Faculdade de Ciências Humanas - Universidade Católica Portuguesa FCH-UCP
Faculdade de Ciências Humanas-Universidade Católica Portuguesa | FCH-UCP (PT) is one of the leading institutions in the field of Culture Studies in Portugal, and is widely integrated in international programmes and networks. In 2010 FCH initiated a cultural network with leading national institutions (such as the Calouste Gulbenkian Foundation, the Culturgest, the Orient Foundation, Lisbon City Hall, the National Theatre Museum) titled The Lisbon Consortium.
The Lisbon Consortium’s MA Programme in Culture Studies is ranked #3 by the Eduniversal Worldwide Best Masters Ranking in Arts and Cultural Management and has a 60% rate of international students, along with international visiting professors from Universities such as the Freie Universität Berlin, the PUC – S. Paulo, the Universitá Ca Foscari – Venice, the University of Hamburg, among others.
An innovative international learning, research, and practice model, The Lisbon Consortium brings to Portugal the best collaborative practices between the University and cultural institutions. It is based on inter-institutional cooperation and interdisciplinary research, fostering exchange and excellency in cultural activities and cultural entrepreneurship with the Culture Studies MA and PhD programmes at Universidade Católica Portuguesa in Lisbon.
Leadership and management of European projects since 2013 include: Culture@Work - A Platform for Collaborative Cultural Exchange (Culture programme - FP7); Erasmus Mobility of Individuals (Erasmus+ Programme – Key Action 1); AETC-Atlantic Erasmus Training Consortium (Erasmus+ Programme – Key Action 1); Erasmus Mobility of Individuals (Lifelong Learning Programme); AETC-Atlantic Erasmus Training Consortium (Lifelong Learning Programme).
Since 2007, the FCH-UCP has had an ongoing research line titled “Art, Culture, and Citizenship”, with a sub-group named “Culture and Conflict”, which organises the core of the former CULCO group. It is currently developing the project “Cultural Citizenship in the 21st century: Models, Identities, Subjects”. The project takes on a genealogical approach to cultural citizenship and investigates how the concept has been remade in the 21st century, under which conditions it has gained prominence, how do artistic objects produce a practice-based theory of citizenship, and the role critical discourse plays in this conjuncture. The sub-group is also engaged in the problem-based 'Cultural risks' project, consulting with the DFG funded 'Risk and Literature' initiative, aiming to discuss the entanglements of the idea of risk, as both hazard and stimulus, in the cultural construction of the modern.
Tensta konsthall is an art centre in the Stockholm suburb of Tensta. Founded through a grassroots initiative in 1998, it is known to combine a high-profile programme of international contemporary art with an ambition to be a palpable presence in the neighbourhood.
Located in a former storage, Tensta konsthall has commissioned and hosted projects by artists such as Lawrence Abu Hamdan, Doug Ashford, Marie-Louise Ekman, Iman Issa, Sharon Lockhart, Walid Raad, Hito Steyerl, and Ahmet Ögüt, among many others. Often working with inquiries over several years (for example The New Model 2011-205 and The Eros Effect from 2015) – and emphasising the importance of mediation – the Tensta Konsthall is a private foundation with 50% public funding and a six-member team.
Since 2011, Maria Lind has been the director, and the programme has been characterized by the ambition to participate in a national and international exchange on what contemporary art does, and how to work with it.
Some of the central questions that Tensta Konsthall has been tackling since 2011 are the following: how can the potential of art as a form of knowledge be explored in relation to contemporary social situations, such as war and migration? What new social models can art suggest?
SAVVY Contemporary – The Laboratory of Form-Ideas is an independent, non-commercial project space for international visual and performing artists and curators, founded in 2010 by Bonaventure Ndikung in Berlin. In the spirit of Harald Szeemann’s “Agentur für geistige Gastarbeit” (Agency for Spiritual Migrant Work), SAVVY Contemporary sees itself as a laboratory of intellectual, artistic, and cultural development and exchange.
With a series of exhibition projects, discursive platforms, performances, events, archives and publications, SAVVY Contemporary aims at addressing current issues and theoretical nodes in the arts, sociology, philosophy, and sciences, to foster dialogue between the “West” and “non-West” and to stimulate critical discourse on the development of contemporary society.
SAVVY Contemporary is a place where socio-psychological, political, and anthropological topics can blossom in art according to Magnus Hundt’s ”Homo est dei et mundi nodus“ – the human being as an intersection between the creator and the creation. SAVVY Contemporary assumes itself as a fertile ground for critical and intellectual discourse on the development of contemporary art as well as on positions of contemporary art in the diaspora. Due to its historical and geo-political background as a former frontline town in the East-West-conflict, Berlin is particularly stamped by East-West-dialogue. Thereby, other important and leading issues like the North-South-dialogue and its inherent conflicts were ignored for a long while. SAVVY Contemporary takes upon itself this duty to promote and advocate the North-South-dialogue in the art scene in Berlin.
Royal College of Art
The Royal College of Art (RCA) is the UK partner organisation on the 4Cs programme of work. The RCA is the world’s leading university for Art & Design (2016 QS World University Ranking) with 1.000 professionals interacting with 1.500 Master’s and doctoral students. Staff in the Humanities department have long standing research interests with respect to conflict, including Michaela Crimmin, who is also co-founder and co-director of the not-for-profit community interest organisation, Culture+Conflict (C+C). As an associate partner, Crimmin and C+C bring four years of experience working to research and amplify the value of contemporary visual art produced in response to international conflict. Bringing theory and practice together, activities include events at the RCA and with a range of partners, artists’ commissions, and scholarships.
The RCA, with C+C co-director Michaela Crimmin as principal investigator, was recently supported by the UK Arts and Humanities Research Council to build a network of interest around the relationship between art and conflict, undertake research, and deliver a series of events, that culminated in an online journal, Art and Conflict.
Fundació Antoni Tàpies
Since 1990, The Fundació Antoni Tàpies, created by the artist in 1984, has been working to promote a better understanding of contemporary art and culture.
In line with the critical and aesthetic legacy of Antoni Tàpies, the temporary projects of the Fundació (seminars, exhibitions, cinema and video cycles, concerts, publications, etc.) establish a dialogue between complex artistic practices and Tàpies’ work. These artistic practices, often on the margins of official interpretations, offer a different version of culture and history by presenting a new space and a new way of accessing knowledge, and by opening up the possibility of critical thought vis-à-vis the cultural events of the present. The contemporary experience of art, an experience that no doubt includes but does not limit itself to the contemplation of artworks, should help relate these works to a whole network of events, learning activities and transformations, and create new forms of interaction with the public, new ways of sharing experiences and concepts through a variety of actions and activities. As an internationally renowned art centre and museum, the Fundació Antoni Tàpies has collaborated with diverse national and international institutions like the Museu Serralves, Porto; the Ludwig Museum, Köln, the Walker Art Center, Minneapolis; the Witte de With, Rotterdam; the Museo Nacional Centro de Arte Reina Sofía, Madrid; the Fruitmarket Gallery, Edinburgh; the Whitechapel Art Gallery, London, among others.
During its 25 years of history, Fundació Tapiès has explored different conflicts related with contemporaneity: Hans Haacke Obra Social explored the economic impact of the Olympic Games in Barcelona; Tous-ismes dealt with tourism understood as a new mobility of capitals, and 1989; After the Argel Talks. The Delayed Peace brings a critical scrutiny study case about the cultural context in the Basque Country during the years marked by the terrorist activity conducted by ETA. The Fundació has understood the space of conflict geographically, politically, economically or relating to social imaginaries, as an opportunity to start a dialogue between the parties, and understanding the museum as a social agent involved in conflict solving strategies.
Vilnius Academy Of Arts
Vilnius Academy of Arts (VAA) is the largest art university in the Baltic States. Today the Academy has over 1,800 students in four cities – Vilnius, Kaunas, Telšiai, and Klaipėda. Each faculty has its own unique study programmes. Vilnius and Kaunas faculties have a wide collection of programmes in visual and applied arts (Painting, Sculpture, Printmaking, Photography and Media, Animation, Textile, Ceramics, Glass Art, Stage Design, Fresco-mosaic, Stained Glass, Restoration), design (Graphic, Product, Fashion, Interior), architecture, culture management, and art history. Telšiai Faculty is based on solid craft competences (Metal Art and Jewellery, Furniture Design, and Restoration) and the recently established Klaipėda Faculty offers programmes related to the most current art tendencies (Contemporary Art and Media, Graphic Art, and Interior Design). VAA provides all three university study cycles: Bachelor, Master, Doctor in Arts and Design, and PhD in Art History. The Academy offers 57 study programmes (30 first cycle, 23 second cycle, 3 third cycle, 1 non-degree), which are accredited and registered in the State Study Program Register.
VAA is a member of international networks and associations of European higher education institutions of art and design. The diversity is brought in by international exchange programmes, such as Erasmus+, Nordplus, ELIA, CUMULUS, Worldwide Network of Artist Residencies RES ARTIS, Worldwide Network of Architecture, Interaction Design and Textile Education network ArcInTex. Today the Academy has more than 150 Erasmus+ partners within the EU, with 60 outgoing and 60-70 incoming students each academic year. Around 40 visiting professors per year ensure the development of international expertise and exchange of new ideas of students and staff.
A good example of international collaboration at the Academy is Nida Art Colony (NAC), which is a division of the Vilnius Academy of Arts. It is an art and meeting space surrounded by sand dunes and seas. As a resourceful platform, it runs an Artist-in-Residence Programme, Nida Doctoral School, which is operated together with Aalto Univeristy School of Arts, Design, and Architecture (Helsinki), and initiates art, education, and research projects. The Colony aims at creative confluence of academic and non academic education, artistic, and scientific practices, process and production based ventures. Open all year round, it hosts workshops, intensive courses, conferences, seminars, artist talks, film screenings and performances. The artist-in-residence programme is tailored for experienced and emerging artists, designers, architects, curators, art critics, and researchers from around the world. About 600 people take part in the cultural and educational activities organised and hosted by NAC every year.
VAA and NAC have a long and sustained experience in researching, interpreting, and presenting contemporary social problems with the local past and in building greater understanding of current conflict-induced challenges in Lithuania.
Museet for Samtidskunst
In 2016, the Museum of Contemporary Art changes its profile towards a more content-driven agenda, aiming for relevance in present-day society: taking the themes and methods of art as its springboard, The Museum of Contemporary Art addresses social, cultural, and environmental challenges in order to make an impact on our present and future. The museum now works with annual themes that are relevant to a local community as well as to a global agenda. Working thematically connects all activities and projects, e.g. mediation, research, exhibitions, volunteering projects, and education. The theme for 2017 is migration; the theme for 2018 is global economies.
The museum was established in 1991 as the country’s only museum for contemporary art. It grew out of a Fluxus event that took place in Roskilde and has ever since presented and collected “ephemeral” art, among which sound art, performance art, video art, and net art. The museum hosts the bi-annual sound and performance festival ACTS – Festival for Performative Arts.
The museum carries out research in international contemporary art, mediation, and conservation of the latest forms of art, and it holds a collection of Danish and international art. The collection is continuously expanded with works created within the past 25 years. The museum also prioritises museum education for children and young people.
The École Nationale Supérieure des Arts Décoratifs is a major public institution of higher education, under the authority of the French Ministry of Culture and Communication. Its purpose is the artistic, scientific, and technical training of creators capable of designing and developing any production in the various disciplines of the decorative arts, as well as the development and carrying out of research in these disciplines. The École Nationale Supérieure des Arts Décoratifs is developing an ambitious research programme in the form of ENSAD, its research laboratory. Since 2011, the School has been a member of the research and higher-education university formed by "Paris Sciences et Lettres – Quartier Latin," which brings together 20 higher-education and research institutions (including the Collège de France, the ENS, the ESPCI, the Observatoire de Paris, the Institut Curie, and others). The School became a member of the Conférence des Grandes Écoles in 2012. ENSAD, the École des Arts Déco's laboratory for research in art & design, combining research and training, currently consists of 10 research programmes that cover the fields of both design and art, such as the graphic arts, typography, service design, design of objects or space, interactive installations, virtual spaces, new materials, and mobility. The research programmes are directed by professor-researchers, instructors, and professionals with a high level of expertise. For each of these programmes, the School is developing public or private partnerships, with universities, grandes écoles, businesses, or research laboratories.
ENSAD has been part of international research projects aiming at improving the quality of life in conflict situations for various years. In 2016, the School participated in the festival Games for Change Europe Festival (June 9-10) in the framework of Future en Seine to tackle issues of migration. From 2014 to 2016, ENSAD hosted the research laboratory Labodives with PSM (la Plateforme de Service aux Migrants), PEROU (pôle d’exploration des ressources urbaines), CIVIC CITY (international design research network), CAS Civic Design (HEAD university Geneva), and LE CHANNEL in order to find new forms of experimentation by adopting design tools in the framework of conflict situations. Since 2014, ENSAD develops the Symposium “Forging the future” conceived by Anna Bernagozzi, Francesca Cozzolino, Aurelie Mossé and Sophie Krier. In 2015, ENSAD organised the exhibition “ENSADland”, a resilient design territory conceived by 12 young graduates in Milan.
At “Ensadland”, design must be capable of action in the social world. It must contribute to relationships that are creating new driving forces striving for resilience, focusing on the very structure of processes as well as their elaboration. Designing for resilience means inventing not only new tools and new processes, but also the interactions they produce. Analytical ability, adaptation, audience co-production and flexibility are the keywords.
Delfina Foundation is an independent, non-profit foundation dedicated to facilitating artistic exchange and developing creative practice through residencies, partnerships and public programming.
Founded in 2007, we promote artistic exchange and experimentation. We create opportunities for emerging and established artists, curators and writers to reflect on what they do, position their practice within relevant global discourse, create career-defining research and commissions, and network with colleagues. We forge international collaborations to build shared platforms to incubate, to present and to discuss common practices and themes.
In January 2014, Delfina Foundation expanded into an adjacent building at 31 Catherine Place in central London, becoming London's largest provider of international residencies.
Delfina Foundation is a non-political and non-grant-making foundation.