The meeting of the representatives of Desk Creative Europe of all the countries participating in the program was held in Brussels from 20. to 22. October 2014. In addition to the representatives of the European Union countries, the meeting was attended by representatives of Serbia, Bosnia and Herzegovina and Montenegro, which have recently signed the agreement on participation in the program, as well as Georgia, the state that has yet to sign a contract of participation.
The meeting was organized to discuss the mutual strategy of action of Desks, reassess previous practices and the possibilities of development of new opportunities, but it was concerned about the relevant topics in the field of cultural policy and artistic production: the mobility of artists, audience development, creative industries and entrepreneurship in culture, advocacy and promotion of mutual European values.
In addition to having discussion on the priorities of the Creative Europe program, the meeting attendants touched other EU programs (COSME, Horizon), the subprogram Media with a particular focus on video games, competition procedures and the most common errors in applications of the organizations that are the applicants for financial assistance programs . There were also significant discussions about the development opportunities of projects related to cultural heritage, as well as the visibility of the supported projects. It was concluded that raising the public visibility of projects is of outstanding importance, and that, among other things, can be achieved by developing innovative approaches to audience.
Given project unites the strength of 17 cultural heritage preserving institutions and universities from 12 European countries. Reinforcing the linking of said institutions with their immediate communities and thereby effect a firm sense of cultural, historic awareness not only on a national but even more on a transnational, Europe-wide level, fortifies this project’s striving. The majority of the consortium can already look back at long-lasting, well-established partnerships and co-operations within the community of ICARUS (International Centre for Archival Research; http://icar-us.eu) and the ENArC Project (European Network on Archival Cooperation; http://enarc.icar-us.eu; project duration 2010–2015). This circumstance proves to be the ideal structural prerequisite to successfully and sustainably implement this project’s goals.
Though cultural institutions archive and safe-guard common European historical roots and their unfolding historic narrative, these institutions only peripherally reach the populace, i.e. exactly those people and communities that are the integral creators of historic chronologies and therefore should be encouraged and enabled to explore their history. Activities which invite communities to get involved in creatively exploring and effecting their history are the encouraging catalysts to opening archival material up to the public. Essential motivator for this project is therefore the bridging of archival institutions with their communities, i.e. converge the public with professionals and harvest each other’s educational potential to the fullest, create transnational awareness and kinship – in short: fuse the history originators with the history preserving institutions.
The close cooperation between archival institutions and universities will furthermore result in educational activities addressing users and future generations of professionals, i.e. the professionalization of players through close interaction. The active fostering of this sense of teamwork will release the full potential of creating European cultural and historic awareness and thus pointedly co-shape the future of our European culture in a team effort.
Historical sources are not only invaluable for historiography; they have also been instrumental for the construction of collective cultural memories and subsequently of national identities all over Europe. This project aims at establishing a sustainable and permanent, institutionalized network which unites the capacities of an audience and institutions. By encouraging active involvement in and awareness of our shared history, undeniably marginalized historic content and witnesses can be brought into light, i.e. private collections, and feed into the public perception of their historiography. Furthermore, the connection between archival institutions and the populace through means of creative media will enable innovative and inspiring approaches towards archival material and open up new perspectives on our history and our future.
Hessian State Archives, Marburg (lead partner)
International Centre for Archival Research, Vienna
National Archives of Hungary, Budapest
Budapest City Archives
National Archives of the Czech Republic, Prague
Croatian State Archives, Zagreb
Swedish National Archives, Stockholm
Finnish National Archives, Helsinki
National Archives of Estonia, Tallinn
General Directorate of Bavarian State Archives, Munich
Archive of the Diocese of St. Pölten
Ecclesiastical Historical Archives of Biscay, Bilbao
Complutense University of Madrid
University Federico II of Naples
University of Graz
University of Cologne
Institute for Balkan Studies of the Serbian Academy of Sciences and Arts, Belgrade
Virtual Sets: Creating and promoting virtual sets for the performing arts
The general objective of the ViSet project is to promote the use of advanced digital technologies in various art forms and various cultural circumstances, to demonstrate the many social, economic, commercial and cultural advantages of these technologies for the arts. We will do so by promoting the use of virtual stage sets, including the use of interactive technologies, Virtual and Augmented Reality and remote-controlled applications, in performing arts. We will do so by creating a network of cultural operators capable of using new technologies for the performing arts (“providers”) linked in an online community with interested stakeholders such as festival organisers and theatres (“users”).
Performing the museum is built on the initial resources of the institutions collaborating on the project and based on different practices, some set on tradition and the already established working methods and others seeking a different methodology, resulting in experimental practices.
The museums participating on the project aim at re-evaluating and rethinking their resources: archives, collections, and working methods, in order to develop their potentials by creating knowledge and connecting to various types of audiences. The traditional roles of the contemporary museum are changing. Its most important activities are no longer merely storage, studying, and exhibiting of artworks, but also an active involvement with the museum’s audience. For this reason, the project will develop combination of exhibitions and educational programmes based on the participatory approach, intended for both the audience and the staff. Creation of knowledge, based on the non-hegemonic, emancipatory principle is one of the strategic orientations of all the participating museums.
The participating museums connected through the project represent different histories as well as different contemporary realities. Three of the museums share a part of their political history, but on very different localities. Museum of Contemporary Art Zagreb (MSU) was founded in 1954. During the 1960’s and the 1970’s, it was considered one of the most progressive institution in this part of Europe, and the birthplace of the European and international neo-avantgarde movement New Tendencies. Today its exciting 60-year long history can be read through the permanent collection displayed in the new building.Koroška Gallery of Fine Arts is a regional museum of modern and contemporary art based in the northern part of Slovenia, with a strong tradition in organizing international exhibitions of engaged art in the 1960’s and 1970’s, which today establishes its identity through a critical assessment of past practices within the present situation. The Museum of Contemporary Art in Novi Sad was founded in 1966. Museum of Contemporary Art Vojvodina in Novi Sad carries out various activities in different areas of contemporary art and is starting to take the role of a regional leader in this field, with an important place in current developments and movements in contemporary art in the region, as well as in international art cooperation and exchange. Fundació Antoni Tàpies was created in 1984 by artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art. The Fundació takes a pluralist, interdisciplinary approach and aims at setting up cooperative ventures with experts from various fields of learning in order to contribute to a better understanding of the contemporary art and culture.
What is common to all the partners is a rich past documented in artistic archives and museum archives, as well as their methodology and the initiative to rethink these resources in order to discover new approaches and working methods.
Museum of Contemporary Art Zagreb (project leader)
Museum of Contemporary Art Vojvodina, Novi Sad
Koroška Gallery of Fine Arts, Slovenj Gradec
Fundació Antoni Tàpies, Barcelona
Activities of local institutions and organizations in culture, which goal is the connection and development of the European cooperation, shall be supported by realization of thirteen projects within the Program Creative Europe and competition for projects of European cooperation, opened in March, 2014.
From a total number of twenty one projects of European cooperation (projects of larger scope, category 2), local institutions and organizations shall participate in six of them: Community as Opportunity – Creative archives’ and users’ network, Institute for Balkan Studies SANU; Departures and arrivals, Service for Contemporary Dance “Stanica”; Corners – turning Europe inside out, Foundation “Fund B92“; European Digital Art and Science Network, Centre for promotion of science; Ceramics and its dimensions, Museum of Applied Arts and Human Cities – Challenging the city scale, Citizens Association “Nedelja dizajna”. Achieved amounts per project are from 1.097.250,00 EUR up to 1.990.078,00 EUR.
Six projects and seven organizations and institutions from Serbia got the support within the competitions for projects of European cooperation of smaller scale: Faculty for Management and Kulturanova, Virtual Sets: Creating and promoting virtual sets for the performing arts, Ilija M. Kolarac Foundation, Take Over, Mixer House, Balkan Design Week, Museum of Yugoslav History, Heroes we love – Ideology, Identity and Socialist Art in New Europe, Museum of Contemporary Art of Vojvodina, Performing the Museum, Ring ring, European Traditions in cultural Heritage and Performances. All projects achieved the support in the amount of 198.000,00 up to 200.000,00 EUR.
With a total of sixty-three supported publishing houses of which eighteen come from Serbia, six local publishers gained support for the realization of a two-year project within the Program Creative Europe, competition for literary translation in 2014: Darkvud d.o.o, Translation of 8 Works of the Ninth Art into Serbian; Publishing house “Klio”, Grail on water; Geopoetika Publishing, Identity Search Project,; Publishing house “Sezam books“, Many stories of history – translation of seven books in Serbian; Independent agency for publishing “Odiseja“, Awarded European Children’s Writers; Publishing house “Heliks“, Identities: the persistence of search for human values in European literature.
Great commitment and success of local publishers is illustrated by the data on the success of projects from other countries: Bulgaria (26:9), Spain (22:7), Croatia (18:3), Slovenia (18:3), Macedonia (14:5), Italy (17:6), Great Britain (8:2), France (8:2), Poland (6:1), Czech Republic (5:1), Denmark (5:1), Germany, Portugal (3:0), Sweden (3:0), Turkey (3:0), etc. In other words, Serbia took the third place among the list of states which participated in the competition of projects of literary translations.
Publishers from Serbia got the financial support in the amount of 241.211,00 EUR.
CORNERS is a platform for artists and audiences, designed and driven by cultural organizations at the edges of Europe.
CORNERS creates opportunities for artists and researchers to produce multidisciplinary contemporary artistic and cultural collaborative projects. The objective is to enable exchange across geographical, political, and economic divisions. Since 2011, more than 50 artists and researchers (and the number grows) have met through CORNERS, as well as more than 30 organizations and institutions as partners and collaborators. Together with new artists and researchers joining the project, they will continue to explore the outskirts of Europe and co-create artistic projects across borders of artistic disciplines in order to bring stories from one corner of Europe into another. Co-creations will be gathered in different places across Europe, where artists and their audiences will inhabit unusual and public spaces, using partners’ cities as their stages: Umeå and Stockholm (SE), Ljubljana (SI), Gdansk (PO), Belgrade (RS), Zagreb and Rijeka (HR), Donostia / San Sebastian (Basque Country, ES), Belfast (Northern Ireland, UK), Middlesbrough and Northumberland (England, UK), and Prizren (Kosovo).
The total budget for the project is 2.566.000 EUR, half of this amount will be covered from Creative Europe, and the other half will be secured from local funds by CORNERS Partners.
The support from Creative Europe programme is giving us the opportunity to continue building our platform, to make it more vivid and diverse. We will continue to connect artists in co-creations, encounter new regions, meet and engage new audiences in arts and culture. For the next 3.5 years, starting from 1 September 2014, eleven partners will work together: Intercult (Sweden), Pogon and Drugo More (Croatia), Exodos (Slovenia), Arts Council Northern Ireland and ISIS Arts (UK), City Culture Institute/ Gdańsk (Poland), Donostia/ San Sebastián 2016 (Basque Country/ Spain), Cultural Centre REX (Serbia), Teatro Pubblico Pugliese (Italy), and DokuFest (Kosovo). First partners meeting was held in Zagreb on 15 and 16 September 2014.
We enter a new phase – from “research and development” to “cultural action”.
Photo and video materials available at:
In line with Darkwood’s mission to broaden and engage readership of all generations and spheres of interest in the Ninth Art, the proposed works were chosen accordingly, bearing in mind their artistic, narrative and, in certain cases, historic value.
By selecting the works of some of the most renowned European comic book authors, such as Neil Gaiman, Alan Moore, Jacques Tardi and Joann Sfar, who have achieved recognition and success both within as well as outside the field of comics, Darkwood looks to attract a wide-ranged audience and inspire them to “dive deeper” and discover the gems waiting to be explored in the realm of the Ninth Art.
Some of the proposed works are continuations of series that have already won over the readership in Serbia and the region, such as Gaiman’s “Sandman” and Moore’s “Saga of the Swamp Thing”. Some are truly Ninth Art classics, thoroughly deserving of their premiere edition in Serbia, examples of this being Toppi’s “Il Collezionista” and Battaglia’s “L’Uomo della Legione”. Others, such as Tardi’s “Moi René Tardi, prisonnier de guerre au Stalag II B” and Sfar’s “Le Chat du Rabbin” are of more recent origin, but thanks to universal messages they carry can certainly be regarded as timeless. Some may spark the imagination with tales of enchantment and fantasy in “The Books of Magic”, while others may bring back fond memories of old, beloved characters in Franquin’s “Spirou et Fantasio – Hors série” among generations who refuse to grow up and grow old.
The proposed works span over a time frame from before World War II to as recently as 2012 and include authors from France, United Kingdom, Belgium and Italy. Regardless of the period of their creation or the language they were written in, they all share one thing in common – they speak a universal language, a language that is comprehensible no matter the decade or meridian we live in, conveying messages that surpass the barriers of time or place they were created in.