Environmental violence unravels through entangled mechanismscomprised of soft and hard technologies that penetrate flesh of morethan-human bodies at diverse speeds, to various extents, and at differentspatio-temporal scales. Its workings may be ‘slow,’ occurring ‘gradually andout of sight’ (Nixon 2011: 2), like seventy-year-old bombs at the bottomof the Baltic Sea. But it may also be ‘abrupt’ (Neimanis 2021), like thebombings of animal shelters or enclosures since 2022 by Russians on theUkrainian soil. One particular form of environmental violence is ecocide– in its ‘everyday’ sense, as a scientific term, and as a legal category.Simultaneously, a sense of grief becomes increasingly tangible in contextswhere climate change and planetary environmental destruction transformhabitats into unliveable spaces and induce socio-economic inequalities andshared more-than-human vulnerabilities. Such grief stands out even morewhen ecocidal violence and immediate destruction are at stake.This paper has a twofold aim: (1) to unpack narratives on environmentalviolence as it is presently unfolding in the context of Northern and EasternEurope, while paying special attention to the ongoing ecocide linked to theRussian invasion of Ukraine; and (2) to explore the ways in which ecological grief, socio-cultural and artistic imaginaries of crisis and environmentalethics become interwoven in the art, artivist, and community projects,engaging with environmental violence, ecocide, more-than-humanvulnerability, death, and loss. I will discuss several such initiatives createdas a response to the ongoing ecocide in Ukraine (the works of DaryaTsymbalyuk and Polina Choni, among others). These projects engage inthe individual and collective processes of un/learning how to cope withthe loss and rupture, how to grieve, and also, how to mobilise an ethicalresponse and concern. They activate a unique opportunity of environmental learning – a poignant, affective, and necessary gesture of radical re/imagining of how to care.