Archive for the ‘Education’ Category
Education Programme
The late Dragan Klaic discusses his pioneering work in cultural policy studies at CEU
Posted by ghenador on December 6, 2011
Posted in Art Management, Cultural Policy, Education | Tagged: Dragan Klaic | Leave a Comment »
The winners of the Cultural Diplomacy residency for 2012
Posted by ghenador on November 29, 2011
We are happy to announce the winners of our Cultural Diplomacy Residency programme: Alexandra Rusu 
(for January-April), Ana-Maria Onisei (for April-July) and Ghenadie Sontu (for September-December).
Click here for the full list of candidates.
A big thank you to all applicants for their interest!
The main objectives of this innovative programme of training and coaching in cultural management are:
- To develop skills and abilities that are crucial in project management and cultural diplomacy;
- To acquaint with the standards and practices that characterize one of the most sophisticated and competitive cultural markets in the world
- To learn the working practices and procedures of the Romanian Cultural Institute.
The residency begins with an intensive theoretical and practical training at ICR London and at a British cultural partner institution. Afterwards, the residents will work within our team on cultural projects in different areas: literature, music, dance etc.
When: January-December 2012
Where: Romanian Cultural Institute London
Posted in ARS DOR, Art Management, Education, Europe | Tagged: ARS DOR, Ghenadie Sontu, ICR London | Leave a Comment »
Moldovan Orphan Art Exhibit in USA
Posted by ghenador on November 18, 2011
New Moon Cafe is hosting an exhibit of the artwork of Moldovan orphans from November 14th – December 5th, 2011.
Moldova, a former Soviet Republic, is today the poorest country in Europe. Following the collapse of Communism the economic and social infrastructure of the country crumbled, and the resulting vacuum was filled with corruption, lawlessness and despair. In the ensuing years 25% of the population left the country seeking work. Many thousands of children were left behind, either with other family members who could not provide for them or they were simply abandoned. These kids find themselves on the street, or dumped into government run orphanages.
Total funding for the orphanages is the equivalent of about $1 per child per day. As a result, programs and services are severely limited and conditions are marginal at best.
The fate that awaits these children when they reach the age of 16 is horrific. At 16, they must leave the orphanages and often fall prey to traffickers who sell them as sex slaves.
ARS DOR under the direction of Ghenadie Sontu, is an organization that regularly visits the orphanages providing art classes as a vehicle for the children to express what is in their hearts ~ the rejection, abandonment and loss they have experienced. In the process of exercising newly found creative gifts, the orphans begin to discover their identity, as precious and valued.
Art therapy is a respected and effective method for dealing with childhood trauma. In the creative environment of art classes, leaders assess the psychological state of the children and work to build a sense of identity as well as hope and a future.
An exuberant display of the artwork of these children is on display at New Moon. 150 Cherry Street Inc. is sponsoring this awareness and fundraising event for the benefit of ARS DOR and the orphans of Moldova. If you are interested to learn more about this program please contact michaelbeer@150cherryst.org.
Posted in ARS DOR, Education, Exhibitions, Moldova art, Projects | Tagged: 150 Cherry St., Discovering Talents in Moldova Orphanages, Orphanages, orphanages of Moldova | Leave a Comment »
REZULTATE / Programul de burse „Alexandru S. Sturdza” derulat de ICR Chişinău
Posted by ghenador on October 18, 2011
Lansat în vara acestui an, programul de burse „Alexandru S. Sturdza” 
inițiat de ICR Chișinău și dedicat în exclusivitate cercetătorilor și oamenilor de cultură din Republica Moldova prevede acordarea a 6 burse de cercetare cu durata de 10 luni în valoare de 7000 USD fiecare.
Câștigători burselor „Alexandru S. Sturdza” acordate de ICR Chișinău în anul universitar 2011/2012 sunt: conf. univ. Igor Cașu – bursa pentru domeniul Studiul totalitarismelor, conf. univ. Virgil Pâslariuc și lector. univ. Nicolae Fuștei – bursa pentru Editarea, traducerea şi comentarea operei literare, politice şi teologico-filosofice a lui Alexandru S. Sturdza; conf. univ. Emil Dragnev – bursa pentru Istoria creştinismului; dr. hab. Varvara Buzilă, director adjunct științific al Muzeului Național de Etnografie și Istorie Naturală – bursa pentru domeniul Etnografie şi civilizaţie ţărănească; și arh. Rita Garconiță, lector superior la Facultatea de Arhitectură a UTM, – bursa pentru domeniul Arhitectură şi restaurare.
Bursierii au fost selectaţi pe baza dosarelor de candidatură și a proiectelor propuse, fiind depuse un număr total de 18 dosare. În vederea selectării câștigătorilor bursei, a fost constituit un juriu compus din personalități științifice din România și Republica Moldova: dr. Mihai Neamțu – director științific al Institutului de Investigare a Crimelor Comunismului și Memoria Exilului Românesc; dr. hab. Gheorghe Postică – prof. univ. istorie, ULIM; dr. Diana Dumitru, conf. univ., istorie universală secolul XX, Univ. Pedagogică de Stat „Ion Creangă” din Chișinău și Petre Guran – director ICR Chişinău.
Programul de burse „Alexandru S. Sturdza” este inițiat și finanțat integral de ICR Chișinău. Pentru anul universitar 2011-2012 valoarea burselor acordate este de 42 000 USD.
Posted in Chisinau, Education | Tagged: Burse, ICR | Leave a Comment »
Şcoala de liderism politic a IDIS „Viitorul” îşi reia activitatea
Posted by ghenador on August 26, 2011
Până la 15 septembrie, echipa IDIS „Viitorul” aşteaptă ca tinerii interesaţi de domeniul politic, care vor să se manifeste în spaţiul public, să depună dosarele de participare pentru Şcoala de liderism politic.
Timp de şase luni, tinerii selectaţi vor urma o serie de cursuri teoretice pe: sisteme electorale, partide politice, management al crizelor, cercetare sociologică, politici publice şi grupuri de interese. În acelaşi timp, participanţii vor avea ocazia să se întâlnească într-un context informal cu politicieni, diplomaţi, funcţionari publici şi analişti, pentru a fi conectaţi la realităţile politice şi sociale.
Pentru a promova Şcoala, tinerii vor trebui să scrie un articol de opinie pe un subiect actual şi să elaboreze un concept de campanie socială, pe care să o prezinte public. Din experienţa anilor precedenţi, participanţii aleg subiecte complexe, de la crearea unui brand de oraş la vernisajul unei expoziţii de fotografii cu genericul „În memoria deportărilor”.
Aceasta va fi a treia promoţie a Şcolii, aceasta având deja 50 de absolvenţi în perioada 2006-2008. „Prin această Şcoală, ne dorim să contribuim la creşterea şi susţinerea unei noi generaţii de formatori de opinie, competenţi şi eficienţi, care ştiu să analizeze ceea se întâmplă, au argumente şi le pun expune, inclusiv în faţa camerelor de luat vederi”, susţine Ghenadie Mocanu, coordonatorul Şcolii de liderism politic.
Printre absolvenţii cursurilor de liderism IDIS se numără etologul politic Dorian Furtună, directorul Agenţiei de inspectare şi restaurare a monumentelor Ion Ştefăniţă, actualul vicedirector IDIS Leonid Litra, expertul în politici culturale Ghenadie Şontu. O altă istorie de succes este a lui Andrei Hâncu, care a devenit preşedintele Centrului pentru Comunicare Internaţională şi Drepturile Omului. O parte din finaliştii Şcolii s-au făcut remarcaţi în organizaţiile de tineret ale partidelor politice.
Proiectul Şcolii de liderism politic a IDIS „Viitorul” este sprijinit financiar de către Fundaţia germană „Hanns Seidel”.
Totodată, în perioada februarie 2011 – ianuarie 2012, cu suportul aceleiaşi fundaţii, IDIS derulează proiectul „Viitorul european al municipalităţii Chişinău”. Iniţiativa presupune instruirea funcţionarilor publici pe domenii precum scrierea proiectelor şi formarea parteneriatelor public-private. Urmează a fi editat un Ghid de atragere a investiţiilor. De asemenea, va fi turnat un film care va surprinde punctele forte Chişinăului. IDIS „Viitorul” a elaborat produse similare şi pentru Unitatea Teritorial-Autonomă Găgăuzia. Pentru a stimula acele autorităţi care reuşesc să gestioneze eficient şi transparent serviciile publice, să implice cetăţenii la luarea deciziilor, vor fi decernate Cele mai bune practici ale APL din municipiul Chişinău.
De-a lungul celor 18 ani de activitate, IDIS „Viitorul” şi-a făcut numeroşi parteneri (locali şi internaţionali), bucurându-se de respectul lor, în cadrul unor reţele internaţionale din care face parte (PASOS, EPIN, Stockholm Network, etc). IDIS este singura organizaţie nominalizată într-un clasament global efectuat de Programul pentru Think-tank-uri şi Societate Civilă al Universităţii din Pennsylvania, SUA.
Pentru mai multe informaţii, contactaţi: Coordonatorul relaţii publice al Institutului pentru Dezvoltare şi Iniţiative Sociale (IDIS) „Viitorul”, Laura Bohanţov, tel: 221844, e-mail laura.bohantov@viitorul.org
Posted in Education, Projects | Tagged: Educatie, IDIS Viitorul, Liderism | Leave a Comment »
Mission Statement
Posted by ghenador on August 8, 2011
Hosted by Sandra Gibson, President and CEO of Association of Performing Arts Presenters, and featuring Kennedy Center President Michael M. Kaiser, the Kennedy Center’s Arts in Crisis video series answers frequently asked questions heard at symposia on the Arts in Crisis national tour. Through July 2010, Michael Kaiser will travel to all 50 states, Puerto Rico and the District of Columbia in order to participate in arts community conversations that address the challenges facing non-profit performing arts organizations today through such areas as fundraising, building more effective Boards of Trustees, budgeting, and marketing. For more information about Arts in Crisis, please visit www.artsincrisis.org.
Posted in Art Management, Consulting, Cultural Policy, Education, Research | Tagged: Arts, Arts Budgets, Arts Management, Arts News, DeVos Institute, Fellows, Fellowship, Fundraising, Government Funding, Kennedy Center, Michael M. Kaiser, Mission Statement, Strategic Planning | Leave a Comment »
Discovering Talents in Moldova Orphanages
Posted by ghenador on April 15, 2011
Posted in ARS DOR, Chisinau, Education, Exhibitions, Moldova art | Tagged: ARS DOR, Discovering Talents in Moldova Orphanages, Ghenadie Sontu | Leave a Comment »
Call for applications for technical assistance missions: Strengthening the Governance of Culture in Developing Countries
Posted by ghenador on March 3, 2011
Application deadlines: 30 April 2011 or 30 June 2011, midnight CET*
UNESCO launches an international call for applications for technical assistance missions in the framework of a project funded by the European Union (EU), aiming to strengthen the system of governance for culture in developing countries.
These missions will be based on the needs and priorities of the beneficiary countries and will be undertaken by top experts in the field of cultural policies. The missions will support the beneficiary countries in their efforts to establish legal, regulatory and/or institutional frameworks and/or introduce policies that address the role of culture in social and economic development, particularly through the cultural industries.
Which countries can apply?
- Developing countries Parties to the 2005 Convention on the Protection and Promotion of the Diversity of Cultural expressions; that are
- Eligible beneficiary countries under the EU thematic programme “Investing in People”.
Public authorities and institutions from eligible countries can submit applications for technical assistance missions to UNESCO. They will then be evaluated and selected according to established criteria.
This project contributes directly to the implementation of the 2005 Convention and aims to reinforce the role of culture as a vector for sustainable development and poverty reduction.
Application documents:
* Possible new deadlines could be added according to the quantity and quality of the applications received during the first two calls.
Evaluation criteria
A Steering Committee composed of representatives from UNESCO and the European Commission will evaluate and select applications for technical assistance missions on the basis of the following categories of criteria:
- Relevance: To what extent is the proposed request for technical assistance suited to the objectives and principles of the Project and the Convention? To what extent is the application relevant to the objectives and priorities described in the Call for applications?
- Feasibility: Are the stated goals of the proposed technical assistance mission realistically attainable within the expected timeframe (maximum of 63 working days allotted by application) and with the proposed human and financial resources?
- Effectiveness: To what extent does the request for technical assistance help the beneficiary implement its project and meet the needs and priorities of its country?
- Sustainability: Are measures/policies/impact resulting from technical assistance likely to continue and grow after the completion of the mission?
More information:
- Call for applications (PDF)
Posted in Consulting, Cultural Financing, Cultural Policy, Education, Europe, Moldova Culture, Projects | Tagged: Call for applications, EU, Europe, Strengthening the Governance of Culture | Leave a Comment »
Moldova Cultural Policy – Compendium
Posted by ghenador on February 28, 2011
Posted in ARS DOR, Art Management, Chisinau, Consulting, Cultural Financing, Cultural Policy, Education, Europe, Moldova art, Moldova Culture, Research | Tagged: Compendium, Moldova, Valeria Grosu | Leave a Comment »
Prof. Milena Dragićević Šešić: A collaborative, human and community engaging angle on cultural policy and management
Posted by ghenador on February 20, 2011
Author: Lidia Varbanova
Milena Dragićević Šešić is Professor of Cultural Policy & Management, former President of University of Arts in Belgrade. She is Head ofUNESCO Chair in Cultural Policy and Management (interculturalism and mediation in the Balkans) at the University of Arts, Belgrade. She is a prominent researcher in international projects in the field of cultural studies and cultural policies.Prof. Dragicevic-Sesic has published 100 essays and 15 books, among them: “Culture: management, animation, marketing”,” Neofolk culture”, “Art and alternative”, “ Horizons of reading”, “ Art management in turbulent times”, “Intercultural mediation in the Balkans”, translated in 16 languages.
1. What do you think are the main competences and traits which a young researcher in the field of cultural policy should obtain?
Methodological knowledge and skills – both for theoretical and empirical research, are of utmost importance – as in other research domains. At the same time, a cultural policy researcher has to have openness and abilities for interpretative and comparative analysis.
2. Considering your own experience, what would be your main advice to the young researchers who plan to pursue a career in the field of cultural policy?
I would advise young researchers to read a lot of different research and books from the “side fields” of cultural policy. Cultural policy is an interdisciplinary domain, therefore a researcher have to understand law, economy (both macro and microeconomic processes), sociology of culture, cultural studies, public policies, as well as cultural history, cultural management and contemporary art scene. This multidisciplinary knowledge is required so that researchers would be able to understand and elaborate new policy instruments. It is also important to constantly follow up what is new in many domains of science, and to read critical texts. This is not easy, but is the only way to enrich our own research work and give more “content”, as well as an adequate analytical background.
3. You have published many books and articles in diverse issues, related to cultural policy, and some of them are translated in several languages. What would be your advice to the young people to start publishing and making their work more visible internationally, both online and offline?
I would recommend (as I always do to my students) to young researchers to write a short text based on their empirical research – in order to bring some new and fresh ideas; then to send this text for reviews, first in their own country, and then abroad. This would give them a better chance that colleagues might read it and respond – especially those with similar interests. Then a bigger collaborative, maybe trans-border research project could start…
Conferences and professional gatherings are also good platforms for developing collaboration and finding adequate reviews for publishing texts. It is important to go there prepared – with precise and focused research interests, with ready texts, with project ideas, etc.
4. What was the worst professional advice which someone might have given you throughout your career?
Not to link research with action! I am still getting those advices, that if I want to be a “real and objective” researcher, I should avoid being part of the policy-related working groups who define new policy models and instruments and contribute to changing cultural policies…
I think that cultural policy is an applied discipline – it aims not only to discover and describe how things are, but how things MIGHT BE – for the sake of arts, artists and culture. Being involved in policy making, locally (in your city), nationally or internationally, might give different insights, new knowledge, fresh ideas and inspirations. This is the way how one could understand differently the practical needs, could also see the limits of the policy instruments, or the conflicting interest of different public policies. When you are only a cultural policy researcher, you could see the world only from one aspect. When you go down to real life, multiple perspectives start to open.
5. What are the main motivating factors for you to continue your work as a researcher and educator?
Combining research, education and policy-making provides an opportunity to change, to develop, and to understand contemporary cultural processes. Every new research opens to me new horizons, new approaches, and new views. Every generation of students brings something different to the class and to my research work, as well as teaching approach. I am a curious person, so, it is difficult to stop researching and teaching. Besides researching and analyzing European as well as Balkan cultural policies and practices since many years, I recently researched also cultural policies of the Arab world. Last year I explored theatre policies and practices in India….and I hope I will have time to follow-up these researches, to reflect in a critical manner and to share it with others.
6. For already 9 years, you lead the MA Programme in Cultural Policy and Management at the University of Arts, in cooperation with Universite de Lyon 2. What is the uniqueness of this program? What are its main goals?
The specificity of this program is that it is truly international: professors come from the region (Croatia, Slovenia, Romania, etc.), from Western Europe (Germany, France, Austria, Holland, etc.), as well as from overseas (Canada, USA). The students are also international, as the program is conducted in English and French. The main goal is to educate CULTURAL PROFESSIONALS, capable to do a research, to manage a festival, as well as to CONCEPTUALIZE a cultural program, to curate a cultural event, to create an intercultural mediation program, etc. It is up to student to define his/her future profession – would it be in the field of research, policy making, cultural administration, art production, cultural management, cultural mediation, etc. Our former students find jobs in ministries of culture, in the city administrations, as producers of big cultural events, in theaters and museums. Many of them manage their own small-scale NGOs, cultural agencies, or act as mediators/educators in museums, archives, libraries, etc. So, we do not teach them how to become “successful” – in a sense to gain a lot of money, to become art dealers, or commercial producers (although there are some), or to become very famous and glamorous cultural producers surrounded by stars… We teach them how to be human, how to serve the communities, how to bring together artists and audiences, and especially – how to involve as well as engage potential audiences in cultural practices. And something else which is very important for our region – not just to look for a vacancy, but to create jobs using their creativity and inspiration, their own ideas and initiatives.
The same approach applies to research – one might enter an already established institution and get a research task, or could create his/her own “cultural observatory”, cultural consultancy or agency, and then conduct research in areas which are important and interesting.
7. On your opinion, are there any errors or weaknesses in the way we teach cultural policy subject in the programmes curricula across Europe? Do you see any changes and new trends in our methodological approaches?
The problem is that it is quite difficult to become a cultural policy researcher if you study all educational levels (bachelor, master, PhD) in one and the same educational instituion. I think it is necessary to change. In my own professional life, it was of utmost importance that I studied at an art school, than I did a Master Degree in the field of sociology in France (D.E.A.), and then I completed Ph.D at the Department of Cultural Studies in the University of Belgrade. If I had an opportunity to do some postdoctoral studies in public policies, it would be also very beneficiary. This is why when we created the internationa Master Degree program (the UNESCO Chair), we decided to cooperate with different universities which do not have the same area of studies. We, as an art university, have entered partnership with the sociology and anthropology department of Lyon II university and with the Faculty of Political sciences in Grenoble. We enriched the program by engaging also professors in economics from the Faculty of Economy in Belgrade. As I already mentioned – we do that, because cultural policy and cultural management subjects are truly interdisciplinary.
8. In brief, what are your professional plans for the year 2011?
I intend to finish my book about Culture of Dissent (last 20 years in the Western Balkans). I plan also to finish my research about Memory policies as part of cultural policies (focusing on monument building practices) – this research will be part of a book – to be published by Culturelink, Zagreb (edited by Nada Švob Djokić and Aldo Milohnić). I will also work with Branimir Stojković on the 6th edition of our book “Culture, management, marketing”.
Colleagues from Finland, Jyvaskyla with many partner universities from other countries (mine included) had successfully developed COST project (culture within sustainable development). Our real collaboration will begin this year.
The highlight for this year will be in October 2011 when the Department for the Management and Production in Theatre, Culture and Media of Faculty of Drama Arts, University of Arts in Belgrade will celebrate 50 years of its existence. We think that we are the oldest Cultural management department in Europe. For this occasion I am preparing a book, dealing with the history of the Department, and the future of our discipline. Part of this book will be devoted to the first Yugoslavian meeting of professors of cultural policy, organized in 1988 in Zagreb. It would be pity to send this event to oblivion, as Yugoslavia was in those years one of the few countries worldwide with developed cultural policy research, as well as cultural policy teaching as an academic discipline. The “Belgrade and Zagreb schools of cultural policy research” have produced a lot of research, but unfortunately not in English, and therefore – it still stays unknown and not acknowledged internationally.
Posted in Art Management, Consulting, Cultural Policy, Education, Europe, Research | Tagged: Cultural Policy, Milena Dragićević Šešić, prominent voices, Research, young cultural policy researchers forum | Leave a Comment »
Cultural Policy Research Award
Posted by ghenador on February 16, 2011
A unique opportunity for young cultural researchers seeking to make a break into the research field and contribute to the production of new knowledge: the annual Cultural Policy Research Award (CPRA) is now open for applications.
With the Award, ECF, the Riksbankens Jubileumfond and ENCATC aim to encourage and enable cultural policy researchers to undertake comparative and cross-cultural applied research. The Award is devoted to research projects which shed light on contemporary European cultural issues and challenges. The CPRA prize money is 10,000 euros and is awarded to cultural policy researchers aged up to 35 years old, from wider Europe. Nominees are selected by an international jury of eminent European cultural policy researchers.
Applications for the 2011 Award must be submitted between 15 February and 30 May 2011, through the online application form on the CPRA website. More information on timelines and eligibility can also be found there.
ECF is committed to work across Europe and its neighbouring regions to inspire change through arts and culture. Visit this page for more information on our advocacy work.
Posted in Art Management, Cultural Policy, Education, Europe, Research | Tagged: Cultural Policy, Cultural Policy Research Award, Europe, Research | Leave a Comment »
Strategic Planning for Learning Organisations in the Cultural Sector
Posted by ghenador on February 2, 2011
A new book by Lidia Varbanova
Efficient management and leadership of any cultural organisation are immensely connected with the strategic planning process. Setting up the mission and vision, diagnosing and analysing the current situation within a constantly changing environment, elaborating the right set of strategies, functional plans and actions to achieve a desired future state and making them happen, actually cover the whole spectrum of functions that a successful manager needs. Creating tomorrow today is not an easy process but, if we do not envisage where we want to be, why and how to get there, ’tomorrow’ may not be the one we dreamt about. The concept of a “learning organisation” has become increasingly popular for modern organisations in all sectors, including arts and culture. It refers to the ability of an organisation to transform itself within a constantly changing context and escalating complexity by using unlimited mental capacity of its members, their ability to think critically and creatively.
Why this book is unique
- Strategic planning tools in the book are adapted well to the uniqueness of a cultural organisation and creative processes. The author understands well how cultural and artistic organisations operate in a constantly changing environment and financial pressure.
- The book proposes a well elaborated set of strategies (main organisational strategies, marketing and product strategies, as well as functional strategies) and provides plenty of examples on how these strategies could be elaborated and implemented in the cultural sector.
- The book offers a set of elements of the human resource management system in a cultural organisation and deals with diverse strategies related to human resources, especially the one which stimulate motivation, education and development.
- The author discusses complicated marketing concepts and terminology in a digested and simple language, with examples on using marketing-mix concept, developing audiences, elaborating communication plans in the arts.
- The book provides a clear practical orientation on the main elements in financial planning process in a close relation with fundraising techniques and practices, as well as sponsorship and alternative methods of support.
- The value of the book is also that each chapter ends with a clear guidelines and examples on how a concrete part of a strategic plan might look like. It is a well elaborated “guidebook” providing step-by-step practical help in elaboration of a strategic plan for any type of cultural organisation.
This book is a useful resource for cultural managers, directors of cultural organisations, cultural mediators, Board members, policy-makers, or project leaders who need a step-by-step approach in understanding the theoretical framework, the process of developing and the application of a strategic plan for a concrete organisation in the cultural sector (be it state subsidized, business-orientated or non-profit). The book is also useful for cultural researchers, consultants, students and academia as it provides a bridge between theory and practice, between methodology and its use in the management planning process. Artists could also benefit from the handbook, as it would help them to shift their mind from creative processes into the pragmatic language of management and economy in order to learn how to handle their organisations or projects in the long-term and within today’s world of money and markets.
The book is supported by the European Cultural Organisation and MATRA Programme of the Dutch Government, published in Russian and Romanian by Soros Foundation Moldova. The English edition will be published in 2011.
See photos from the launch of the book in Chisinau, Moldova: http://www.lidiavarbanova.ca/main/gallery/book-launch-moldova/
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“This excellent handbook offers valuable theoretical background and practical help to cultural organisations to develop a coherent strategic approach to their work. I encourage cultural practitioners as well as students to consider the book’s helpful advice, and to put into practice the principles, processes and techniques that will improve their effectiveness and impact.” Robert Palmer Director of Culture and Cultural and Natural Heritage Council of Europe
“Ms Varbanova has had the courage to present cultural organizations with a handbook on strategic planning. I honestly think that she should be congratulated for having done so. Her work is very clear, structured and thorough but, above all, this book contributes to breaking – hopefully! – the ill conceived belief, and the myths that follow from it, that management techniques, innovative or classical, cannot be applied to the cultural sector and to cultural organizations. Indeed every profession each has its specificities.” Mercedes Giovinazzo Director, Interarts, Barcelona President, Culture Action Europe
“A central goal of this publication is to provide its readers with a solid sourcebook for writing their strategic documents. However, an even more important goal is to inspire managers operating in the arts and culture and to enable them to realize new ways of learning, working, thinking and creating strategies for change. In times of ongoing transition and a critical need for systemic innovation not only in post-socialist countries but all over the world, tools for realizing new strategic approaches are more important than ever before.” Philipp Dietachmair and Dilia Ham European Cultural Foundation Amsterdam, the Netherlands
“The contemporary practice of management is going through changes and challenges. New conditions engendered by the crisis and the ongoing instability make constant revision and update essential. The culture sector, by its very nature, requires such flexible strategic approaches as essential. Lidia Varbanova’s book responds exactly to such complexities and requirements, as well as reveals itself as a perfect reference book for the professionals and managers in the culture sector, as well as for academia and students. The book illustrated with examples, assures convenience for creative solutions.” Assoc. Prof. Dr. Serhan Ada Head, Cultural Management Department Istanbul Bilgi University Turkey “Lidia Varbanova has an outstanding career as a professor and international consultant in issues related to strategies and management in the cultural sector and beyond. The modern cultural manager, administrator and thinker finds in Varbanova’s handbook a nurturing and useful read for the day to day work, but also for the medium and long term visionary attitude one has to entertain in this specific domain. Being precise and fully documented, filtered by both academic thinking and hands-on practice, this is a book that artists, intellectuals, students and cultural operators alike must read.” Corina Suteu Director Romanian Cultural Institute New York
“I think Lidia Varbanova’s book would indeed be a welcome addition to the cultural management field here in Canada. I would have welcomed such a resource back in 1999, when the NAC embarked on its first Strategic Plan: despite having been in the arts management business for many years, I had gained no experience in this area. It is indeed needed and very helpful.”
Heather Moore Producer and Executive Director National Arts Centre/Centre national des Arts Ottawa, Canada“I believe this publication will provide valuable tools and perspectives for many cultural organizations.I think it will be very useful as a tool for boards and executives working on their planning processes and it will also be a wonderful textbook for arts administration university programs.” Trudy Schroeder Executive Director Winnipeg Symphony Orchestra Canada
“While the cultural sector as a whole has become a valuable part of both the Canadian identity and the country’s economy, cultural organizations are often fragile and quick to feel the effects of political changes or a downturn in the overall economy. Lidia Varbanova proposes a well-elaborated set of strategies that, if followed, will be of lasting benefit in sustaining artistic excellence and service to the community. She provides plenty of examples on how these strategies can be chosen and used. In particular she places emphasis on strategies related to: building and engaging audiences; partnerships; innovation; networking; co-productions of all kinds; as well as the critical importance of ongoing advocacy” John Hobday Former Director of the Canada Council for the Arts and Executive Director of the Samuel and Saidye Bronfman Family Foundation Canada
Posted in Art Management, Consulting, Cultural Financing, Cultural Policy, Education, Projects, Research | Tagged: Cultural Policy, cultural policy researchers, ECF, Lidia Varbanova, Planificare Strategica, Politici Culturale, project management, Soros, Strategic Planning for Learning Organisations in the Cultural Sector | Leave a Comment »
Concursul beTRAINER – prima competiţie de traineri din Moldova
Posted by ghenador on February 2, 2011
Concursul beTRAINER este o provocare lansată pentru tinerii entuziasmaţi de ceea ce înseamnă training, cei ce au organizat cursuri pentru grupuri de persoane, au participat în cadrul diferitor programe de formare şi doresc să participe la cea mai tare competiţie a trainerilor începători prezentîndu-şi măiestria şi abilităţile de interacţiune cu participanţii.
Competiţia va decurge în 3 etape:
- Prima etapă, presupune depunerea dosarelor ce conţin experienţa în prestarea programelor de training, participarea la cursuri, traininguri şi elaborarea structurii unui curs format din 4 module. Juriul va decide cine vor fi cei 10 tineri ce vor participa în semi-finale. Perioada de înregistrare în consurs este 24 ianuarie – 13 februarie.
- A doua etapă, va consta în prezentarea nemijlocită a unei sesiuni de training, care va fi jurizată de către experţi în domeniu şi manageri resurse umane ale unor companii beneficiare de servicii de training. În rezultat, 5 tineri care vor acumula punctajul maxim vor trece în etapa finală.
- A treia etapă, reprezintă competiţia între finalişti prin oferirea unei sesiuni de training cu tematică prestabilită. Cei mai buni urmînd să beneficieze de oportunitatea de a se dezvolta în continuare urmînd stagieri cu ulterioara posibilitate de angajare în cadrul companiei de training şi consultanţă AXA Management Consulting, lider în domeniul serviciilor de dezvoltare a personalului.
Concursul urmăreşte să ofere oportunitatea tinerilor de a se afirma ca traineri, de a identifica punctele slabe şi direcţiile de dezvoltare, precum şi de a încuraja formarea de traineri profesionişti în Republica Moldova. De asemenea, mobilizarea tuturor persoanelor pentru care activităţile de training devin un mod de viaţă.
Cei mai buni urmează să-şi prezinte măiestria în prestarea unei sesiuni de training în semifinalele ce se vor desfăşura la 5-6 martie şi apoi în finala din 12 martie.
Concursul este organizat de către AXA Management Consulting şi AIESEC Moldova.
Pentru mai multe informaţii despre concursul beTRAINER, contactaţi la
e-mail: betrainer@axa.md
tel: 58 88 64
Posted in Chisinau, Education | Tagged: Trainer, Training | Leave a Comment »
Fundaţia Soros-Moldova informează comunitatea artistică şi culturală despre lansarea unui nou proiect internaţional cu participarea oamenilor de cultură şi artă din Moldova întitulat “Tandem”.
Posted by ghenador on January 5, 2011
Proiectul va fi gestionat de un consorţiu de organizaţii din care fac parte Fundaţia Culturală Europeană (Amsterdam), MitOst (Berlin), Acţiunea Culturală Europeană (Bruxelles), Centrul pentru Management Cultural (Lvov) şi Fundaţia Soros-Moldova. Scopul proiectului este să ofere un teren propice pentru cooperarea culturală cu ţările Uniunii Europene, inclusiv pentru a combate stereotipurile care există de ambele părţi ale frontierei, şi să faciliteze implementarea proiectelor de cooperare artistică.
Cu acest prilej, Programul Politici Culturale al FSM invită organizaţiile din domeniul artistic şi cultural din Moldova să participe la concursul public organizat pentru selectarea participanţilor în proiect.
Din iunie 2011 pînă în mai 2012, şapte organizaţii selectate în Moldova vor lucra împreună cu partenerii lor din Uniunea Europeană asupra unor proiecte artistice comune. Pe parcursul lucrului reprezentanţi (coordonatori) din organizaţiile partenere vor avea ocazia să desfăşoare vizite reciproce de două săptămîni. Pentru a finaliza proiectul, în mai 2012 participanţii vor găzdui un Festival de Artă şi Cultură Europeană în Moldova, oferind audienţei posibilitatea să cunoască, prin intermediul proiectelor prezentate, practici artistice novatoare şi demonstrînd valori europene comune.
Proiectul este implementat cu sprijinul financiar al Comisiei Europene şi Fundaţiei Robert Bosch Stiftung.
Selectarea participanţilor în proiect va avea loc în două etape:
Etapa 1: Evaluarea organizaţiilor candidate în conformitate cu o serie de criterii formale (calitatea scrisorilor de motivare, experienţă anterioară de cooperare internaţională, CV-urile persoanelor participante în proiect, gradul de cunoaştere a limbilor străine).
În februarie 2011, în cadrul primei etape a concursului, vor fi selectate 20 organizaţii din Moldova şi 20 organizaţii din Uniunea Europeană care vor fi invitate pentru a participa la prima întrunire comună sub egida proiectului “Tandem” care va avea loc la Chişinău între 10 şi 15 aprilie 2011.
În cadrul acestei întruniri, în prima zi, în incinta Fundaţiei Soros-Moldova, organizaţiile vor comunica şi se vor cunoaşte reciproc şi vor încerca să găsească un partener de creaţie între organizaţiile din ţările Uniunii Europene participante la întrunire. În zilele următoare, participanţii din Moldova vor invita potenţialii parteneri să viziteze organizaţiile lor, în aşa fel aceştia din urmă vor cunoaşte diverse sectoare din domeniul artei şi culturii din Moldova (literatură, teatru, arte vizuale, muzică, film şi a.), inclusiv se vor documenta asupra proceselor artistice şi culturale din spaţiul rural al ţării şi vor cunoaşte organizaţiile culturale care activează în provincie. În ultima, (a cincea) zi a întrunirii, participanţii se vor reuni la Fundaţia Soros-Moldova pentru a generaliza impresii şi idei şi a începe lucrul la pregătirea aplicaţiei comune de proiect care va trebui depusă pentru participarea plenară în proiectul “Tandem”.
Astfel, în cadrul întrunirii de la Chişinău, partenerii din potenţiale tandemuri artistice se vor identifica reciproc şi vor elabora în comun concepte pentru oferta lor artistică/de creaţie (proiectul artistic pe care intenţionează să-l prezinte la festivalul de finalizare a proiectului). La a doua etapă a concursului, partenerii vor depune în comun solicitări de parteneriat, bazate pe conceptele de cooperare, identificate în cadrul întrunirii, pentru a participa în proiectul propriu-zis. 7 tandemuri artistice cu participarea oamenilor de artă din Moldova şi parteneri din Uniunea Europeană vor fi constituite pe această cale.
Etapa 2: Evaluarea proiectelor (aplicaţiilor) comune depuse de către candidaţii selectaţi după prima etapă a concursului.
În baza evaluării aplicaţiilor (proiectelor de creaţie) depuse spre examinare în cea de a doua etapă a concursului, 7 tandemuri/proiecte artistice comune vor fi selectate pentru a primi finanţare pentru implementare (4000 EURO pentru fiecare proiect). Aceste proiecte vor fi prezentate în cadrul Festivalului de Artă şi Cultură Europeană în Moldova (mai 2012).
Pentru a participa la prima etapă a concursului, organizaţiile interesate vor depune la Fundaţia Soros-Moldova un dosar din următoarele documente:
1) Formularul de participare completat (îl puteţi descărca accesînd link-ul “model formular de participare” sau poate fi ridicat de la sediul FSM)
2) O scrisoare de motivare (1 pagină). Scrisoarea trebuie să indice prin ce este motivată organizaţia să participe în proiect, precum şi să conţină un scurt sumar al ideii de proiect comun pe care ar vrea să-l implementeze în cadrul proiectului “Tandem”.
3) Descrierea organizaţiei cu specificarea scopului şi sarcinilor, experienţei anterioare de cooperare internaţională şi a planurilor pentru următorii doi ani (max. 1,5 pagini). Încurajăm competitorii să prezinte descrierea organizaţiei în limba engleză.
4) CV-uirle managerului organizaţiei şi al coordonatorului care va fi responsabil de participarea organizaţiei în proiectul “Tandem”.
5) Copia certificatului de înregistrare a organizaţiei.
Amintim, că la prima etapă vor fi examinate aplicaţiile pentru participarea la întrunirea cu reprezentanţi din ţările Uniunii Europene care va fi organizată la Chişinău, între 10 şi 15 aprilie 2011, cu scopul cunoaşterii reciproce, constituirii tandemelor şi elaborarea conceptelor de proiecte artistice comune. Participanţii la acest eveniment vor trebui să aplice încă o dată în comun cu partenerii europeni (etapa a doua a concursului) pentru a fi selectaţi în vederea participării plenare în proiect în componenţa unui potenţial tandem de creaţie.
Competiţia este anunţată pentru organizaţiile / instituţiile / societăţile comerciale din Moldova din sectorul artistic şi cultural, indiferent de forma organizatorico-juridică. Dosarul de participare poate fi depus la sediul Fundaţiei Soros-Moldova cu adresa: Chişinău, str. Bulgară, 32, Programul Politici Culturale sau expediat pe adresa de e-mail al directorului de program vmiron@soros.md .
Data limită de depunere a dosarelor de participare la prima etapă a concursului este 15 februarie 2011, ora 12.00.
Relaţii la tel. 270031, 270232
Fax: 270507
e-mail: vmiron@soros.md
Persoana de contact: Victoria Miron, Director Program Politici Culturale.
Posted in Cultural Financing, Education, Europe, Moldova art, Moldova Culture, Projects, Research | Tagged: ECF, Soros, Tandem | Leave a Comment »
Cultural Cooperation Placements Moldova – Ukraine – European Union
Posted by ghenador on December 22, 2010
Short description
The project „Tandem“, which was developed by the European Cultural Foundation and MitOst and is carried out together with Centre for Cultural Management Lviv, Soros Foundation Moldova and Culture Action Europe, is aimed at building new and long-term collaborative relations between select organisations from European Union countries and cultural key players from Ukraine and the Republic of Moldova. Selected institutions will send one cultural manager each, who will form a tandem with a partner from the Republic of Moldova or Ukraine. Each tandem has the task to plan a joint entry to the concluding festival. Mutual fourteen-day working visits to partner organisations offer participants the opportunity to familiarize themselves with the environment and cultural practice of organisations in the partner country and get an insight into the cultural scene of the tandem partner’s city, region and country. The working visits will be completed by joint workshops and evaluation meetings attended by all project participants, creating an opportunity for exchange with other people, in addition to the tandems.
The project will end with a festival each in the Republic of Moldova and Ukraine in May 2012.
Schedule
- Meeting of potential project participants during a study trip (Moldova, April 2011; Ukraine, May 2011)
- Joint application of potential tandems for participation in the project by mid-May (Moldova) or mid-June (Ukraine)
- Fourteen-day working visit of Moldovan and Ukrainian participants to the EU; at the beginning and the end of their stay, all participants will attend joint meetings and workshops in Brussels (September 2011).
- Ten-day working visit of participants from EU member countries to Moldova and Ukraine, with joint workshops marking the beginning and end of the stay to be held in Chisinau and Kiev, respectively (February 2012).
- Planning and preparation of the tandems’ festival entries (June 2011 – April 2012)
- Festivals organised in Moldova and Ukraine (May 2012)
Entry conditions
General:
- No application for participation will be accepted, unless at least one of the tandem partners has taken part in the preparatory study trip
- Personal application (one staff member should be assigned to deal with all matters related to the tandem’s co-operation during the entire project period).
Organisation:
- Professional cultural institutions with a minimum of three employees
- Experience in international project work
- Interest in long-term international co-operation and active nurturing of a European cultural network
- Openness to innovations, existing development potential
- Willingness to take part in further fund-raising activities for the festival
Employees:
- Excellent command of English
- Experienced in international project work
- Participation in all project-related meetings, workshops and activities, as described in the schedule
- Interest in building long-term European working contacts.
- Time to familiarize the tandem partner during the working visit with the cultural scene of the city, region /country and the institution’s way of working.
Services
- Refund of travel and subsistence expenses incurred for all mandatory project meetings
- Workshops held by experienced trainers on capacity building and transnational project work
- Base assistance for co-productions earmarked for the festival
- Advice and support offered by the project management during the entire project period
Deadline for applications: 15.02.2011
Posted in Cultural Financing, Education, Europe, Moldova Culture, Projects | Tagged: European Union, Moldova, Soros, Ukraine | Leave a Comment »
SECŢIILE RAIONALE DE CULTURĂ ŞI-AU ELABORAT STRATEGIILE CULTURALE ÎN CADRUL UNUI PROIECT REALIZAT TIMP DE TREI ANI
Posted by ghenador on December 18, 2010
Secţiile raionale de cultură din R.Moldova şi-au elaborat strategiile culturale pentru perioada 2011-2015 în cadrul proiectului „Consolidarea capacităţilor de dezvoltare a Moldovei prin întărirea sectorului cultural”, realizat în perioada 2007-2010.
Vineri, în cadrul unei conferinţe de presă susţinută la agenţia INFOTAG, în cadrul căreia s-au făcut totalurile proiectului, directorul Fundaţiei Culturale Europene, care a implementat proiectul în Moldova alături de Fundaţia Soros-Moldova, Catherine Watson, a menţionat că proiectul a avut drept scop să investească în oamenii care activează în domeniul culturii, pentru a le aprofunda cunoştinţele la capitolul planificării strategice.
Proiectul a presupus organizarea mai multor seminare şi trening-uri cu şefii secţiilor de cultură, care au fost instruiţi cum să-şi planifice activităţile culturale, de unde să găsească surse financiare şi cum să identifice potenţialul cultural local.
Directorul de programe a Fundaţiei Soros-Moldova, Victoria Miron, a subliniat că cea mai mare realizare a acestui proiect este că oamenii din domeniul culturii au învăţat cum să guverneze singuri acest sector, extrem de important pentru fiecare ţară.
„Pentru a avea rezultate concrete în domeniul culturii, trebuie să pornim de la a elabora corect politicile culturale. Spre regret, cultura în Moldova funcţionează doar de la un eveniment la altul şi nu există o viziune mai largă în acest sens”, a spus Miron.
Expertul internaţional în politici culturale din România, Corina Răcean, a menţionat că în cadrul proiectului şefii secţiilor raionale de cultură au fost instruiţi cum să descopere singuri posibilităţile de dezvoltare a culturii.
„De multe ori pentru soluţionarea problemelor culturii se invocă lipsa banilor. Convingerea mea este că banii nu sînt o problemă, ei sînt un instrument pentru a rezolva problemele”, consideră expertul.
Directorul Centrului de Politici Culturale, Veaceslav Reabcinschi, a menţionat că ar fi bine ca ceea ce s-a întîmplat la nivel local să fie transferat la nivel central, precizînd că la moment R.Moldova, la nivel central, nu dispune de o strategie culturală pe termen mediu sau lung.
„Este trist, dar în Moldova nu există politici culturale. Cel mai elocvent exemplu în acest sens este faptul că în cadrul campaniei electorale nici un partid în programul său electoral nu a avut stabilite politici în domeniu culturii. Noi credem că este foarte periculos dacă un partid politic care vine la guvernare nu ştie ce va face cu cultura”, consideră sursa citată.
Bugetul proiectului a fost de 465 mii euro, dintre care 350 mii euro au fost oferiţi de Programul de Transformare Socială (MATRA) al Ministerului Afacerilor Externe al Olandei, circa 100 mii euro oferiţi de Fundaţia Culturală Europeană şi aproximativ 20 mii euro de Fundaţia Soros-Moldova.
Posted in ARS DOR, Art Management, Cultural Financing, Cultural Policy, Education, Moldova art, Moldova Culture, Projects, Research | Tagged: ECF, Soros | Leave a Comment »
Viziuni de viitor: politica culturală a Republicii Moldova: de la schimbări la viabilitate
Posted by ghenador on November 26, 2010
În cadrul proiectului-pilot, cu sprijinul Fundației Soros Moldova și FCE, Amsterdam, a fost produsă şi publicată cartea “Viziuni de viitor: politica culturală a Republicii Moldova: de la schimbări la viabilitate”. Această activitate a avut ca scop inițierea procesului de consolidare a capacitaților în sectorul cultural din Republica Moldova și cuprinde rezultatele unei serii de activități organizate în cadrul proiectului-pilot.
Posted in ARS DOR, Art Management, Consulting, Cultural Financing, Cultural Policy, Education, Moldova Culture, Research | Tagged: ECF, Moldova Cultural Policy, Soros | Leave a Comment »
Istanbul forum mulls creation of ‘European soul’
Posted by ghenador on October 12, 2010
A “European soul” can be created by combining cultures and encouraging commerce, participants in a forum on global challenges and cultural visions heard Monday in Istanbul.
The city is the ideal setting for such a discussion, the head of the Istanbul 2010 European Capital of Culture Agency said.
“Culture and commerce are the two wings of a bird,” said Şekip Avdagiç, chairman of the agency’s executive board. “If one of these doesn’t exist, the bird cannot fly. If the bird called Europe wants to fly toward new horizons, it should consider Istanbul.”
Organized by the initiative “A Soul for Europe,” the Istanbul forum addressed ways that individuals should, as members of civil society, take responsibility for the future of their cities. The group brought together international politicians, high-level academics and students during the opening ceremony at Istanbul’s Tophane-i Amire Cultural Center.
The initiative, which aims to achieve concrete results by integrating the creative power of culture, was originally established by seven individuals in Germany with diverse professional backgrounds, co-founder Nete Hertling said, adding that they worked to spread the organization to other countries because they see culture as essential for the full development of Europe’s potential.
The “Soul for Europe” initiative is currently made up of 55 civil-society actors from 21 countries.
A European soul can be created with culture that is melted in a pot, Avdagiç said, adding that Istanbul represents this characteristic very well as it has a history dating back 8,000 years as part of the Byzantine and Ottoman empires. Highlighting the significance of commerce between Turkey and European countries, he said creating economic links is a key way to eradicate differences and disagreements between nations.
“The thing that cannot continue with war is commerce,” Avdagiç said.
The Istanbul 2010 European Capital of Culture Agency head said he thought the city was ideal for a meeting of this kind. Quoting Rumi, Avdagiç said things grow wherever the river flows. Istanbul represents that river, he said, adding that it should be given plenty of water so Europe’s future can be that much more fertile.
In his remarks, Avdagiç also touched on Turkey’s candidacy for European Union membership, saying the obstacles put in front of Turkey should be removed so as not to leave Europe lacking Istanbul in the long run.
The Istanbul forum held Monday through Wednesday focusing on topics such as the economic crisis, climate change, citizens and responsibility, the responsibilities of civil society, the business sector and policy makers and empowering younger generations.
The project fostering international dialogue was realized with the cooperation of the Istanbul 2010 European Capital of Culture Agency, the European Cultural Association, Mimar Sinan Fine Arts University, the Turkish Industrialists’ and Businessmen’s Association, or TÜSİAD, and the Cultural Committee of German Business, or BDI.
Posted in Cultural Financing, Cultural Policy, Education, Europe | Tagged: A soul for Europe, Istanbul forum | Leave a Comment »
Un experiment arată că extrovertiții preferă arta abstractă
Posted by ghenador on October 1, 2010
Un experiment coordonat de Dr Stian Reimers, profesor de psihologie la University College din Londra, la care au participat zeci de mii de persoane, a încercat să determine în ce măsură oamenii cu tipuri de personalitate diferite preferă forme diferite de artă.
În studiile precedente, cercetătorii au descoperit că persoanele care preferă pictura abstractă tind să fie mai conservatoare și dogmatice și se află de multe ori în căutarea senzațiilor. Persoanelor deschise la experiențe noi nu par să găsească prea multă plăcere în a privi picturi realiste, ci caută, mai degrabă, ceva mai atipic și incitant. Oamenii cu o stabilitate emoțională scăzută tind să prefere arta abstractă și pop-art, în timp ce aceia care s-au dovedit cei mai sociabili preferă pictura și le displace pop-art-ul. Persoanele care au o preferință pentru picturile reprezentaționale par a fi mai conștiincioase decât media.
Mai multe cercetări au avut ca obiect legăturile dintre pesonalitate și preferințele artistice, însă nu s-a determinat exact cum anume acestea se influențează reciproc. Experimentul profesorului Reimers a avut ca scop abordarea celor mai controversate probleme, fiind structurat în două părți, una referitoare la lucrările de artă pe care le respondenții priveau și cealaltă în care au fost rugați să răspundă unui test de personalitate. Trăsăturile principale în jurul cărora s-au făcut măsurătorile sunt sociabilitatea, caracterul agreabil, conștiinciozitatea, stabilitatea emoțională, tendințele intelectuale și inteligența emoțională. Acestea sunt unele dintre cele mai populare forme de profil de personalitate, factorii fiind relativ independenți unul de celălalt.
Descoperirile majore ale experimentului arată că extrovertiții preferă arta abstractă și cubistă și mai puțin formele artistice figurative precum Impresionismul sau arta japoneză. Este posibil ca, pentru mulți oameni, pictura modernă să aibă un impact vizual mai mare decât formele mai tradiționale de artă, acceptate ca normă. Persoanele mai sociabile tind să prefere arta impresionistă și japoneză, în timp ce celor mai puțin prietenoase le place arta stimulatoare, abstractă, cubistă, islamică și renascentistă. Intelectualii, aceia deschiși la noi experiențe estetice, tind să evite Impressionismul, probabil pentru că este prea familiar.
Studiul a mai arătat și că Impresionismul este de departe cel mai popular stil pictural dintre cele șase incluse în experiement (artă abstractă, japoneză, artă islamică, renascentistă și cubistă), urmat îndeaproape de arta japoneză, cubism și arta abstractă. Doar 10% dintre cei care au răspuns chestionarului preferă arta renascentisă sau islamică.
Posted in Education, Research | Tagged: Art, Visual Art | Leave a Comment »
Интерпретации евроинтеграции
Posted by ghenador on September 17, 2010
Художники из пяти стран написали свои варианты на заданную тему
Вожделенная евроинтеграция Молдовы давно идёт полным ходов. Другое дело, что не во всех плоскостях. И пока политики скандируют лозунги, а экономика жёстко диктует свои правила игры, творческие люди, игнорируя границы, обустраивают собственное европространство.
Идея проекта «Евроинтеграция через искусство» принадлежит директору ARS DOR Association, кишинёвскому художнику Геннадию Шонцу. Реализовывался он в партнёрстве с фондом ЮНЕСКО на протяжении четырёх лет. «Мы разослали приглашения в несколько стран Восточной Европы и в конечном итоге отобрали 21 человека», — рассказывает Геннадий.
Другое условие при отборе — в проект должны были войти не просто художники — богемные персонажи, отрешённые от реальности, а своего рода лидеры в своей области, способные посредством творчества решать какие-то социальные вопросы.
Команда в 21 человек из пяти стран (Молдовы, Украины, Латвии, Грузии и Румынии) за эти четыре года съезжалась в творческие камбузы, то есть лагери, обмениваясь своими взглядами, высказывая своё видение роли художника в процессе евроинтеграции через искусство и, конечно, работая.
Результат можно оценить, посетив выставку в галерее Французского альянса: открылась она 13 сентября и продлится до 3 октября. Из ста с лишним работ для экспозиции отобрали лишь четвёртую часть. Но и этого достаточно, чтобы удивиться множеству интерпретаций одной и той же темы. Ирен Рубель из Украины образом евроинтеграции выбрала дерево, причём написанное в славянской стилистике.
Её соотечественник Андрей Чепурко отдал дань политическим коллизиям: 
он изобразил Украину в виде голубки, над которой по обе стороны нависли две кисти рук, символизирующие США и Россию. У молдавского художника Роберта Андерсена, стоит понимать, процесс проникновения в европространство неотрывен от процесса самоидентификации: пейзажи Старого Орхея украшены древним орнаментом, и здесь же, на полотне, нарисован флаг Евросоюза. Те же пейзажи и, вероятно, тоже с намеком на самоидентификацию, но уже в классическом исполнении у Домницы Виеру, художницы из Кишинёва. И опять Старый Орхей — теперь уже глазами латвийского художника Игварса Заланса. У украинки Светланы Тимкив Европа — невеста, всем желанная, хотя уже и без того беременная.
Сам автор проекта Геннадий отобрал для выставки две собственные работы под названием Chişinău — capitala europeană. На одной — перекрёсток с видом на нынешнее здание примэрии, на другой — тоже перекресток, но с видом на давно несуществующую аптеку Когана на улице Армянской. Солнечный такой Кишинёв, вот только он из прошлого — коляски с лошадьми и элегантные прохожие откуда-то 19-го столетья. Ностальгический, скажем так, взгляд на ближайшее будущее.
А самая любопытная, на взгляд постороннего зрителя, работа — синие резиновые тапочки с отчётливой надписью Made in China и логотипом Евросоюза по самому центру. Читайте как хотите этот посыл. Но трудно не оценить иронию, и даже, скорее, самоиронию Влада Лозована.
Если попытаться по-дытожить, говорит Геннадий, то, пожалуй, нашими работами мы пытались сказать Европе: мы есть, мы рядом, мы такие же, как вы, нас нужно только услышать. Или увидеть.
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