{"id":58298,"date":"2025-10-15T14:19:45","date_gmt":"2025-10-15T14:19:45","guid":{"rendered":"https:\/\/visualjournalism.de\/?post_type=magazin&p=58298"},"modified":"2025-10-21T11:11:37","modified_gmt":"2025-10-21T09:11:37","slug":"protokoll-eines-verschwindens","status":"publish","type":"magazin","link":"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/","title":{"rendered":"Protokoll eines Verschwindens"},"content":{"rendered":"\r\n
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\n\tWas uns h\u00e4lt<\/a><\/div>\r\n

\r\n Protokoll eines Verschwindens <\/h2>\r\n\r\n
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Der Fotograf Pasha Kritchko dokumentierte die Proteste in Belarus, wurde vom Regime verfolgt und ins Exil gezwungen. Seine Bilder erz\u00e4hlen von Gewalt und Hoffnung \u2013 und vom Versuch, Erinnerung und Identit\u00e4t im Exil zu bewahren. Von Pasha Kritchko<\/a> (Fotos) und Ludwig Nikulski<\/a> (Protokoll)<\/strong><\/p>\n <\/div>\r\n \r\n

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\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n Twice forced Belarusian migrant Vesta in a temporary shelter in Warsaw, Poland, on March 3, 2022.\rOn the night of August 28-29, 2020, due to possible political persecution, Vesta and her husband Stas fled from Belarus to Kiev, Ukraine, which became their home. At the end of 2021 and beginning of 2022, they were considering the option of buying a house near Odessa and were preparing documents.\rOn February 26, 2022, after Russia started a full-scale invasion, they went to Lviv but faced the problem of being unable to rent an apartment due to the fact that they are Belarusians. They spent a night in Lviv in the gym, where temporary housing was organized for those in need. When they crossed the border between Ukraine and Poland, Ukrainian border guards asked, \u201cWhere will you run away, Belarusians?\u201d <\/span>\r\n \r\n \r\n<\/div>\r\n\r\n\n\n\n

Es war Sommer 2021, als ich verhaftet wurde. <\/strong>Ich tat nichts Dramatisches. Ich stand einfach vor dem Gerichtsgeb\u00e4ude in Minsk mit einer Kamera in der Hand. Es war der letzte Tag im Prozess gegen Wiktar Babaryka, einen ehemaligen Banker, der es gewagt hatte, 2020 f\u00fcr das Pr\u00e4sidentenamt zu kandidieren. Er war auch derjenige, dessen Kampagne ich begleitete um zu dokumentieren, was im Land geschah. An diesem Tag war ich der einzige unabh\u00e4ngige Fotograf vor dem Gericht. Schon das machte mich verd\u00e4chtig.

Ich hatte ein ungutes Gef\u00fchl. Ein silberner Van erschien auf dem Platz und n\u00e4herte sich langsam. Ich ging schnell los, betrat das Gerichtsgeb\u00e4ude durch den Haupteingang, rannte die Treppen hoch in der Hoffnung, verschwinden zu k\u00f6nnen. Aber der Notausgang war verschlossen. Ich schaffte es bis in den vierten Stock, das Geb\u00e4ude f\u00fchlte sich seltsam leer an. In einer kleinen K\u00fcche ohne Fenster, ohne Kaffeeduft, ohne Spuren von Leben l\u00f6schte ich das Licht und setzte mich in die Ecke. Als der Polizist die T\u00fcr \u00f6ffnete, sah er mich zun\u00e4chst nicht. Dann ging das Licht an. \u00abObjekt gefunden\u00bb, sagte er.<\/p>\n\n\n

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\n \"In\n \n Riot police disperse a protest against Lukashenko on the day of the secret inauguration on September 23, 2020, in Minsk.\rRiot police in Belarus are known for their brutal tactics, frequently using excessive force to disperse anti-government protests. On this day, water cannons, tear gas, and rubber bullets were employed to suppress demonstrators. Thousands of protesters were detained throughout the country following the 2020 presidential election, which was widely criticized as fraudulent. Human rights organizations documented numerous cases of police violence, including beatings and torture of detainees in facilities such as the Okrestina detention center.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n
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\n \"Die\n \n A woman with flowers waits near the gate of the Okrestina detention center in Minsk, Belarus for the release of famous basketball player Elena Leuchanka after 15 days of detention on 15 October 2020.\rOkrestina is notorious as a detention center for Belarusian opposition activists arrested during mass protests against President Alexander Lukashenko's regime. During the 2020 protests, numerous reports emerged of detainees being tortured in Okrestina. Many were beaten, with some suffering severe injuries. At least three detainees endured injuries indicative of sexual violence, including anal fissures, bleeding, and damage to the rectum, with victims requiring hospitalization for their injuries.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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Die Kampagne von<\/strong> Wiktar Babaryka gab mir eine unerwartete Chance: Ich durfte ihn begleiten, fotografieren, ganz nah dran sein.<\/p>\n <\/blockquote>\n\n

\n\n <\/span>\n <\/figcaption>\n \n <\/figure>\n <\/div>\n\n\n\n\n

Im Jahr 2020 war ich noch kein politischer Fotograf. <\/strong>Ich arbeitete kommerziell \u2013 Hochzeiten, Events, Firmenkunden. Doch dann kam die Pandemie, und die Auftr\u00e4ge brachen weg. Gleichzeitig regte sich etwas Gr\u00f6\u00dferes in Belarus. Die Pr\u00e4sidentschaftswahl l\u00f6ste ein landesweites Erwachen \u2013 und eine brutale Repression \u2013 aus. Ich sp\u00fcrte den Drang, n\u00fctzlich zu sein. Nicht durch Parolen, sondern durch Dokumentation. Ich hatte eine Kamera. Das schien genug.

Die Kampagne von Wiktar Babaryka gab mir eine unerwartete Chance: Ich durfte ihn begleiten, fotografieren, ganz nah dran sein. Ich half sogar beim Sammeln von Unterschriften f\u00fcr seine Kandidatur \u2013 aber bald wurde mir klar, dass ich als Fotograf mehr beitragen konnte als als Aktivist. Was als b\u00fcrgerliches Engagement begann, wurde schnell historisch und gef\u00e4hrlich. Nach wenigen Wochen wurde Wiktar verhaftet. Auch sein Sohn kam ins Gef\u00e4ngnis. Sp\u00e4ter folgten die Kampagnenleiterin Maryja Kalesnikawa und der Anwalt Maksim Znak.
Wir alle hielten uns an die Gesetze. Wir wollten keine Revolution, sondern zeigen, was wirklich geschah. Aber genau das reichte offenbar, um uns zu kriminalisieren.<\/p>\n\n\n

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\n \"Menschen\n \n A screening of Aliaksey Paluyan's film Courage in Warsaw, Poland, on 7 September 2021, was dedicated to commemorating the anniversary of the arrest of political leader Maria Kalesnikava and lawyer Maksim Znak. \r\rThe event was organized in coordination with Tatyana Khomich, Maria Kalesnikava\u2019s sister, who continues to fight for the release of her sister and thousands of other political prisoners in Belarus. Tatyana is actively participating in global initiatives to raise awareness of their cases. As of December 2024, 1,446 individuals are recognized as political prisoners in Belarus. Among them are prominent figures like Kalesnikava, Siarhei Tikhanouski, Ihar Losik, and Ales Bialiatski. These prisoners are often held incommunicado, without contact with their families or lawyers, enduring harsh conditions and facing long sentences for their political activism.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n
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\n \"Zu\n \n Belarusian space "Hackerspace" in Pozna\u0144, Poland. January 20, 2025.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n

Als ich im Juli 2021 festgenommen wurde,<\/strong> war der Angriff auf unabh\u00e4ngige Medien l\u00e4ngst im vollen Gange. Man verh\u00f6rte mich wegen \u00abExtremismus\u00bb, fragte mich nach Faschismus, durchsuchte mein Telefon, wollte mich einsch\u00fcchtern. Ich hatte nicht vor zu fliehen, ich habe nicht viel dar\u00fcber nachgedacht und wollte so lange wie m\u00f6glich im Land bleiben. Ich suchte nach Wegen, mit der Angst umzugehen und einen Sinn zu finden, etwas, das ich als Fotograf tun kann.<\/p>\n\n\n\n

In den folgenden Wochen wuchs das Gef\u00fchl von Unsicherheit. Am 8. Juli wurden in ganz Belarus Wohnungen von Dutzenden Journalist*innen durchsucht, einige wurden verhaftet. Ich konnte meine Fotos retten und ver\u00f6ffentlichte sie online. Manche Kolleg*innen kritisierten das \u2013 sie bef\u00fcrchteten, die Regierung w\u00fcrde daraus lernen, wie man gel\u00f6schte Dateien wiederherstellt. Aber ich wollte nicht schweigen. Irgendwie wollte ich laut sein.<\/p>\n\n\n

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\n \"Ein\n \n Portrait of Iryna Shchastnaya, a former political prisoner. Bia\u0142ystok, Poland. January 25, 2025.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n
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\n \"Portrait\n \n Portrait of Andrei, a former political prisoner. Warsaw, Poland. January 23, 2025.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n

Etwa sechs Wochen sp\u00e4ter<\/strong> wurde ich f\u00fcr eine Residency f\u00fcr belarussische Fotograf*innen in Warschau angenommen und verlie\u00df mein Land. Seitdem lebe und arbeite ich im Ausland. Ich fotografiere weiter. Doch mein Fokus hat sich verschoben: Portr\u00e4ts von Menschen im Exil, Geschichten von unterbrochenen Leben. Die Distanz schmerzt. Ich habe das Gef\u00fchl, langsam den Kontakt zu verlieren. Die Verbindung br\u00f6ckelt. Ich m\u00f6chte zur\u00fcck. Aber es ist unrealistisch.<\/p>\n\n\n

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\n \"Acht\n \n Women collective Spievy celebrating Midsummer day in Warsaw, Poland, on 22 June 2024.\rThe women of Spievy are deeply connected to the peaceful protests that began in Belarus on 12 August 2020. On that day, a group of women dressed in white gathered near Komarovka Market in Minsk, marking the beginning of a powerful and nonviolent demonstration against President Lukashenko's regime. The women, holding flowers and demanding fair elections, were met with police violence, but their actions sparked the wider protest movement that would sweep the nation. Many of the women who participated in these initial protests have become key figures in the Spievy collective, which celebrates Belarusian culture, identity, and the fight for freedom. Through their music and activism, they continue to honor the spirit of those early protests and keep the flame of resistance alive in exile.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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\u2039Map of Memories\u203a (2020\u2013laufend)<\/b> ist mein
\nLangzeitprojekt \u2013 ein visuelles Archiv gegen das Vergessen.<\/p>\n <\/blockquote>\n\n

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In Belarus gilt Wahrheit als Feind des Regimes. <\/strong>\u00dcber 35.000 Menschen wurden im Zuge der Proteste festgenommen. Viele wurden gefoltert. Mehr als 400.000 Belaruss*innen haben seit 2020 das Land verlassen. Ende 2024 sitzen noch immer mindestens 1.265 politische Gefangene in Haft \u2013 darunter Oppositionsf\u00fchrerin Maryja Kalesnikawa und Friedensnobelpreistr\u00e4ger Ales Bjaljazki.

Im Exil begegnen uns andere Formen des Drucks: Distanz, Schuldgef\u00fchl, Ungewissheit. Einige k\u00e4mpfen weiter, organisieren Proteste, unterst\u00fctzen die Ukraine, setzen sich f\u00fcr politische Gefangene ein. Andere ziehen sich zur\u00fcck, m\u00fcde und ersch\u00f6pft.<\/p>\n\n\n

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\n \"Ein\n \n Zoya Belakhvostsik, an actress from the Kupala Theater, during the premiere of the performance "GESE-HUMANS-SWANS" based on Alherd Bakharevich's book "Dogs of Europe" in Lublin, Poland, on 17 June 2022.\rIn this performance, she portrays a typical representative of the authorities in Belarus, highlighting the tensions surrounding the political climate.\rIn August 2020, nearly 60 members of the Kupala Theater, including artistic director Nikolai Pinigin, resigned in protest against the dismissal of director Pavel Latushko. Since then, only 15 members of the original cast have remained. The theater has periodically held castings to replace members, mostly recruiting new actors from the Institute of Culture. Today, the Kupala Theater presents only five performances on its main stage.\rSince the summer of 2020, over 800 figures from the Belarusian cultural scene have faced repression, with at least 98 individuals currently imprisoned, according to the Belarusian Rada of Culture.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n
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\n \"In\n \n A fighter of the Kalinouski Regiment, nicknamed "Chili," and his cat at the regiment's base in Kyiv, Ukraine, on 2 August 2022.\r"Chili" is a Belarusian who has been living in Ukraine for 15 years. When the war began, he and his wife were in Lviv. They decided to relocate to Kyiv and turned their apartment in Lviv into a temporary shelter for refugees, providing a safe haven for those fleeing the conflict.\rThe Kalinouski Regiment is one of the most prominent Belarusian volunteer formations fighting in Ukraine. Established in March 2022, it was named after Konstanty Kalinouski, a 19th-century Belarusian national hero who led an uprising against the Russian Empire. The regiment consists of Belarusians opposing the Lukashenko regime and Russian aggression, with many seeing the fight in Ukraine as directly tied to the struggle for Belarus\u2019s freedom. Thousands of Belarusians have joined Ukraine\u2019s Armed Forces, despite the risks of persecution or imprisonment if they return to Belarus.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n
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\n \"In\n \n Courtyard of an agro-tourist estate in the village of Puch\u0142y, Poland, located just 34 kilometers from the Belarusian border, on 4 May 2024.\r"Here I spent my first night on this trip, and this village reminded me of my childhood when I went with my parents to my father's village, Cielusza, to visit my grandparents and spent some time there in the summer or during holidays."\rFor many Belarusians in exile, places like Puch\u0142y offer a way to reconnect with their roots. Although they cannot return home due to political restrictions, they travel closer to the Belarusian border to experience the atmosphere and traditions that remind them of their homeland. Through culture\u2014books, music, art, language, and even photographs\u2014they recreate a version of Belarus outside its geographical borders, maintaining a bond with the country they can no longer visit. This sense of attachment keeps Belarus alive in their hearts, wherever they are.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n

In Belarus selbst ist Unterdr\u00fcckung l\u00e4ngst Alltag.<\/strong> Wer bestimmte Farben tr\u00e4gt oder etwas Falsches postet, riskiert Festnahme. Die kommende Wahl 2025 verspricht keine echte Entscheidung, nur neue Angst. Und dennoch: Der Widerstand lebt. Leise. In Erinnerungen, im Schweigen, im Akt des Nicht-Vergessens.

Ich dokumentiere dieses Schweigen. Nicht nur als Fotograf, sondern als jemand, der selbst davon geformt wurde. Meine Bilder zeigen nicht nur andere. Sie erz\u00e4hlen auch meine Geschichte. Eine von vielen. Doch zusammen bilden diese Bruchst\u00fccke etwas, das schwerer zu l\u00f6schen ist: ein Protokoll. Eine Verweigerung. Eine Erinnerungskarte, die kein Regime vollst\u00e4ndig zerst\u00f6ren kann.<\/p>\n\n\n

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\n \"Auf\n \n Self-portrait (Pasha Kritchko) in a rented room during one of his work trips to Podlasie. Hajn\u00f3wka, Poland. December 23, 2024.<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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Empfehlungen der Redaktion:<\/strong><\/p>\n <\/div>\n\n\n\n\r\n\r\n\r\n\r\n

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\r\n\r\n Sammeln<\/span>\r\n

\r\n Der K\u00f6nig der Kulis <\/h3>\r\n\r\n
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Klack-Kulis, Sondereditionen, Werbegeschenke: Heinz-Hermann hat sie alle. \u00dcber 200.000 Kugelschreiber finden in seiner Sammlung Platz. Eine Geschichte des Kulis \u2013 von Budapest bis Brockel.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"Nahaufnahme\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
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\r\n\r\n Sammeln<\/span>\r\n

\r\n Kippenkult und Krebsromantik <\/h3>\r\n\r\n
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Ein Fotobuch \u00fcber Zigaretten, Sucht und Rauchbiografien: \u00abPleasure to Burn\u00bb verherrlicht das Rauchen \u2013 und meint es dabei nur halb so ernst.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"Zwei\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
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\r\n\r\n Sammeln<\/span>\r\n

\r\n Von Ausbeutung und musikalischem Erbe <\/h3>\r\n\r\n
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Was bedeutet kulturelle Verantwortung im Musikgesch\u00e4ft? Das Berliner Label Habibi Funk gibt vergessener Musik eine B\u00fchne und zeigt, warum zu gutem Sound auch Haltung geh\u00f6rt. <\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\r\n\r\n\r\n\r\n
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\r\n\r\n Ratgeber<\/span>\r\n

\r\n Kunstlicht to-go: wie du unterwegs blitzt. <\/h3>\r\n\r\n
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K\u00fcnstliches Licht er\u00f6ffnet viele neue Gestaltungsm\u00f6glichkeiten, stellt Anf\u00e4nger aber auch vor technische und gestalterische Herausforderungen. Hier erf\u00e4hrst du wie es geht!<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
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\r\n\r\n Ratgeber<\/span>\r\n

\r\n Beleuchtung im Fotostudio. <\/h3>\r\n\r\n
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Das richtige Licht im Studio ist entscheidend f\u00fcr gelungene Studioaufnahmen. Wie aber gelingt die perfekte Ausleuchtung und welche Techniken gibt es?<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n Ratgeber<\/span>\r\n

\r\n So gelingt dein Praktikum im Journalismus! <\/h3>\r\n\r\n
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Wie findest du das richtige Praktikum? Wie \u00fcberzeugst du in der Bewerbung? Und was solltest du w\u00e4hrend des Praktikums unbedingt beachten? Mit Tipps und Tricks von unseren Professor*innen und Studierenden.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"F\u00fcnf\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\r\n\r\n\r\n\n\n\n
\n ZUR MAGAZIN-STARTSEITE<\/a>\n <\/div>\n<\/div>\n","protected":false},"author":107,"featured_media":60979,"template":"","tags":[],"magazinkategorie":[200],"class_list":["post-58298","magazin","type-magazin","status-publish","has-post-thumbnail","hentry","magazinkategorie-was-uns-haelt"],"acf":[],"yoast_head":"\nProtokoll eines Verschwindens<\/title>\n<meta name=\"description\" content=\"Der Fotograf Pasha Kritchko dokumentierte die Proteste in Belarus, wurde vom Regime verfolgt und ins Exil gezwungen. Seine Bilder erz\u00e4hlen von Gewalt und Hoffnung \u2013 und vom Versuch, Erinnerung und Identit\u00e4t im Exil zu bewahren.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Protokoll eines Verschwindens\" \/>\n<meta property=\"og:description\" content=\"Der Fotograf Pasha Kritchko dokumentierte die Proteste in Belarus, wurde vom Regime verfolgt und ins Exil gezwungen. Seine Bilder erz\u00e4hlen von Gewalt und Hoffnung \u2013 und vom Versuch, Erinnerung und Identit\u00e4t im Exil zu bewahren.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/\" \/>\n<meta property=\"og:site_name\" content=\"Visual Journalism and Documentary Photography\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/people\/wwwfotostudentende\/100065173703897\/\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-21T09:11:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/visualjournalism.de\/wp-content\/uploads\/0003_Kritchko_Pasha-1-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1709\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@HsHannover\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/\",\"url\":\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/\",\"name\":\"Protokoll eines Verschwindens\",\"isPartOf\":{\"@id\":\"https:\/\/visualjournalism.de\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/visualjournalism.de\/en\/magazine\/was-uns-haelt\/protokoll-eines-verschwindens\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/visualjournalism.de\/wp-content\/uploads\/0003_Kritchko_Pasha-1-scaled.jpg\",\"datePublished\":\"2025-10-15T14:19:45+00:00\",\"dateModified\":\"2025-10-21T09:11:37+00:00\",\"description\":\"Der Fotograf Pasha Kritchko dokumentierte die Proteste in Belarus, wurde vom Regime verfolgt und ins Exil gezwungen. 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