I can’t judge the military side of it, but last night’s Russian strikes on Kyiv damaged not only buildings in and around the Kyiv Pechersk
#Lavra, Ukraine’s most important Orthodox monastery, but also the Dovzhenko Film Studio and the Arsenal complex — two other sites deeply woven into Kyiv’s historical and cultural identity.
The choice of targets may not be entirely coincidental. Just days ago, a Ukrainian strike reportedly damaged the Panorama Museum of the Defence of Sevastopol in Russian-occupied Crimea, home to Franz Roubaud’s famous panoramic painting depicting the defence of the city during the Crimean War.
Created for the fiftieth anniversary of the siege of Sevastopol and opened in 1905, Roubaud’s panorama became one of the principal shrines of Russian military memory. For Sevastopol, the museum is more than a cultural institution. It is one of the city’s key lieux de mémoire — a civic shrine tied to its identity as a fortress and military port. For Putin’s generation and virtually everyone raised in the Soviet Union, visiting the panorama was a standard part of patriotic education. The building occupied an almost sacred place in the Soviet historical imagination.
Whether or not today’s strikes were intended as a response, they hit sites that play a similar role in Kyiv’s identity to the one the panorama museum plays in Sevastopol’s.
More broadly, we may be seeing a gradual expansion of target selection: beyond military facilities, infrastructure, industrial sites and residential buildings, and increasingly toward symbolic, historical and cultural landmarks. Given how much Putin’s worldview — and the propaganda system built around it — operates in the realm of symbols, memory and historical narratives, it is conceivable that cultural targets are being chosen not only for military reasons but also for their psychological and symbolic impact. Striking places that embody a nation’s identity can be a way of trying to undermine morale and weaken a society’s sense of itself.