Thursday, 27 November 202518:00–19:00In front of the German Chancellery (Bundeskanzleramt), Berlin
Every euro that flows to russia means more missiles against Ukrainian cities — and poses a greater threat to Europe.
Our demands:
- Air defence systems for Ukraine.russia continues to bomb residential areas, kindergartens, and hospitals. Without protection, every day costs lives.
- Support Ukraine’s energy resilience.russian attacks target the energy grid, forcing millions into darkness. Ukraine needs transformers, mobile heating, and repair funding now.
- End imports of russian oil, gas, and LNG.German and European money still fuels this war. Energy policy is security policy — stop financing the aggressor.
This is not just about Ukraine. It’s about Europe’s security, democracy, and peace — peace built on justice, not dependence.
Join us! Stand for Ukraine. Stand for Europe.
Date: 24.11.2025Time: 19:30At Berliner Ensemble
Tickets available via link: Click here
We’re honored to invite you to a crucial conversation featuring Oleksandra Matviichuk, who will share insights from her work documenting war crimes and defending human rights in Ukraine.
Part 1: 19:30 – 20:30A conversation between Oleksandra Matviichuk and journalist Sabine Adler on justice in wartime, moral courage, and the unwavering strength of civil society that fights for justice even in the darkest hours.
Part 2: 20:45 – 21:30A panel discussion with Oleksandra Matviichuk, Michael Meyer and Rebecca Harms, moderated by Mattia Nelles, exploring critical questions: Does democracy survive under martial law? What does post-war democracy look like? And what can Europe learn from Ukraine’s experience?
The evening concludes with networking and informal discussion over drinks and refreshments.
Speakers:• Oleksandra Matviichuk (Nobel Peace Prize Laureate)• Sabine Adler (Journalist)• Michael Meyer-Resende (Lawyer)• Rebecca Harms (Former Politician)• Mattia Nelles (Ukraine Expert)Join us for this important dialogue on democracy, courage, and resilience.
22 November 2025, 17:00Friedrichshain-Kreuzberg, BerlinLanguage: ENEntrance: free donation
Registration is required: Click here
Between the 1940s and 1950s, thousands of Ukrainian women were imprisoned in the Gulag for real or alleged ties to the national anti-Soviet resistance. Despite hunger, violence, and dehumanizing conditions, they sang, wrote poetry, embroidered, and created art. What meaning did creativity hold for women facing daily survival? And what can their handmade artifacts tell us about resilience and dignity under total oppression? The lecture draws on Oksana Kis’ award-winning book Survival as Victory: Ukrainian Women in the Gulag (Harvard, 2021).
Speaker: Oksana Kis is a feminist historian and anthropologist, a head of the National Research Foundation of Ukraine and a President of the Ukrainian Association for Research in Women’s History.
21 November 2025, 18:30Friedrichshain-Kreuzberg, BerlinLanguage: ENEntrance: free donation
Registration is required: Click here
Donetsk Oblast is often viewed through the prism of war and destruction, yet its cultural landscape is much deeper and more diverse.Olya Tsyprykova, co-founder and head of the North Azovian Greeks NGO, will shed light on the history and identity of the Urums and Roumeans – an indigenous community from the northern coast of the Sea of Azov in Ukraine, and how russia’s war endangers their cultural heritage. This talk will be followed by a Q&A and a tasting of psatyr – a traditional North Azovian Greek bread recently added to Ukraine’s National List of Intangible Cultural Heritage.
We, the Berlin-based NGO Vitsche e.V., whose mission is to counteract russian propaganda and amplify Ukrainian voices across Europe, write to express our deep concern regarding the return of the performances “Museum of Uncounted Voices” by Marina Davydova at HAU Hebbel am Ufer, scheduled for 2–11 November 2025.
As an organisation representing Ukrainian allies living and working in Berlin’s cultural and political spheres, we are committed to supporting artistic freedom and open discourse. In this matter, we strongly value HAU Hebbel am Ufer’s legacy as a progressive theatre that offers opportunities to artists who cannot realise their projects in their own countries due to political or economic repression, and that works with respect needed to ensure its projects do not retraumatise or devalue anyone. Such an approach is crucial in a moment when authoritarian forces are regaining visibility and power, including within Germany’s public sphere.
However, we believe that cultural institutions bear an ethical responsibility for the narratives and particular works of art they choose to host, particularly in times of violent conflicts, such as the ongoing russian war against Ukraine.
Marina Davydova, a long-time figure of the russian theatrical establishment, presents herself as a liberal exile, while reproducing the very logic that underpins russia’s war of aggression against Ukraine. Platforming such narratives, especially those emerging from cultural elites in russia, risks reproducing imperial frames and blurring the distinction between aggressor and victim, coloniser and colonised. On top of that, it actually reinforces the absurd justification of the russian invasion of Ukraine.
In this respect, we believe that the play “Museum of Uncounted Voices” is not an act of a sophisticated reassertion of russian exceptionalism disguised as irony and self-victimisation. Without proper contextualisation, such framing becomes dangerous, misleading and insensitive for the groups directly affected by russian aggression today.
Not Handling Complexity Ends Up Reinforcing Propaganda
Davydova constructs her stage as a pseudo-museum of “russian greatness.” The opening episode presents scenes of imperial ecstasy intertwined with mainstream russian propaganda claims, where, among many falsified “facts,” the annexation of Ukrainian territories such as Kherson and Crimea is described as a “voluntary joining.” Today such statements in public completely ignore the fact that they are traumatising and triggering without accurately formulated context. For example Davydova herself has remarked that some audience members reacted with alarm to such statements, recognising them not as satire but as reinforcement of russian territorial claims: “When the actor says: ‘Kherson, Sevastopol, beautiful Odesa — these are our cities,’ a woman — I assume Ukrainian — stood up and screamed that this is horrible, that one must not say these are russian cities, taking it literally.” (Interview with Radio Svoboda, 31 May 2023) Instead of acknowledging the dramaturgical responsibility for such misreadings, Davydova chose to dismiss these reactions as a failure of audience understanding, implying that those who criticise the portrayal simply lack the sophistication to comprehend the irony. This condescension toward the audience, especially those whose lands and lives are directly impacted, reveals an underlying hierarchy in which Davydova’s “risky artistic provocation” is treated as inherently legitimate, while the lived experiences of the directly affected are dismissed as irrational or overly emotional.
Appropriation of Colonised Voices
In the following scenes, the director assumes the authority to speak on behalf of five nations historically oppressed by the russian and Soviet regimes — Ukraine, Belarus, Georgia, Armenia, and Azerbaijan. She fabricates fictional dialogues among these nations, portraying them as quarrelling over “who suffered more,” as if their histories of violence, genocide, and colonisation were interchangeable. Davydova further underscores this by staging a “short opera” in which all characters sing, “We are the victims, we are the main victims,” reducing the anti-colonial struggles of these nations to a caricature of competitive victimhood.
The performance provides no evidence of research, consultation, or engagement with the communities whose histories it claims the authority to retell. It is quite worrying for us to see that in your anti-colonial Institution such a colonial approach is finding its stage. Instead, their perspectives are refracted solely through Davydova’s own interpretive framework — one shaped by a cultural position historically aligned with russian narratives. In this structure, national identities marked by imperial subjugation are flattened into stereotypes, and their experiences become instruments for a theatrical concept rather than the subjects of meaningful representation. The result is a reproduction of a familiar hierarchy: a russian-coded worldview remains central, while the experiences and histories of formerly dominated nations are seconded to a narrative constructed elsewhere.
In political and documentary theatre, representation practices demand responsibility: centring marginalised voices without collaboration, consent, or contextual accuracy is not neutrality but a continuation of the very generalising and identity-erasing structures the artwork claims to interrogate, which in case of russia often follows with the armed invasion.
We urge HAU Hebbel am Ufer to critically reflect on the implications of giving the space in their house to this production without contextual framing.
We call on HAU Hebbel am Ufer to refrain from presenting this production in its current form and to commit to curatorial practices that do not legitimise imperial narratives, but instead centre informed, responsible representation.
We write this letter not to silence but to demand responsibility, to remind that neutrality is a form of complicity in times of rising authoritarian threats and brutal war. We stand for artistic dialogue that is ethically grounded and historically aware, not for the normalisation of imperial trauma narratives or the reproduction of harmful power structures on stage.
We invite HAU Hebbel am Ufer to enter into an open conversation with representatives of the affected communities in Berlin to ensure that the stage remains a space for justice, not for distortion.
Open Letter to HAU from Vitsche e.V. Marina Davydova.docx
With a heavy heart, we announce the passing of Dr. Richard Herzinger — a brilliant journalist, a piercing political essayist, and a steadfast friend of Ukraine. His incisive, uncompromising, and unafraid voice will remain with us. We hope his words and convictions will echo for a long time to come.
From his Frankfurt roots to his Berlin base, Richard built a reputation not simply as a commentator but as a moral conscience for German society. He challenged prevailing winds of thought, from calling out the complacency of parts of the Left for embracing “the Russian narrative” to insisting that “Europe’s fate rises or falls with Ukraine’s sovereignty.” He was a harsh critic of right- and left-wing populists; he excoriated shallow peace-peddling illusions, decried betrayal masked as diplomacy, and reminded us that freedom and truth demand courage. He contributed to Die Zeit, Die Welt, Tagesspiegel, NZZ, Zeitschrift Internationale Politik, Perlentaucher Kulturmagazin, the Ukrainian outlet Tyzhden, and many more.
Richard did not seek popularity with soothing words. He embraced conflict, intellectual rigor, and moral clarity. His essays confronted German and European political circles with truths many found uncomfortable — and when the fashionable consensus in Germany turned cold or indifferent toward Ukraine, he stood firm. He always understood what russia is — in 2008, in 2014 — always the same reality, though in Germany he often stood alone. He warned against the Nord Stream 2 project when it was celebrated as common sense. For that courage, he was often excluded from mainstream voices and marginalized in a culture lacking consensus.
He stood for Ukraine, for a strong Eastern European region as a crucial part of a strong European legacy.
It was our great honor at Vitsche to collaborate with Richard and to share projects and ideas with him. To have worked side by side with such a penetrating mind and generous spirit was a privilege beyond measure. We are deeply grateful for the opportunity to have worked with Dr. Herzinger to amplify truth and reach new audiences. We are honored that Richard joined each of our demonstrations since the beginning of russia’s full-scale invasion of Ukraine. He was a devoted participant and contributor to almost all our public events, showing his firm commitment to supporting Ukraine.
We invite all who value free thought, who love Ukraine, who care for a strong and just Europe — to read his work, engage with his arguments, debate, and build further. The archive that holds these truths is more than a memorial — it is a fire to be kindled. We believe that Dr. Herzinger’s predictions and warnings will remain relevant for many years to come.
In each essay, column, indictment, and affirmation, Richard Herzinger’s voice remains alive — calling us to greater fidelity to truth, to courage in politics, and to solidarity with those who fight for freedom.
“Escape” — An Exhibition at the Museum of European Cultures in Berlin
The exhibition portrays people who were forced to leave their homes after russia’s attack on Ukraine. It features both Ukrainians and russians. That may sound empathetic — but it is not value-neutral.
“It’s about Ukrainian war refugees and russian emigrants.
Both could no longer remain in their homeland.”
“We wanted to show their trauma with empathy and preserve their dignity.”
Why this framing is problematic
Portraying Ukrainians and russians as equally displaced creates a false moral equivalence between the real victims of war and people from the country that started the aggression. It replaces truth with comfort — and justice with aesthetics.
What Ukrainians flee from — and what russians flee from
Such framing distorts the power dynamics of this war. It suggests that all these people fled comparable dangers — but that is not true.
Ukrainians flee from invasion, occupation, mass killings, and the destruction of civilian life.
russians flee from conscription, sanctions, or the discomfort of living under their own regime.
“Empathy” without responsibility is avoidance
As one curator said: “It’s about showing trauma with empathy.”
But empathy that ignores responsibility is not empathy — it is denial.
When art treats the victims and citizens of the aggressor state as equals, it depoliticizes violence and turns injustice into an aesthetic experience.
“russia’s victimhood narrative is part of the crime.” — Timothy Snyder
Many russian “refugees” have never publicly condemned the war, keeping open the possibility of return — even to the regime itself. Some continue to reproduce imperial narratives about neighboring states. Portraying them as innocent victims obscures complicity, not resistance.
In doing so, russia’s role as aggressor is softened — and Ukraine’s calls for justice and accountability are undermined.
When “shared suffering” silences justice
Such projects blur Ukrainian suffering.
They turn a brutal invasion into a supposedly shared humanitarian tragedy.
“Everyone who flees suffers” sounds compassionate — but in this war, it reflects moral blindness. It erases responsibility, equates guilt, and blurs the line between victim and perpetrator.
Whose stories are centered?
russian voices remain in focus, Ukrainian ones pushed to the margins.
The old hierarchies persist — this is not decolonization.
Art is never neutral
Least of all in times of war.
The choice to present victims and perpetrators side by side is not a gesture of peace — it is an act of depoliticization.
It prioritizes comfort over justice, reconciliation over resistance, and silence over truth.
True empathy begins with truth
We call on cultural institutions and curators to:
— Prioritize Ukrainian voices and agency
— Name russian responsibility
— Avoid framing the war as a “shared tragedy”
— Expose the asymmetry — military, political, and moral
Because art holds power.
And power comes with responsibility.
📅 August 24.08.2025
🕓 16:00–18:00
📍 Blaue Kirche (Breitscheidplatz) → Brandenburg Gate
This year, we are once again taking to the streets of Berlin — not just to celebrate, but to remember.
To remember that independence was not a gift — we restored it. And since 1991, we’ve had to defend it time and time again — through revolutions, resistance, and war.
This year’s demonstration is held under the slogan “Future Needs Memory” — because we know:
❗️ Memory helps prevent the repetition of past mistakes
❗️ Memory resists colonial erasure and propaganda
❗️ Memory is part of our national identity
❗️ Without memory of the road we’ve taken, there can be no free future
Our march will raise urgent demands:
- The return of over 200,000 Ukrainian civilians — including thousands of children — illegally deported to russia.
- The release of Ukrainian prisoners of war still held in russian captivity.
- Continued international partner and defence support to uphold Ukraine’s sovereignty
- Recognition that Ukraine’s fight is a European fight — for freedom, justice, and peace.
- Honoring those who have sacrificed their lives, lost loved ones, and suffered due to russia’s war of aggression.
Your presence will show that defenders of democracy around the world stand united in supporting Ukraine’s sovereignty and the right of its people to live in peace.
📌 If you represent an organization and wish to join the march with your own column, please fill out the form: https://forms.gle/UB3fXEHhp1xb5upN8