 Доброго дня. Дуже рада вас питати на нашій. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. Доброго дня. We didn't know what to expect next day. Right now it's also quite hard, but it was the hardest at the beginning, so our work was really difficult, but it helped actually people to center around work and focus in this difficult time. So this is actually the first reaction to the war, especially when it comes to the first wave of people who were coming to Lviv from the occupied territories. I wouldn't say it was a trend, but we could feel that yes, they are coming in, there is a lot of them, so we decided, we wanted to document the stories of these people. So on the one hand we used the help of oral stories, but so we had some discussions with people who stayed in Lviv and we documented about like two dozen stories, but we decided it's not a good time for analysis. We decided to leave it for the time after victory, so our documentary ambitions were kind of limited after that. Thanks a lot, Andri, you gave us a very inspiring example. I would like to give floor to Maria, have the format of your work changed. I have slides for my presentation, so if it's possible to give me a clicker. My name is Maria Lanco. I'm a partner and curator of a gallery, The Naked Room. We organized it together with my colleague in 2018 and we co-founded it because we wanted to create first of all a platform and then market for painters of, let's say, our generation and it's called Emerging Artists. So these are authors who created on the basis of their practice, but still they do not have enough visibility for audience in Ukraine and abroad. And so sometimes we cooperate with a few more experienced authors or their families that preserve their archives, for example, Pavlo Makov, Viktor Marushchenko and his family, I'm sorry, Oleksandr Trekminov, family of Oleh Olohsiya. And we have been working with their achievements a little bit different way. We look at their archives, their achievements, and then we look at what was done in the beginning of 80s or 90s. And one of such projects was our main project in 2022. It was a project of Ukrainian pavilion in Biennale and we wanted to present the Pavlo Makov's work, Fountain of Exhaustion, but this work remained only an idea. And it was not created as some work in Fountain, function in Fountain. And so we wanted to present it in a totally different context, not in a local context, but in a global context. And the problem of exhaustion, even before the full-scale invasion, was very understandable to everyone. And therefore, we just could not get prepared to this invasion. We invested a lot of resources, even in the end of 2021, in order to create this project. So we started discussing our team, different scenarios, even had our internal jokes. And our team is not very big. We had a team of five people, including me and Lisa, so they were two more managers except for us. And two of them stopped cooperating with the gallery in the first day, but we were able to get prepared, but not to a full extent. First of all, we were trying to hurry up all our subcontractors who were responsible for the production of this work. It was created in Kiev. And the main idea is a series of bronze elements, craters, and we wanted subcontractors to hurry up their work and to finish this installation two weeks before the deadline. And therefore, I realized that just in case something bad happens, I can just put this installation in my car and go to Venice. But we have all the works that we have a family collection of Lekosy, and we have some other collections, and we are prepared for evacuation for the 24th of February. And last but not least, I cancelled my working meetings. I was supposed to be in Nipro on the 20th of Nipro and installed the exhibition, but I decided in the last moment to be at home if anything bad starts going on. So it was a key moment. And so on the 24th of February, after a few calls within our team, we decided that we have to do something, we have to evacuate this fountain in the direction of Venice. And only I and only I in my team, only I could do this, because my parents are independent. And I have only my dog, so I could just pack everything together with me. And for 21 days I was traveling and I traveled around Europe, I had some stops. And on this way we received a lot of offers of help, support. And when I brought these creators to Italy on the 21st, and we met the local company that finished building this whole fountain, and this is a story with a happy end. Because during the opening session, we were able to be present as a whole team. We had our painter, we had our architect, we had our communication managers despite the difficult circumstances. With the support of so many people and partners, we were able to do this. And we had money for that. And this money was not given to us by the Ministry of Finance. And the second challenge that we had, and it was more difficult to overcome this, it related to two shelters of ours. We packed everything, but in order to bring them away, we had to take a lot of efforts. My partner was pregnant at the time, so she had other priorities. And there was another colleague of ours, but in Kiev, on the last week, there was no one in Kiev who could do that. And we were looking for some vehicle. Everyone, all registered carriers asked for some official documents from the Ministry of Culture. And also we were looking for some people who can ship these works. And so we started thinking about painters who remained in Kiev because they knew the gallery and they know how it was all presented inside. And we reminded about Vova Vorodinov, who is sort of our happy star. And he was hiding on the left bank of Nipro, if you know, all the bridges from the left to the right bank were blocked. And the only way to get to the right bank was on food, but because Vova Vorodinov had a very big experience in walking, because it's sort of his art expression. I think that he would just not be able to offer such job to anyone except for him. So we asked him to help us, and we were just looking for some vehicle to ship this parcel. And here is Verenik Verichak in the other half, Hanchar. And this is the very bad picture of bad quality. This is the only picture they had together. These are activists, curators, and they were very active in bringing humanitarian aid from the West to Kiev on their way back. He was able to bring parts of our works, not only our collections, but some works of some other artists. So he sort of smuggled it during different checkpoints. He had a lot of contacts on different checkpoints, and we realized that we cannot bring it to some unknown shelter. We had to have a very reliable partner, and therefore we found a partner in Lviv, and still our ICUs are there. So this is our gallery after the first two tasks, and the third task was to realize what should we do next. We should have started thinking about how to preserve our business, because we were 100% dependent on the Ukrainian market. 90% of our collectors were in Ukraine, but of course their priorities changed, and therefore in the beginning of May we started thinking about what we can do next. And so we decided to work for experts and try to find some new contacts, looking for some new ways for new markets and people who are interested in our collections. If we speak about Kiev Gallery, we decided that of course it will be functioning, and we established a foundation together with three other NGOs, Arsenal, Zabrona, and some other foundations, and therefore they are establishing the media archive of martial times. This gallery is still a place of preservation for these works, and we are also inviting different curators who can make their pop-up exhibitions there. The gallery went to two different other places. In the meantime we were offered to take part in different exhibitions in different galleries, and so here you can see our schedule. You see that our schedule is now in a new format in days, not in months or years. There is also Vienna, Munich, Vilnius, Berlin, and some more projects like Bratislava, Paris, Vienna, and Prague. Of course, for gallery it was a saving life decision. We got so many very useful contacts, but of course we lack our own personal space. So now we are discussing how we can get back and what program can we do, because it's very difficult to be all the time in the condition of reacting to what is going on. Thank you for your story and thank you very much for this example. On the one hand, your team was really decreased, because your team was reduced, but again, you had a lot of new partners, a lot of new people from different networks. So these challenges pushed you to the sort of expansion of your activities of your network. So thanks a lot! In our following speaker is Alona Kodovay and I'm giving a floor to her. We will listen to the story about their thoughtment room. Good afternoon. I'm very glad to see you. І, в принципі, я хотіла спрацювати цю хизофрінію, коли я вважаюся як пацієм різних організацій. І наші історії також, асторії сказали, що ми з'явили організацію, але багато нових проєктів почали випадати, і також ці проєктів були індепендентою організацією, і, деки тоді, ми з'явили різних організацій, або 5 організацій. Взагалим, Наталія Деремінка, яка є моєю колекою, і в іншому проєкті. І, тоді, в 2004 – тоді до 2018 року, ми створювалися надзвичайно працювати, або не створюватися на два інші місця, але в цьому часу, ми вважали, що ми маємо створювати такі працювання, які є колекцією, які є іншими, або не з'являватися на якісь чимось пацієм. Тому ми не були дуже пацієм. І також, один із перших кризисів була ковідка. І це були часи, коли ми маємо створювати наші активи сильні. І на леві ласків, ми розуміли, що всі ці фаунтери маємо створювати кризис-менеджмент, і вони маємо створюватися в кризис-менеджмент. Тому ми були визіальними, і визіальними в кілька організацій. Але в іншому всі, коли маємо створювати кризис-менеджмент, то ми, як і чимось, збилися, які бували, які бували з нас, і ми все з'являвали ці 5 організацій. І кілька люди бували іншими, і кілька не бували. Але, якщо фаунтерів почали, і також, filming be engaged in crisis management after the war. Every one of us is working in a few organizations, and therefore, it looks like schizophrenia that we are in so many organizations. Now, we have more than 30 people, we have two main centres in one of Rol'kyus and Kiev. All people except for one person they leave and work в Україні. Більше з них є вімені. Я хотіла додати три організації. Івана Франківська організація не дуже стандартна організація. Ми почали створювати нонамедичні проєктів. Перш, ми створювали галерію. Після того, ми почали створювати галерію. І в початку була стандартна і не дуже інтересна проєкт «Вайт Кюп». І ми почали галерію, що був, не галерію, а галерію «Хатамайстерня». Галерію «Хатамайстерня». Іві почали робити це після першого року. Це була під часом, коли багато чинів у нашу етимі був до України, тому ми створювали «Хатамайстерня». Перш, ми почали створювати нові люди. Після того, ми створювали «Онлайн» і «Офлайн» «Эккайв». І ця ідея у «Осотмент» «Рум». Ми бували ці ідеї після першого року, але ми створювали цей проєкт після цього року. І в цьому центрі Івана Франківська, що була наша активіта у цій фулоскалі інвесії. І ми бували дуже цімілаі активіти у те, що Марія говорила, і ми реактували відбувається до того, що ми маємо більше і більше експедиції. У цьому році ми маємо 4 фулоскалі експедиції яку намагається. У 1-24 феврії мої колеги – Аня Патромкина і я, ми здаємо програму експедиції у цьому роботу. І ми намагаємо робити те, що ми можемо. Я не думаю, що ми намагаємо багато, але ми бували можливість відбувати всі середніші реквести. Ми бували можливість відбувається 6 фулоскалі, 600 фулоскалів, це buoy, і ми бували до цих артюкційних. І тут діювати рибло selections для нескільки реквести, а й для реквестів, це реквест, Звісно, це багато іншого, багато іншого. І зараз ми бачимо, що можна збиватися в інтерв'ю з цих об'єктів. Це дуже важливий челлендж. І з цією інтерв'ю, я не можла розуміти цю експеріонсі, з моїми колегами. Але все ж, що ми фокусуємо, це як бачити ті людини, як бачитися на літі в нашій офісі, як бачити на вентиляційні літі, в цих містах, яких ми бачимо. Це проблема з нашим та іншим. Івана Франківська фастілітів. Ми маємо багато веквістів для ебакуації. Є багато з них, але вони не так багато, але ми маємо, як бачити, як бачитися на літі з цих об'єктів з в інтерв'ю. Ми маємо багато веквістів для ебакуації. От, так, тепер іністрunterи, зipped practices та Direct Producer. Я solved of this unforgettable XtSE then. З observed? Орнівжителі. Найг advocate,터ход. Резиденції, це був ініційний, але Леся Хоменка, хто був з Київського, і просто додався до офісу, там були багато дівчин, багато всіх, що ми не знаємо, і вона сказала, «Дивіться, дивіться». І ми почали робити це, і ми називалися «Дивіться, дивіться». І ми мали 30 артистів у цьому періоді, і 17 з них були частини іншої експедиції, і, бачимо, вони зробили якісь роботи, що вони хотіли, щоб зробити в цьому експедицію. І трьом, що дуже важливе для нас, — це розуміти, як ми можемо зробити культуру в Україні, в Україні, в Київські, в Київській, вона організовувала і зробила продукцію в Івано-Франківській. Якщо ми були один з перших експедицій, який був відбував на першому експедицію, і це дуже важлива питання для нас, для мене, як бачити в цьому разі, як бачити культуру, і ми розуміємо, що це мересон, а не спринд. І також ми маємо розуміти, як ми можемо зробити культуру, і, звичайно, всі у вас маємо експедицію в цьому експедицію. І ми маємо також також багато живих експедицій, і діференти, і медичні, і діференти, і діференти, і матеріалів з Краку, з Берлін, і, тому що ми бували до Єрпану, до Єзюма, або інші з інших. Але це є бігаром вироби всіх нас. Але в принципі, ми були вироби від 18 років, і, тому що, якщо люди з нас від початку, і якщо люди вийшли і йдуть, або, тому що я був salsa надinfорця для цього прохanguardу, або об' vessалах, doğru Costa Rica — soulful strength – ллodu, цукос Tooka — для більшого організація. І в таке організація, це дуже, це дуже вигадає, коли яка persona вклювати. Якщо в інші структури люди виправдають прогметично у цих еспектах, ми ці виправляємо цю емоціональність. Звісно, ми виправляємо коміт, але це таке таке таке організація. Дякую, що 18 років вийде дуже довго. Також, навіть без виправля, виправляємо цю емоціональність. Це дуже виправляємо, що є момент, що виправляємо цю емоціональність. Дякую, щоб додати на Наталія Маценко, щоб їй можна говорити більше про те, що виправляємо це невпосібно виправлявати цю емоціональність, але це дуже интересно, щоб виправляти, що ось це й boil на нині 유�рака унижуino, це невпосібно, що й donítся, бо вони мають їх середці. І ми вже ц NYK ¿обидемо таке лише? Звісно, але не у bye. Гідно celebrity і він Oprah якą виправляємо цю емоціональність, як я на ін biomass це в броду термі як проєкт комуніційських проєкт, тому що ми вважаємо багато інших практиків. Ми працюємо з саундами, з реформацією, і ми коопераціємо з локалі комуніціями. Тому що ми називаємо це «Могриця». Це назва в локалі комуніція. Ви можете видати в білящі на фото, вважаючи цю локалі. Я не знаю, як це сказали 18 років, що це дуже страшно. Могриця працює за 25 років в Сумському регіоні, і ми можемо сказати, що це, мабуть, як інші вимоги з тим, яким вимагаємо і також, але це вимагає, що є вимагань. Ми вважаємо, що вимагань вставляємо в вукатаймі. Я можу сказати мені про те, що у нас є цілим ...connected with the very location, the place where Moherica is located. Moherica is situated 6 km away from the Russian border. The location actually includes beds of chalk dating back to the Mesozoic era. So we were really hoping to promote Moherica outside of our region. We wanted to reach out to the Kharkiv region to let people know there that we do exist. The conclusion we made is that Moherica is unfortunately not possible outside Moherica. Moherica is a huge community of people. Right now we're talking about a cooperation, about a community. In this sense I believe this project is very sustainable, very constant. It's a really quite important experience for me because I rather work as an independent employee. However, I do feel that I'm part of Moherica, the Moherica community. So we can be both independent and still be part of a local community. The structure of this community is pretty democratic, pretty open and horizontal. It's a creator without whom this community could not have been possible for so many, many years. That includes many, many generations across many generations we've been cooperating as one community. However, this community includes plenty of horizontal connections and I am one of the co-authors, co-curators of this endeavor. In total I was one of the eight curators and each group in a symposium was really diversified. I couldn't possibly know all the people because there were plenty of people. But we can definitely talk about a general big community. The community is not an organization in a classic understanding of the term. It does not feature a registered seat and an office, but they meet cyclically. So the question is how sustainable the community is. This question actually we tried to answer even before the war because of the nature of the organization. We continued our work in between the symposiums thanks to curators. Right now in the artistic sense this project has been put on hold, but the community as an area of mutual support is still continued. Because some people do continue their artistic endeavors, some collaborations, some other projects which are presented internationally as well. Some other people from the team works as a volunteer, some other people fight in the army, some other people help in other forms. So we just understand that we're waiting until the next symposium. My approach is strategic optimism. We don't know what's going to happen in the future, but the place where I live is not occupied. But we don't know ultimately where Moherica is going to be, whether it's going to be occupied or not. Because of the close proximity to the Russian border. Some people are more skeptical, some people are more optimistic, but right now the situation is quite stable. So right now we operate on the voluntary basis and we continue working on site. What we have been speaking before about Moherica outside Moherica. These are some examples from 2019. We organized Prostira Exhibition and we just wanted to see how much this symposium outside Moherica is possible. How much this can be taken out of the context of the location. It was quite a specific project, quite an unusual one. The exhibition itself was really special. It was connected with Moherica itself. You can see it in the picture. There was a live broadcast from Moherica. Katya Lipkin was one of the first people to broadcast live and to show what's really happening on site. The last year we were talking about the connection we... As you can see in the photos you can see some artefacts that were found on site. This exhibition we organized in an experimental format. It was hosted for 10 days in a gallery. It was quite an amazing experience. We experienced a lot in the process. But now as we think we could organize something similar however it's not done. As we understand that we're kind of deprived of the access to the location. Якщо ми розвитимемо цю access, надто після того ми можемо завжди працювати. Я розумію, що якщо ми збираємося на сайт, цей місць може бути іншим. Ми можемо бути іншими. І в цьому форматі активиція може бути обов'язкові. Ми дуже цікаво, що це результат. І що Moherica може бачити після того. Якщо ми збираємося на стабілиті та фрагілиті. В цьому я думаю, що Moherica і працювати є дуже символично. Він може бачити фото з цього року. У трьох роках ми працювали в цьому обов'язкові. Кліменска в цьому року збирала конкретну тенту. Тимпорарі, фрагіл, артефакт, що є монументом і символом розвитки. І стабілитом воноця. Тому, що цей монумент працював, це ще й воноця. Тимпорарі воноця, але працював екстремні челленджи. Тимпорарі воноця воноця воноця воноця воноця воноця воноця. До від flourish.com На левті можна бачити, що це фотосправження, а на рідній, можна бачити, це фотосправження, якою я бачили на сайті. Відео спорів, які бачили на сайті, і бачили на сайті, і бачили на сайті. І текст, що ви можете видати, є корреспонденці з керейтами, просто створювати, що все випадає, все випадає. Але вони випадали не до того, щоб випадати територіально, тому що це не випадає. Ніж іншого корпорату трансфертує онлайн, і я не можу сказати, але багато людей випадають мені мені, і вони випадаються в контакт, тому що вони випадаються. Я кажу, що якісь іншого корпорату трансфертує, ви можете видати з м'якості, він, керівник м'якості, він випадає рігарди з Мохриця до всіх, але ми не випадаємо нові монументи. Дякую. Він дуже іншого корпорату, і я хотіла випадати, що два щось випадаються за мене. У першому, дуже іншого корпорату, коли ті сьогодні, якщо проєкт був спонюваний, це дуже іншого. Звичайно я бив знову існувати такі існіні обрадови ось інші ділянім та інші проєкту, і з цих частин, які ми маємо, це може бути декілька активитей, але ці сьогодні ці експедиції працюють, і також працююють такі платісті, і також люди, які працюють, як вимагається, І ці артистські інфраструкції почали функціювати які були дуже важливі інтерконекціоні, відпочинені між людей, і тому вони були так важливі. Уважаєте, що ця комуніція функціональна, різональна, і тому ви можете підтримувати індивідуальну та колективну працю, і я думаю, що це гарантія стабілитів цієї комуніції, тому що у більш керарміній структурі це більше важливі, щоб працювати такий експедицій. І, навіть, це дуже важливе працювати у керарміній експедицій, від часу керармії. Але в мене здається, що ця структура є також більш керарміній структур. І зараз ми відпочинуємо Катерину Радченко і ми відпочинуємо її презентація про Деса за десь. Все ці істори про мої колеги, всі ці істори дуже сміщені до нашу експеренцію. Для десь є фестиваль, що був вважаний в 2015 році як реакція до вороги. І перед цією організацією, цей організацій ще працює. І цей фестиваль був наші найголовніше експедиція з 2015 року. І також ми маємо нашу експедицію. І ця найголовніше експедиція що ми маємо дуже важливі проблеми з експедицією. І тому що ми хотіли відпочинувати ці експедиція для фотографів і для тих, що мається фотографію. І тому що ми фокусуємо фотографію, взагалі з цих 8 років ми маємо створювати такий платформ, що фотографів, емотерів, професіалів можуть відпочинувати інформацію і знайшти. І тому ми згадалися фотографію з інших патрусів. Ми згадалися куриців, інститутів. Ми згадалися з інші фестивали щоб здається експедиція і додати інформацію і додати експедицію для українських патрусів. І тому ці 36 країни, що ми згадалися і ми згадалися зі фестивалу цього року. Найбільше нашу експедицію згадалися в Адесі в тих, чині. І ми почали думати про змінювання цих форматів. І ці змінювання були змінні. І ми згадалися пробові експедиція. І ми почали думати про, що ми можемо зробити, якщо місяць почали. Ми почали думати про нові форматів. І ми почали думати про ці змінювання цих форматів. І ми почали розмовлявати, як ми можемо реактувати. Але, звичайно, все, що ми думали — це був так від того, що ми не зрозуміли, як це був. І з першого року, це був... це був... першого року, коли ніхто не знав, як реактувати. Ми були в паніку, і мій перший таск був, щоб додаткуватися в цьому селі. І я почала думати — що ми можемо робити, що нашу селі може робити, в цьому селі. І, мабуть, наші колеги-фотографи, хто не мав залишити публіки з конфліктів, вони був фотографи в одній ній. І, мабуть, фотографи залишили публіки з всіх цих чинків, і ці фотографи, першого року, не мали контакт чи тази публіки з цими публіками, щоб додаткувати. Але, на другу, вони не мали залишити публіки з цих чинків. І, мабуть, ми додаткували, що ми будемо бути в цьому селі. І, мабуть, ми побачили тракці, що ми можемо давати Chinese періоди в цих цих селі. І, мабуть, ми додатывали дружження з �шого року, як і вимаги був. І, мабуть, ми додаткували, що ми бували, як і випалити, як і в цьому селі. І, мабуть, і приймати паємент за ці роботи, тому що це дуже важливе. І ці є багатьох експлуатів, у яких ми працюємо, це просто великого багато публікацій та фотографів. І це був дуже важливий для нас, щоб допомогти, до максимуму стенд, українські автори з цієї публікації бачити якісь фінальність для них. 4 місяць тоді, якщо я бачила, тому що я бачила так багато більше, що я хотіла бачити, тому що фотографа відважає матеріальність для нас без преселекцій, і це був два великого багато публікацій. І це був дуже важливий, щоб працювати з цієї публіки. 4 місяць тоді я розуміла, що ми можемо бачити так багато публікацій. І ми розуміли багато експлуатів, щоб фінальність українських артистів, фотографів, були визіплені в світі, щоб вони відбували органів з інтернаційній агенції. Ми опублігували їхні фото, їхні негові і директні контакти. І я можу сказати, що всі трьох фотографів, які ми працювали, вони мають кооперацію з інтернаційній агенції з інтернаційній агенції директній. І так, наші активи підтримували їх. 4 місяць тоді ми розуміли, що, звісно, ми працювали роботу, але це був дуже важливий для нас, щоб розуміли публіки, які ми розуміли. І ми розуміли багато публіки. Один із публіки є інформаційний фронт. Ця публікація була відбувана на фото... фото... фото з першого три місяця. І в цьому ми хотіли розуміли їхні фото. І ми розуміли, що ця публікація, яка відбувана з інтернаційній агенції, буде відбувана до вимоги агентів та фотографів чи ті, хто був відбуваний чи хто був відбуваний на вимогі або, якщо якого-то фотографа був відбуваний до вимоги їхнього фамилия. Ми знову знову зробили публіку в інформаційній фронт. І з цією місцем до дістрибювати історію і дістрибювати історію і фонди, щоб допомігати наші агені. Ми вже почали працювати з вимоги історію. Ми знову зробили більше інформаційній агені, якщо ми знову зробили публіку в інформаційній фонт. Тому ми почали думати про інші експозиції, про ріця, про ріця, про ріця, про різни ріця, про ріця в соціальній і економічної світу, про те, що з нас виїхати. Звичайно, з'являвся, як ми в Україні живемо. І ці експозиції ми живемо для додати мені кілька експозицій. Ми бували дуже інформаційній світу. Звичайно, ми не зробили всі експозиції, які були в цьому рівні. У цьому рівні ми бували матеріал, і вони приймали матеріал, і ми зробили інші експозиції. І я можу сказати, що там був новий рівній експозицій. Ви розумієте, що це дуже важлива пам'ятка про експозиції. 4 роки тому ми зробили футури для цього, і це було кінця для кілька фотографів у Україні в агусті. Ми хотіли київати патріців і вирішувати, як вони роблять. І ми розуміли, що більше якась вони були в цьому рівні, багато з них залишили ці країні чи залишили ці рівні, і якщо ми розуміємо, якщо ми різні after talking with the children, we decided to create a mentorship program for children for teenagers from Ukraine and during the three months children worked with famous Ukrainian photographers and as a result we received 40 projects or visual stories and children в цьому відео. Це була в певній контакті, і це була відповідь до декоментування пасівських відео, і зараз ми хочемо показати ці відео, тому що це таке інше відео через фотографію. І це дуже важливе, щоб випадати вони, і не тоді, щоб додаткувати знайдення, але щоб випадати відео, щоб показати ці відео, щоб випадати ці відео, щоб випадати ці відео. Він, в informed.com, я хотіла сказати, що наші активи, First of all, they focus on distributing information about what is going on in Ukraine through photography. The next goal is to support Ukrainian authors and the third task that we have organized a few events і ми залишили якісь українські фото, щоб розпрацювати підпрацю для інших фонтейнів, для інших відповідей. Також, це білядна інформація про нашу активіцію. Цей концерт, ідея з тим інформацією, я можу бачити, що ви працюєте як експедиція, а також, це дуже важлива метрою митрусу. Так, це не в цьому випаді, а в фестіоні. Так, я хочу бачити еще разу, чи цей інформацій, чи якісь інформацій мовилися в біляднаній структу? Цей інформацій не випадився, наступно, два люди залишили, але для обхідної різні, Просто на минулі до чlichenки. Дверися, до перших два місяку я відкривував цього завжди за все. Тож Everybody was lost, і Everybody had to take care of the family and follow them to safety. Ми уумували це, що нашу парадію ваку explanation шляху вакуhornу і確ювували цю зב�айдочку. Дякую сюда! We don't have much time, but I wanted to add another question and ask you to reflect on the experience of cultural activity in wartime as it turns out everything clarifies when you're in extreme circumstances. You're not sure how your life is going to look like. You're constantly compelled to think of something new and to find out new modes of cooperation. We constantly are in the need of making things up, impromptu, so as you analyze yourself, do you think there are some skills, some inventions that you would like to incorporate into your further activity? Have you found some interesting discoveries and possibly some new modes of cooperation in the institutions? Can we retain some insight and use it for better? I don't know if I will answer it, because in educational theory there is a theory that in the zone of panic we cannot learn, we just survive. The question is how much can we learn in such circumstances as we are preoccupied with completely different goals. I wanted to support your statement that in a crisis you've got a very clear idea what you need to focus on. In the further phase of the war, it is evident that the members simply understood what they need to focus on, whether I want to devote my time on this work, as much as I'm not sure how much time there is left. What I really want to devote my life to, what I don't want to devote my life to. Another question of dating back to the Covid times, since the lockdown, about 4-8 months we have identified that some team members started to drop out. I can see something very similar following the six months of the full-scale invasion, that people simply drop out of the team, because they don't want to devote their time to this work. After lockdown, I started working with mental health, how to incorporate these ideas into daily work, but also not to place the responsibility for the mental health on the leader, so that everybody, every team member, feels responsible. The idea was to talk about such issues, and how to understand that different members of the team will be in different situations when it comes to mental health. I wouldn't say there is a golden solution to this issue. I heard on Twitter, that people in West Europe talk about socialism, and people in Eastern Europe have gone through socialism. It's a very subjective point of view, but I believe in a crisis, what turns on is the necessity of leadership, of just a handful of people who can make real change. It stems from my experience that horizontal structures were very vulnerable in times of crisis. In my experience, horizontal structures are structures for good times, but possibly it's just my subjective opinion, so please take it with a grain of salt. We stopped working as a team after the full-scale invasion. In the first place, people just focused on their own situation, they needed to deal with emergent issues, and I actually myself faced that it was the first time I had been alone, because my whole life long I have worked as a team collectively. But as you understand, there were some objective reasons for that. It was an extremely traumatic experience for me. That's a role I really hate being a leader, but I just had to draw it to an end. On this path, I became much more open to the world, to other people as well. In Kiev, my situation was very comfortable, however, I did not need to communicate with other people. But in a hostile environment, you need to answer so many questions, deal with so many issues. I just had to become open and communicate with other people, so I changed internally. It was a dramatic change for me to communicate with the world. It's hard to analyze an experience, which is ongoing. Maybe I will get back to you after some time, but honestly, I feel that dynamic situations require dynamic decisions. To solve some issues with your team really fast, and especially in project work. We deal with oral histories, oral stories, and the experience of the past. In spring we received some offers to be included in some offers dealing with documenting Russian war crimes. In the time of the deoccupation of our territories. We were supposed to help individually and as a team, but as I see the results of this project, I believe it was a really important topic, and that was a very good decision to take part in this project. We are not lawyers, and people expect, with whom we talked to the people afflicted by all the expected legal advice from us. But it was a really worthwhile project. We know that a lot of museums, a lot of institutions have been robbed. We know that we lost a lot because of the invasion. We don't know exactly the extent of such losses, so definitely the fragility is really present. Horizontal structures is not a golden mean to such situations, but we need to remember that there is always somebody at the top and below we've got horizontal structures. When it comes to horizontal structures, I think there are two types of such structures. The one where no one takes responsibility and a horizontal structure with many people taking responsibility. I believe that right now Ukraine is winning in the war, and I hope this is happening pretty quickly. I know that exactly thanks to the horizontal structure with many people who take the responsibility. I know it's not happening with everyone. People are different indeed, but overall I believe that, for example, with Mogritsa, there is a moment of a number of people who just take responsibility and face the challenges who have become ever more formidable. We created objects 25 years ago. Right now they have been destroyed. This territory simply is not protected because Russians are shelling the area. It's impossible to preserve our artefacts, but people do feel the need to bear the responsibility. I hope that when we talk about how we can incorporate our experience into our practice, I agree that we need to speed up taking decisions. We cannot allow for the inertia prior to the war where we could. Right now we do not have the luxury. Such skills and habits of taking decisions swiftly are really good takeaways to take from the war and incorporate into our community work. On the one hand, it seems to me that nothing changed except for speeding up, just like everyone. Only a radical vector or direction of our work has changed. We are working not with the materials we would like to work. We are working more with international institutions. I also realize that nowadays we do not know who is going to be available in our team. Of course, it's related to power supply shortages. Our team is in a majority in Ukraine, only one person is abroad. Nobody knows. We are based in different cities in Kyiv and Odessa. We never know when the shelling might happen. We don't know what to expect. Everybody in our team knows that you should stay connected. You should support and replace someone if someone is not able to work. We are in full emergency, in full readiness to replace someone from our team. It's a big difference compared to our previous experience. Now you see that you all have started talking about this responsibility. I think it's very important that we started to speak about these horizontal lines. It seems to me that it's very valuable to speak about what Masha mentioned. On the one hand, we see that teams are breaking up. You have to take responsibility. You have to be individualized. This is an experience of individualization for every one of us. Basically, every one of us has been left alone in these problems. It seems to me, in my opinion, that this experience of individualization this is the necessary background so that these horizontal ties would exist. Because if nobody takes responsibility or everyone takes responsibility, then it doesn't work. But horizontal is when everyone takes responsibility. It means that if everyone feels this individual responsibility, then we can share responsibility among all of us. I think that this absence of responsibility is more in hierarchic organizations. But if you want to create some horizontal structures, we have to learn how to take responsibility on yourself. You should realize that at one moment or another you will be responsible for something. It's a very valuable experience. I would like to say that the aspect that Alona mentioned about mental health and we as head of different organizations and people who are working in teams they have to develop sensitivity towards each other. We have to be very sensitive towards each other before the war. I can speak about my own experience also in different institutions. Quite often we are trying to leave everything behind and we were not trying to focus on our personal problems. We were trying to just leave our personal problems at home. But this approach is much more difficult now because we have our personal problems, mental problems. We have a necessity to obligation to take care of someone. So it's very difficult to turn a blind eye on such aspects. Therefor I reminded that a few years ago I wrote such an article, Feministic Code of Organizations. It was written there that... Why feminist? Because mainly women take care of some other aspects of the children, of some other members of family. So when working in institutions we have to take into account our personal obligations to take care of some other people. It's very important in institutions' work when we are trying to create some schedules, when we are trying to create some cooperation. We should realize that everyone of us is engaged in some other activities except for professional activities. We have ten more minutes left. So I would like to give floor to the audience. So if you have any questions, please feel free to comment or to ask us about something. You can also share your own experience that relates to the topic of our discussion. So if you want, please raise your hand and I will pass the mic to you. Without the mic we cannot hear the question. First of all, thanks a lot. So many things triggered me and a very simple question, a practical question. A lot of you mentioned your own teams and please say, do you have any recipes for self-revival? Because as Katarina said, my battery is almost low. And so what are you doing inside your teams? Do you have your best practices? Yes. It seems to me that it happened maybe two months later. The first two months. It seemed to all of us that it's going to end soon. And the first two months, I went to the office in one of the same clothes and I said that I'm going to change my clothes when the war is over. And so it's good that I realized that it's not a good approach. And we decided, no, we have to change our clothes. And once we realized that we have to turn to another moment, to another mode, we started switching off and recharge our batteries, inner batteries during evenings and during weekends. And quite often now we work in a team of two. And for one organization, two people are responsible. And when I'm working with someone, it helps me to realize that if I fall behind, my partner is going to support me. For example, my colleague Olga Diatyl is my second part who is supporting me. I realize that this is a still-iron woman. And she is going to support me. And if she is switched off, I'm going to support her. So even if not all our team is able to support us, it's very important to realize that at least we have one partner within the project who is going to support you. I would like to say about me and my team is working in three cities. And therefore we cannot support each other physically. But my personal experience is quite strange. I can say that when I'm living abroad and I'm living abroad only due to some projects, to some work, and I try to do it during some very short travels. And each time I think I have to have some rest. But I cannot have rest abroad. But when I'm back to Ukraine, I'm getting more and more scared. And when I'm getting scared due to air raid, sirens, and so on. And therefore I work. And I work so much that I don't have enough time to get scared. And so this being around your relatives at home despite the situation, despite whether there is power supply or no, it charges our batteries so much. It motivates us to move forward. So it's very important for me to live abroad from time to time. And because afterwards I realize how important it is for me to stay at home and then my battery is charged. We allow ourselves some vacations, holidays. I know that quite a lot of people are not able to go to the seaside or to some paradise or resort. And have rest without phone or emails. But after three months at working in Pavilion and after opening, I was just not able to get up from the bed. Although I didn't feel myself tired because it was sort of adrenaline rush. And therefore I understood that if I do not stop and make a pose, I won't be able to do anything. And therefore all my holidays are in Kiev because I spent quite a lot of time abroad. Therefore I'm going to Kiev and have holidays there. And previously we curated all the exhibitions altogether. But nowadays we are working with some old projects that we left in our shelters. And these projects do not require so many detailed discussions and we know very well who is doing what. And so it helps us to save our energy because you are not doing 10 projects at one, but for example 7 or 8. My answer to this question can be divided into two parts. The first part is our experience in Mogritsa and the other experience is my personal experience. Mogritsa is not functioning as a cultural institution, but we are preserving our society, our community. And therefore my work is very intensive but it is related to many other projects. And so personally I felt the fear of being burnt out. And I see that we have so much work. And so I received such an advice from my colleague and she said, you are a creator. Invite yourself to residency and tell to everyone I am at the residency of some artist. And therefore I'm trying to organize this residency for me and we will see what I will be able to achieve. But if you speak about Mogritsa then we are planning to meet with part of our colleagues in December in Kiev. I think it will be a very important moment for us because we worked a lot altogether and we met sometimes physically not only via Zoom, but also physically and I think that it's also very inspiring to us. But I think that the biggest relief we will have when we are going to arrive to Mogritsa. But because of tiredness, exhaustion we felt it even last year. We saw that this project became so large and we realized that we are so tired and we felt that we are overwhelmed. There are so many of us. The program is so packed and there are so many presentations so many projects and therefore we even dedicated a few sessions to rest. Yes, I think that everyone will need a revival to restoration of our strengths after the victory. Yes, there is such a tradition and when there is some critical moment or some shelling and you know that for two days you won't have power supply. Everyone understands it and therefore we gather altogether in some space. I think it helps because then we can discuss our plans even though these plans are not going to be implemented but still at least it's inspiring that we are thinking about future. I think it's a great conclusion to our discussion. We were talking about strategic optimism so that planning despite what's happening right now it's really important for us to build bridges into the future so let's remain strategic optimists and continue our cooperation and support each other. Thank you very much.