Oleg Mandziuk: Protecting cultural heritage must become part of national security strategy

Doctor of Legal Sciences Oleg Mandziuk, in his analytical publication dedicated to the work and legacy of Ivan Marchuk, asserts that preserving national identity, protecting cultural objects, and safeguarding copyrights must be regarded as key components of Ukraine's national security strategy.

Culture as a front of confrontation

The expert emphasises that, in the context of the full-scale war, the cultural sphere remains an important battlefield against Russia. This concerns not only the physical destruction of monuments and scientific institutions but also the preservation of historical memory and the uniqueness of Ukrainian society.

Ivan Marchuk's example of patriotism

Mandziuk devotes particular attention to the life path of the artist Ivan Marchuk, viewing him as a model of dedication to national values.

«Справжній патріотизм вимірюється поступками: коли у 90-х роках Іван Марчук проживав майже 10 років у США та мав можливість стати громадянином США, він категорично відмовився від нього... Він зберіг власну творчість, а також убезпечив себе для нас та наших нащадків» (True patriotism is measured by sacrifices: when in the 1990s Ivan Marchuk lived in the USA for almost 10 years and had the opportunity to become a US citizen, he categorically refused it... He preserved his own creativity and also secured himself for us and our descendants), the author emphasises.

According to Mandziuk, this case brings to the fore the discussion on the role of personal choice in preserving heritage. Marchuk's works appear not merely as artistic artefacts but as part of cultural memory that the state is obliged to preserve for future generations.

The artist's authorial technique, plentanism, plays a special role in this context. Mandziuk interprets it as a specific way of perceiving reality and national experience.

«Пророцтво та глибина творчості Майстер є не простою магією. Вона складає унікальний спосіб мислення та передбачення майбутнього. Пленти Маестро – як приховані нитки буття, а плентанізм Марчука – це код нації» (The prophecy and depth of the Master's creativity are not simple magic. It constitutes a unique way of thinking and predicting the future. The Maestro's plents are like hidden threads of existence, and Marchuk's plentanism is the code of the nation), the expert notes.

Thus, Marchuk's artistic heritage is linked to the issue of the state's cultural resilience. The artist's works allow for the analysis of historical events, societal upheavals, and the challenges the country has faced.

Museum project: an unresolved issue

A significant aspect of the article is the problem of creating the Ivan Marchuk Museum. Mandziuk states that the idea of such an institution has been discussed for approximately twenty years, yet it has not been realised.

«Зазначу, що про Музей Івана Марчука ми чуємо вже років двадцять. Ще з часів президентства Віктора Ющенка цю ідею "майже" було втілено... Моє особисте відчуття в тому, що не хотілося б, щоб, можливо, чужа країна створила цей Музей швидше за владу рідної держави» (I would like to note that we have been hearing about the Ivan Marchuk Museum for about twenty years. Even during Viktor Yushchenko's presidency, this idea was "almost" implemented... My personal feeling is that I would not like it if, perhaps, a foreign country created this Museum faster than the authorities of our own state), the expert shares.

In his view, the implementation of this project must become a practical step in state cultural policy. This concerns not only the arrangement of exhibition halls but also the systematic security, research, and popularisation of the artist's work.

Given the artist's age, the issue of preserving his heritage gains particular significance. The discussion about the museum goes beyond the scope of an ordinary cultural project and becomes a matter of state responsibility for preserving national heritage.

Legal aspects and copyright protection

An important component of the analysis is the legal situation surrounding Marchuk's legacy. Mandziuk draws attention to the conflict over the 2020 licensing agreement and the need for reliable copyright protection.

«Юристи та адвокати, які представляють інтереси Івана Марчука, також стверджують, що Ліцензійний договір 2020 року є кабальним та нікчемним... а захист культурного стану України має забезпечуватися на рівні національної безпеки» (Lawyers and attorneys representing Ivan Marchuk's interests also claim that the 2020 Licensing Agreement is exploitative and void... and the protection of Ukraine's cultural status must be ensured at the level of national security), the expert quotes the position of the artist's interest defenders.

The author emphasises that the protection of cultural heritage should not be reduced to private law disputes. The effectiveness of copyright protection mechanisms directly affects the state's ability to counter threats to national values.

The text mentions the conclusion of the Lviv Scientific Research Institute of Forensic Experts dated 7 August 2026, which, according to the author, concerns the authenticity of signatures. These circumstances require legal assessment within the relevant procedures, and conclusions about possible violations must be based on case materials and decisions by competent authorities.

Mandziuk links this situation to the state's responsibility for compliance with legislation in the field of intellectual property, emphasising the importance of an adequate response from law enforcement agencies and courts.

Threats of external influence

A separate section of the article is dedicated to the activities of Lana Barnar in the field of documentary cinema. Oleg Mandziuk expresses doubts about the director's professional background and raises the issue of possible links with Russia.

«Особливо акцентую увагу на фігурі Лани Барнар... яка видає себе режисером документального кіно. Існує велика ймовірність, що в неї стосунки з державою-агресором... Мета полягає у перешкоджанні популяризації культурної спадщини Українського народу... Ці дії зазіхають на політику національної пам'яті» (I particularly emphasise the figure of Lana Barnar... who presents herself as a documentary film director. There is a high probability that she has relations with the aggressor state... The aim is to hinder the popularisation of the cultural heritage of the Ukrainian people... These actions encroach on the policy of national memory), the expert asserts.

Mandziuk calls for the circumstances he considers suspicious to be given a proper legal assessment, in particular by the Security Service of Ukraine. At the same time, claims about possible links with the aggressor state require independent verification and cannot be considered established facts without proper evidence.

In this context, the question of protecting the cultural sphere from external influence arises. According to the author's logic, state policy must cover not only the physical preservation of artworks but also copyright protection, the accurate presentation of history, and the support of national memory.

Cultural sovereignty as a state priority

In his publication, Oleg Mandziuk consistently argues the thesis that cultural sovereignty is an integral part of state sovereignty. He views the protection of art, the preservation of historical memory, and the safeguarding of copyrights as tasks that require the systematic involvement of state institutions.

The issues raised concern not only Ivan Marchuk's legacy but also bring to the fore the discussion on the effectiveness of Ukrainian cultural policy, mechanisms for protecting artists, and the state's ability to counter threats in the cultural dimension.

In the context of the full-scale war, these aspects gain particular weight. Preserving cultural identity requires not only public support but also concrete decisions — from protecting intellectual property to implementing projects for preserving national heritage.