The car with the blue ribbons stopped far beyond the checkpoint. To the right were burnt-out cars, one with its wheels upturned. In front of it is a small bridge and a pond 5 by 5 metres. Behind the black and white coloured high-rise. I take off my mask. Take a shot. Another. I run to the car. Let’s go. We bend down. Heroes of Labour on the left. Adrenalin. We drove there, here. Got out of the car. Fire behind us. I decide not to shoot anymore today. At home, I realise that the film in the camera was not turning. But maybe there are some first shots. I decide to develop it anyway. In war, you have to go out with a clean slate every day. Because you can’t always take the footage to a safe place. Either the photo will be taken away or you will be caught. Or one of the harder options. And history must be recorded. PS: The film was as transparent as that reservoir. End.

 Vladyslav Krasnoshchok (1980, Kharkiv, Ukraine) — Kharkiv artist. Studied at the Department of Dentistry at Kharkiv Medical University in 1997-2002. In 2004-2018, worked at the Kharkiv state clinical hospital of emergency aid. Has been actively practicing photography since 2008. A participant of the Shilo group since 2010 (together with Sergiy Lebedynskyy, Vadim Trykoz and Oleksiy Sobolev). Apart from documentary photography, which is aesthetically transformed using different technical manipulations, he also uses anonymous archives and hand-colouring, methods that evolved in Kharkiv photography in the late 1970s. Combines shots with sculptural objects, and experiments with graphic art, engraving and street art.