Summary of Presentations

Summary of Presentations , made by Mr Nik Dahlström, Sweden

Miha Pogacnik, Slovenia:


“Bach-Fuge for Violin: Decomposition Process as Archetypal Implentation of
Organisational Change”


- Artists must not be marginalized and influentally disabled in a
burocratical Europe
- I want to start a comission for European identity
using the arts/music as a method
- It is like decomposing a musical
masterpiece and putting it back together again
- We can do the same
thing with Europe and put it back in a better way – reach unity through
differentiation
- Practical Workshop:
- Decomposing a Bach Fuge
as an allegory and illustration of the different stages we go through in
life!
- A journey from a chaotic pressurized youth to a realization of
“Now I know that I don´t know”
- From a “let go” of a pressure to a
peripheral leadership of “let come”


 



Karl-Erik Norrman:


About Mr. Barroso´s statement one week ago in Berlin:


- Culture is more important than economy!
- Europe needs an
agora/forum for all European discussion!
- The ECP is about to create
that
- We need to strengthen our identity


 



Michelangelo Pistoletto, Italy:


“Love difference”


Cittadellarte fondazione Pistoletto:
- An artistic movement for
political interaction in the mediterranean area / south of Europe
- Art
at the centre of social responsible transformation
- Young people
/artists come to work together in our local centre with the vision of
transforming society beyond national borders


Projects:
 ”Love difference”:
- A concept
of music interaction between different parts of the mediterranean
region
- To create a sense of identity that is respecting and loving
other identities
- To establish collaborate links all around the
mediterranian sea
- Exhibit literature on social transformation (30
writers exp.)
- Meet around a table designed as the mediterranian
sea
- ”Unrecognized” a struggle for unrecognized people around Jerusalem
(beduins)
- ”Tour mediterrano ” – a boat
-  Phone centre
Albatros – allowing young people to reach their parents


Current project:
Waiting for water – right for water in
the world


Questions:
“ Where will you be in 20
years?
- In ten years we will make a summary of transformation that is
going on in the world. Good changes recognized the past 2 years.
“ What
are the chance of exchange with perfect arts?
- Started with that –
“walking with theatre ” – to work locally with an international
outreach/intention.
“ How do you apply to work with Cittàdellarte
?
- Send material/presentation to us. Every year 20 new people join and
then stay on. So we are growing slowly.


 



Jaap Scholten, Netherlands/Hungary:


A short story: ” The feeling of a club “


Sense morale:
“ To capture the unwritten values of Europe is perhaps
our task.


 



Emma Richez-Battesti, France:


“Migration Blues”


Working with interacitve theatre (forumtheatre) in run down / tuff 
districts of  Marseille, France. The project is using stories from the
local imigrated people in order to illuminate these “life stories”, that very
often are left behind , in a process of repression of their past. This in order
to help and acknowledge their multiple identity 5 plays/5 actors with collective
characters. Locals were gradually participating showcase of one character.



Krzystztof Czyzewski, Poland:


“Active Culture” – Building, long duree, agora


- To practical active culture – to go out of the stage with cultural
activity, go beyond entertainment
- Spent 13 years to establih centre of
culture and performance or the edge of cultural revolution being counter
culture
- 90% of the cultural spending in Europe goes to
events/festivals. Very little to long time process
- We should strive
to build/shape organic cultural educational activities on a long time
dimension   long duree
- Establish a place where you can meet,
exchange values, common heritage the agora



Boyko Kadinov, Bulgaria:


“European architectural competition about the future of Sofia city”


- Chairman of the committee of European architecture
- Arranging
a competition on:
- ”What is the future of Sofia city?”
- ”What
is the role of the creators in this issue?”
- The goals of the
competition:
- To get architects from all over Europe to
participate
- To have members of the European Cultural Parliament in the
jury
- Culture overcomes borders and social boundaries



Michal Hvorecky, Bulgaria:


“Middle European literature: Fast forward overdrive from political to
economical censorship”


On the free market there is a tendency that literature has to be
“entertainment”. The market has become the new censor, immediately replacing the
political censorship in East European countries. This is a big problem for small
languages, where authors are fighting to find and preserve their National
identity.



David Lordkipanidze, Georgia:


“The First Europeans”


Paleontologist – research on bones


First humans out of Africa: Who, when, why?
- Findings of Rhino bones
in Medival Georgia started international research. The first Europeans lived in
Georgia?
- Found a more primitive human race – 1.7
MYA.
- Benefits of the project:
- Brings people together –
sharing success
- Opportunity to be integrated in the world
- A
lot of spin-off projects
- Develop competition for ideas on how to bring
cultural history to life
- Cultural heritage as a resource

- Starting to make economic cluster of cultural tourism – a competitive
advantage of the country
- An example on how we can search for our
identity globally using cultural heritage
- For us this has been an
opportunity to be integrated into Europe using a practical
project
- Building national identity on the past using
science
- Learning how to sustain a cultural identity



Eugene Asse, Russia:


“Russian Fences”


- Attempt to discover national identity with ART

- Slideshow on how we are fencing
ourself
in
- Workshop with young Russian architects. 90 students
divided over 10 weeks themes of some of the weeks:
- Landing everywhere
- aviation in Russia
- Chernobyl +: Tranformation from negative to
positive
- Communication within Venice
- Pop is a pizza box

- Daily life in Russia
- Moscow 2029


As a result of this work I would like to arrange an architectural competition
for the European Cultural Parliament using my experience from this project.


 


Tijana Moraca, Serbia + Montenegro:


- Embroideries – a project with single refugee Bosnian
mothers
- To bring back traditional manual embroidery that ended after
world war II
- Goals:
- To create new personal
messages
- To sell in order to help home finances



Egle Rakauskaite, Lithuania:


“Migration and E-migration”


Videoproject on what it is like to be an imigrant who “takes the jobs of the
native population”.
Egle replaced a Russian lady working as a personal
assistant of a paralyzed woman in the U.S.A. 4 days 24 hours documented in a
short film.



Peter Hanke and Paul Robertson, Denmark + United
Kingdom:


Peter:


“Music as Organisational Force – A European Leading Field”


- Centre for art and leadership
- Bramstrup performing arts

- Proposed for European Cutlural Parliament (ECP: 08. – 12 June 2005;
16 singers; 3 string quartets come to Normadic
University)
- Recruitement, cooperation
- Creating a learning
and performing art


New paradigm:
- Artists must change from an entertaining to a
learning perpective. From experience to core knowledge
- Organisations
must focus the need for inspiration, making inspiration a professional
task
- Use of art must be “un-eventized”, avoid smartness – stage with
critical ability


Exart:


- Exploring:
- Distinction between experience and knowledge

- Motion of time
- Organisational impact – artists in residence
projects
- Staging philosophical dialogue
- Art outside the
cultural sector:
- Exart performences
- Music ensembles
integrated
- Music Mind Spirit Trust
  href="http://www.exart.dk">www.exart.dk



Paul:


“Speed”


Music Mind Spirit Trust


- A centre for music + medicine, organisation + leadership
- Now
focusing on: “a journey  into the Alzheimers”


Example of other projects:
- Songtrees: To get children to learn the
songs of their grandparents and their childhood
- To use live music with
mothers/children in order to encourage breastfeeding
  href="http://www.musicmindspirit.org.uk">www.musicmindspirit.org.uk


 



Susanna Harutyunyan, Armenia:


“Cinema as a means of Cross-cultural dialogue”


Europe has become bigger. What role should cinema play? A strive for
cross-cultural dialogue


 A glimpse of Armanian filmwork and the multilingual,
multicultural filmwork of “parajanous”
- Current
projects:
- Documentary network to crosslink between ethnic
groups
- Publishing guide to attract filmbusiness to
Armenia
- Annual film festival “Golden Apricot” (30 participants from 20
countries)
- Next festival: July 12th, 2005
- Theme:
Traditions, customs from countries surrounding Armenia
“Crossroads of culture
and civilizations”


 


 


Zsuzsa Breier, Berlin/Hungary:


“The Cultural year of the 10″


- Bringing culture from 10 surrounding nations to Berlin.
- 10
languages, 10 countries, embracing 75 million people
- 50 events during
2004 – 2005


Goal:
- To present 10 new European countries to Berlin
- Develope
projects with other partners


Guiding principles:
- Dialogue on topics between participating
countries
- Creation of network
- Sustainability


Examples of projects:
- Gallery tour of the ten:
Artwork
- Literature mile: Poetry
- Your smile on camera:
Photography
- Correspondence: Thinking about Europe
- World
premiere of interludes: Music
- Writing essays



Paolo Barata/Vera Cortes, Portugal:


“Young contemporary Art at the Tivoli Hotel, Algarve”


Started an art agency to bridge museums/private collectors/galleries
Now
representing 30 artists



Ion Caramitru, Rumania:


Future in the past or let´s try to imagine.


- Poetry – antropology – to search for meaning
- The beauty of a
piece of poetry lies in the pauses
- Theatre – a holy
place
- The constant rebirth of the art exemplified by Shakespeare



Amparo Serrano de Haro, Spain:


Resetting of values in this new narrative world.


As a professor/politician we are always expected to come with an
opinion/solution.
Problems are usually solved by new problems.
At this
point it is important for us to have a place where questions are made. I
consider us as intellectuals and to me intellectual means humble – someone who
tries to understand.
European Cultural Parliament should be the place and the
forum where we can ask the questions and try to understand.



Guy Coolen,Belgium:


“The beauty of singing”


Artistic director of music theatre company in Antwerpen, Belgium


- What is music theatre today?
- A process is going on in
challanging the boundaries of world and music
- Our company works with
opera houses exploring old works as well as new ones trying to appeal to a young
and new audience
- We start with selecting young opera singers and then
we define the productions, that always try to reflect real life
- We
work with stories about being young and finding out who you are
- ”The
beauty of singing brings people together”
- Example of work from Ariadne
translated into modern text.



Emílio Rui Vilar:


Dr. Emílio Rui Vilar, President of the Calouste Gulbenkian Foundation,
Lisbon, Portugal, announced an invitation to the European Cultural Parliament to
come to Lisbon from 02 – 03 Dec. 2005 for our next meeting.
This forum should
be able to financially cater for more participants than this year.
The
Gulbenkian Foundation is also operational and runs 2 museums, an orchestra, a
ballet company, research institute etc. See href="http://www.gulbenkian.pt">www.gulbenkian.pt



Christina Doctare/Gunilla von Bahr, Sweden:


“Music and Health”


- We need to create room for the spirit otherwise we will lose our
culture
- Healing is created by culture/arts – being
touched!
- Music creates balance in our brain, making links between both
sides. Our IQ needs the EQ on the other side in order for the brain to reach a
creative state


Facts and pictures with musical interludes on flute by Gunilla von Bahr.



Brigita Stroda, Latvia:


“Reflection on entertainment and culture”


Are we too quick in categorizing entertainment and culture?
European
Cutural Parliament seems to have the opinion that:
entertainment = 2 legs =
bad,
culture = 4 legs = good
I question this!
Entertainment at its
best is culture; culture at its best is entertainment.
Entertainment is liked
by young people, entertainment makes its own money. Culture often reaches a
limited group, Culture needs funding/gouvernment money.
European Cultural
Parliament strategic plan and mission statement etc.


  These are the tools of entertainment



Miran Mohar, Slovenia:


Research and artistic projects to find out if there are differences between
art from the East and West of Europe.


- ”Gave birth” to the “Embassy of Moscow” in order to give a glimpse of
how we think
- We travelled through America from coast to coast in order
to find out what Americans think and how they see Eastern
Europe
- Exhibit in Stockholm/Sweden “The artexhibition that divided
East and West”
- Collectors of Eastern European
art
- Publications: Kapital, Interpol etc.


To be retroavantgarde: Going to the past to understand the future



Toni Peltola, Finland/France:


About the collaboration between Louis Carré and Finish architect Alvar Aalto
on building a house outside Paris for Carré.
The house has now been bought by
the Finnish state. How it is going to be used is still undecided.



Wolfgang Schömel, Germany:


“What people search for in literary events”


What do we want people to read?


We struggle in a world of:
- Desire of catching attention, being a
celebrity or easy character
- Monopolization of publishing
books
- Counterbalance from intellectuals does no longer exist


Yet we see that literature houses expand with the number of TV-channels in
Germany. This due to a search for intellectual stimulation and to be emotionally
moved. People also hope/wish to meet likeminded people in a cooperative exchange
outside the electronical world.


- Intellect has parted from money more than ever before
- On one
side we see social anti-literacy and on the other urban literary
life
- Campaign for the art of literature!


 



Olexandr Butsenko, Ukraine:


“Democracy through culture”


- Revise / renew public policy
- Reach social agreements like an
national identity


A group of artists has worked together with members of our national
parliament in order to produce and publish a bulletin.


Cultural mainspring:


Culture as policy:
- Consolidate interest and power for the whole of
Ukraine
- Public council
- Task force
- Organise
conferences, media forums and parliament hearings


Culture as instrument of change:
- Changing local cultural
landscape
- Local authorities as agents
- Building geographical/
structural framework to be filled
- With content (artistic
software)
- 15 pilot-project gave start to a large-scale

- Interministrial program of cultural development. Each project
connected to a city with focus on branding itself and each region.


- Culture as evidence of social development.
- Production of set
of postcards.
- Series of conferences / round tables.



Oliver Musovik, Macedonia:


“The Artist”


Visual Artist presenting 2 projects:


- Due to discussion on making our Contemporary Art Museum into president
palace I made a protest along this theme.
- I swapped place between the
Contemporary Art Museum and our Parliament building in an exhibition and my
project was supported by the President himself.
- Another exhibition on
the artist and all the demands and expectations that rest on his/her
shoulder.


 


 


 



Teodor Celakowski, Croatia:


“Collaborative platforms”


Revised form of modern networking named tactical networking.


Comparison:


Tactical networking    –>   classical
networking


transformative     –>   responsive
translocal     –>   international
singularizing     –>   generalizing
public      –>   audience

produces social, practices and
knowledge –>   cultural exchange


Tactical networking in our work:
- Project type of
activities
- Issue based collaboration with social and policy
focus
- Interdisciplinarity and
hybridization 
- Multilevel


Example of projects:
- Clubture
- Zagreb Cultural Capital
3000
- Art for social change



Concluding group discussion on Sunday 5 Dec:


“The identity of the European Cultural Parliament”


- What do we want it to be?
- Could we clarify this before the
Lisbon meeting?
- Do we represent ourselves or our
country?
- What do we want to achieve?
- Do we want to go deep
on decided topics?
- Should we deal with political lobbying?


Response (Norrman):
- We are still building the identity of the ECP,
in the conviction that our forum can become something very important. Our
exact role and the limits of our mandate have yet to be
clarified.
- Members represent only themselves, not any government or
any organisation.


Suggestions for the future / Lisbon (formulated by Stroda and
Coolen):

- To have a main topic with a key note
speaker
“ Suggestion to reflect the multicultural societies of Europe
among Members
- Members should keep timetable in
presentations
- Better preparation of participants and organizing
body   texts ahead of time provides more time for discussions and also
provides documentation material 
- Better connection with hosting
city and interaction/exchange with local artists.
- More ongoing
meetings + updating info on web between annual gatherings.



Comments from Secretary General:


The Genoa session was an experiment and a comprehensive way of presenting
individual members and their ideas to each other, an important step in building
the ECP-identity. The first two sessions had themes with prepared papers and
group discussions and also key-note speakers. Maybe the next session should be a
synthesis of the three sessions? The discussion will continue during
preparations for Lisbon. Please contact the secretariat!



The Workshop on Artists Rights (Andreas Wiesand):


- Discussions have circled around
- Exciting framework of
copyrights
- Personal future choices of extent of copyright on personal
work
- Sharing experience on complicated multimedial and international
projects


During the next 2 – 3 years we want to:
Create a
multimedia platform where experience and expertice can be gathered. This to give

transparancy of laws and models so these can also be available for the
artists and not only lawyers.



Conclusions:
Rights: Comparing situation in different
countries
Interest: Of larger companies
Responsibility: On the part of the
artist


To work for proactive participation, reports and links between different
projects within European Cultural Parliament.

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