His residency at the Center for Urban History has been supported by the House of Europe program. He works on the project "Researching curator practices in Ukraine," in partnership with the curator Oleksandra Pohrebniak. The project is a follow-up to the "Curator Manual" publication (2020) that implies the design of the website and the organization of an international seminar about curator practices, in partnership with the Easttopics team (Budapest, Hungary). During his residency, Dmytro will conduct a series of meetings and interviews with professionals from the Center for Urban History, Jam Factory, Ya-Gallery, the LNAA gallery, Detenpyla gallery, Municipal Art Center, and Radio Garage.

At the Center for Urban History, she stays on her creative residence with the support of the Ukrainian Cultural Foundation. During the residence, Maria will view videos from the VHS collection of the Center's Urban Media Archive, and discover the possibilities of their re-actualization and recontextualization. Inspired by one of them, the director will develop the concept of a short film, which will be presented to the public at the end of the residency in the format of work-in-progress.

Implemented projects: "We are finally here!" (Gorzow Wielkopolski, Poland), "The (female) researcher’s room " (Kyiv), "Post-memory" (Odesa), "It is not a museum, it is a plant" (Dnipro).

During her residency, Natasha will focus on collections of the Urban Media Archive at the Center for Urban History accumulated within the "Un/archiving of post/industry" project.

During their stay in Lviv, Anna and Volodymyr will focus on photo collections of the Center for Urban History related to industrial history. In their artistic practice, they use storyboarding, refocusing, and rearranging archival images. Thus, fragments of historical everyday life appear outside its compliance with the requirements of socialist realism. Secondly, artists turn their attention to the archive as a subject of research. What materials are organized and stored in the archive? What specific archival temporality is manifested? What power relations can be found in the categories and descriptions of storage? What is the materiality of the photos in the archive? These questions will allow us to look at the Center's Urban Media Archive as a project with its architecture and tectonics.

In terms of theory, Wiktoria is embedding her research within the "conceptual history" and historical semantics, according to Reinhart Koselleck. The method of studying the past is about realizing that each past is linguistically preconditioned and that each language was built in the past. That is why she refers to the concepts of "cultural space" and "cultural image of the city" and interprets them in the context of ego-literature. In fact, these texts reflect the experience of urban space from the viewpoint of the authors.

Wiktoria hopes that the residency in the Center for Urban History will expand her theoretical perspectives due to the academic discussions. The research in Lviv archives and libraries rich in relevant sources will significantly contribute to her paper.