Olesia Ostrovska-Liuta, expert at the Culture 2025 platform, on how EU countries produce their policies, what mechanisms are in place, and why they are that way.
How can we make the needs of culture visible and important for the authorities and society?
European countries have in fact already gained some experience of urban transformation in which cultural practices played a significant role. How did this take place in practice and is this experience relevant for us?
How the system of non-formal cultural education works in three European countries: the UK, France and Estonia, how it can interact with formal education and how these effects operate in the long run?
Different states have different forms of collaboration with cultural institutions and these models have their advantages and disadvantages. Therefore, it is important to analyse them and select the most suitable for each particular case.
What do contemporary theatre systems look like in different countries, how does dialogue between the theatre and public take place, what works for and what irritates theatre professionals in different countries?
How do some cultural centres look in today’s towns across Poland?
How can we determine the edge of the creative industry? Where and in what to invest – at least our time? What should be ignored?
Creative activities carried out in art clusters, hubs and art incubators, often located in the revitalised spaces of former industrial zones or abandoned buildings, constitute a significant share of the creative economy. Some of these spaces were created in former squats. Read on below to find out more about this.
It is the norm in today’s world to have wheelchairs available at the entrance, general information printed in braille, tactile models present at exhibitions, and families with children (this is often one of the largest target groups) receive special educational programmes. This article is an attempt to show how this works in some museums in Western Europe.