Följ med Intercult till Culture Action Europes nästa konferens i Bryssel[eng]Join Intercult at Culture Action Europes next conference in Brussels[/eng]

Snart håller Culture Action Europe konferensen The Time is Now i Bryssel den 7-9 Oktober.
Mötet är intressant för er som jobbar med policyfrågor och organisationsutveckling inom och av kultursektorn. Vi på Intercult kommer att närvara under hela mötet och vill härmed inbjuda dig att följa mötet tillsammans med oss. Vi har en bra insyn i de kulturpolitiska processerna som sker i Europa idag och tror att vi kan bidra med att säkra upp ditt besök med information och kontaktarbete. Vi ser också fram emot att samla ett antal svenska aktörer så att våra reflektioner och eventuella aktioner blir starkare och mer direkt förankrade i det svenska kulturlandskapet.

Hör av dig till till Ida Burén, verksamhetsledare på Intercult, senast den 8 september om du är intresserad av att göra mötet tillsammans med oss. Resan sker på egen bekostnad.[eng]The Culture Action Europe conference The Time is Now will be held in Brussels 7-9 October.

The meeting is interesting for those of you who work with policy issues and organisational development of and within the culture sector. Intercult will be present during the whole conference and would like to invite Swedish organisations to join us. We have a good insight into the culture policy processes in Europe and believe that we can contribute with both information and contacts to make the trip worth while. We also look forwards to gathering a group of Swedish proffesionals so that our reflections and possible actions become stronger and more directly connected to Sweden’s culture landscape.

Please contact Ida Burén, managing director at Intercult, by 8 September, if you are interested in attending the conference together with us.[/eng]

Deadlines för EUs Kulturprogram under hösten

Man vet att hösten är här när deadline efter deadline för EU-programmen närmar sig. 15 september är det dags för Kulturprogrammets Strand 2 för organisationer som är aktiva på europeisk nivå. 1 oktober är det dags för europeiska samarbetsprojekt, och 15 november kan alla ni som driver internationella festivaler lämna in er ansökan. För att läsa in dig på kriterier, finansieringsmöjligheter och schema, klicka på följdande länkar.

http://eacea.ec.europa.eu/culture/index_en.php

http://eacea.ec.europa.eu/culture/funding/2010/index_en.php

Har du frågor om ansökningsförfarandet kan du ta kontakt med Kulturkontakt Sverige eller kontakta oss på Europeiskt Resurscentrum för Kultur

Chrissie Faniadis kommenterar i SvDs artikel “Sverige sämst på att söka EU-stöd”[eng]Chrissie Faniadis comments on why so few EU applications come from Sweden in Svenska Dagbladet[/eng]

Svenska Dagbladet uppmärksammar en EU rapport om vilka som söker Eus kulturprogram och hur pengarna fördelas. Chrissie Faniadis, koordinator för vårt Europeiskt Resurscentrum för Kultur kommenterar läget.[eng]The Swedish national newspaper Svenska Dagbladet write about EU’s annual report (in Swedish) on who applies to and receives funding from the Culture program. Sweden has up until now been providing a meager one application per 100 applicants. Chrissie Faniadis, coordinator of our European Resource Center for Culture comments that one of the reason why there are so few applicants is that there are no guarantee funds in Sweden.[/eng]

Kulturbonus på 250 000kr från Stockholm Stad till Intercult[eng]Stockholm Stad give a culture bonus of 250 000 SEK to Intercult[/eng]

Intercult har fått del av Stockholm Stads kulturbonus på hela en kvarts miljon kronor. Ida Burén, verksamhetsledare på Intercult, säger att det är ett välkommet tillskott för att genomföra höstens konferens Re:Imagining Cultural Space. Kulturbonusen är en omstridd stödform i Stockholms kulturliv. Läs mer om vilka som fick bonus i år och synpunkter om bonusen i DNs artikel.[eng]Intercult has received the so called culture bonus from Stockholm Stad. The sum of 250 000 SEK is the highest bonus and it has been given to  Intercult and two other organisations, Orionteatern and Folkoperan. Organisations within the Stockholm culture life that perform better in comparison to the prior year can get the bonus. Audience figures including youth audiences, other sources of financing and own income are the factors that decide the size of the bonus. This form of support is debated, and many culture operators question the logic behind the bonus.[/eng]

Re:Imagining Cultural Space [eng]Re:Imagining Cultural Space[/eng]

17-19 November, Orionteatern, Stockholm. Konferensen och ett nordiskt lab samlade 170 deltagare på Orionteatern i Stockholm, 17-19 November. 25 talare och panelister från Sverige och Europa, samt ytterligare representanter från 25 organisationer i Norden och Baltikum var särskilt inbjudna. En del av SEAS X Stockholm som presenterade två verk från projektet Black/North SEAS.

Gå direkt till konferensens webbplats>>

Vi ställs inför en omvälvande förändring. Mötet med konst äger rum i helt nya lokaler. Tillfälliga platser, föränderliga platser, offentliga platser. Vad betyder det för hur vi organiserar vårt kulturliv? Är stora institutionella ”hus för konstformer” den rimligaste strukturen? Många kulturoperatörer idag tänker flexibelt, de söker andra villkor för mötet mellan publik och konst. Vad betyder det för kulturpolitiken? Vilka nya stödformer och strategier behövs för att möta de nya kraven?

Flexibla mötesplatser varierar från tillfälligt bruk (offentliga installationer, och mobila scener) till kulturell återanvändning av post-industriella byggnader. Organisationsformerna är ofta kooperativa och kollektiva, produktioner görs utan egna, kostsamma arenor. Rörlighet, community arts, ett medvetet engagemang förändrar både praktik och estetik.

Under 1900-talet skapades kulturinstitutioner utifrån idéer som tillgänglighet, demokrati, bildning och upprätthållandet av en national identitet. Oberoende kulturinitiativ arbetar kontinuerligt med att utmana och anpassa dessa grundläggande värderingar. Hur kan en diversifierad kulturekologi uppmuntras?

Konferensen undersöker en kulturpolitik i förändring och sätter det i relation till behov bland flexibla initiativ i Europa.

Konferensen samlar representanter från kultursektorn, tjänstemän och beslutsfattare, curators, konstnärer med flera. Programmet bygger på två teman:

  • “Innovative Spaces for Art – mapping current practice in Europe”
  • “Sustainable policies for flexible spaces and artistic structures”

Den tredje dagen tillägnas ett nordiskt lab om de specifika omständigheterna i Norden och de kommande årens hetaste frågor för kultursektorn. I mindre grupper kommer Delatagare från Norden och Baltikum att fördjupa diskussionerna från de föregående dagarna.

Gå till konferensens webbplats >>

[eng]

17-19 November, Orionteatern, Stockholm
An international conference and laboratory on the policy and practice of flexible art spaces and post-institutional cultural organisations in Europe

Go to the programme and registration on the Re:Imagining Cultural Space web site>>

We explore questions crucial to sustaining adaptable arts and culture spaces in the 21st century. A post-institutional approach is at the core of the programme. Where will art meet audience in the future?

Artists, curators and producers have shifted focus towards more flexible spaces in recent years. Mobility, community and social engagement determine emerging forms of organization and aestethics. Offering a sound alternative to existing cultural institutions, emerging spaces range from temporary use (public installations and mobile stages) to cultural re-cycling of post-industrial space. They are operated collectively, often with no presentation venues of their own: clubbing, community art, and artist-led galleries.

Institutions created during the 20th century share basic ideas: accessibility, popular education and affirmation of national identity. Independent cultural organisations continuously adapt and challenge these fundamental values. How can a diverse cultural ecology be ensured?

The conference will investigate changing policies to encourage and support flexible initiatives that mirror current European artistic practice.

The conference gathers producers, directors, curators, artists, civil servants and policymakers.

The programme is built on two themes :

  • “Innovative Spaces for Art – mapping current practice in Europe”
  • “Sustainable policies for flexible spaces and artistic structures”

The third day of the conference takes the form of a Nordic Lab, focusing on the specific conditions of the Nordic region and what the cultural sector sees as crucial issues. Participants from Nordic and Baltic countries will deepen the discussion of the previous days, in smaller groups.

Go to the programme and registration on the Re:Imagining Cultural Space web site>>

EDI

[/eng]

Black/North SEAS[eng]Black/North SEAS[/eng]

Stockholmprojektet sammanfattar erfarenheter under arbetet med Black/North SEAS, en europeisk plattform för konst som har utvecklats sedan 2006 med generöst stöd från EUs kulturprogram. 18 konstverk/projekt har samproducerats och presenterats på okonventionella platser, i hamnstäder längs med Europas kuster. Temporära festivalstrukturer har anpassats till lokala sammanhang i 13 olika länder.[eng]The Stockholm project summarizes the experience and knowledge inspired by, and connected to, Black/North SEAS, a European arts platform. Developed over a period of 4 years, SEAS was generously financed by the EU Culture Program. In 2003, Intercult initiated the European arts platform SEAS, which since 2007 has focused on artists and artworks from the Black and North Sea regions. Moving between harbour cities as a traveling festival, the platform was presented in cities like Odessa, Istanbul, Varna, Helsingborg/Helsingör, Tromsø, Göteborg and now – in september 2010 – in Batumi, Georgia.

The focus of SEAS has been public space and unconventional performance venues (harbour warehouses, old cinemas, indoor galleries). We have found that new art spaces generate new audiences. We have found that artists are inspired by new relationships between place and art.[/eng]

FFW Dance and Dramaturgy Lab: (Im)personal Narratives

For one week, 10 practitioners from Macedonia, Balkan region and Sweden came together in Skopje/Macedonia, exploring the possibilities that personal and impersonal narratives offer to choreographic works.

move-work-talk-shop and a public presentation
15-20 October 2010
Skopje, Macedonia

Personal narrative as artistic act refers to situations, conventions, identities and experience. The relation between personal narrative and public identity was researched, through autobiographical stories, the performing and composing of identities.

Personal narratives form identities and social matrixes. The relationship between private stories and community memory or history, as well as the embodiment of social and political references through the representation of the body in movement will be the initial point of the research.

Stories of the body told through the body which makes cultural conflict concrete and accessible.” Langellier, Voiceless

The move-work-talk-hop in Skopje explored a variety of dramaturgic models in choreographic work, including but not limited to devised work, documentary work, text-driven work and seeking to experiment with new formats. The lab aim was to inspire initiatives of collaborative art works.

Facilitator

Ivana Ivkovic (Croatia), performing arts researcher and dramaturg working with several regional and international dance companies. Member of performance collective BADco.

Guest lecturers

Mateusz Herczka (dramaturg and artist, Sweden) and Goran Stefanovski (dramaturg and screenwriter, Macedonia/G. Britain)

Participants

Vikorija Ilijoska(Macedonia), Aleksandar Georgiev (Macedonia), Igor Koruga (Serbia), Kliment Poposki (Macedonia), Esta Matković (Macedonia), Anna Asplind (Sweden), Rebecca Chentinell (Sweden), Esta Matkovic (Croatia), Domen Sega (Slovenia), Josefine Larson Olin (Sweden)

What did the participants think?

The evaluation (a questionnaire) responses were appreciative, particularly towards the format that allowed individual and collective input into the process, the cultural diversity of the participants and the democratic approach.

Most of the participants were inspired by the laboratory and have initiated projects with their peers, based on the participation in the laboratory.

Coming from a country and a surrounding where information does not flow easily, participation within the FAST FORWARD programs (both in 2009 and 2010) brought me fresh and qualitative educational inputs with great efficiency. FAST FORWARD functions as a great artistic platform that enables the creation of different artistic collaborations and strong regional and international support.” Igor Koruga, Serbia

The lab had a public presentation during the LocoMotion Festival in Skopje.

Partner

Local partner and co-organizer is Lokomotiva, Skopje

Project management

INTERCULT – Corina Oprea, Project leader

LOKOMOTIVA – Biljana Tanurovska, Local partner

[puff style=pufftext] FFW TEXT
Download the workshop contribution by Goran Stefanovski A Scriptwriting Workshop (PDF)[/puff]

FFW Art and Politics @ October Salon

A lab, a performative dialogue and public talk
October Salon

Monday, October 18, 18-20 h
Milica Tomic and Saskia Holmkvist in dialogue with invited Serbian rooted thinkers, activists and artists.
Friday, October 22, 18-20 h
Milica Tomic and Saskia Holmkvist in a performative dialogue and a public talk on definitions of keywords as democracy, citizenship, civic engagement and the role of art.

Art and Politics  focuses on the artist’s capacity of provoking critical thinking and questioning social and political facts, which often are the inspirational point for artistic work in the Balkans. The need of taking a political position as an artist has been a de facto action for artistic expression in the Balkans and this was mirrored by the position of the invited Swedish artist. To present the relation between a Swedish and a Balkan artist is a way to expose contradictions or assumptions about democracy.

Laboratory

The project’s core was a laboratory setting inviting the Swedish artist Saskia Holmkvist to meet the Serbian artist Milica Tomic for five days. The relation between the two artists was stimulated through a process of critical discussions based on their work, questioning the political and their position towards what makes an artwork political.


Photos from the work of Milica Tomic and Saskia Holmkvist

Performative Dialogue

The 20 minutes performative dialogue brought up the notion of transparency and the conditions of production within the culture sector.

Saskia Holmkvist and Milica Tomic chose for their pursuit, texts published by Swedish Institute (funder of the project) on their website, formulating their mission internationally, texts published by Intercult (executive producer of the project) formulating their mission as an organization, and correspondence between the artists and Corina Oprea, the curator of the project.

Through the performative dialogue, the artists actively responded to the question of a politically engaged work by referring to the context that allows artistic projects to take place, understanding and making visible the mechanisms of production and the power structures.

Public talk

The performative dialogue was followed by a round table with invited Serbian rooted thinkers, activists and artists: Borka Pavicevic (Centre for Culture Decontamination), Vladan Jeremic and Rena Raedle (Biro Beograd), Natasa Lambic – Women in Black.

Some of the issues discussed were:

  • The role of art venues as a platform for political debate including unheard voices.
  • That “politics” means to react immediately, to act now. Examples were given of projects realized by Women in Black and Center for Culture Decontamination.
  • The distinction between “Art that is about the political and art that enters and functions within the realm of the political” Suzana Milevska, Macedonian art historian and curator
  • The challenge of the institutionalization of critique was identified by Borka Pavicevic. Leading institutions for art and culture include in their programs “critical art”, “socially engaged art“ etc. In this way, the system appropriates the critique.

Artists

Milica Tomic – visual artist, Belgrade
Milica Tomic works and lives in Belgrade, with video, film, photography, performance, action, light and sound installation, web
projects, discussions etc. Tomic’s work focuses on issues of political violence, nationality and identity, with particular attention to the tensions between personal experience and media constructed images.
Saskia Holmkvist– visual artist, Stockholm
Saskia Holmkvist is engaged in an art practice that moves between video, performance and site specific projects–in an ongoing artistic investigation into the relations of the politics of the authentic and credible. In the process she explores the negotiation of undertaking roles in life and how stuctures within language affect the politics of these positions. Holmkvist’s interest lies in what is behind the apparent dialogue or culture such as manipulations, strategies, missunderstandings, translations and more.

Partners

In collaboration with the Culture Center of Belgrade and October Salon, Belgrade.

FFW Dansvideo lab[eng]FFW Dance video lab[/eng]

Detta konst- och utbildningsprojekt i form av ett dans/video laboratorium stödjer professionaliseringen av dans i Västra Balkan, genom att stimulera interkulturell och interdisciplinär dialog i samtliga länder från regionen och genom att uppmuntra framtida samarbeten mellan Sverige och Balkan.

Tio unga dansare och videokonstnärer från Bosnien, Makedonien, Serbien, Kosovo och Albanien, arbetade tillsammans med den svenska koreografen Anna Koch och videoskaparen Katarina Nitsch, i Belgrad 1-10 november 2009. De unga konstnärerna skapade egna dansvideos utifrån specifika publika/privata platser. Sex dansvideos producerades under laboratoriet och finns tillgängliga för visning. Laboratoriet organiserades i Belgrad i samarbete med Stanica/STATION Service for contemporary dance.

1 . I wanted to tell you something Nina Zeljkovic / Serbia Igor Koruga / Serbia
2.
P-man Dejan Miholjcic / Bosnia and Herzegovina Aleksandar Georgiev / Macedonia
3.
Position 6 Ivana Basic / Serbia Lejla Muhic / Bosnia and Herzegovina
4.
Position 7 Ivana Basic / Serbia Lejla Muhic / Bosnia and Herzegovina
5.
Waiting for a click Dragana Bulut / Serbia Visar Krusha / Kosovo
6. Impression x3
Dragana Zarevska / Macedonia Ljiljana Tasic / Serbia

Partners

Lokomotiva – the Center for New Initiatives in the Arts and Culture/Skopje, Stanica/STATION Service for contemporary dance/Belgrad, Tanzelarija/ Sarajevo, Multimedia Center/Pristina och International Festival of Modern & Contemporary Dance/Albanien.

Anna Koch är en svensk dansare/koreograf och är konstnärlig ledare för Weld, Stockholm. Under sin karriär har Anna arbetat i många olika internationella sammanhang. Hon återkommer ständigt till både teatern och konsten, men är även aktiv inom elektronisk musik. Som dansare har Anna arbetat med koreografer och konstnärer som Efva Lilja, Xavier Le Roy, Michael Laub, Margareta √Ösberg, Lotta Melin och nu senast med Erika Latta/The Wax Factory. Anna samarbetar med den norske regissören Ole Anders Tandberg vilket har lett till koreografier för opera och teater på Kungliga Operan, Dramaten och Stadsteatern i Stockholm samt Nationalteatern i Oslo. www.weld.se

Katarina Nitsch, konstnär, född i Wisconsin, USA, av en ungersk mor och en tysk far. Utbildad vid Valand, Göteborg, Institute of Contemporary Art i Moskva och Kanazawa School of Art i Japan. Katarina arbetar med video, installationer och participatory art. Sedan 2005 arbetar hon även med teater och film. Med bas i Sverige reser, arbetar och undervisar Katarina kontinuerligt i andra länder. www.katarinanitsch.se

Publika aktiviteter

[highlight] Presentation på Balkan Sex dansvideos¬† presenterades på den internationella dansfestivalen Kondenz i Belgrad 2009.

Debatt i Makedonien FAST FORWARD initierade  en debatt om hur samtida dans kan bidra till utvecklingen av kulturinstitutioner i Makedonien den 29 oktober. Debatten var en del av LocoMotion Festival i Skopje.

Presentation i Stockholm Dansvideos och projektet presenterades på Intercult i Stockholm i februari 2010. [/highlight][eng]

The Lab

Fast Forward is an art and capacity building project which supports the professionalizing of the dance field in Western Balkans, by stimulating the intercultural and interdisciplinary dialogue in all countries from the region and by encouraging the further collaboration between Sweden, wide Scandinavia and the Balkans.

Ten young dance and video artists from Bosnia, Macedonia, Serbia, Kosovo and Albania, worked together with the Swedish choreographer Anna Koch and video-maker Katarina Nitsch in Belgrade, during 1-10 November 2009, in order to achieve the means of becoming authors of their own dance videos. The laboratory was hosted in Belgrade by Stanica/STATION Service for contemporary dance.

1 . I wanted to tell you something Nina Zeljkovic / Serbia Igor Koruga / Serbia
2.
P-man Dejan Miholjcic / Bosnia and Herzegovina Aleksandar Georgiev / Macedonia
3.
Position 6 Ivana Basic / Serbia Lejla Muhic / Bosnia and Herzegovina
4.
Position 7 Ivana Basic / Serbia Lejla Muhic / Bosnia and Herzegovina
5.
Waiting for a click Dragana Bulut / Serbia Visar Krusha / Kosovo
6. Impression x3
Dragana Zarevska / Macedonia Ljiljana Tasic / Serbia

Discover new approaches

The aim is to discover new approaches to the question of choreography and the moving image in relation to a given space, as well as the relation between choreographers and video-makers, the space being the subject of the video to be made.

Partners

Lokomotiva – the Center for New Initiatives in the Arts and Culture/Skopje, Stanica/STATION Service for contemporary dance/Belgrad, Tanzelarija/ Sarajevo, Multimedia Center/Pristina och International Festival of Modern & Contemporary Dance/Albanien.

Anna Koch is a Swedish dancer/choreographer and artistic director at Weld/Stockholm. Throughout her career, Anna has worked in a variety of international contexts. She is a frequent participant in the worlds of art and the theatre but is also actively engaged in the field of electronic music. As a dancer, Anna has worked with artists such as Efva Lilja, Xavier Le Roy, Michael Laub, Margareta Åsberg, Lotta Melin and most recently with Erika Latta/the WaxFactory. Anna collaborates with Norwegian director Ole Anders Tandberg which has led to choreography for opera and theatre at the Royal opera house, the Royal dramatic theatre, the Citytheatre in Stockholm and the National theatre in Oslo. www.weld.se

Katarina Nitsch,visual artist, born in Wisconsin, USA, to a Hungarian mother and a German father. Educated at Valand School of Fine Arts, Gothenburg University, Sweden, Institute of Contemporary Art, Moscow and Kanazawa School of Art, Japan. 1992–1998 Studies in Art history, History of Literature, Culture Anthropology, Classical Archaeology and Ancient History at Stockholm University and Uppsala University, Sweden. 1998–2000, painting classes. 2000–2005 Master of Fine Arts; Starts to work with video, installations and participatory art. Since 2005 she also makes works in the field of theatre and film. Resides in Sweden; however she continuously travels, works and teaches in other countries. www.katarinanitsch.se

Public activities

Presentation on the Balkans The six dance videos were presented at the international dance festival Kondenz in Belgrade 2009.
Debate in Macedonia FAST FORWARD also initiated the debate on how contemporary dance can contribute to the development of the cultural institutions in Macedonia, on 29th October, as part of the LocoMotion Festival /Skopje.
Presentation in Stockholm The dance videos and the project was presented to a Stockholm audience at Intercult’s Annex in February 2010.

[/eng]

The time is Now – Culture Action Europe samlar kulturoperatörer mm på Bryssel-möte i Oktober[eng]The Time is now – Culture Action Europe gathers cultural operators and more in Brussel meeting in October[/eng]

Oktober 7-9 2010

The Culture Action Europe konferensen ges vart annat år och samlar kulturoperatörer, civila samhället, experter och policy makers för att debattera nyckelfrågor som berör Europas kulturliv. Målet är att ena kulturlivet till att tala med en röst och på så sätt påverka EU policyutveckling inom kultur.

Nätverket Culture Action Europe har flera svenska medlemmar, bland annat Riksteatern som kommer att finnas på plats med Birgitta Englin på en av panelerna som modereras av Chris Torch, Intercult.

Registreringen är öppen!

Culture Action Europe i korthet[eng]October 7-9 2010: The Culture Action Europe conference has a long established tradition to gather cultural operators, civil society, experts and policy makers to debate key issues at stake for Europe’s cultural life. The goal is to unite the cultural life in one voice that can be used to influence the development of EU culture policy.

The network Culture Action Europe has several Swedish members, amongst them Riksteatern – represented in Brussels with Birgitta Englin on one of the panels, moderated by Chris Torch, Intercult.

The registration is open!

Culture Action Europe in short[/eng]