They stole the past and betrayed the future

The collaborators of the Russian looting of the Kherson Art Museums

Retreating Russian occupation forces looted two museums in Kherson before the city’s liberation in November 2022. However, they didn’t act alone; they were aided by eight museum workers – most of whom now reside in occupied Crimea or Russia. We found out who they are.

Investigation by Deniz M. Dirisu, Dani Morera Trettin, Agata Pyka, Sindre Langmoen, and Yorrick de Vries. Editing by Julius E. O. Fintelmann and Amir Hashemi. Production by Philippe Kramer. Published on 20 August 2023.

Once hosting one of Ukraine's richest art collections, Kherson’s Regional Art Museum now stands empty. At least 11,000 out of 14,000 artworks were stolen by retreating Russian forces in November 2022 in the potentially biggest art theft since the Second World War. A similar picture presents itself in the local history museum, Kherson Museum of Local Lore, where nearly every piece was taken, save for the flora and fauna collection.

The looting was facilitated by several local museum employees, who collaborated with occupation authorities and later fled to Russia and the occupied Crimea before Kherson was liberated. Whilst some staff members attempted to safeguard the artefacts, others allegedly became collaborators in Russian crimes against the cultural heritage of Ukraine.

  • Open-source intelligence or OSINT refers to publicly available data, for example, on social media platforms. Spearheaded by outlets like Bellingcat already years ago, OSINT has experienced a surge in interest after Russia began its full-scale invasion of Ukraine.

    This investigation was mainly based on social media research. We thoroughly examined Russian social media platforms, including OK.RU and Vkontakte, to identify profiles of perpetrators linked to the Kherson art theft.

    We enhanced our findings using visual intelligence, including satellite imagery (sourced externally via secondary sources) and visuals obtained from our social media research. This helped us delve deeper into the theft and evaluate the involvement by Russian government forces.

    We validated our findings by cross-referencing them with existing investigations and conducting reverse image searches to ensure accuracy.

The city of Kherson was first occupied at the beginning of March 2022. Immediately, the Kherson Regional Art Museum and its director, Alina Dotsenko, faced intense pressure from the Russian forces. The military repurposed protective sandbags, transforming them into barriers. Recognising the growing threat, Dotsenko sent her staff home, urging them to maintain strict silence.

As May arrived, the occupying forces levied a demand on Dotsenko: an exhibition commemorating “Soviet Victory Day” on 9 May. Dotsenko refused to comply, which catalysed her persecution, forcing her to seek refuge in Ukrainian-controlled territory. Later, on 19 July, occupation authorities broke into the museum. Their intent: to strip the museum of its identity. Onsite guards were dismissed, exposing approximately 14,000 priceless artefacts to the invaders, each a testament to Kherson's rich history.

The looters wasted no time. Dotsenko’s Deputy Director, Hanna Skrypka, was confined within the museum for two days, tasked with cataloguing every piece of art. Subsequently, the occupation forces appointed a new head for the museum: Natalya Desyatova, a local singer with no credible museum experience. Disturbingly, as Dotsenko later revealed, two museum employees, Natalya Koltsova and Anna Fursa – once trusted with the museum's preservation – allegedly provided critical information about the exhibits to the occupiers.

In the history museum, long-time director Tatyana Bratchenko reportedly immediately cooperated with the occupation authorities, even as the majority of her colleagues fled the Russian forces. In August 2022, Bratchenko allegedly showed museum workers from Crimea around the exhibitions in her care in preparation for the transportation of the pieces.

In October of the same year, a key player arrived from occupied Crimea: Andrey Malkin, director of the Central Museum of Tavrida in Simferopol. He swiftly became a central figure in the unfolding art theft saga. Despite his official title, Malkin's activities suggested a nefarious agenda. Eyewitnesses described a meticulous operation, cloaked under the benign guise of an “evacuation,” yet seemingly spearheaded by individuals who should have been the artefacts' protectors.

In early November 2022, the orchestrated looting began. Before the grand heist, the history museum’s director Bratchenko reportedly left Kherson for either Russia or Russian-occupied territory. In her absence, two women coordinated the systematic theft of the history museum. Eyewitness guards report that items from the museum were loaded onto trucks from Russia’s emergency services ministry. About ten days later, the history museum’s satellite branch in the city of Kakhovka was looted for several days in a row.

A parallel event unfolded at the Regional Art Museum, described in detail in a Facebook post by the museum itself. Up to 40 individuals took part in the transport beginning on 31 October. Between 1 and 3 November, five trucks and two school buses were loaded with art, which drove out of Kherson towards Crimea. The museum post directly accuses Natalya Desytova (the Russian-installed art museum director) of managing the operation and two of her subordinates of having travelled to Crimea before the evacuation to receive the transported pieces.

Andrey Malkin, the aforementioned Director of the Central Museum of Taurida in Simferopol, Crimea, told the Spanish newspaper El Pais: “We have 10,000 pieces, and we are inventorying them. The Crimean Ministry of Culture arranged for us to keep them here until they tell us otherwise.” Malkin claimed that the collection still belonged to the Kherson Art Museum and that they would eventually return it when told to by their superiors: their task was simply to ensure their protection. Pictures that surfaced on Facebook also showed the same trucks with missing plates in front of the Taurida Museum in Crimea.

Months later, on 1 April 2023, pro-Russian media outlets reported that the Russian-installed Ministry of Culture of the Kherson oblast had agreed with Andrey Malkin on storing the paintings taken from the Kherson Regional Museum of Local Lore. Photos of the looted paintings accompany the report.

The paintings taken from Kherson’s museums in Simferopol.

The head of said ministry, Alexander Kuzmenko, stated on 2 April 2023 that “part of the collections of the local history and art museums of Kherson, which were evacuated last fall, is in Henichesk, while the most valuable exhibits were temporarily transferred to museums in Crimea.”

As such, the lion’s share of the looted pieces from both museums is currently located in the Central Museum of Taurida, in Simferopol, with a portion of the collections remaining in Henichesk. On 2 June 2023, Russian authorities announced that a “School Museum of Victory” would be opened in Henichesk. It's highly plausible that this institution will showcase some of the stolen artefacts.


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Regional Art Museum

Paintings from the Regional Art Museum, which form an essential part of Kherson’s cultural identity, now remain in the Central Museum of Taurida in Simferopol. The premeditated and meticulous theft involved extensive planning and coordination, with a cast of key individuals at its centre. Among them, a nexus of five women emerge as pivotal figures: Natalya Leonidovna Desyatova, Natalya Koltsova, Marina Zhilina, Anna Fursa, and Inna Burenko.

The collaborators

The director: Natalya Leonidovna Desyatova

Born on 11 July 1966. Russian occupation authorities installed her as the Director of the Kherson Regional Art Museum, forcibly replacing Alina Dotsenko, who had held the position for 35 years. She is currently under sanctions by Ukraine and the US for her collaboration with Russian forces. According to comments by locals, she was always vocal about her pro-Russian views. In 2014 and 2015, she reportedly participated in rallies supporting the Russian-led insurgency in the Donbas. 

Desyatova is currently listed as the head of a Russian legal entity responsible for the Kherson Regional Art Museum, which was established on 26 July 2022 during the Russian occupation, as a way to integrate the museum into the Russian administrative system. 

The deputy: Natalya (Akimivna) Koltsova

Born on 23 October 1957. She was the head of the science and exhibition department of the Kherson Regional Art Museum. Koltsova quickly began to collaborate and informed the Russians that her director, Dotsenko, was hiding the museum artefacts. According to Dotsenko, Koltsova entered the museum with the FSB on 19 July 2022, helping them find the hidden collection. Koltsova later left for Crimea a week before the looting took place to receive the looted art with her colleague, Inna Burenko.

Full quote: “Happy Museum Day, Time will put everything in place, Everything revolves around the spiral of history! Therefore, we are waiting for better times!.” A post by Koltsova on 18 May 2022. This post hints at Ukraine's “historical ties” with Russia. It suggests a sense of pride in being part of this cultural shift (under duress) via the “liberation” (occupation) of Kherson and the museum.

The facilitator: Marina Zhilina

Marina Zhilina had previously been chief custodian at the Kherson Regional Art Museum but was fired by Dotsenko in late 2021 out of concern for her explicit pro-Russian attitudes. Upon her termination, she reportedly copied important documentation about the museum archives to her personal computer, which later facilitated the looting. She was allegedly brought back in by Natalya Koltsova to help the Russians identify valuable artwork. Dotsenko assumes that Zhilina has returned to Russia, as her daughter reportedly lives in Moscow.

The collector: Anna Fursa

Born on 14 January 1990. She was the head of collections at Kherson’s art museum. According to her Facebook account, she has worked at the museum as a researcher since 2013 and is originally from Kakhovka, about an hour's drive from Kherson. According to director Dotsenko, she was responsible for funding and helped direct the looting operations before leaving with the occupation forces.

The turncoat: Inna Burenko

Born on 15 June 1979. According to her Facebook and VK, she is originally from Odesa. Interestingly, she has shared multiple seemingly pro-Ukrainian posts on her social media. According to Dotsenko, however, she assisted the occupiers in the looting under the supervision of Desyatova. Having left prior to the looting and evacuation with Natalya Koltsova, she reportedly received the looted collection upon its arrival in Crimea.

History Museum

In the history museum and its daughter museum 90 kilometres away, collaboration with Russian forces was allegedly instigated by none other than the museum's director. However, before the wave of plunder, she departed Kherson to hide in occupied Crimea. This left the orchestration of the looting operation in the hands of two principal collaborators.

The ringleader: Tatyana Bratchenko

Born on 17 November 1949. She became the director of the Kherson Regional Museum of Local Lore in 1997, a position she held throughout the Russian military occupation of the city. According to museum secretary Elena Eremenko, employees proposed to secure exhibits in the vault for protection on the first day of the Russian invasion. However, Bratchenko, the museum's director, rejected the idea. In May, she announced her collaboration with the occupation authorities to colleagues. Eremenko, a museum veteran of 21 years, noted some employees endorsing "the Russian victory." In contrast, Eremenko's dissent led to her dismissal.

In August, museum personnel from Crimea, under Bratchenko's guidance, toured all exhibits. Then, Bratchenko fled to Crimea before the looting, entrusting two women to supervise the October plunder. Over two days, the collection was loaded onto trucks belonging to the Russian state emergency ministry.

The deputy: Yulia Rzhevskaya

Born 24 December 1958. She was the deputy director for scientific work at the Kherson Museum of Local Lore. A video posted on 6 February 2023 by the Telegram account of occupation authorities shows Rzhevskaya presenting a looted exhibition dedicated to Sevorov, an 18th-century Russian general, to schoolchildren in Henichesk – the current administrative centre of the Russian occupation administration in the region.

The branch manager: Svetlana Sidolkina

Born on 29 July 1955. She headed the daughter museum of the Kherson Regional Museum of Local Lore in Kakhovka, about 90 kilometres away. She had previously been vocal about her pro-Russian views and written pro-Russian articles in local newspapers.

According to local journalist Oleg Baturin, while the museum officially suspended its activities on 1 May 2022 due to the occupation, Sidolkina decided to continue to work for the Russian authorities, helping them organise mass events such as Soviet Victory Day on 9 May. Before the retreat of occupation forces from the area, Sidolkina left for Crimea shortly after reportedly transporting a collection of coins and awards from her museum to Kherson.

“Refined Cynicism: Angela Merkel invites Poroshenko to Berlin on the day of Independence of Ukraine…” This post mocks Ukraine’s former President, Petro Poroshenko, and Germany’s former Chancellor, Merkel, by switching their faces and portraying Poroshenko as a puppet of Europe.

The bottom line

Regardless of their motivation, the collaborators were instrumental in the theft and subsequent transfer of thousands of artworks to occupied regions of Ukraine under the guise of safekeeping. Their complicity has been proven by geolocated social media posts and firsthand accounts of museum employees. Further proven is the involvement of official Russian government entities, such as the Russian emergency ministry, solidifying the civilian-government collusion in the theft of Ukrainian artworks from Kherson.

The gravity of the theft cannot be underestimated. The looting of cultural and historical artefacts, integral to Ukrainian identity, represents more than just a pursuit of financial gain. It also reflects a deliberate attempt to erode Ukrainian identity as part of the Russification policies implemented by the Moscow regime in the occupied regions since 2014.


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