Since 1991, the magazine EIKON has dealt with Austrian and International artists in the field of photography and media art. Quarterly, with an average of 100 pages, the international magazine offers well-founded articles in German and English alongside extended picture spreads.

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Since its beginning on February 24, 2022, the Russian attack on Ukraine has - rightly, of course - first and foremost focused the eyes of the world public on the victims of the war, i.e. on the countless Ukrainians who were confronted with a suddenly completely changed living situation and were forced to flee or to hold out under the most adverse circumstances. Some countries in solidarity with Ukraine, which were able to provide the funds, have made special efforts to establish support for artists, including Austria with the project "Office Ukraine - Shelter for Ukrainian Artists", which sees itself as a contact point for artists from the attacked country and provides a platform for their art.

On the other hand, regime-critical artists from Russia and Belarus, the "perpetr:ing countries" that fuel this war, have a doubly difficult time: despite their open protest against the authoritarian systems of their states, they are unwelcome in the West in view of their origins. In their home countries, on the other hand, they can feel less safe than ever because of their political views. Basically, their situation is comparable to that of stateless persons - with the difference that at least no one is interested in them, a state of insignificance that many Russians and Belarusians would like to see.

Thanks to the commitment of Simon Mraz, long-time observer of the Russian cultural space and author of this year's focus "Visual Protest in Times of War", in times of rather uniform reporting, the publications of Lesia Pcholka and Alyona Malkowskaya now also give journalistic space to the internal view.

Nela Eggenberger for EIKON, September 2023

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