Pixelated Realities co-founders Iana Boitsova and Fedir Boitsov took part in last week’s Heritage at Risk Summer School 2026 in Ferrara, Italy, bringing Ukraine’s frontline experience in documenting cultural heritage in war zones to an international audience. The two-day programme, hosted at the University of Ferrara within the 3DBigDataSpace project, focused on 3D documentation methods for cultural heritage at risk in contexts ranging from natural disasters to armed conflict.

As part of the programme, Iana and Fedir delivered a talk titled “Documenting architectural heritage in war zones: experiences and lessons from Ukraine”. Drawing on several years of fieldwork, they presented approaches to the digital recording of destroyed and damaged architectural heritage in frontline and liberated regions of Ukraine. Their contribution showcased how photogrammetry, 3D laser scanning and geospatial analytics capturing is different in active warfare and attacks on civilians. Their message is clear: “obtaining high-precision data for emergency documentation on war-related destruction can support evidence-based strategies for future recovery and reconstruction”.

An important part of their presentation was dedicated to initiatives that rethink space and memory, including ongoing work on the Museum of Ukrainian Victory and other projects that connect digital heritage, education and research at an international level. Within the framework of the XRculture project, the team also shared recent results from scanning endangered museum collections in Ukraine and outlined their methodology for remote digitisation in high-risk contexts.

Reflecting on the experience, Iana Boitsova highlighted the importance of international collaboration and knowledge exchange:

“Taking part in this event reminds us that Ukraine is not alone in facing the loss of cultural heritage in times of crisis. Sharing our experience from war-affected regions and hearing how colleagues work with disasters and risks in other countries gave us both practical tools and a sense of solidarity. For us, the most valuable part was the open exchange with experts who are ready to share technologies, methods and standards to support institutions and communities in Ukraine right now, while also thinking together about how these data will guide future recovery.”

Participation of Pixelated Realities in initiatives such as the Heritage at Risk Summer School strengthens Ukraine’s presence in the European professional discussion on safeguarding cultural heritage during war. It also helps embed Ukrainian experience within broader international standards and practices for documenting cultural heritage at risk.
Pixelated Realities PO is a consortium partner in the XRculture project co-financed by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение Between earthquake and the Middle East: Pixelated Realities shares Ukraine’s war-zone heritage documentation experience at Heritage at Risk Summer School 2026 появились сначала на Pixelated Realities.

Pixelated Realities PO is carrying out 3D digitisation of objects from the collection of the Odesa Municipal Museum Of Personal Collections Named After O. V. Bleschunov” as part of the XRculture project’s research.

The Municipal Institution “Odesa Municipal Museum Of Personal Collections Named After O. V. Bleschunov” is one of Odesa’s leading cultural institutions, regularly conducting research, securing funding for cultural projects, collaborating with European partners, and implementing digitisation initiatives since 2018.

Work is being carried out within the framework of the European research project XRculture — Research and Reuse of 3D Cultural Heritage through XR.

Research and reuse of 3D cultural heritage through XR

The project aims to explore new approaches to the digitisation of cultural heritage, develop innovative methods for working with 3D data, and design use cases for extended reality (XR) technologies in the cultural sector.
This research plays an important role in building digital archives and shaping contemporary approaches to the preservation, study, and presentation of cultural heritage in digital environments.
Thanks to innovative 3D digitisation and XR presentation technologies, Ukrainian museums will be able not only to ensure the long-term preservation of their collections, but also to make them accessible to wide audiences through virtual exhibitions, educational platforms, and scholarly publications.

Digitising the Bleschunov Museum collection

As part of the study, 3D models of 10 icons and 20 glass objects will be created.
These items were selected to test and refine scanning methods for materials with complex properties, including transparent, glossy, and combined surfaces. Such objects traditionally pose a significant challenge for 3D digitisation technologies, so the research focuses on developing more effective approaches to their digital capture.

In addition to photogrammetry and Gaussian splatting, the team is developing a new semi-automatic point-cloud cleaning method that minimises manual work and reduces post-processing time to around 20 minutes per object. For the most valuable objects, meshes are also being created, which will make it possible in the future to reproduce them via 3D printing and milling to develop inclusive exhibitions or carry out restoration processes.

Digitisation team

The project is produced by Fedir Boitsov.
Digitisation is carried out by Dmytro Dokunov and Andrii Tkalich.
Alik Kadum is developing the point-cloud cleaning algorithm together with Fedir, while Yuliia Frolova compiles and prepares annotations.

Historical and cultural significance

The icons and glass objects from the museum’s collection are part of Ukraine’s museum heritage, reflecting various aspects of history, art, and private collecting.

Presentation in the European digital space

The created 3D models, together with their metadata, will be published by Pixelated Realities PO on the European platform Europeana, ensuring open access to digital copies of cultural heritage for researchers, educational initiatives, and the general public.
The results of the research into methods for scanning transparent and complex surfaces will be presented in subsequent publications and analytical materials of the project.
Pixelated Realities is a partner in the XRсulture consortium, which is being implemented in Ukraine under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение Pixelated Realities digitises the Collection of Icons and Glass objects from the Odesa Museum появились сначала на Pixelated Realities.

In the framework of the XRculture project, Pixelated Realities PO (Odesa, Ukraine), together with Inception Srl (Ferrara, Italy), has undertaken 3D digitisation of the Roman Glass collection at the Museo Archeologico Nazionale di Verona (Italy), applying advanced photogrammetry and Gaussian Splatting methods. This campaign has been led by Fedir Boitsov.

During the recent scanning session at the museum, the team captured seventy-seven unique pieces of ancient Roman glassware. The collection includes objects such as balsamari, anfore, bicchieri, piatti, bottiglie, olle, coperchi, and brocche (vases, balsamaria, pitchers, glasses and bottles of various shapes and sizes). These items date to approximately the I-III centuries AD and were found in Verona. Each piece stands out for its remarkable thinness, clarity, and range of hues — from bluish tones to subtle yellow shades, and imprinted or relief-decorated surfaces.

The research took place at the Museo Archeologico Nazionale di Verona, home to one of the region’s most representative collections of Roman glass. The primary goal of this work is to create precise 3D documentation of these artefacts to support their study, preservation, and digital presentation. 

Information about Gaussian Splatting and photogrammetry

Gaussian Splatting plays a key role in the project’s digitisation workflow, enabling the creation of highly realistic 3D representations by reconstructing radiance fields from high-resolution photographs. Through precise image capture and alignment, the team generates detailed Gaussian Splat models that capture both the geometric form and the material qualities of each artefact with exceptional visual fidelity. This method is particularly effective for documenting non-cooperative objects such as glass, as it allows the rendering of fine surface details, transparency, and reflections while maintaining a true-to-life appearance. The resulting Splat models serve as the foundation for producing immersive, real-time, viewable digital assets. 

For the capture process, the Pixelated Realities team developed a customized mobile rig equipped with a steady video light, ensuring even illumination of glass surfaces without persistent reflections in the resulting Splat rendering. To make this project happen, a custom solution was created based on the automatic turntable paired with highly transparent plexiglass, allowing for seamless full object captures without the need to rotate fragile objects. This approach minimises any potential damage to the precious artefact while producing the best possible splatting representations. For better and faster shooting, a video rail was attached vertically to a 2-meter stand, with a camera moved via a cord and counterweight system—enabling smooth, repeatable vertical motion for consistent multi-angle coverage.

This custom scanning setup, designed specifically for glass 3D capture and Gaussian Splatting, was tested directly in the museum environment and successfully captured detailed digital models of even the smallest objects.

The initiative is part of the XRculture project activities and forms part of a broader programme to digitise European cultural heritage that is difficult to scan using traditional methods, such as glass, gemstones and metal.

The project was carried out with the kind support and collaboration of Giovanna Falezza and Ada Gabucci, and in partnership with the Italian Ministry of Culture, Regional Directorate of National Museums of Veneto (Museo Archeologico Nazionale di Verona, Museo Archeologico Nazionale di Adria), the Central Institute for Cataloguing and Documentation (ICCD), and the Superintendence for Archaeology, Fine Arts and Landscape of the provinces of Verona, Rovigo and Vicenza.

Pixelated Realities PO is a consortium partner in the XRCulture project co-financed by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture of Ukraine.

Сообщение 3D digitisation of Roman Glass Collection in Verona появились сначала на Pixelated Realities.

On March 25, Fedir and Yana Boitsov delivered a lecture at the Garage UA Lab community, where they discussed the evolution of 3D scanning technologies and their application in cultural heritage preservation. The focus of the meeting was the topic “The History of 3D Scanning: From SfM to Europeana,” which combined a historical overview of technologies, practical case studies, and a vision for the future of the digitisation of Ukrainian heritage.

During the lecture, Fedir Boitsov spoke about 3D scanning — from the basic principles of photogrammetry to modern approaches used to create accurate digital copies of objects and environments. He outlined the Structure from Motion (SfM) method, which makes it possible to reconstruct the three-dimensional structure of a scene on the basis of a series of two-dimensional photographs, determining the positions of cameras and forming a sparse point cloud as the basis for further reconstruction. It was also about Multi-View Stereo (MVS), which works after SfM and makes it possible to build the dense geometry of an object, turning photographic material into a detailed 3D model.

In addition to photogrammetry, the lecture also presented other relevant technologies: LiDAR laser scanning, structured light scanning, NeRF, Gaussian Splatting, X-ray computed tomography, and RTI photometry. The speaker explained that each of these methods has its own area of application: some work better with large architectural objects, others — with museum artifacts, jewelry, or complex surfaces with reflections and transparency. Thus, modern 3D scanning appears not as one technology, but as a whole set of complementary tools that make it possible to obtain accurate, realistic, and suitable for different tasks digital models.

A separate block of the lecture was devoted to practical approaches to scanning objects of different scales. For large buildings and locations, combinations of aerial and ground photography are used, which make it possible to cover the object completely and at the same time preserve sufficient detail. For sculptures, small architectural forms, and museum objects, the team uses circular shooting, lighting control, ring flashes, turntables, macro lenses, cross-polarization, and special fixtures for delicate or moving objects. In some cases, photogrammetry is combined with structured light scanning in order to achieve maximum geometric accuracy. Fedir shared practical cases — scanning buildings, sculptures, archaeological artifacts, and jewelry from museum collections, including the Odesa Museum of Personal Collections named after O.M. Bleschunov and the National Archaeological Museum of Verona.

Yana Boitsova spoke about experience working with web platforms for publishing 3D content (Sketchfab, Europeana) and gave examples of how the results of 3D scanning can be used in practice. This is not only about the preservation of cultural heritage, but also about the creation of VR and AR experiences, visual effects for film, digital production, scientific research, damage documentation, exhibition formats, and online catalogs. Such an approach demonstrates that a 3D model today is not a final product, but a multifunctional digital asset that can work in education, museums, tourism, engineering, and the creative industries, and these relevant issues are being laid in the cultural policy of digitisation, in particular the Strategy for the Development of Culture of Ukraine until 2030.

The full recording of the lecture is available on YouTube: History of 3D Scanning: The Path from SfM to Europeana

This event is an example of how technical communities and cultural initiatives can interact with each other, creating new points of intersection between engineering, digital production, and the humanitarian sphere. Educational events not only popularize modern technologies, but also show that 3D digitisation is an important tool for preserving memory, documenting losses, and opening Ukrainian cultural heritage to an international audience.

The lecture was prepared within the activities of the project “3D-4CH — Online Competence Centre in 3D for Cultural Heritage,” which is being implemented in Ukraine by the public organization Pixelated Realities,, a partner of the 3D-4CH consortium, and co-financed by the European Commission under the Digital Europe Programme. In accordance with Ukrainian legislation, the project is registered as international technical assistance, with the Ministry of Culture and Information Policy of Ukraine indicated as the beneficiary.

Сообщение Lecture “The History of 3D Scanning: From SfM to Europeana” for the Garage UA Lab IT Community появились сначала на Pixelated Realities.

The inaugural 3D-4CH Winter School took place from 21–23 January 2026 at the Art & History Museum in Brussels. This event marked the launch of the seasonal school programme of the 3D-4CH Online Competence Centre, an EU-funded initiative that supports the development of skills, interoperability and innovation in the field of 3D cultural heritage. Over 100 participants from across Europe came together to explore how 3D digitisation, extended reality (XR) and digital storytelling are shaping cultural heritage practices, from strategy and policy to hands-on implementation in museums and heritage institutions.

Day 1: Policy, Strategy, and the European Framework for 3D Cultural Heritage

The Winter School opened with a strong focus on European policy, strategic alignment and capacity building. The increasing role of 3D technologies in the EU’s digital and cultural agenda was highlighted. Rehana Schwenninger-Ladak (DG CNECT, European Commission) set the scene, emphasising that 3D digitisation strengthens Europe’s cultural heritage ecosystem by supporting digital skills, FAIR data practices, cross-border collaboration and long-term sustainability.

Géraldine David, Director of the Art & History Museum, welcomed participants and drew connections between the museum’s plaster cast collections, which are early examples of 3D representation, and contemporary digital approaches. Nick Mols, representing the museum as the venue host, emphasised the importance of holding the Winter School in a museum to showcase digital innovation in practice. Marco Medici, Project Coordinator of 3D-4CH, presented the project’s overarching mission: to equip institutions with the necessary skills and knowledge to make digital heritage accessible, engaging, and sustainable.

The morning session featured the Digital Europe Project Showcase, chaired by Fulgencio Sanmartín (DG CNECT). This event highlighted key European initiatives, including Europeana’s TwinIt! Campaign (Part II), the 3D-4CH Online Competence Centre and XRculture, the latter of which focuses on reusing 3D heritage content within the European Data Space. Complementary Horizon Europe projects, including 3DBigDataSpace, EUreka3D-XR, ARTEMIS, StratiGraph and Textailes, emphasised interoperability, shared standards and collaboration across EU-funded initiatives.

In the afternoon, sessions chaired by Marco Medici explored best practices for introducing 3D technology in cultural institutions. Topics included mass digitisation workflows, dynamic 3D collections, accessibility for visually impaired audiences, and strategies for institutional engagement. The day concluded with a focus on storage solutions, web viewers, and heritage data management, including updates on 3D-heritage.eu and the Share3D Dashboard. These updates effectively bridge the gap between policy, technical infrastructure, and practical implementation.

Day 2: Hands-on Digitisation and Applied Workflows

The second day shifted the focus from strategy to practical, hands-on learning. A select group of participants joined an intensive workshop led by Fabio Remondino and Elisa Mariarosaria Farella (FBK), working directly with museum artefacts. They explored photogrammetry, structured light scanning, and Gaussian splatting, while sessions on XR storytelling from the Netherlands’ Sound and Vision Institute demonstrated immersive approaches tailored for cultural heritage. The workshops provided insight into the technical choices and best practices that institutions encounter when implementing 3D digitisation projects in the real world.

Day 3: From Capture to Publication

On the final day, the 3D workflow was concluded, covering everything from capture to dissemination. Participants reviewed digitisation techniques and visited the Plaster Cast Workshop, where they explored the historical role of plaster casts in reproducing and sharing artworks. They also reflected on the parallels with contemporary 3D reproduction for access, education and reuse. The final session focused on capturing, licensing, storing and publishing metadata via the Share3D Dashboard, providing participants with hands-on experience of managing and sharing 3D cultural heritage data. By the end of the Winter School, participants had gained experience of the entire lifecycle of a 3D cultural heritage project, integrating theory, technology, and institutional practice.

Beyond the Winter School – Building Long-Term Capacity

Reflecting on the event, Marco Medici emphasised the broader role of the Winter School within the 3D-4CH Online Competence Centre:

“The Winter School demonstrated what the 3D-4CH Online Competence Centre is designed to do: connect policy, research and hands-on practice. What matters now is continuity — supporting professionals beyond the event, strengthening skills over time, and ensuring that 3D technologies become an integrated and sustainable part of everyday heritage work across Europe.”

The first 3D-4CH Winter School has set a strong foundation for future seasonal schools and training activities, supporting cross-European collaboration and strengthening skills in 3D cultural heritage.

We would like to express our sincere gratitude to all consortium members, museum colleagues, trainers, and participants who contributed to the success of the Winter School.

Missed the Winter School? Recordings from Day 1 will be available soon, offering insights into European policy, best practices, and the future of 3D cultural heritage.

The project “3D-4CH — Online 3D Competence Center for Cultural Heritage” is implemented in Ukraine by the NGO “Pixelated Realities”, a partner of the 3D-4CH consortium, and co-financed by the European Commission under the Digital Europe Programme.

In accordance with Ukrainian legislation, the project is registered as international technical assistance, with the Ministry of Culture and Information Policy of Ukraine indicated as the beneficiary.

Сообщение 3D-4CH Winter School 2026: From Strategy to Practice появились сначала на Pixelated Realities.

As Europeana works to support the digital cultural heritage of Ukraine and advance 3D in the common European data space for cultural heritage, we are delighted that 3D models from the Museum of Ukrainian Victory are now available on Europeana.eu.

Okhtyrka City Museum of Local Lore, Sumy region

Cultural heritage under threat in Ukraine

Making cultural heritage available for future generations to enjoy and be inspired by is a major public policy goal in the European Union. 3D technologies offer unprecedented opportunities to advance this objective, widening access to culture, supporting digital preservation and fostering the reuse of Europe’s cultural assets.

The potential of 3D models of heritage sites and objects to document, preserve and share cultural artefacts becomes even more potent when it comes to heritage at risk of destruction from climate change, natural disaster or conflict. Sadly, this is the case for the rich cultural heritage of Ukraine, which has been stolen, destroyed or displaced as a result of Russia’s full-scale invasion. As of 7 January 2026, UNESCO has verified 515 cultural sites as damaged in Ukraine, alongside thousands of cultural heritage institutions and artefacts.

The Northern Gate, Kherson city 

Ukrainian 3D models on Europeana.eu

Against this background, a collaboration between Pixelated Realities, a non-governmental organisation running projects funded by the European Commission, and the EU-funded XRculture and 3D-4CH Online Competence Centre projects has seen the aggregation of the first 3D models from their Museum of Ukrainian Victory to Europeana.eu. The publication of models from the Museum enriches both the high-quality 3D data and the Ukrainian cultural heritage data which Europeana.eu makes available, and makes them available to researchers, educators, creatives and citizens over Europe.

As the 3D-4CH project explains, ‘These first published 3D models originate from the Museum of Ukrainian Victory initiative and include outdoor sculptures and heritage sites from Odesa, Kherson, Kharkiv, and Sumy regions… The cultural heritage objects were captured through emergency photogrammetry workflows conducted by trained conflict reporters with subsequent 3D processing carried out in Odesa. The models are part of a wider collection of more than 30 objects documented for the Museum of Ukrainian Victory in 2022 and early 2023.’

The Polovtsian warrior statues (Polovtsian babas)

Expert collaborators

The three initiatives involved in the publication of the models on Europeana.eu are expertly placed for this work. Pixelated Realities works to improve the methods of preserving cultural heritage, including the use of 3D scanning, digital production, virtual and augmented reality, in particular preserving Ukraine’s cultural heritage through initiatives like the Museum of Ukrainian Victory.

XRCulture uses innovative technologies to boost the availability of high-quality 3D and XR content in the data space. Targeting diverse use cases—such as preservation education and tourism—the project harnesses advanced AI tools for 3D model generation and improvement and provides an open framework for 3D visualisation.

The 3D-4CH project champions advanced 3D technologies in cultural heritage preservation and education, ensuring sustainability, accessibility and cooperation. The project has established the online Competence Centre for 3D heritage, focusing on the preservation, digitisation and knowledge transfer of cultural heritage in the EU and Ukraine.

Support from the Europeana Initiative

The Europeana Initiative is proud to be a partner in the XR-Culture and 3D-4CH projects, and to be working more widely to support the Ukrainian cultural heritage sector across the Initiative as a whole.

Speaking to the 3D-4CH project, Valentine Charles, Technical Director of the Europeana Foundation, says, ‘Together with our partners — the data space consortium, the European Commission and Member States — we are shaping the data space as the main entry point for cultural heritage data. Expanding high-quality 3D content is a priority for the years ahead. Guided by the principles of diversity and inclusion, we are committed to ensuring Ukraine’s heritage is duly represented. Building on previous work, such as the Europeana Initiative’s Supporting the digital cultural heritage of Ukraine Working Group, this step strengthens digital capacity for Ukrainian institutions while bringing 3D Ukrainian content to a wider audience.’

Sofie Taes says, ‘As Chair of the Europeana Network Association – which includes several Ukrainian members – I see these 3D initiatives as a vital expression of our ongoing connection and solidarity with Ukrainian colleagues. These models and representations allow us to jointly visit, contemplate and cherish landmarks that shape Ukrainian cultural identity, even when physical access is threatened or impossible. As Chair of Europeana’s Supporting the digital cultural heritage of Ukraine Working Group, I had the opportunity to interview Ms Anastasia Bondar (Deputy Minister for Digital Development, Digital Transformations and Digitalisation at Ukraine’s Ministry of Culture and Information Policy) at the Europeana Conference in Warsaw last year, where she underlined the strategic importance of cultural heritage and urged us not to let Ukraine’s voice be silenced. This work responds directly to that call, using powerful 3D visuals to give digital substance to a shared spirit of togetherness.’

Kerstin Arnold, Chair of the Europeana Aggregators’ Forum says, ‘One objective of our network of aggregating and data sharing services is the exchange of knowledge and expertise. This applies to the EAF’s current members, the cultural heritage institutions and professionals they work with and to other actors in the sector with the aim to support them in our shared mission of democratising access to cultural heritage and of ensuring the best data quality possible in doing so. Via the 3D-4CH project, which includes aggregators such as CARARE (Connecting Archaeology And Architecture In Europe), the European Fashion Heritage Association, the Michael Culture Association and the Netherlands Institute for Sound and Vision, we were able to focus specifically on supporting the cultural heritage sector in Ukraine and I am excited to see the first results of this work on Europeana.eu.’

The Monument to T.G. Shevchenko, Kharkiv

Looking to the future

The 3D-4CH project outlines how, ‘Building on this successful pilot, Pixelated Realities – partner of the 3D-4CH Online Competence Centre – will contribute approximately 40 additional 3D models to Europeana this year. An open call will further invite Ukrainian cultural heritage institutions to share existing 3D assets via Europeana, expanding the representation of Ukrainian heritage within international digital infrastructures… This effort is also an important step toward the long-term plans to establish a national Europeana aggregator based on the Register of the Museum Fund of Ukraine. This aggregator will serve as a key national hub, connecting Ukrainian museum collections more directly with European digital platforms and infrastructures.’Explore the Ukrainian 3D models on Europeana.eu and learn more about the work of Pixelated Realities. We also invite you to explore how Europeana is supporting the digital cultural heritage of Ukraine through its dedicated Working Group and increasing the 3D models made available via the data space through the Twin it! Part II campaign.

Original article on Europeana.eu.

Сообщение Ukrainian cultural heritage published in 3D on Europeana.eu for the first time появились сначала на Pixelated Realities.

Pixelated Realities has joined Europeana, Europe’s main digital platform for cultural heritage, with its first 3D objects now publicly available online. This marks an important step toward enriching the representation of Ukrainian cultural heritage in major European digital collections.​

3D objects on Europeana

The first items published are 3D models from the Museum of Ukrainian Victory, created by the Pixelated Realities team within international collaborations. These models can already be explored online via Europeana at this link. 

The current selection on Europeana includes outdoor sculptures and heritage sites from Odesa, Kherson, Kharkiv and Sumy regions:

• Statue of Duke de Richelieu in Sand Bags and as an original version
• Lioness and Lion of the Odesa City Garden (sculptor Auguste Caїn)
• Taras Shevchenko monument, Odesa
• Taras Shevchenko Monument in Sand Bags, Kharkiv
• The Polovtsian warrior statues of Izium (Polovtsian babas), Kharkiv region
• The Northern Gate of Kherson fortress, Kherson
• Okhtyrka City Museum of Local Lore, Sumy region

These models are part of a wider collection of more than 30 objects documented for the Museum of Ukrainian Victory initiative in 2022 and early 2023 with the support of conflict reporters, who received training and then carried out emergency photogrammetry scanning in the field before the images were processed into 3D models in Odesa.

Contribution to Europe’s digital heritage

Europeana brings together over 50 million digital objects from around 3,500 cultural institutions across Europe, making cultural heritage openly accessible and preserved for future generations. By contributing high‑quality 3D content, Pixelated Realities helps ensure that stories and objects from Ukraine become an integral part of this shared European digital space.​

Powered by XRculture and 3D-4CH

The publication of these models on Europeana is part of the activities of the XRculture project and the 3D‑4CH consortium, which focus on advancing 3D digitisation and reuse of cultural heritage across Europe. Their technical frameworks and workflows support the aggregation, optimisation, and sharing of complex 3D data for open access platforms like Europeana.​

Future expansions and national aggregation for Ukraine

Starting next year, building on this pilot aggregation, Pixelated Realities PO will add around 40 more of its 3D models to Europeana through the same partnership and workflow. In parallel, an open call will be launched for Ukrainian organisations that already have CH 3D models and wish to share them via Europeana, expanding the visibility of Ukraine’s cultural heritage in European and global digital spaces.

This initiative is also an important step toward the future development of a national Europeana aggregator based on the Register of the Museum Fund of Ukraine, which will serve as the key national hub for connecting Ukrainian museum collections with European digital infrastructures.

Read more on XRculture

More details about this milestone and the broader collaboration are available in the news article on the XRculture website: “The first objects from Pixelated Realities are now available on Europeana — the first steps toward enriching the collections from Ukraine”.

Сообщение The first 3D objects from Pixelated Realities are now available on Europeana  появились сначала на Pixelated Realities.

In the Polish city of Bielsko-Biała, the 15th Culture Next Conference — one of the key events for urban cultural initiatives in Europe — has come to an end.
This year, the Ukrainian delegation from Odesa included Olena Iliasova, Acting Director of the Municipal Museum of Personal Collections named after O. V. Bleschunov (Odesa), and Iana Boitsova, Head of the Pixelated Realities PO and coordinator of European cultural projects.

The event took place from 15 to 17 October 2025, bringing together representatives from 44 cities working to promote culture and well-being in their communities.
On 16 October, an open day was held dedicated to the theme “Culture and Well-being.” Participants attended inspiring talks by international experts, including a presentation by an Australian researcher on the direct positive impact of art on health and well-being, as well as on cross-sectoral collaborations between the fields of health and culture.

Discussions focused on audience engagement practices and methods of supporting mental health through art. For example, Darren Abrahams — performer, trauma therapist, coach, and workshop leader — spoke about his orchestra, which helps integrate people living in migration centers through music. He also works in Ukraine as an art therapy consultant for veterans and wounded soldiers at a rehabilitation center in Lviv.

The day’s highlights included panel discussions, artistic performances, networking sessions, relaxation concerts, autumn forest walks, and movement therapy workshops.
During the pitching session, Odesa presented its work on the Cultural Development Strategy 2030 and invited cities working on transforming their cultural and historical narratives to potential collaboration. The Municipal Museum of Personal Collections named after O. V. Bleschunov introduced its new comic book “Odesa. A Museum War Diary”, which uses cat-like characters to tell stories about the first three years of the full-scale invasion, aimed at audiences aged 12 and up.

“Odesa is a city that is only beginning to explore the possibility of applying for the title of European Capital of Culture. We are working on building new partnerships and support, as well as introducing city institutions and cultural organizations to the principles and benefits of this initiative,” — said Iana Boitsova. “We hope that next year a new call will be announced for countries outside the EU, and Odesa will have the opportunity to apply for the title of European Capital of Culture.”

On 17 October, the conference focused on networking and experience exchange among Culture Next member cities, sharing best practices in implementing European cultural programs. A special session was organized for the delegation from Odesa and representatives of other cities, including mobility marketing, “therapeutic sessions” for cities at different stages of the European Capital of Culture process, and thematic excursions — street art, architectural heritage, the Foto Art Festival, and a library for children with special needs.

As part of the visit, a meeting was held with the Museum of the Dukes Sułkowski Castle, where future cooperation in exhibitions and joint research was discussed. The Municipal Museum of Personal Collections named after O. V. Bleschunov holds in its collection a unique item from the Sułkowski dinner set — one of the first in Europe created for use rather than decoration. Researchers from Bielsko-Biała were able to identify it thanks to its digitization for an online catalog.

It is worth noting that the official Culture Next website already features a dedicated page about Odesa as an active member city of the network. You can find more information at: https://culturenext.eu/city/odesa-4/

Сообщение Culture Next on Odesa’s opportunities to apply for the title of European Capital of Culture появились сначала на Pixelated Realities.

The Ukrainian creative team Pixelated Realities, consisting of Fedir Boitsov, Alik Kadoum and Iana Boitsova, and co-curated by Alona Karavai presented a new installation, Kolotanz, at the Festival of Future Nows, which took place from October 31 to November 2, 2025, at the Neue Nationalgalerie in Berlin.

The third edition of the festival brought together around 100 international artists and collectives, offering an extensive program of performances, happenings, sound and audio works, choreographies, dance, workshops, and artistic interventions. Organized in partnership between the Neue Nationalgalerie and the Institut für Raumexperimente, and supported by the Hauptstadtkulturfonds and the American Academy in Berlin, the festival continued its mission to serve as a laboratory for contemporary art and future-oriented thought.

Kolotanz explores the question:

What role does digitized heritage play in shaping the identity of the human being of tomorrow? Can digital preservation help us remain true to ourselves? In the museum of the future, who will gaze upon a digital artifact, and what will they feel — especially when the fate of the original remains uncertain?

Kolotanz consists of an interactive installation and video Before War – After War. The artworks are exploring 3D scanning documentation of Martynov Palace of Culture in Bakhmut, 2023, before the occupation, and the first exhibition of Odesa National Fine Arts Museum after the full-scale russian aggression against Ukraine in 2022.

Kolotanz is inspired by ancient Indo-European pagan traditions that mark the renewal of life and the beginning of the season each May. This duality—celebration and sorrow, homecoming and parting—lies at the heart of Kolotanz.

“Museum spaces, cultural centers, their interiors and collections are deeply embedded in local identity. The processes of dismantling, evacuating, and conserving collections — whether to protect them from looting, natural disasters, or war — are profoundly unsettling for communities who continue to live amid danger”, said Iana Boitsova, Head of the Pixelated Realities PO. “Across the world, cultural heritage becomes a site of both vulnerability and resilience during conflict. When international heritage is threatened in a distant land, who bears the loss? And when a digital copy becomes the only surviving trace, does it transform into the artifact itself?”.

The work merges the atmosphere of a classical artifact museum with that of a contemporary gallery, creating a hybrid space where boundaries between past and present dissolve. Kolotanz features digitized heritage sites alongside contemporary Ukrainian art, exploring two temporalities — before and after the war. This concept builds upon the earlier works first presented in 2022 in Lviv at the Museum of Ukrainian Victory exhibition.

Сообщение Pixelated Realities presented installation Kolotanz at the Festival of Future Nows 2025 появились сначала на Pixelated Realities.

On September 16, 2025, the 3D-4CH consortium held online meeting to review project progress, discuss ongoing activities, and plan future steps. The meeting brought together partners from multiple organizations to provide updates on each work package and ensure continued collaboration.

Project manager, Marco Medici, opened the session with a timeline that set the tone for the day. Looking back at the past six months, it was encouraging to see how much has been accomplished as a team: from participation at Digital Heritage 2025 in Siena and the Europeana Conference in Warsaw, to the launch of two important surveys, and the successful organization of an online stakeholder panel and advisory board meeting. Another key milestone has been the submission of five deliverables in July, which marks a significant step forward in the project’s journey.

The 3D-4CH consortium continues to advance its mission to enhance 3D technologies in cultural heritage through collaborative research, training, and shared infrastructure, reinforcing its commitment to innovation and sustainable impact across Europe.

Pixelated Realities PO actively participated in the development of the training curriculum and prepared materials for the Good Practices review. In addition to this, the team continues to advance its work across the core areas of the project’s work packages, contributing expertise and resources to ensure progress in 3D cultural heritage digitization, capacity building, and dissemination efforts. The team of Pixelated Realities also joined the development of the State-of-the-Art report on 3D heritage tools and methodologies, which is planned for publication and dissemination, including a Ukrainian language version. 

The project “3D-4CH — Online 3D Competence Centre for Cultural Heritage” is implemented by the public organisation Pixelated Realities, acting as a consortium partner, and is funded by the European Commission under the Digital Europe Programme. The project’s beneficiary in Ukraine is the Ministry of Culture and Strategic Communications of Ukraine.

Сообщение 3D-4CH Consortium held a half-year summary meeting появились сначала на Pixelated Realities.