culture360.asef.org http://culture360.asef.org Connecting Asia and Europe through arts and culture Fri, 31 Oct 2014 07:00:18 +0000 en-US hourly 1 http://wordpress.org/?v=3.5.1 Shortlisted Projects | Creative Encounters and Creative Networks 2014/15http://culture360.asef.org/asef-news/shortlisted-projects-creative-encounters-and-creative-networks-2015/?utm_source=rss&utm_medium=rss&utm_campaign=shortlisted-projects-creative-encounters-and-creative-networks-2015 http://culture360.asef.org/asef-news/shortlisted-projects-creative-encounters-and-creative-networks-2015/#comments Fri, 31 Oct 2014 03:44:49 +0000 Valentina Riccardi http://culture360.asef.org/?p=45263

  Proposals for ASEF’s Creative Networks and Creative Encounters programmes have been shortlisted this month, following a thorough review of the submitted proposals.  For Creative Networks Second Edition, 8...  Read More

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Proposals for ASEF’s Creative Networks and Creative Encounters programmes have been shortlisted this month, following a thorough review of the submitted proposals. 

For Creative Networks Second Edition, 8 proposals have been shortlisted from 39 submissions. For Creative Encounters Fourth Edition, 6 creative proposals have been shortlisted from 117 submissions. The selection of shortlisted projects was conducted in partnership with Arts Network Asia.

The shortlisted applicants have been requested to submit a detailed proposal by Monday, 1 December 2014. Successful applicants will be notified in January 2015.

ASEF Creative Networks 2nd edition (2014-15) – Shortlisted Projects

  1. An International Strategy for culture and the environment
    A two-day symposium on the effects of environmental sustainability for the arts communities in Asia and Europe
    Partners:  Julie’s Bicycle (United Kingdom), IETM – International Network for the Contemporary Performing Arts (Belgium)
  2. Connect Your Future(s)
    A mapping of online cultural platforms and a conference on cultural mobility, creative industries and digitized heritage
    Partners:  Agence Luxembourgeoise d’Action Culturelle (Luxembourg), Planting Rice (Philippines), On the Move (Belgium)
  3. Creative Cities Network
    A series of workshops and seminars to expand the South East Asia Creative Cities Network (SEACCN) and involve European cities
    Partners:  Chiangmai University  Science Technology Park Secretariat of the Creative Chiangmai (Thailand), Bandung Creative City Forum (Indonesia), Creative Cebu Council (Philippines), Penang Think City (Malaysia), George Town Festival (Malaysia)
  4. Culture and Creative Hub Net
    Establishment of a new network of Cultural and Creative Hubs between Asia and Europe
    Partners: ADDICT – Creative Industries Agency Portugal (Portugal), ECBN – European Creative Business Network (Netherlands), CI-USJ – Faculty of Creative Industries, University of Saint Joseph (China)
  5.  Curating Batik
    A series of workshops to develop marketing and brand strategies on batik collections between museum experts in Asia and Europe
    Partners: Weltmuseum Wien (Austria), Museum Tekstil Jakarta (Indonesia), Náprstek Museum  of Asian, African and American Cultures (Czech Republic)
  6. SEAAA Mobility Platform
    A network of mobility funders to support individual grants in Asia and Europe
    Partners: Roberto Cimetta Fund (France), Korea Arts Management Service (Republic of Korea), Australia Council for the Arts (Australia)
  7. The Asia Pacific Screen Lab @ GFS
    A one-year film co-production training laboratory for emerging filmmakers from the Asia Pacific region
    Partners: Griffith Film School (Australia), Ateliers du Cinéma Européen (France), Mediterranean Film Institute (Greece), Australian Directors Guild (Australia), Torino Film Lab (Italy), Asia Pacific Screen Academy
  8. THRIVE Networking Culture Leaders
    Capacity building workshop and report to help enhance the leadership and effectiveness of international culture networks
    Partners: International Federation of Arts Councils and Culture Agencies (Australia), Arts Network Asia (Singapore), European League of Institute of the Arts (The Netherlands).

See also: http://www.asef.org/index.php/projects/themes/culture/3220-asef-creative-networks-2nd-edition

 

Creative Encounters: Cultural Partnerships between Asia and Europe 4th edition (2014-15) – Shortlisted Projects

  1. Bread Houses – Community Creation
    A series of community workshops to exchange culinary and cultural practices between Asia and Europe
    Partners: Bread Houses Network (Bulgaria), Seongnam Cultural Foundation (Korea)
  2. Circus On The Edge
    A training of trainers and public performances in circus arts with a strong community engagement in Thailand
    Partners: Makhampom Foundation (Thailand), Circusschule Die Rotznasen e. V (Germany)
  3. Co-Creating Spatial Narratives
    A series of workshops focusing on the process of co-creation in craft design innovation involving artisans, architects and designers, resulting in an exhibition in the Netherlands
    Partners: 
    Design Innovation Craft Resource Center (India), CREARE Foundation (Netherlands), CraftCanvas (India), Studio Makkink & Bey (Netherlands)
  4. Curating – In – Depth
    A series of lectures and workshops on contemporary curatorial practice for emerging artists, critics and curators, with visual arts exhibitions in Slovenia and the Philippines
    Partners:
     SCCA, Center for Contemporary Arts – Ljubljana (Slovenia), Planting Rice (Philippines)
  5. Dance Connect 2015
    Mentoring of emerging choreographers through artists’ residencies and commissioning of new pieces and touring.
    Partners: Attakkalari Centre for Movement Arts (India), O Espaco Do Tempo (Portugal), Mercat De Les Flors (Spain), European Dancehouse Network (Spain)
  6. Sharing Practices of Art for Common Existence
    Training workshops for visual artists and creation of 3D artistic projections
    Partners: International Initiatives for Cooperation (Bulgaria), Asociacion de Investigacion de la Industria del Juguete, Conexas Y Afines (Spain), NIVRITI (India), ARTILT-D biedriba (Latvia), Youth for Sustainable Development Assembly (Philippines), Solidarites Jeunesses Vietnam(Viet Nam).

 

See also: http://www.asef.org/index.php/projects/themes/culture/3218-creative-encounters–fourth-edition-2014–2015-

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1st Toga Asian Arts Festival staged in Japanese mountain villagehttp://culture360.asef.org/news/1st-toga-asian-arts-festival-staged-in-japanese-mountain-village/?utm_source=rss&utm_medium=rss&utm_campaign=1st-toga-asian-arts-festival-staged-in-japanese-mountain-village http://culture360.asef.org/news/1st-toga-asian-arts-festival-staged-in-japanese-mountain-village/#comments Thu, 30 Oct 2014 22:13:45 +0000 Judith Staines http://culture360.asef.org/?p=44396

The village of Toga, in the mountains of Japan’s Toyama Prefecture is becoming a magnet for artists, theatre companies and audiences from Asia. Theatre director Tadashi Suzuki wants to...  Read More

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The village of Toga, in the mountains of Japan’s Toyama Prefecture is becoming a magnet for artists, theatre companies and audiences from Asia. Theatre director Tadashi Suzuki wants to make Toga a true centre for Asian theatre, and organised the first Toga Asian Arts Festival this summer.

The Toga Asian Arts Festival 2014 attracted 150 participants from 18 countries. Chinese and South Koreans accounted for most of the international contingent.

“I would like to expand the event to attract people from the Association of Southeast Asian Nations, India and Russia,” Suzuki said. He stressed his desire to “nurture this village as a theatrical center, a gathering place for the young, talented people who will determine the future of theater.”

This is not the first time the 75-year-old Suzuki has sought to make Toga the world’s stage. Suzuki, who began working in theater overseas in his 30s, hosted an international event called the Toga Festival from 1982 to 1999.

After working in the West, he shifted his focus to Asia and has been teaching the “Suzuki method” in China, Taiwan and South Korea. In May of this year, at the request of the Shanghai Theatre Academy, he directed Chinese actors in a production of “Cinderella.” The connections he made proved helpful when he set about organizing the new festival.

On the heels of the arts festival, this year’s Asian Theater Directors’ Festival was held Sept. 1-3 with four troupes from Japan, China, South Korea and Taiwan. Suzuki’s philosophy appears to be of great interest to young artists across Asia; after all, he created his own brand of theater in Japan and presented it to the world.

Other efforts to increase the village’s capacity for hosting artists are underway. In summer 2013, a committee was established and tasked with turning Toga into a center for the arts. The panel is led by Tadahiro Yoshida, chairman and CEO of YKK, the zipper and fastener maker. It is working on a plan to build training and accommodation facilities.

Read full article on Nikkei Asian Review

Image: South Korea’s Yohangza Theatre Company, led by Yang Jung-ung, took part in the Toga Asian Arts Festival with an interpretation of ”A Midsummer Night’s Dream.”

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Between two cultures: Euro-Asian creative personalities (part II)http://culture360.asef.org/magazine/between-two-cultures-euro-asian-creative-personalities-part-ii/?utm_source=rss&utm_medium=rss&utm_campaign=between-two-cultures-euro-asian-creative-personalities-part-ii http://culture360.asef.org/magazine/between-two-cultures-euro-asian-creative-personalities-part-ii/#comments Thu, 30 Oct 2014 09:24:48 +0000 Magali An Berthon http://culture360.asef.org/?p=45326

In this sixth article, Magali An has focused on two design and craft projects rooted in Euro-Asian double-culture: Paris-based French-Japanese craft duo Eskimeït who creates contemporary jewelry and objects with an old Japanese coal burning technique; Vietnamese young fashion designer Linda Mai Phung who decided with entrepreneur spirit, to move back to Vietnam to launch her fashion brand and work with local textile crafts.  Read More

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In this sixth article, Magali An has focused on two design and craft projects rooted in Euro-Asian double-culture: Paris-based French-Japanese craft duo Eskimeït who creates contemporary jewelry and objects with an old Japanese coal burning technique; Vietnamese young fashion designer Linda Mai Phung who decided with entrepreneur spirit, to move to Vietnam to launch her fashion brand and work with local textile crafts.

These 2 interviews are part of a focus on creative industries and creative personalities from a Euro-Asian background. Actress, illustrator, craftsmen or fashion designer, they all have insightful personal stories. Whether they were born in Europe or Asia, whether they have chosen to live in their country of origin or decided to settle elsewhere, we discover in these interviews their artistic universe and find out how their double culture has impacted their creative lives.

 

Hirohiko KAMIYA & Lorène HAYAT KAMIYA  - Designers – Eskimeït

Hirohiko & Lorene

Hirohiko & Lorene

 

Could you introduce yourselves to our readers and tell the circumstances of your meeting?

Lorene and Hirohiko: Hirohiko Kamiya, 46 years-old and Lorène Kamiya Hayat, 41, we are a French-Japanese couple and designers working together for the past twenty years.

Hirohiko: I arrived in France in 1987 to study makeup and hairstyling. I then worked in fashion, photography and theater until 1990, before starting studies at the interior design school Camondo. This is where we met.

L & H: After graduation, we have launched our own home decor collections, while freelancing in interior design on the side.

In 2004, we travelled to Japan to visit the Binchotan charcoal craftsmen from the Kishu area, which then led to our first collection of objects, lighting and jewelry with this special technique. We successfully exhibited this collection at the Maison & Objet trade show in January 2005 and 2006. Then we founded our brand called Eskimeït where we keep developing jewelry and objects around Binchotan charcoal.

 

Could you describe your artistic practice?

L & H: In our work – since we met- we have always been looking for new materials which we could transform and change from their original purpose and functionality. Each of our jewelry pieces is unique thanks to the organic and mineral rendering of Binchotan coal.

Even though we both have an education in design, we do not like the idea of producing objects industrially. Handcraft matters to us. As designers we still enjoy working with our hands because that’s often how we get our ideas. With time we understand each other very well and collaborate in a very complementary way.

 

Where does your love for art comes from?

Lorene: My father was a knitwear designer and as a child, I loved making collages with wool yarn falls, knit samples, fabric scraps and manipulating materials and colors. Besides my childhood memories, I remember moments in school when I was creating things with my hands and I even remember the happy sensations I experienced in doing them.

Hirohiko: From my childhood in Japan, I’ve always loved making things with my hands. I remember when I was little, I used to collect the caps from milk bottles to turn them into many objects: flying UFO, car wheels over and over again. I think I have always loved making art!

 

You currently live in France and work as a French-Japanese design duo, how do you reconcile your two cultures in your artistic practice?

Hirohiko: Initially, I just came to Paris for my studies and what I found was a great feeling of freedom. Here in France, relationships in life and work are very different, less codified and more direct than in Japan. Sometimes, for matters of hierarchy and social status, in Japan you are not really allowed to express what you think. In Paris, interactions feel more natural and easy. However, in my work process, I feel still very much Japanese!

Lorene: Meeting each other has really opened me to completely different culture. When I went to Tokyo for the first time, I actually expected a very modern and urban city and yet I was struck by the contrast of small Shitamachi old traditional neighborhoods which are so lively. I feel more connected to the traditional side of Japan which is still very present: you can see temples everywhere. I like the idea that for Japanese people, nature is put above all and that we must protect it. I also like their idea of renewal by giving things a second life, for example with the art of Kintsugi, they would repair a broken ceramic by sealing it with a technique based on gold lacquer, which confers to this object a completely new aesthetic dimension.

 

What is your relationship to Japan? And how does it inspire you?

L & H: We go to Japan every couple of years. We usually visit the city of Kamakura, the ancient capital of Japan near Yokohama, for its temples and traditional neighborhoods with artisans. The Binchotan charcoal we are using is obtained by an ancestral technique dating from the Edo period. It was developed for the use of the Emperor. We use it in our designs and try to treat it in a different way, accordingly to our own perception, our environment and our two cultures.

Japan also inspires us culturally. We love Ozu films which portray so well the evolution of Japanese society with its relationships and codes. We are also inspired by Japanese landscapes, old architecture, traditional family life. All of this still lives with Japan today, through many festivals and customs. What influences us is linking modernity to tradition.

 

Japanese people consider their crafts as an art and not as a minor practice, what is your opinion about that?

L & H: What we like in the Japanese craftsmanship – paper, lacquer, textile, ceramics- is their real sense of aesthetics and sophistication, often coming with a hint of unexpected strangeness.

Before even starting on how to burn Binchotan charcoal, students must watch their teachers for years and understand all the senses which come into play: touching, smelling, noticing the color of the flames… In the Kishu area, we have encountered several Binchotan masters and each of them had a very personal approach from cutting the Ubamegashi oak tree branches, to manufacturing a clay oven and practicing their cooking technique. In Japan this charcoal is mainly used for its combustion and filter qualities, but there was no craft developed beyond these primary use. Yet we can’t stop being amazed and inspired by the intense black color of this material, its raw beauty, its amazing hardness. It features unique shapes and patterns of woodrings and cracks, as an endless source of inspiration for our designs.

 

www.charcoal.eskimeit.com

 

 

Linda Mai Phung – Fashion designer

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Linda Mai Phung – Copyright Thai Pham

Could you tell us about your career path and your origins?

My name is Linda Mai Phung, I was born in France and I grew up near Paris. Both my parents are Vietnamese. I just celebrated my 30th birthday! I have studied fashion design in Paris art school Duperré. After my graduation, I have worked on various projects in fashion and graphic design in France in Paris, Europe in Prague and Berlin  and finally in Ho Chi Minh City. I came to Vietnam to work for an ethical fashion brand and I never left! Coming to Vietnam made me realize that I wanted to stay and start my own ready-to-wear brand. I then launched my project in 2011. Since then, the project keeps growing. I am selling in Europe and in Asia and I have won several awards: the Eco-Fashion Designer Award by Neoplanete Magazine in 2011, the Ethical Fashion Show Creativity Prize in 2011 and the Ethical Fashion Forum Innovation Award in 2012.

 

Could you describe your creative work?

I am a fashion designer so I draw, design clothes and accessories, conceive seasonal women’s wear collections and work on the production process with my tailors, suppliers and workshops. I draw my inspiration mostly from my many travels. One of my strongest concerns is to design sustainable products which would take in considering their impact on the environment. It is also very important to think about the people who will wear my clothes. My love for art and design has been driving me since my early childhood. Starting my own brand is actually a dream come true and an authentic passion: I really love making things, creating and designing. This is also my way of expressing my personal view of the world.

 

You grew up in France and chose to settle back in Vietnam. What has motivated your choice?

Vietnam is the country of my parents. So in a way, I have always had this idea of settling here, somewhere at the back of my mind. It was a project which matured through time, as a lifetime journey in a search for my family history and the development of my career.

You can find such talented craftsmen in Vietnam and the economy is booming, so I found many appeals in coming here. I decided to move to the capital city Ho-Chi-Minh City in the South and launch my fashion brand. The creative scene here is very dynamic and inspiring. The economical and urban development, the people’s authenticity, the sounds, the colors, the contrasts between the city and the countryside… I enjoy all of it! And I feel that I am learning a bit more every day about myself and about the world, just by living in this exciting country.

Moving here went quite smoothly. I was pleasantly surprised by the warm welcome I received when I arrived in Vietnam. I have been very lucky, I met a lot of helpful people who have supported me in my first moments here and without whom I would never have gone this far today: the tailors, the craftsmen, my friends or even the business owner who made me come to Vietnam in the first place.

Personally I immediately felt that I belonged, thank you also to this stimulating project.

 

How do you work with Vietnamese ethnic minorities? And how do you combine their traditional textiles to contemporary fashion?

People do not always know that there are about fifty-four ethnic minorities spread all-over Vietnam. Most of them have their own language and their own textile techniques and traditional dresses. Each year I travel to one of these remote provinces where I have spotted certain ethnic groups with great crafts. I usually come to buy some textiles and some woven and embroidered fabrics made locally in these villages, I put them on my motorbike and then head back to Ho Chi Minh City ! Sometimes I also order custom textiles to local handicraft workshops but it is difficult in regards of my collection deadlines. The whole process requires time. For weaving, they need to grow the plants which will give the yarn- hemp for example- and in other cases, the handmade adornments such as pleating, dyeing or embroidery demand also a very long time. This is the beauty of each of these particular fabrics: they are all unique. In my designs, I now use them in the details of a hem, in a liner or a collar. I also choose major textiles to feature in my key looks which creates interesting contrasts. For example, I will use a traditional wool weaving to make a hyper contemporary biker jacket.

This illustrates well the idea of identity and origins set up in my work, by mixing materials and shapes, using an ancient embroidery lining on a garment with a very modern exterior look. This is my signature as a fashion designer.

 

What does double culture mean to you and does it impact your work and creative life?

My double culture is really what sets the identity of my brand: a contemporary blend of cultures, a mix of Asian and Western influences and know-how. I feel that this is an asset and a great opportunity to be able to explore different aspects of your own origins, especially in a creative field. My double culture has actually opened doors for me and it has given me an edge as a multi-cultural and travel fashion brand. I have Vietnamese roots and I grew up in France, so this was the starting point of my project. However, I am now looking to go further and define a new identity with my work, probably on a less personal note with the eyes turned towards the future.

www.lindamaiphung.com

 

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Art Radar Institute | p/t online Course Tutor jobhttp://culture360.asef.org/opportunity/art-radar-institute-pt-online-course-tutor-job/?utm_source=rss&utm_medium=rss&utm_campaign=art-radar-institute-pt-online-course-tutor-job http://culture360.asef.org/opportunity/art-radar-institute-pt-online-course-tutor-job/#comments Thu, 30 Oct 2014 08:24:22 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=45318

Art Radar Insitute seeks a 101 Course Tutor (Part-time) to deliver contemporary art writing tuition to students via remote distance learning tools. Art Radar is one of the leading online platforms...  Read More

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Art Radar Insitute seeks a 101 Course Tutor (Part-time) to deliver contemporary art writing tuition to students via remote distance learning tools. Art Radar is one of the leading online platforms covering contemporary art news and trends in Asia and beyond.

Application deadline: Sunday, 2 November 2014

Art Radar Institute was founded in June 2011 and offers online and face-to-face courses to art professionals, academics, artists, scholars and collectors. To date, more than 80 students have undertaken the Institute’s flagship online course, the Art Radar Certificate in Art Journalism & Writing 101.

The Institute is seeking a part-time Course Tutor to teach and manage students undertaking this unique 101 certificate programme. Over 13 weeks, students on this programme learn to write and edit up to two articles that will be published on Art Radar, one of the leading online platforms covering contemporary art news and trends in Asia and beyond. Art Radar garners over 20,000 unique visitors a month, and has nearly 20,000 subscribers and followers.

Description

Day to day responsibilities include

  • interviewing prospective students
  • communicating with prospective and current students via email and Skype
  • finding and assigning articles to students
  • editing and providing feedback on coursework completed by students
  • uploading completed student articles to Art Radar for publication
  • grading students and writing reference letters
  • various administration tasks directly related to the management of prospective and current students

Art Radar Institute and Art Radar operate remotely, with staff members working from home across the world. As such, applicants for this position can be based anywhere in the world, although applicants living in the Asia region will be given preference.

Requirements

Successful candidates must

  • have a strong background in education (online or offline) and/or journalism, contemporary art, art history, online publishing – our ideal candidate will have previously published on visual culture media
  • have experience using WordPress, with knowledge of HTML and CSS beneficial
  • have native-level English language ability, written and spoken
  • have a tertiary-level education
  • have excellent communication skills, both written and spoken
  • have excellent attention to detail

The 101 Course Tutor’s salary will be commensurate with experience. The 101 Course Tutor is a part-time role: weekly work time requirements will be confirmed during the interview period. This role is ideal for freelancers, and is conducted online via Skype, email and messenger.

How to apply

To apply for this position, please email your CV, a cover letter and two relevant writing samples to artradarrecruitment@gmail.com. Please include “Art Radar Institute seeks 101 Course Tutor” in the subject line.

Shortlisted applicants will be contacted by email and will be required to attend up to two interviews over Skype. Only shortlisted and successful applicants will be contacted.

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Cultural Sustainability conference Helsinki | call for proposalshttp://culture360.asef.org/opportunity/cultural-sustainability-conference-helsinki-call-for-proposals/?utm_source=rss&utm_medium=rss&utm_campaign=cultural-sustainability-conference-helsinki-call-for-proposals http://culture360.asef.org/opportunity/cultural-sustainability-conference-helsinki-call-for-proposals/#comments Wed, 29 Oct 2014 21:47:59 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=45074

Culture(s) in Sustainable Futures is the title of an international conference on cultural sustainability to be held in Helsinki 6-8 May 2015. A call for proposals for parallel panels...  Read More

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Culture(s) in Sustainable Futures is the title of an international conference on cultural sustainability to be held in Helsinki 6-8 May 2015. A call for proposals for parallel panels is open for submissions till 5 December.

Is culture the fourth pillar of sustainability, alongside the ecological, economic and social aspects? How does culture act as a catalyst for ecological sustainability, human well-being and economic viability? What would our futures look like if sustainability was embedded in the multiple dimensions of culture, including different worldviews and values, ways of life, and other forms of cultural expression?

A cultural transition that embeds sustainability in the cultural understandings and daily practices of society has the power to shift humanity’s currently unsustainable trajectory. Culture already plays many roles in (un)sustainability but the scientific, policy-making and societal spheres lack understanding of the essence of culture and how it influences sustainability.

Call for proposals

You can participate in the conference in the following way:

  • Chair or present a paper at a research paper session [note: deadline has passed for submissions]
  • Organise or participate in a panel [deadline: 5 December]
  • Perform, talk or present your poster or visual art on the open stage [deadline: to be announced]

Parallel panels

are sessions with 3-4 presenters, a chair and a discussant. These sessions provide a moderated dialogue between the contributors. In particular, we encourage transdisciplinary debate on a specific theme between scientists, policymakers, and different practitioners for instance from the fields of art, culture and administration. To organise a panel you should invite 3-4 presenters and a discussant. The proposals for panels including the confirmed contributions and abstracts (the abstract of the panel: 250-300 words, abstracts of the presentations: 150-200 words) should be sent by an online submission system by 5 December, 2014. The panel proposals will be reviewed by the Scientific Committee.

The open stage

for posters, artistic expressions and performances is a space to explore the relationship between culture and sustainability through different presentational forms, by employing the methods of science and/or arts. These contributions will be organised in a transversal way by a curator according to the themes they display. This space will be open continuously throughout the conference. The call for proposals runs from – to: TBA. The proposals should be submitted through an online submission system. The curator will review the proposals. NB. Further information coming up!

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Germany | Cynetart Festival 2014http://culture360.asef.org/event/germany-cynetart-festival-2014/?utm_source=rss&utm_medium=rss&utm_campaign=germany-cynetart-festival-2014 http://culture360.asef.org/event/germany-cynetart-festival-2014/#comments Wed, 29 Oct 2014 21:45:58 +0000 Judith Staines http://culture360.asef.org/?post_type=event&p=45095

From November 13 – 19 the CYNETART festival is an invitation to diverse spaces, where we, together with musical birds, clever organised ants, performance artists, a virtual intelligence and...  Read More

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From November 13 – 19 the CYNETART festival is an invitation to diverse spaces, where we, together with musical birds, clever organised ants, performance artists, a virtual intelligence and a holographic avatar system, meet at the Festspielhaus Hellerau, Dresden.

CYNET ART testifies to the life of intertwined species and shows options of connectivity with specifically designed perception architectures. The modelation of coexistence reflects our understanding of ourselves. Our demand for contact among each other and to other species, so it be purely energetic or mediated, is ongoing.

As a central point in the Grand Hall of the Festspielhaus there will be to experience a fulldome hemisphere: an extra built large spherical segment as a temporary zone of art. Artists play encircling 360° hemisphere filling projections and surround sound and thus combine the latest technological possibilities with artistic practice. The self-built “Planetarium” is an area, in which the quest will be: plunge and immerse.

CYNETART AWARD WINNER 2014

The award winners 2014 will be publicly announced at the start of festival, 13th of November 2014.  An international jury chooses the winners of the following four awards:

I.  Grant from the Saxon State Minister for Higher Education, Research and the Arts: 10,000 EUR
II.  The Artist-in-Residence Grant from the Saxon State Minister for for Higher Education, Research and the Arts 2015 awarded in cooperation with the Office of Cultural and Historic Preservation, City of Dresden: 10,200 EUR
III.  CYNETART Award in cooperation with HELLERAU (European Centre for the Arts): 5,000 EUR
IV.  CYNETART Award in cooperation with Ostsächsische Sparkasse Dresden: 5,000 EUR
V.  CYNETART ARTE Creative Commission in cooperation with ARTE Creative: 2,500 EUR

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The Danish Agency for culture in Asia | Interview with Ulla Ronberghttp://culture360.asef.org/magazine/the-danish-agency-for-culture-and-asia-interview-with-ulla-ronberg/?utm_source=rss&utm_medium=rss&utm_campaign=the-danish-agency-for-culture-and-asia-interview-with-ulla-ronberg http://culture360.asef.org/magazine/the-danish-agency-for-culture-and-asia-interview-with-ulla-ronberg/#comments Wed, 29 Oct 2014 04:25:32 +0000 Florent Petit http://culture360.asef.org/?p=45228

  Florent Petit, ASEF culture360 contributor met with Ulla Ronberg, Senior Advisor for Cultural coordination in the headquarters of the Danish Agency for Culture in Copenhagen. Mrs Ronberg introduced...  Read More

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Ulla Rønberg, Danish Agency for culture

Ulla Rønberg, Danish Agency for culture

Florent Petit, ASEF culture360 contributor met with Ulla Ronberg, Senior Advisor for Cultural coordination in the headquarters of the Danish Agency for Culture in Copenhagen.

Mrs Ronberg introduced the principles on which relies the International cultural cooperation from Denmark, with a special focus on recent projects developed in Asia. She also shared her views on the new directions taken by cultural exchanges between Denmark and Asia for the years to come.

 

The Danish Agency for Culture is an agency under the Danish Ministry of Culture, employing about 300 professionals. The agency carries out the cultural policies of the Danish government in the areas of the visual and performing arts, music, literature, museums, historical and cultural heritage, broadcasting, libraries and all types of printed and electronic media. The agency works internationally in all culture related fields, and sees as its top priority the increased internationalisation of Danish arts and cultural life. The agency also performs as the Secretariat for the Danish Arts Foundation.

Danish Dance Theatre performing Black Diamond in Shanghai and Zhangzhou

Danish Dance Theatre performing Black Diamond in Shanghai and Zhangzhou

 

1.       Could you introduce the Danish Arts Foundation and tell us about its goals and mission?

The prime aim of the new Danish Arts Foundation is to promote the arts in Denmark as well as Danish art abroad. The funding for international projects is managed by six different committees (Visual Arts, Literature, Music, Crafts and Design, Performing Arts, Architecture).

It is up to the Foundation’s committees to decide when funding should be awarded. This is a very important point to stress: The Danish Arts Foundation is a government organisation, the funding comes from the state, yet the Arts Foundation keeps a real independence from political considerations when it comes to giving grants. This is fundamental to the Danish arts funding system.

The Danish Arts Foundation is a member of the International Culture Panel, where international strategies and action plans are put in place. The panel is cross-ministerial, consisting of the Ministry of Culture, the Ministry of Foreign Affairs, the Ministry of Trade and Growth, and different organisations affiliated to the three ministries, e.g. the Arts Foundation.

The Panel’s action plan 2014-2016 defines a geographic and thematic focus. Geographically we focus on the BRICS-countries (Brazil, Russia, India, China, South Africa) and the Middle East. We also try to create synergies between countries in a region, for instance helping cultural exchange projects in China to find their way to South Korea or Vietnam.

We also work on three cross-sectorial thematic areas: Children and Youth,  Sustainability , and Dialogue, Democracy and Participation .

Although The Danish Arts Foundation is an institutional agency and the committees decide who they want to support and where they want to work internationally, they have also chosen to participate in the culture panel and contribute to the overall aim of the Panel : to increase Denmark’s cultural exchange with foreign countries and strengthen the internationalisation of Danish cultural life. This co-operation between Danish partners in the Panel is really important.  In this way we join forces and work together internationally.

The International Culture Panel has four overall aims:

  • The development and renewal of Danish art and culture. This is to say that whenever we engage in international cooperation, it is also in order to enliven the Danish art scene. There always has to be this reciprocity.
  • The promotion of Denmark as a country through nation branding;.
  • To increase cultural exports; and,
  • develop  intercultural dialogue.

These four purposes are of equal importance and they are the values we keep in mind whenever we engage internationally.

Lastly, I also would like to mention the five principles that the International Culture Panel has formulated. These principles underline all our activities when we work in cultural cooperation:

  • Any project, first and foremost, must be based on a high cultural or artistic quality;
  • Projects have to be embraced by the audiences in the respective countries. It is important to secure local interest, local anchorage;
  • All activities must have a measure of longevity. There must be a long term perspective, a purpose of knowledge-sharing and networking;
  • A bottom-up approach and the facilitation of agent to agent participation; and,
  • The last principle is about visibility: it’s always important, and that goes without saying, to focus our communication on target groups to make sure there is the right visibility for our projects.

These five principles are all interconnected and they give a very good idea of how we work  internationally .

 

2.       Among your latest projects with Asia, you have set up a Cultural and Development Fund with Vietnam for the years 2011-2015. How can you assess the impact of this initiative so far? Do you have similar projects with other Asian countries planned for the future?

If you look at our principles, it is obvious that we don’t work the same way in every country – that would make no sense. We are developing cultural exchange projects with partners in Vietnam, South Korea and China in three very different ways – because these are three different countries.

The way we have been working over the past years in the Danish-Vietnamese Cultural and Development Fund is currently under revision. The Vietnamese art scene is interesting to follow So how can we adjust our cooperation to fit this development? We have to figure out new strategies and in my opinion focus on reciprocity.

The Danish Agency for Culture is participating in seminars and courses in Vietnam, invited by the Vietnamese Ministry of Culture. In Denmark, we have a long tradition of working in an administrative system supporting arts and culture. We see this cooperation with Vietnam as an opportunity to share our recommendations and our know-how.

Among other projects in Asia right now I can mention the Danish Cultural Season in China 2014 2015 . This project is initiated by the International Cultural Panel. For the last year and a half, I have been working as a project leader for this programme, which has been launched on 24th October during the visit of Mrs Marianne Jelved, Danish Minister of Culture to China.

There are around 60 projects, some of them big, some of them small, covering almost all the artistic spectrum from performing arts to music, literature, museums, exhibitions, residencies for visual artists and many others.

If I have to mention one of the projects in the programme, it could be the children and youth portfolio of projects, developed by Danish and Chinese creative schools for children. This project is covering six companies of children theater travelling to several Chinese cities, accompanied by Danish music schools and creative schools. There will be workshops and seminars for both children young people and adults. On our webpage (http://www.kulturstyrelsen.dk/english/international-focus/projects/danish-cultural-season-in-china/) you can see the complete list of projects.

 

3.       What are the priorities of the Danish Agency for Culture in order to promote Danish art and artists abroad?

The five principles we talked about are fundamental in all aspects of working with international cultural exchange.

I would like to stress the principle of working bottom-up. In order to work bottom-up, you must be in dialogue with partners that have a genuine interest in cooperation. On an institutional or artistic level, Projects like for instance, China 2014 / 2015 could not have happened if Danish and Chinese partners had not worked closely together and put resources into the projects.

One of the best ways we usually start a project is the visiting programmes. The Danish Agency for Culture invites people to visit Denmark and stay here for five days. We organise meetings for them with relevant institutions and agents and, hopefully, the Danish partners will also travel the other way. This helps us to pave the way for a dialogue and paring of interests on an institutional and artist-to-artist level.

At the same time, it is also important to have a fruitful dialogue on an administrative level. We work closely with the Chinese Ministry of Culture in the making of the Danish Cultural Season. When our Minister of Culture visits China, she will of course meet with her Chinese colleague in order to continue the dialogue and reflect on our bilateral cooperation.

 

4.       Is there in your opinion a specific approach to adopt when developing projects with Asian countries?

I don’t think so. As I said before, when we work with partners in South Korea, in China or Vietnam, we work in different ways and with different projects. The fundamental dialogue with the partners we engage with forms the projects. We do not have one model for all when working with Asian countries.

 

5.       How do you envision the future of cultural relations between Denmark and the Asia-Pacific region?

I think relations will grow stronger and networks will develop. We have strong ties with China, Vietnam and South Korea, that hopefully will expand. And maybe expand into the region. But again, this is all up to Danish and Asian partners. In the Danish Agency for Culture, we facilitate and we organise, we help making communication across borders easier, we set up the framework in which projects can develop.

 

6.       Which kind of advice could you give to Asian professionals willing to present their work in Denmark or set up collaborative projects with Danish artists or organisations?

I think the best way, the best tool, is actually the visiting programmes. If you are working as an artist or a curator and have an interest in, for instance Danish design, you should come here! Meet the right people, engage in dialogue, find out how you could work together and from there make things happen.

 

References:


Florent Petit is a former project officer in the cultural unit of the French Embassy in Japan. He holds a Master’s degree in Art History from the Sorbonne University in Paris and in International Relations from the Institute of Political Studies of Lyon. Former lecturer of Chinese, Korean and Japanese art in the Ecole du Louvre in Paris, he has occupied several curatorial positions in museums in France (Asian Unit of the Musée du quai Branly, Paris) and Luxembourg (Mudam, Museum of contemporary art, Luxembourg City).

 

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Carpe diem artist and writer residencies in Indiahttp://culture360.asef.org/opportunity/carpe-diem-artist-and-writer-residencies-in-india/?utm_source=rss&utm_medium=rss&utm_campaign=carpe-diem-artist-and-writer-residencies-in-india http://culture360.asef.org/opportunity/carpe-diem-artist-and-writer-residencies-in-india/#comments Tue, 28 Oct 2014 21:48:58 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=45046

Carpe diem artist residencies are a new initiative led by a creative business team in India. First 2015 residencies are open for applications: an artist residency in Shimla (15...  Read More

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Himalayan-resort-terraced-fields

Carpe diem artist residencies are a new initiative led by a creative business team in India. First 2015 residencies are open for applications: an artist residency in Shimla (15 November deadline) and a writer’s residency in Almora (30 November deadline).

Carpe diem residency, a series of artist-in-residence programs is designed to invite artists, writers and film makers for a time and space away from their usual social environment and domestic obligations.

The idea behind the program is to facilitate a stimulating eco-system or co-inhabiting space for artists to participate, research, produce and reflect on an emerging body of work. It allows a fellow artist to explore his/her practice within another community of artists; meeting new people, using new materials and experiencing life organically in a new location.

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Writers’ Residency – Kalmatia Sangam, Almora

The Carpe diem Writers’ Residency gives screenwriters, filmmaker/writers, fiction/nonfiction writers and poets an opportunity to work on their creative work that are at a revision state. It takes place in Almora, northern India in May 2015. Applications are open and some grants available.

The Kalmatia Sangam Residency will be hosted at Kalmatia Sangam Himalayan Resort from 7th May through to 27th May 2015.

The aim of the Kalmatia Sangam Writer’s Residency is to seek out independent original voices in films, world of poets/writers and foster cross-pollination and creative interaction between participants.

16 Participants will be selected for the Kalmatia Sangam Program, 3 of these places being reserved for Indian Nationals.

Deadline for applications: 30 November 2014

Carpe diem Residency Grant will be awarded to three participants of the Writers Residency. Two of which will be for Indian Nationals residing in India and one to a Foreign National. There are three individual grants of INR. 50,000/- each. The amount will be adjusted against the Residency fees. This assistance reduces up to 33% of the fee. The grant will be awarded based on a combination of merit and need and solely at the discretion of Carpe diem.

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Artists’ Residency – Cedar Hill, Shimla

Carpe diem is also running a multi-disciplinary artists’ residency (16 March – 5 April 2015) at Cedar Hill Lodge, Shimla.

Deadline for applications (Cedar Hill residency): 15 November 2014

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Preparations for Indonesia’s 2015 Frankfurt Book Fairhttp://culture360.asef.org/news/preparations-for-indonesias-2015-frankfurt-book-fair/?utm_source=rss&utm_medium=rss&utm_campaign=preparations-for-indonesias-2015-frankfurt-book-fair http://culture360.asef.org/news/preparations-for-indonesias-2015-frankfurt-book-fair/#comments Mon, 27 Oct 2014 21:21:58 +0000 Judith Staines http://culture360.asef.org/?p=45080

As the Frankfurt Book Fair 2014 closes, reporting a “cool and exciting week” with Guest of Honour Finland, preparations are now underway for next year when Indonesia will be...  Read More

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indonesiafbf

As the Frankfurt Book Fair 2014 closes, reporting a “cool and exciting week” with Guest of Honour Finland, preparations are now underway for next year when Indonesia will be Frankfurt Book Fair 2015 Guest of Honour (October 14 -18).

Indonesia Frankfurt Book Fair 2015 website presents the ’17,000 Islands of Imagination’ theme that inspires the programme:

Indonesia has an extraordinary opportunity to showcase its rich literary and intellectual talent on the world stage as Indonesia has agreed to be country Guest of Honour (GOH) at the Frankfurt Book Fair (FBF) in 2015. Indonesia will showcase its rich and diverse literary and cultural heritage – traditional and contemporary – to Germany, Europe, and the world. And moreover, Indonesia will have a chance in this “cultural diplomacy” outreach to widen the world’s perception of Indonesia beyond being a “tropical island paradise” by expanding an appreciation of its rich literary and intellectual talent

As part of the preparations, an Indonesian Literary Translation Grant Program has been launched by the Ministry of Education and Culture. Grants are available to translators, authors and publishers through the program with target languages for the first year of English and German. Applications information (for 2015 program) here.

indonesia-literatureIn an article for the Asia Pacific Writers & Translators ( ‘Preparations for Indonesia’s 2015 Frankfurt Book Fair’), John H. McGlynn asks questions about whether enough translations will be ready for Indonesia’s week in the international publishing spotlight at FFB 2015.  John McGlynn is the founder and director of the Lontar Foundation, the only organization in the world whose primary focus of activity is the promotion of Indonesia through the translation of Indonesian.

Indonesian Literature in Translation (I-Lit) is an independent, non-profit website published by the Lontar Foundation. I-Lit’s primary aim is to make Indonesian literature in (English) translation accessible to an international audience.

Read about the Indonesian literary translation workshop which was supported by ASEF Creative Encounters in 2013.

And if you’d like to know more about Finnish literature and publishing: read more about the programme for Finland Cool at the Frankfurt Book Fair 2014

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Short-term DESIGN JOB opportunity with Empow’Her NGO in Bangkokhttp://culture360.asef.org/opportunity/short-term-design-job-opportunity-with-empowher-ngo-in-bangkok/?utm_source=rss&utm_medium=rss&utm_campaign=short-term-design-job-opportunity-with-empowher-ngo-in-bangkok http://culture360.asef.org/opportunity/short-term-design-job-opportunity-with-empowher-ngo-in-bangkok/#comments Mon, 27 Oct 2014 21:20:31 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=45034

Empow’Her, a French NGO that aims to empower women in partnership with local NGOs in developing countries, seeks a young creative person with design skills and fluent English for...  Read More

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empowher logoEmpow’Her, a French NGO that aims to empower women in partnership with local NGOs in developing countries, seeks a young creative person with design skills and fluent English for a paid short-term (2 month) position in Bangkok to work on materials and design of Thai craft products.

empowherThis is a remunerated position for a young creative person, with design skills, who would like to join Empow’Her’s small international team of volunteers coming from France and Italy (specialised in strategic management, marketing and product development) for 2 months (approx December 2014/February 2015).

His/Her role in this project would be to improve existing products (being sold through King Power, the leading company managing the duty free shops in Thailand) and to create new patterns and products, using different raw materials and working directly with the skilled staff from the Association.

Skills and Requirements

The perfect candidate is a person who is looking for a challenging experience and who:

  • has technical skills in fashion and design and can speak English (fluently)
  • is able to coach and train other people with no/few technical or professional skills in fashion and design
  • can understand client capabilities, market context and human insights
  • is curious, able to inspire and to be innovative
  • is passionate about social issues and wants to help women in difficulties

DOWNLOAD FULL JOB DESCRIPTION: Offer Fashion Designer position Bangkok pdf 20-10-2014

DEADLINE FOR APPLICATIONS: November 28 2014

Empow’Her is a French NGO that aims at empowering women offering training courses and consultancy, in partnership with local NGOs in developing countries or in general to women in difficulties. The mission in Bangkok is conceived in partnership with the Association for the Promotion of the Women (APSW). It has the goal of setting up a social enterprise, within the APSW, aiming at empowering women offering them handicraft training and providing them a job, while improving the financially sustainability of the entire Association. The NGO is strongly convinced that, little by little, through culture (in this case, rediscovering traditional handicraft techniques), it is possible to solve social and economic problem.

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