 course. We can move now to Olena. Olena is from CEDOS who did a lot of the analysis and the hard data crunching to produce the documents. So Olena, if you'd like to share the process, that would be really helpful. Thank you. Thank you. Hello everyone. And yeah, first of all, I would like to just also tell that I'm joining you from, actually not from Ukraine, but from Berlin, where I'm right now also on an exchange networking meeting with Ukrainians, civil society representatives, and also the ones from a cultural field where we are talking about recovery and in particular recovery of culture and cultural infrastructure. So for me, it's also very interesting and important that we are all maybe in different places, spaces, country cities, but we are still working for shared purpose and also in terms of recovery. And I would like, first of all, to thanks Ukrainian Institute for inviting CEDOS to conduct this study. And I will share today some thoughts and outcomes of our research. And first of all, I would like to tell a few words about the methodology and how we conducted this study. And I would like to start with conceptualization and definition because in the study itself, we operate with term Ukrainian cultural field and we focus on the visual arts. However, for me, I feel that we can also kind of apply these findings not only to the visual arts field, but also to the broader fields of culture in Ukraine and cultural workers in Ukraine. And when we talk about Ukrainian cultural field in the visual arts, we define it as a system of networks, connections, practices and interactions between artists, cultural workers, communities, institutions and other actors who work with visual art and are related to the Ukrainian context, but maybe also located outside Ukraine because this transnational component and focus is extremely important right now. And also I would like to mention that we used a qualitative approach in this study. We conducted 12 in-depth interviews with four groups and the first group was cultural workers who left Ukraine more than two years ago, so those who more permanently live abroad. The second group was cultural workers with a high transnational mobility, so those who have high mobility and who are moving between cities and countries. The third group was more about the first groups were about institutional level and there were representatives of cultural institutions that collaborate with Ukrainians who live abroad and the other group was representatives of cultural institutions that could collaborate with Ukrainians who live abroad, but do not do so. So there were two levels like more individual one and the other one more like institutional one. And also I would like to point out a few limitations of this study because we also have to understand that this study was rather small-scale one. We conducted in-depth interviews and also we used the materials of the previous assembly that took place one year ago and the study was exploratory. Also it was not representative, so we cannot extrapolate the results to all the representatives of visual arts built in Ukraine, but we rather can grasp some trends, some problems that people who are working in the field are experiencing right now. And I also would like to mention that there was a limited number of in-depth interviews and like we cannot also claim that we reflect all the available experiences of representatives of visual arts built. I also would like to mention a bit of the context of Ukrainian cultural field that we found out in this study. And first of all one of our hypothesis was that Ukrainian cultural field and the visual arts field is kind of integral that it is more whole or united, but we found out in the process of interviewing representatives of cultural field that they describe Ukrainian cultural field more as something heterogeneous, non-uniform, non-monolithic, porous, patchy, polished, and for them is also it's rather positive characteristics of the field rather than negative ones. And also and I would like to also make reference to what Tatiana Falevska was mentioning about the difference and heterogeneity and diversity of experiences that Ukrainians and if we talk about Ukrainian cultural workers that they have and one of our finding was that this diversity it can lead actually both to some conflicts and misunderstandings with which naturally appear because of this heterogeneity of experiences of people, but also it can lead to the unification of different groups of people in the cultural field. And when we talk about Ukrainian cultural field respondents also mentioned the importance of consciously maintaining and preserving ties with Ukraine. It's also important to highlight this conscious emphasis. Another thing was when we talk about the context is that the former policies especially the policy of decentralization was named as one of the key factors that influence the formation of connections and networks within a Ukrainian cultural field before the start of the full-scale war and it actually led to like strengthening the agency of productivity of regional cultural workers which after the full-scale invasion started played a crucial role in mobilizing and solidarity among the cultural workers. And also another very important thing according to the research participants where at first local ties that were formed between in the invasion and also connections and communities and communities and artists which maintain these local connections. Then now I would like to highlight a few things which are related to our main findings and of course I will not go in detail it will be rather more such something like an overview of our results and of course it all can be found in deeper detail in the report itself. But I would like to mention a few topics which a few issues and aspects that are important for connections and networks within the Ukrainian cultural field and in the field of visual arts. And first of all it's a bit obvious one it's migration and forced displacement because of the full-scale invasion the second one is also institutional interaction and exchange of experience which is happening which is happening after the full-scale invasion started and the third one is agency of Ukrainian cultural workers. And when we talk about migration and forced displacement interview participants mentioned the increase in distance and dislocation from the Ukrainian context due to their migration like both internal but also of course external. And this is due to the fact that some Ukrainian cultural institutions and curators may consciously or unconsciously exclude those who have left Ukraine from our art projects. And they can of course prioritize the support of those who remained in Ukraine and at the same time the loss of ties due to departure of Ukrainian cultural workers from Ukraine can occur gradually and imperceptibly also because of the lack of activities that contribute to the preservation of these ties. Some of the interviewees mentioned that they started to feel the feeling of separation between them as people who left and those who remained in Ukraine in terms of cultural field. And they also mentioned that they felt that some barriers started to appear between them and the Ukrainian cultural environment between them because they are currently staying abroad. And they mentioned the feeling of lack of programs and projects aimed at keeping them in the field. Also, when we talk about like now I will mention institutional interaction and exchange of experiences and the cooperation of Ukrainian institutions with cultural actors from Ukraine who work in cultural institutions abroad can be kind of a catalyst for interinstitutional partnerships and also Ukrainians who permanently work in Ukrainian institutions and join some internship programs or other engagement program formats such as fellowships in foreign institutions perform the role of ambassadors of these institutions in Ukraine. And during the interviews that we conducted representatives of Ukrainian institutions also mentioned the value of the experience of Ukrainian cultural workers who worked or are working abroad for a certain time and the involvement of such employees or as creators, advisors, organizers of events in Ukraine is a kind of an opportunity to invent new formats of programs or projects. And also the thing that Jennifer has mentioned that there is a problem that was also mentioned in our interviews. It's one of cooperation both in Ukraine and abroad and this means that after the completion of projects employees of these institutions they do not support interaction and do not develop the connections that were formed and because of these one of the key needs of the informants that took part in the research was the building and establishing a long-term stable connections both within the Ukrainian cultural field and with foreign cultural workers. Also another thing that was important that is important to mention is about personal connections and this is a kind of reason so it's common scenario of like the construction of personal connections between cultural workers abroad and Ukrainian institutions was the involvement of representatives of cultural institutions in short-term programs abroad such as internships or residences and at the same time the opportunity to go beyond one of cultural projects and delve into the context and activities of one institution can contribute to the creation of more permanent partnerships. And now I will talk about the third issue which is agency of Ukrainian cultural workers and the participants of the previous assembly and also the people we interviewed they expressed for strengthening of agency both within the Ukrainian cultural field and within the framework of interaction with cultural workers from abroad and during the interviews they mentioned that before the full scale invasion there was this issue that European cultural workers did not recognize the agency and subjectness of Ukraine and it was as Jennifer Skoles mentioned like perceived through Russia's like imperialist policy regarding Ukrainian culture and Ukrainian cultural workers they mentioned that they had to kind of conduct educational work for cultural workers abroad because of that like after the full scale invasion started and they also mentioned that gradually this perception changed and they feel these changes already and also another thing which is another facet of these colonial practices is the difficulties in cooperation with cultural workers from abroad and their attitude towards Ukrainian cultural workers and people were mentioning the problem of unequal superior or condescending treatment caused by colonial policies and practices of European cultural institutions and according to the research to the participants of the research this undermines the possibility of mutual exchange of experience and they shared their experience of interaction with representatives of institutions abroad and that did not recognize the expertise of Ukrainian cultural workers and wanted to kind of teach them something at the same time they also mentioned that some kind of activities such as internship residences and involvement in the work of European institutions since the beginning of the full scale invasion helped to increase like their own confidence in their own knowledge and experience and kind of overcome the so-called inferiority complex in terms of their professional activities in the European and other international cultural institutions and regarding cooperation with cultural workers from abroad the respondents also mentioned the need to include and involve Ukrainian cultural workers in program activities of institutions abroad in particular in broader discussions about issues of inequality for example or the environmental crisis and this would help change the focus on representations of Ukrainians as war victims and strengthen Ukrainian's agency in the international cultural field so coming to the conclusions I would mention a few things and first of all it became urgent for Ukrainians already after the one and a half years of the full-scale invasion to engage in long-term activities programs and projects and at increasing their interaction with each other and also with the cultural international cultural actors so not only short term but rather long-term activities also there is also a need to establish cooperation with those who have left and who especially after the start of the full-scale invasion feel disconnected from from the Ukrainian cultural field and as a result may gradually lose contact with it so this can happen thanks to programs and projects initiated by Ukrainian institutions and that are aimed at strengthening cross-border interaction between Ukrainian cultural actors and another important thing is the importance of local connections and communities so there is a need for opportunities for networking building solidarity networks as well as physical offline communications and platforms for this communication between Ukrainians and Ukrainian institutions and it is also important to maintain the policy of decentralization and the last thing I would like to mention so this is what I was mentioning about the subjectness and agency of Ukrainian cultural actors in the international cultural field and this can happen thanks to the strengthening of Ukrainian cultural policy the representation of Ukrainian artists not only at exhibitions focused on the Russian war against Ukraine the inclusion of cultural workers in the program activities of institutions abroad and it is also important for the strengthening of solidarity with Ukraine and the development of sensitivity to the context of the Ukrainian cultural field on the part of cultural workers from abroad thank you Olena thank you so much you did an extraordinary job in this complex process of pulling all these ideas together so we'll have now a short break so you can everyone can stretch their legs make some tea whatever we need to do and we'll be back in 20 minutes when we will be discussing the document itself with a number of leading artists and cultural leaders from Ukraine we'll see you in 20 minutes