{"data":[{"id":64,"slug":"ufda-in-2025-a-year-of-art-innovation-and-community","status":"published","header":"UFDA in 2025: A Year of Art, Innovation, and Community","content":{"time":1767775845917,"blocks":[{"id":"UfREd26Woq","type":"paragraph","data":{"text":"2025 marked a pivotal year for UFDA — the official launch of our project. It was a year of beginnings, challenges, important decisions, and, most importantly, a year of working together to preserve and promote Ukrainian contemporary art."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"5CZVJ3Omm3","type":"header","data":{"text":"A Groundbreaking Charity Auction","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"kXv2kwSg6W","type":"paragraph","data":{"text":"Our journey began with a major charity auction featuring leading Ukrainian artists — Waone Ineteresni Kazki, Nikita Kadan, and Zhanna Kadyrova. "},"tunes":{"alignment":{"alignment":"left"}}},{"id":"ktCC1fXoum","type":"paragraph","data":{"text":"From February 18 to 21, the Ukrainian Fund of Digitized Art (UFDA) held its first-ever charity NFT auction in partnership with the Prytula Charity Foundation, and it was a tremendous success. "},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Lw72d3cLlu","type":"paragraph","data":{"text":"Over three days of spirited bidding, every lot was sold as collectors worldwide came together to support Ukraine's Armed Forces and preserve its national cultural heritage. As a result, UFDA has gathered 37,700 USDC, which is equivalent to UAH 1,615,068!"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"_-B1Ur1MM3","type":"header","data":{"text":"Digitizing Ukrainian Contemporary Art","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"evOHnGcXYK","type":"paragraph","data":{"text":"Throughout the year, UFDA focused on one of our core missions — digitizing Ukrainian contemporary art. We preserved over 1,400 works from more than 30 artists in digital format, creating a foundation for the long-term preservation of Ukraine’s cultural heritage. Today, our online archive includes 72 artists and 3,611 digitized works — and this collection continues to grow."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"3jOVZQ4X3t","type":"paragraph","data":{"text":"Moreover, UFDA held its first open call for artists, galleries, and museums. With over 150 applications received, this initiative underscores the crucial role of digital preservation in safeguarding and sharing art. "},"tunes":{"alignment":{"alignment":"left"}}},{"id":"AiA38emQ4h","type":"header","data":{"text":"Conversations with the Art Community","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"_q7eNVTQar","type":"paragraph","data":{"text":"We also prioritized dialogue within the art community. Over the year, UFDA conducted dozens of interviews and podcasts with artists, photographers, curators, and art historians. These conversations explored creative processes, ideas, experiences, and the role of art in contemporary Ukraine. All materials are available on Spotify, Apple Podcasts, Instagram, and YouTube!"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"XCS_vqTGFl","type":"header","data":{"text":"Thank You for Joining Our Journey","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"ubqX_NAVit","type":"paragraph","data":{"text":"Looking back on 2025, we want to sincerely thank everyone who supported UFDA — for your interest in Ukrainian art, for backing our initiatives, and for sharing our commitment to preserving and reimagining culture. Ahead of us are even more projects, discoveries, and beauty that we are excited to share with you."},"tunes":{"alignment":{"alignment":"left"}}}],"version":"2.29.1"},"custom_publication_date":"2026-01-07T11:00:00.000Z","cover":{"id":"ba647384-d62f-47e4-9701-8e83dfdffceb","width":1500,"height":891,"title":"Frame 1321318070.jpg","filename_disk":"ba647384-d62f-47e4-9701-8e83dfdffceb.jpg","filesize":"1179302","asset_transformations":[{"preset_key":"default","transformation_name":"ba647384-d62f-47e4-9701-8e83dfdffceb__b863a8edcf60bd681133854e185f1fcc14d367ca.jpeg"}]},"short_description":{"time":1767775850085,"blocks":[{"id":"sUcqv5Bcci","type":"paragraph","data":{"text":"2025 marked a pivotal year for UFDA — the official launch of our project. It was a year of beginnings, challenges, important decisions, and, most importantly, a year of working together to preserve and promote Ukrainian contemporary art."}}],"version":"2.29.1"},"publication_target":"UFDA","date_created":"2026-01-07T08:51:06.256Z","date_updated":"2026-01-07T09:00:55.921Z","author":{"id":2,"first_name":"Anna","last_name":"Cherevko","avatar":{"id":"92bdcd95-c228-44ad-913f-b160994dd188","width":960,"height":1280,"title":"Photo 2025 03 04 09 25 52","filename_disk":"92bdcd95-c228-44ad-913f-b160994dd188.jpg","filesize":"191563","asset_transformations":[{"preset_key":"jpeg-60x60","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__e8e41b644053958294101dfb2469abcb6252e632.jpeg"},{"preset_key":"default","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__b863a8edcf60bd681133854e185f1fcc14d367ca.jpeg"},{"preset_key":"jpeg-120x120","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__521c2c56e07b832eff0863efc7384268d0653583.jpeg"},{"preset_key":"default-1000w-jpeg","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__de0924d004350eb415387621f334606c6e685a13.jpeg"},{"preset_key":"webp-60x60","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__ef775ae18351c034ae46d51e3ec5221033198497.webp"},{"preset_key":"webp-120x120","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__0be35047199014291af34b4ba9745ed37f7e8beb.webp"},{"preset_key":"default-1500w-jpeg","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__7706aee7058cc1ab8f18de0dacfa8d10a75a3cc6.jpeg"},{"preset_key":"webp-180x180","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__c9e4a0d4c1cd319e9a6717592ff021554cb0681c.webp"},{"preset_key":"default-500w-jpeg","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__b863a8edcf60bd681133854e185f1fcc14d367ca.jpeg"},{"preset_key":"default-1500w-webp","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__1d37bb2356752167aa4e7fa55400bb2b1a0b2cfa.webp"},{"preset_key":"jpeg-180x180","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__0d13f0469c926841a7914cb729222673449f1548.jpeg"},{"preset_key":"default-1000w-webp","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__8f5e1bcc170dd9bf2d06c14e73b3916a656ad84d.webp"},{"preset_key":"default-500w-webp","transformation_name":"92bdcd95-c228-44ad-913f-b160994dd188__02750e80ab4ec309590acf92c80303648833b198.webp"}]}}},{"id":63,"slug":"leonid-maruschak-the-evacuation-of-art-museum-bureaucracy-and-responsibility-for-heritage","status":"published","header":"Leonid Maruschak: The Evacuation of Art, Museum Bureaucracy, and Responsibility for Heritage","content":{"time":1767087086019,"blocks":[{"id":"x4iLdWH1eC","type":"paragraph","data":{"text":"In the new episode of the UFDA podcast, historian and curator Leonid Maruschak talks about how the full-scale war has changed museum work and attitudes toward cultural heritage in Ukraine. The conversation touches on the evacuation of collections, bureaucratic dead ends, private archives, the story of Zhanna Kadyrova’s deer from Pokrovsk, as well as the role of initiatives like UFDA in preserving art."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"LPY12x6qK7","type":"header","data":{"text":"Origins: from a university thesis to trips to the East","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"3Os95o5rZD","type":"paragraph","data":{"text":"Leonid’s connection to the museum sphere began during his studies, when he wrote his thesis on the Vinnytsia Regional Art Museum. The focus was the “treasures” of this institution and the history of how the collection was formed at the beginning of the 20th century, amid revolution, the formation of Ukrainian statehood, civil war, and the nationalization of private collections."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"svamfysFOd","type":"paragraph","data":{"text":"This experience gave him an understanding of the price paid to assemble and preserve these collections and became an internal point of reference: later, the memory of those who saved artworks under much harsher conditions became Leonid’s motivation to take risks today."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"65AyAIOr4E","type":"paragraph","data":{"text":"After 2014, following the annexation of Crimea and the beginning of the war in Donbas, an initiative group emerged that traveled to Sloviansk, Sievierodonetsk, Mariupol, and other cities newly liberated from Russian forces. They asked simple yet fundamental questions: what was here, what is here now, and what is planned next?"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"jSm19sw9Kj","type":"paragraph","data":{"text":"The team looked for answers in city councils, libraries, museums, and markets—places Leonid calls “the biggest communication hubs in Ukraine.” Museums turned out to be the spaces where information could be accessed holistically—through collections, texts, people, and local histories."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"-aAb45bk1J","type":"header","data":{"text":"“Museum Open for Repairs” and working with museums in the East","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"dBPwCqzlgY","type":"paragraph","data":{"text":"In 2016, this activity developed into the project Museum Open for Repairs, though preparation had begun back in 2014–2015. The first partners were two institutions: the Sloviansk Local History Museum in Donetsk region and the Lysychansk City Historical Museum in Luhansk region."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Tl54AMIXAx","type":"paragraph","data":{"text":"For Leonid, the key temptation in working with museums lay in their collections, especially the unique holdings found in regional institutions. One example is the collection of ceramic artist Nataliia Maksymchenko in Sloviansk: after her death, a small museum was created in a dormitory room, and in the 1970s the collection “mysteriously” moved to Sloviansk—something Leonid sees as a unique case."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"11Yh5tx-5v","type":"paragraph","data":{"text":"The Museum Open for Repairs project had several main directions:"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"KOvvZFBxSS","type":"nestedlist","data":{"style":"unordered","items":[{"content":"using contemporary art as a tool for addressing “difficult topics” in museums;","items":[]},{"content":"educational programs for museum workers in Donetsk and Luhansk regions;","items":[]},{"content":"engaging contemporary Ukrainian artists in projects at regional museums.","items":[]}]}},{"id":"1FOjiqYlgQ","type":"paragraph","data":{"text":"A telling moment, according to Leonid, was the 2016 workshop Modern Methods of Museum Work, which gathered representatives of 25 museums from Donetsk region. For the team, this was an important indicator of trust and proof that there was real demand for education and change within the museum field."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"lG2YDkVBvr","type":"header","data":{"text":"February 24: a seminar on the eve of the invasion and the start of the evacuation","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"HJugq-O6p3","type":"paragraph","data":{"text":"Two days before the full-scale invasion, the team held a major online seminar for museums in Donetsk and Luhansk regions, along with representatives of the Ministry of Culture. The topic was stated bluntly: “The whole world is shouting that war will start soon. We don’t want to alarm anyone, but let’s talk about whether we are ready.”"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"JMT62HbTo2","type":"paragraph","data":{"text":"At first everyone replied that they were prepared, but within half an hour it became clear that there were no real invasion plans. During the discussion, they began drafting letters and lists: who is responsible for what, what needs to be done, where to run."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"FCDWwYIFID","type":"paragraph","data":{"text":"On February 24, Leonid was woken by his wife saying, “That idiot has attacked.” They gathered the cat, documents, and essentials and left Kyiv for the village of Moshny—his wife’s home place. The journey took a day, against the backdrop of mass movement of people from central, eastern, and southern Ukraine."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"b6-NUkSBYD","type":"paragraph","data":{"text":"Already on the road, Leonid started planning his return to Kyiv: first to take care of his own collection left at home, and then to deal with far more valuable private collections whose owners had left the country before the invasion."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"eZWKY8r-IX","type":"header","data":{"text":"Private collections and moral dilemmas","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"mTyq5r2r5y","type":"paragraph","data":{"text":"A separate layer of stories concerns private collections. Leonid recalls calling the Sloviansk museum in the first weeks of the war to ask whether the Maksymchenko collection had been evacuated—expecting that after 2014 everyone would be prepared. The answer was: “What evacuation? We still have no order.”"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"3UEUaZwsgX","type":"paragraph","data":{"text":"Another case involved the collection of Viktor and Alla Zaretsky, cared for by their granddaughter Olena. She was abroad, lacked the “human resources” for evacuation, and Leonid’s team took responsibility—despite some owners continuing to insist, “Who needs this anyway?”"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Q0I4awz7Mx","type":"paragraph","data":{"text":"Gradually, the realization came that some relocations were absolutely right, even if at first they seemed overly cautious: when Leonid later returned to places where collections had once been stored, locals told him those very buildings had later been hit and storage rooms destroyed."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"DiwQ6dpM0Z","type":"header","data":{"text":"Looting, humanitarian hubs, and conflict","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"3mVi-fv5jI","type":"paragraph","data":{"text":"Leonid describes absurd situations where a humanitarian hub worked in the same cultural center that housed a museum: on one side, the team was packing museum objects, cataloguing and preparing them for evacuation; nearby, dozens of people were hauling humanitarian boxes."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"FQIInge_so","type":"paragraph","data":{"text":"On top of that came looting in the combat zone, pressure from people who had “set their eyes” on museum objects, and the constant need to negotiate with local authorities to secure even minimal safety. Leonid calls this another front—the communication front—no less exhausting than physical danger."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"v5EEZjWT73","type":"header","data":{"text":"Rescued collections and future memory","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"MDI9Hu7AJ6","type":"paragraph","data":{"text":"One of the central themes concerns the role of rescued objects in shaping memory after the war. Leonid speaks about collections from cities that no longer physically exist, and tiny museum rooms in village cultural centers that have disappeared from the map."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"1cfGWBYt7Y","type":"paragraph","data":{"text":"Even an “ordinary” embroidered towel gains special weight if it hung in a local museum for decades and formed part of the lived experience of generations. For Leonid, it is important that such items eventually return “home”—not necessarily to the same building, but to the environment where future generations can see and understand that this is part of their story."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"5a1XD2H6Lk","type":"paragraph","data":{"text":"At the same time, he notes that many rescued collections remain in boxes: they are “aired,” but there is no state program ensuring at least researchers’ access—let alone public display."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Qn0TY_On0p","type":"paragraph","data":{"text":"Parallels with the “mythic evacuation of the 1940s” are resurfacing: back then, many works were simply never sought again; today there is a real risk of repeating that history."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"VvM6Puh9nH","type":"header","data":{"text":"Donor dependence and lack of policy","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"A1wPS37BAw","type":"paragraph","data":{"text":"Leonid speaks sharply about the Ukrainian cultural sector’s dependence on donors. In his view, cultural heritage has been “handed over to external support” instead of being backed by internal programs and mechanisms."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"xy9BydySH4","type":"paragraph","data":{"text":"He asks: if the state can build schools with shelters and meet all safety standards, why in three years of full-scale war has not a single proper storage facility for museum collections been created in major cities, including Kyiv? For him, this signals not a lack of resources, but a lack of political will and priorities."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"EYQ6BJQCV9","type":"paragraph","data":{"text":"Another issue is missed opportunities for museums in international discourse. Leonid cites a U.S. President’s statement about WWII losses made without reference to Ukraine, and wonders why, for example, the Museum of the Second World War did not respond with a project or public statement."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"8MsIEwrWiN","type":"header","data":{"text":"Against sales and “draining” abroad","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"wAM7uM8W92","type":"paragraph","data":{"text":"When the conversation turns to selling museum or other valuable works abroad, Leonid is firmly skeptical. In his view, everything that leaves is “doomed never to return,” and physical contact with the object as a carrier of information is crucial."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"r4dvCdjzQr","type":"paragraph","data":{"text":"He gives the example of Poland, where the state has priority purchase rights for cultural assets: a private owner can sell only after the state declines or cannot raise funds in time. For Leonid, this is a model where the state takes responsibility so significant works do not dissolve into private foreign collections."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"9o6uxfIfzh","type":"header","data":{"text":"Zhanna Kadyrova’s deer and the Venice Biennale","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"v88Nd3nOEJ","type":"paragraph","data":{"text":"In 2018, the artist was invited to create an object for an empty pedestal in a park where a jet—symbol of military power—had once stood. Zhanna Kadyrova had already worked with concrete origami-like sculptures (including a heron in Ivano-Frankivsk), and in Pokrovsk, a deer appeared as part of the search for a new urban identity, alongside a monument to Mykola Leontovych."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Bjv9FOfQJ7","type":"paragraph","data":{"text":"When mass civilian evacuation was announced in Pokrovsk, Leonid’s team arrived at the local museum proposing to evacuate the deer. Amid constant shelling, locals reacted with, “What deer, come on,” but Leonid insisted: this was the work of a leading Ukrainian artist and a symbol of the city’s contemporary story."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"zDVnkMJt9b","type":"paragraph","data":{"text":"Eventually, a plan was developed and both the deer and the Leontovych monument were evacuated to Vinnytsia. Later, the deer’s story became the core of the Venice Biennale proposal—not just about one sculpture, but about continuity of narratives, the transition from Soviet monumentalism to garden-park sculpture, the Budapest Memorandum, and the question: what comes next?"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"fvCNkSse0F","type":"header","data":{"text":"UFDA and digital preservation","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"6qnuzASIuU","type":"paragraph","data":{"text":"Toward the end of the conversation, Leonid speaks about UFDA as an initiative focused on digitizing and documenting artworks that were evacuated and require proper visibility."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"9BbwKMF9ic","type":"paragraph","data":{"text":"He states directly that from 2014 to 2022 little was done in Ukraine in terms of digitalization—and not much more from 2022 to 2025. The biggest problem, he says, is that “there is no resource where you can go and see everything,” and UFDA is one of the few teams clearly saying: we are the ones doing this work."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"553kdF5E5j","type":"paragraph","data":{"text":"For him, digitization is a way to provide access to information about rescued works while physical collections remain in storage or in a “temporary” holding mode without any clear long-term strategy."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"h2gixed6wv","type":"paragraph","data":{"text":"Listen to the episode “Leonid Maruschak: on the evacuation of art, museum bureaucracy, and the role of rescued collections after the war” on all podcast platforms."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"CVA0GpKamo","type":"paragraph","data":{"text":"It is a conversation about what art rescue during wartime really looks like—and why, without human persistence, solidarity, and initiatives like UFDA, many of these stories simply would never have happened."},"tunes":{"alignment":{"alignment":"left"}}}],"version":"2.29.1"},"custom_publication_date":"2025-12-30T11:34:00.000Z","cover":{"id":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937","width":1500,"height":891,"title":"Frame 1321318081","filename_disk":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937.jpg","filesize":"343780","asset_transformations":[{"preset_key":"default","transformation_name":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937__b863a8edcf60bd681133854e185f1fcc14d367ca.jpeg"},{"preset_key":"default-500w-webp","transformation_name":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937__02750e80ab4ec309590acf92c80303648833b198.webp"},{"preset_key":"default-1000w-webp","transformation_name":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937__8f5e1bcc170dd9bf2d06c14e73b3916a656ad84d.webp"},{"preset_key":"default-1500w-webp","transformation_name":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937__1d37bb2356752167aa4e7fa55400bb2b1a0b2cfa.webp"},{"preset_key":"default-1900w-webp","transformation_name":"e403b01b-3f0b-4ec3-bb87-30c7e5fd3937__6fce4f849f3c156c231d7d02d254af88664291e2.webp"}]},"short_description":{"time":1767087109633,"blocks":[{"id":"LhwbF3CFdG","type":"paragraph","data":{"text":"In the new episode of the UFDA podcast, historian and curator Leonid Maruschak talks about how the full-scale war has changed museum work and attitudes toward cultural heritage in Ukraine. 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Recently, our team digitized new works by Olena Kurzel, which are available for exploring in full resolution."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"tjZTpvSZgC","type":"header","data":{"text":"New Works","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"NfGeNevJEq","type":"paragraph","data":{"text":"Olena Kurzel is known for addressing profound themes like self-identity, violence, loneliness, and the human experience of mortality through her diverse artistic practices. Her work, showcased in exhibitions internationally, delves into the complexities of memory, existential fears, and the emotional landscapes of human life."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"7ch_gByCGc","type":"paragraph","data":{"text":"UFDA digitizes several new pieces by the artist, including Metamorphoses (2025), The Weather Was Wonderful Today (2025), Broken Neck (2024), Nameless (2024), A Room in a Hotel (2024), Untitled. From \"The Story of a Room\" Series (2023), and many more. "},"tunes":{"alignment":{"alignment":"left"}}},{"id":"SHqaghtcKZ","type":"image","data":{"caption":"A Human in the Landscape by Olena Kurzel. 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Later, in 2023, she graduated from the National Academy of Visual Arts and Architecture with a degree in easel painting."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"4Yb0Lh-AmJ","type":"image","data":{"caption":"Untitled by Olena Kurzel. 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Her recent works include \"DIA Kinets\" at Tsehla Gallery in Graz, Austria (2024), \"MATTER MATTERS. Ukrainian Art Textile\" at Ukrainian House in Kyiv, Ukraine (2024), and \"Why Am I Here?\" at SPLAV in Kyiv, Ukraine (2024)."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"e-tDAvPYK3","type":"paragraph","data":{"text":"Kurzel's art spans painting, embroidery, sculpture, video, photography, and installation. It explores the concepts of forgetting, loneliness, self-identification, and the reconstruction of forgotten images."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"1BTNbDMbcS","type":"image","data":{"caption":"A Room in a Hotel by Olena Kurzel. 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Featured Artworks 3