian art of the 20th – early 21st centuries: An attempt to identify the national context. Collection of Scholarly Works “Ukrainian Academy of Art”, 35, 76–84. https://doi.org/10.32782/2411-3034-2024-35-8

[23] Kieliszek, Z. (2023). Potential of Immanuel Kant’s philosophy in the context of the encyclical Amoris laetitia of Pope Francis. Logos (Lithuania), 117, 36–45. https://doi.org/10.24101/logos.2023.69

[24] Kieliszek, Z. (2025). Religious experience and the philosophy of subjectivity: How faith shapes perception of reality. Pharos Journal of Theology, 106(3), 1–13. https://doi.org/10.46222/pharosjot.106.3021

[25] Koshbakova, B. (2022). Sociocultural identity of the Kyrgyz in the context of globalization. Bulletin of the Jusup Balasagyn Kyrgyz National University, 14(1), 137–143.

[26] Kotlyar, E. (2020). Baroque in national artistic traditions: Comparative experience of Jewish and Ukrainian cultures. Revista ARTA, 29(1), 134–141.

[27] Kresan, O., & Mhitaryan, L. (2024). On universality of perception of movement and time in the artworks. Humanities Studios: Pedagogy, Psychology, Philosophy, 12(2), 262–273. https://doi.org/10.31548/hspedagog15(2).2024.262-273

[28] Lishchynska, O. (2014). Contemporary Ukrainian visual art: Cultural contributions and borrowings. Ukrainian Studies Almanac, 17, 197–200.

[29] Lishchynska, O. (2023). Modern Ukrainian visual art as a national and cultural identity in the conditions of globalization. Visnyk of the Lviv University. Series Philos.-Political Studies, 49, 85–90. https://doi.org/10.30970/PPS.2023.49.10

[30] Lozhkina, A. (2024). The art of Ukraine. Thames & Hudson.

[31] Mazur, B. M. (2020). Contemporary art as a tool for shaping the consciousness of society. Mystetstvoznavchi Zapysky, 37, 34–37.

[32] Mazurash, S. (2024, February 26). Impudent art. An interview with Vladyslav Shereshevskyi. Antikvar. https://antikvar.ua/nahabne-mystetstvo/

[33] Mironova, T. (2021). Virtual and augmented reality in the works of Ukrainian artists. Art and Design, 4(2), 141–151. https://doi.org/10.30857/2617-0272.2021.2.13

[34] Mironova, T. (2021a). The main trends of Ukrainian art of 1990–2020: Artistic language, forms and means of expression – The state of research of the problem. Collection of Research Papers Contemporary Art, 17, 175–181. https://doi.org/10.31500/2309-8813.17.2021.248445

[35] Mironova, T. V. (2021b). “Artistic” and “visual” images in contemporary art. National Academy of Culture and Arts Management Herald, 1, 64–70.

[36] Mosendz, O., Filimonova-Zlatohurska, Y., Pankiv, H., Bannikova, K., & Vlasiuk, O. (2022). Problems and prospects of the development of Ukrainian art (realities of martial law). Amazonia Investiga, 11(58), 74–83. https://doi.org/10.34069/AI/2022.58.10.8

[37] Nikitin, A. (2020). Philosophical context in the work of Sergei Zoruk. Ukrainian Academy of Fine Art. Research and Methodology Papers, 29, 46–53. https://doi.org/10.33838/naoma.29.2020.46-53

[38] Nyamari, Т. (2024). The role of visual arts in social movements. International Journal of Arts, Recreation and Sports, 3(4), 52–64. https://doi.org/10.47941/ijars.2071

[39] Pancer-Cybulska, E., & Zlenko, Ya. (2024). The history of archival affairs in different countries: A comparative analysis of structures and organisational methods. Society. Document. Communication, 9(4), 48–61. https://doi.org/10.69587/sdc/4.2024.48

[40] Panfilova, O., & Koleniuk, O. (2022). Promotion of contemporary Ukrainian art in the conditions of the art market. Collection of Scholarly Works “Ukrainian Academy of Art”, 32, 111–116. https://doi.org/10.32782/2411-3034-2022-32-15

[41] Panyok, T. (2024). The convergence of Slobozhanska iconography in the discourse of Western European baroque. Eikón Imago, 407–422. https://doi.org/10.5209/eiko.82191

[42] Pitenina, V. (2018). Artistic and stylistic peculiarities of the graphic work of Petro Lapyn – Illustrator of the children’s books in the first third of the 20th century. Research and Methodology Papers of the Ukrainian Academy of Fine Art, 27, 193–199. https://doi.org/10.33838/naoma.27.2018.193-199

[43] Rosales, R. J. (2025). The Filipino idea of the “sacred” in the context of personalism as man prepares to his end. International Journal on Culture, History, and Religion, 7(1), 38–54. https://doi.org/10.63931/ijchr.v7i1.93

[44] Salatyuk, L. (2021). Ukrainian transavangarde: Genesis and stylistic features. Ethnographic Notebooks, 158(2), 451–455. https://doi.org/10.15407/nz2021.02.451

[45] Shaparenko, V. (2022). Interview with Alevtina Kakhidze. Ukrainky. https://ukrainky.com.ua/alevtyna-kahidze-koly-vidbuvayutsya-taki-perturbacziyi-yak-zaraz-zalyshayetsya-tilky-spravzhnye-mystecztvo-a-nespravzhnye-perestaye-isnuvaty/

[46] Shmarko, N., & Hrechanyk, N. (2023). Historical and cultural analysis of ideas on the formation of aesthetic culture of the individual. Humanities Studios: Pedagogy, Psychology, Philosophy, 11(3), 163–171. https://doi.org/10.31548/hspedagog14(3).2023.163-171

[47] Sorochynska, H., & Pitenina, V. (2022). Social and artistic discourse of Roman Minin’s diptych “Escape plan from the Donetsk region”. National Academy of Fine Arts and Architecture Collection of Scholarly, 32, 140–146. https://doi.org/10.32782/2411-3034-2022-32-19

[48] Szerszeń, T. (2024). Painful images: Ukraine 1993, 2014, and 2022. Arts, 13(1), 8. https://doi.org/10.3390/arts13010008

[49] Viruk, O. (2019, February 26). The author of “Shevchenko's Quantum Leap” has made his work freely available. Village. https://www.village.com.ua/village/culture/culture-news/282379-avtor-kvantovogo-striboka-shevchenka-viklav-roboti-yih-u-vilniy-dostup

[50] Volchek, D. (2014, October 20). “I was taken to the firing squad three times” – Donetsk artist. Radio Svoboda. https://www.radiosvoboda.org/a/26646944.html

[51] Volska, S. (2023). Artist Mykhailo Kuziv: An artistic breakthrough of our time. In Artistic Pride of Ternopil Region in the Past and Present (pp. 160–175). Ternopil Volodymyr Hnatiuk National Pedagogical University.

[52] Vysheslavsky, H. (2020). Contemporary art of Ukraine – From the underground to the mainstream. Modern Art Research Institute.

[53] Wu, Z., & Oktrova, M. (2024). Impact of virtual reality technologies on the perception and interpretation of contemporary art. Interdisciplinary Cultural and Humanities Review, 3(2), 6–15. https://doi.org/10.59214/сultural/2.2024.06

[54] Yasenev, O. P. (2021). Trends in the development of fine arts during the independence of Ukraine. Culture and Modernity, 2, 170–174. https://doi.org/10.32461/2226-0285.2.2021.249253

[55] Zaeri, Р., & Roozafzai, Z. (2024). Visual arts as a catalyst for social change: Communicating powerful messages. International Journal of Arts and Humanities, 6(1), 268–274. https://doi.org/10.25082/IJAH.2025.01.001

[56] Zhosul, V. I. (2024). Artistic images in the painting of Oleksandr Kodenko: Analysis and interpretation. Ukrainian Art Discourse, 1, 77–82. https://doi.org/10.32782/uad.2024.1.10

[57] Zhykharieva, О. (2020). Identity as a concept of modern linguistic and interdisciplinary paradigm. International Journal of Philology, 24(1), 23–29. https://doi.org/10.31548/philolog2020.01.023

Downloads

Published

2025-09-09

How to Cite

Reflections on Reality: Contemporary Ukrainian Visual Art and Role in Society. (2025). International Journal on Culture, History, and Religion, 7(SI1), 845-870. https://doi.org/10.63931/ijchr.v7iSI1.345

Similar Articles

1-10 of 207

You may also start an advanced similarity search for this article.