Released in the centenary year of Fidel Castro’s birth, Cuba After Castro follows a president born after 1959 and a generation that inherited the Revolution.
Debris from a Russian drone damaged Cosmogony, a painting that set a national record in Ukraine, the Korsaks Museum of Contemporary Ukrainian Art in Lutsk, where the artwork was exhibited, reported on 14 October. A fire destroyed part of the painting’s final section, titled The Future, according to the statement.
Russian drones continue to attack Ukraine. Overnight into 15 October alone, Ukrainian air defense forces downed or suppressed 536 Russian unmanned aerial vehicles (UAVs). In recent days, Lutsk, a city in northwestern Ukraine, has been among the cities damaged by Russian attacks. Russian UAV attacks set fire to an oil depot, a wholesale warehouse, and a shopping center. At the museum, located on the shopping center’s premises, the fire damaged Ukraine’s largest painting, which covers a canvas of more than 2,000 square meters.
Russian attack damages museum in Lutsk
A fire broke out at the Adrenalin City shopping and entertainment complex, where the museum is located, Suspilne Lutsk reported. The blaze damaged the last of the painting’s six sections, according to the report.
“By destroying art and culture, they are also trying to destroy Ukrainians,” Tetiana Repnytska, director of the Museum of Contemporary Ukrainian Art in Lutsk, told Suspilne Lutsk.
A section of Petro Antyp’s painting Cosmogony before a Russian drone attack on Lutsk on 13 October 2026. Photo: Korsaks Museum of Contemporary Ukrainian Art/Facebook
Museum staff also had to evacuate more than 300 works by Ukrainian artist Emma Andiievska, which were exhibited alongside Cosmogony, Oles Tomakh, the museum’s chief curator, told Suspilne Lutsk. Some works could not be removed in time, resulting in shattered glass. However, the museum’s other exhibition halls were unaffected, the chief curator said.
The museum is weighing whether to fully restore the damaged fragment or keep the fire’s traces as a reminder of the war, and will decide after consulting the artist, Petro Antyp, and restoration specialists, it said. Repnytska told Suspilne Lutsk that the painting’s authors could also create a new section.
“Despite the shelling, we will continue to develop contemporary Ukrainian art and preserve it,” the museum director said.
Cosmogony—Ukraine’s largest painting
Artist Petro Antyp began working on the painting in November 2022, Suspilne Lutsk reported, and it took almost two years to complete, according to the museum’s website. The painting covers an area of 2,086 square meters.
In September 2024, the project set a national record as Ukraine’s largest painting.
The artwork explores the evolution of the universe, Earth, nature, humanity, society, culture, and science. Its six sections combine myths, legends, scientific theories, and symbols from different cultures, according to the museum’s website.
A section of Petro Antyp’s painting Cosmogony. Photo: Taras Luchko
The project extends beyond the canvas, as the museum presents a multimedia performance that combines light, sound, and art.
Civilians killed and injured in Russia’s latest attack on Lutsk
Around noon on 14 October, a Russian jet-powered Shahed drone attacked Lutsk. Drone debris damaged a wholesale goods warehouse and a residential building, Roman Romaniuk, acting head of the Volyn Regional Military Administration, told Suspilne.
Falling drone debris sparked a large fire at the Yevrohurt wholesale warehouse. A nine-story residential building on Sobornosti Avenue was also damaged, Romaniuk later reported on social media.
Six people were killed in the strike on the warehouse: five were found at the scene, and another person died in the hospital. Eleven more people were injured, Romaniuk said.
Aftermath of Russia’s attack on Lutsk on 14 October 2026. Photo: Volyn Regional State Emergency Service
Two other people, including a child, were injured in the residential building. Twelve people remained hospitalized, one of whom was in serious condition, according to the report.
The late Christoph Schlingensief was one of German art’s great provocateurs. Can his B-Movie horror aesthetics still shock us into thinking anew about media power, colonialism, and the far right?
Christoph Schlingensief certainly knew how to provoke. “Fury at German play that shows Queen as a Nazi,” read the Sunday Express’s headline after Kaprow City first premiered at Berlin’s Volksbühne theatre in 2006. Drawing on the happenings of US performance artist Allan Kaprow, the play turned its attention to Diana, Princess of Wales’s death. In one scene, the then queen performs a Hitler salute. Another re-enacts the paparazzi chase that led to Diana’s fatal crash. Diana appears in bed beside two men with Down’s syndrome; and Camilla is pelted with animal blood. Schlingensief insisted the work was not meant as provocation but as an investigation into how Diana turned into a modern icon. But his art thrived on outrage, exposing the absurdity of societies that glorify their idols while consuming their lives as entertainment.
Kaprow City is at the heart of a new Berlin show – It’s Not My Problem Anymore, Deal With Your Own Shit – that revisits the artist’s legacy. In the Gropius Bau’s grand neo-Renaissance atrium, visitors encounter remnants of the carousel-like rotating stage he called the “animatograph”. Looking at this installation today feels like a glimpse into Schlingensief’s mind: a messy collage of childhood memories, violent fantasies and royal glamour.
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