Vsevolod KazarinBio
CV

Vsevolod Kazarin (he/him) is a Kyiv-based researcher, photographer, and publisher.

His practice combines photographic creation with research into visual practices and their role in constructing daily reality, from frontline mobile imagery to late Soviet visual culture, war, and masculinity. Working at the intersection of publishing, technology, and experimental humanities, he investigates social and political structures shaped by conflict and political transformation.

In 2022, Kazarin co-founded Solomiya print magazine, which has since evolved into a broader platform encompassing publishing, research, and curatorial practices. Operating between Kyiv, Berlin, and other cities, the Solomiya art collective focuses on underrepresented discourses, organizing public programs and exhibitions across the continent.





Type ProjectYear
Performance Pilgrimages Diary: Performing the Camera Roll2026

Writing
Sixty Seconds to Swallow 2026

Writing
Beyond Representation:
Why Should We Have A Closer Look At Military Mobile Snapshots?
2026

Visual Research
Starman2025

Photography
Article 65 
2024

Photography
Unstable Equilibrium 2023

PhotographySurviving Bucha  2022
Photography
Portraits from Kyiv2022




Publication



Year

Solomiya No. 6 State of the Nation2026

Solomiya No. 5 After Now
2025

Solomiya No. 4 The Environmental Issue
2025

Solomiya No. 3 The Last Issue? 
2024

Solomiya No. 2 The Means of Resistance 
2023

Solomiya No. 1 War but Art
2022

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Sixty Seconds to Swallow

Script by Olha Marusyn, Asia Pavlenko, Vsevolod Kazarin

2026










Written at the intersection of documentary practice, generative fiction, and experimental drama, Sixty Seconds to Swallow brings together the voices of Asia Pavlenko (writer and researcher), Olha Marusyn (artist and chore-ographer), and Vsevolod Kazarin (photographer and editor of Solomiya). Through a collective experimental writing process, the authors reflect on the ritual of Ukraine's daily minute of silence. They examine this shared practice of mourning not merely as a moment of remem brance, but as a nation-building "grief-ordering machine" - a profound, collective process of processing loss, reshaping power dynamics, and forging national identity amid war.

The script is published in the 6th issue of Solomiya: State of the Nation 







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