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Kate Tsurkan photo

Kate Tsurkan

Culture Reporter

Kate Tsurkan is a reporter at the Kyiv Independent who writes mostly about culture-related topics. Her newsletter Explaining Ukraine with Kate Tsurkan, which focuses specifically on Ukrainian culture, is published weekly by the Kyiv Independent and is partially supported by a generous grant from the Nadia Sophie Seiler Fund. Kate co-translated Oleh Sentsov’s “Diary of a Hunger Striker,” Myroslav Laiuk’s “Bakhmut,” Andriy Lyubka’s “War from the Rear,” and Khrystia Vengryniuk’s “Long Eyes,” among other books. Some of her previous writing and translations have appeared in the New Yorker, Vanity Fair, Harpers, the Washington Post, the New York Times, the Los Angeles Review of Books, and elsewhere. She is the co-founder of Apofenie Magazine and, in addition to Ukrainian and Russian, also knows French.

For media & speaking inquiries:
press@kyivindependent.com

Articles

Inside the 'Pavilion of (Dis)sense,' a fight against Russia's weaponization of culture

by Kate Tsurkan
In the lead-up to the Venice Art Biennale, posters for imagined cultural events began appearing throughout the city, each one carrying the disclaimer: "Canceled because the artist was killed by Russia." Conceived by exiled Russian artist Katia Margolis and curated by the Network Associazioni per Ucraina, the "Invisible Pavilion" was one of the most subtle yet striking protests against Russia's return to the Venice Art Biennale. Now featured in the "Pavilion of (Dis)sense" — an exhibition curat

'Hemingway Knows Nothing': Ukraine's writers are redefining literature of war

by Kate Tsurkan
When war, loss, and unimaginable suffering become routine, a book can offer a kind of lifeline — especially one by a writer who has lived through such an ordeal and tried to make sense of it. At the start of Russia’s full-scale war, some Ukrainians speculated if they’d see the rise of their own Ernest Hemingway: a writer whose books would not only capture the experience of a generation but come to define it. Yet it soon became clear that the old paradigms of war literature no longer spoke to t