INSTITUTION

Lviv Municipal Art Center is a new landmark on the cultural map of the city. It is a multi-functional space located in the authentic Neo-Gothic building with a modern architectural solution. The center includes a gallery, lecture halls, media library, bookstore, a cozy cafe, and a workshop. This place is created to introduce you to the world of art, aesthetic pleasure, and reflections. It may serve as a platform for informal education or establish a dialogue between artists.

Exhibitions, lectures, master classes, film screenings, concerts, performances, and other cultural events are waiting here for the residents and guests of the city. Lviv Municipal Art Center unites artists, culture experts, musicians, filmmakers, and other professionals from different cultural areas and industries.

Here, it is not shameful not to understand art. That’s why our curators, mediators, and artists will be happy to give you an all-encompassing tour around. We also have educational programs for children and students.

This is a friendly art space both for parents and children to enjoy their time together with comfort and benefit. Here you can play, learn, and create.

Our mission is to give a full-scale perspective on art and explain simply any sophisticated conception. We will introduce you to the people, processes, and artworks which shape the cultural code of Lviv.

Lviv Municipal Art Center is a “must visit” if you are interested in discovering the city’s heritage and is keen on cultural tourism. Discover Lviv through the Lviv Municipal Art Center!

Jam Factory Art Center is a contemporary art institution that plays a key role in reflecting and presenting contemporary processes in Ukrainian and international art and culture, opening opportunities for public dialogue.

Since 2015, when a renowned cultural entrepreneur and Ph.D. in history, Harald Binder, bought the building of the old Jam Factory to found a contemporary art center, hundreds of people with us have been waiting for the Jam Factory Art Center to open its main gate to the public.

During those eight years, we were developing as an institution simultaneously with the revitalization processes. Building our strategy, forming local and international partnerships, expanding our team, and gaining experience by organizing art programs and events in spaces we could open earlier.

We were able to curate 17 art projects that varied in duration from a few days to years. In such places as Infopoint, AIR Space, and Novo 1 six exhibitions and four theatrical performances took place along with more than a hundred other events: performances, lectures, workshops, presentations, premiers, and excursions.

The experience helped us refine the art center’s program, which consists of several directions: performative, musical, visual art, and community-oriented projects. Now, we are ready to scale up our activities and enter a new phase in the history of our institution by finally announcing the opening of the Jam Factory Art Center.

We are a city gallery bringing our visitors an opportunity to experience intense encounters with contemporary visual arts. Contemporary art is not just something in which one can find pleasure, but rather a particular creative approach to the world. It may result in objects immediately recognisable as works of art, but also in situations or events in time and space, through which artists explore the present and invite viewers to be active and think for themselves.

We are convinced that the gallery should do justice to the nature of contemporary art and meet the needs of artists, curators and other creators. Not the other way around. In fact, a gallery that clings to tried-and-tested and obligatory formats and practices isn’t working properly – not only in relation to art and artists, but above all in relation to the public. Contemporary art sees and shows the world from perspectives that are seemingly not a normal part of our everyday actions. And that’s where its value is to be found.

The contemporary art gallery helps artists realize their visions. At the same time, though, it creates a background for visitors that enables them to recognise and intensely experience ideas about the world and suggestions on how to perceive it, what to do in it and with it, expressed through artistic creation. To understand this, we also offer glimpses into other disciplines that set it in a broader context. In this way, we ourselves keep learning – from the artists, and also from our visitors and collaborators. And education is something that we consider to be an equal and integral part of our activities and identity.

We believe in contemporary art that is continuously continuously developing and whose forms, functions and intentions are constantly changing, just like the world itself. The initial values of modern art – the openness to the new, the criticism of social injustice and a belief in people as free, sensitive and thoughtful beings – continue in contemporary art in a way that corresponds to the 21st century experience and takes on unique forms in various places around the world, including Ostrava.

Our task is to work with contemporary art in order to convey to the people of Ostrava and its immediate surroundings diverse ways of understanding and experiencing the present on the one hand, and on the other the inspiring alternatives for the future, which are being explored by artists from all over the world. With their help, we develop an awareness of an increasingly complex world and different ways of understanding, depicting and considering its risks and challenges. We do it for the benefit of the inhabitants of this unique city – and beyond – as we share responsibility for its condition.

Our new venue, the renovated municipal slaughterhouse, in a way represents a solid, supporting point for our activities, which makes it possible for our programme to preserve a certain conscious degree of volatility and improvisation. We therefore intend to use the next few years to explore, among other things, the various possibilities offered by the new venue and its immediate surroundings.

Marek Pokorný
Director of PLATO

 

https://plato-ostrava.cz/en

 

Based on the resolution of the city council, the city of Košice established the contribution organization on 1 October 2013. It started its activities on 1 January 2014 with the aim of building on the foundations laid during 2013, when Košice was the European Capital of Culture . It covers all the cultural centers that were created during it. The built cultural infrastructure, which was created thanks to investment projects, will be used for cultural purposes, and projects that have proven themselves will also be continued.

The aim of the establishment of the organization is to fulfill the tasks of the city by ensuring activities of public interest, creating conditions for education, culture, educational activities, interest-artistic activities, physical culture and sports through investment projects within the EHMK and management of entrusted property of the city.

The subject of the main activity of the organization is the management of the city’s property, the organization of programs, exhibitions, festivals, theater and film performances, concerts, cultural and educational, social events in the field of culture, tourism at home and abroad, education, upbringing and development of physical culture, scientific and technical services and information services, coordination, ensuring conditions for organization and cooperation with other institutions at home and abroad. The activity of K13 – Košické cultural centers will also focus on publishing activities, marketing activities, support of the creative industry, cooperation with national and international institutions in the field of culture, support and promotion of interest activities, organization of conferences and courses, activities to support employment and regional development.
One of the other activities is the monitoring and evaluation of the project Košice – EHMK 2013 and related activities and projects according to the INTERFACE 2013 project, monitoring and evaluation of the sustainability of these projects and the activities of projects following the EHMK project in the following years.

The creation of a new company was forced by the need to continue the EHMK project in two lines – programmatic and legislative. A contributory organization was created for the legislative framework, whose task is also to ensure program continuity. On the legislative side, the started projects and grants remain within the competence of the non-profit organization Creative Industry.

The vision of K13 – Košice Cultural Centers is to offer cultural infrastructure, i.e. Barracks/Kulturpark, Kunsthalle/Art Hall, Amphitheater and 8 SPOTs for cultural operators, tour operators, companies, individuals, non-profit organizations and the business sector so that the contribution organization creates complex technical and program background with the exception of funding. The intention is to continue the INTERFACE 2013 project, with which Košice worked towards the title of European Capital of Culture 2013.

Translated from: https://k13.sk/k13/o-nas

Mit über 45.000 Werken beherbergt das Brandenburgische Landesmuseum für moderne Kunst (BLMK) mit seinen Standorten in Cottbus und Frankfurt (Oder) die weltweit umfassendste, museale Sammlung von Kunst aus der DDR und den nachfolgenden künstlerischen Traditionslinien. Diese Ressource gilt es verantwortungsvoll zu bewahren, auszubauen und zu erforschen, auf hohem Niveau auszustellen und zu vermitteln. Dafür wird die Sammlung in überregionale und internationale zeitliche, geografische, soziale, kulturelle und vor allem kunsthistorische Kontexte gestellt.

Das BLMK ist 2017 aus der Fusion des dkw. Kunstmuseum Dieselkraftwerk Cottbus und des Museum Junge Kunst Frankfurt (Oder) hervorgegangen. An den zwei Standorten mit insgesamt drei Ausstellungshäusern werden gleichzeitig mehrere Präsentationen gezeigt. Das Ausstellungsprogramm ist eng an die Sammlung geknüpft – Kunst aus der DDR sowie daraus abgeleitete, ostdeutsche Traditionslinien werden dabei auf Augenhöhe mit national relevanten und international gesetzten, künstlerischen Positionen gezeigt. Hinzu kommt ein umfangreiches Rahmenprogramm aus Veranstaltungen und museumspädagogischen Aktivitäten.

Die Ausstellungsprogramme der beiden Standorte sind nicht identisch angelegt, folgen jedoch derselben Logik. Aus dem Verständnis der Sammlungsbestände als Ressource zielen die Aktivitäten des BLMK auf kunsthistorische Kontextualisierung, kritische Auseinandersetzungen mit der eigenen Genese sowie deren Inhalten ab.

Die Mission des BLMK ist nicht auf das Sammeln, Bewahren und Präsentieren von bildender Kunst beschränkt. Vielmehr ist das Museum ein integrativer Bildungs- und Lernort, dessen transdisziplinär angelegtes Programm an der Schnittstelle von lokal, regional und international angesiedelt ist und gesellschaftliche Prozesse aktiv begleitet und reflektiert. Neben den zahlreichen museumspädagogischen Veranstaltungen, werden die Ausstellungen auch durch verschiedenste Führungsformate, Fachvorträge, Lesungen, Performances usw. begleitet. Zu einigen Ausstellungen publiziert das Museum eigene kunstwissenschaftliche Kataloge.

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The German Cultural Forum of Eastern Europe is committed to the future-oriented communication of German culture and history of Eastern Europe and wants to make a lasting contribution to strengthening European identity. All regions in which Germans lived or still live are taken into account.

For the Kulturforum, the cultural heritage, understood as a common basis, is an element of bridge building between Germany and these regions. A lively culture of remembrance in dialogue with partners from the countries of Central and Eastern Europe serves to promote reconciliation and international understanding.

The Kulturforum invites a broad audience at home and abroad to discover the common past and present. In addition, it realizes exhibitions and events such as readings, theme days, discussions and concerts. In addition, the Kulturforum awards a city writer’s grant and the Georg Dehio Prize . His publishing house publishes non-fiction books, cultural travel guides and magazines. The Kulturforum website, three social media channels (see below) and a podcastserve as information platforms for all interested parties with content contributions, event information and news. The Kulturforum sees itself as a mediator between East and West, between science and the public, between institutions and individual initiatives.

The German Cultural Forum on Eastern Europe was founded in December 2000 by the federal government and the state of Brandenburg as a non-profit association based in Potsdam. It is funded by the Federal Government Commissioner for Culture and the Media (BKM) on the basis of a decision by the German Bundestag.

The domicile of the German Cultural Forum in Potsdam's Berlin suburb

Photo: © German Cultural Forum Eastern Europe, 2017

Kunstfonds

The core holdings of the collection were assembled through public commissions and purchases during GDR times, these being expanded after 1990 by the incorporation of works held by the Treuhand privatisation agency. Since 1992 the collection has also been systematically expanded by the annual purchases made by the Saxon government of contemporary works of all genres that are somehow related to Saxony. Thus, the holdings of the Kunstfonds reflect in an exemplary way the art promotion practices employed in two different social systems. The two main focal points of the collection, GDR art and contemporary art, trace the regional development of art through the second half of the 20th century and down to the present day.

 The history of the collection

The Art Fund was founded in 1992 as a successor to the Office for Fine Arts at the Dresden District Council. Extensive art holdings from various predecessor institutions and former institutions, including the Dresden District Council, the Cultural Fund, the Academy of Sciences of the GDR and the Office for Architecture-Related Art, were placed in the “Art Fund of the Free State of Saxony”, an institution of the Saxon State Ministry for Science and art, which has been part of the State Art Collections since 2004.

The collection experienced extensive expansion through the acquisition of works of art from the property of the parties and mass organizations of the GDR, most of which were initially under trustee administration after 1990 before they were transferred from the trustee to the Free State of Saxony and thus to the art funds passed over. In this context, the processing of the fiduciary holdings of the states of Saxony, Saxony-Anhalt and Thuringia in the second half of the 1990s should be emphasized, which culminated in the exhibition “Narrowness and Diversity. Commissioned art and art promotion in the GDR” at Königstein Fortress and the publication of the same name from 1999. The holdings that did not belong to Saxony were then returned to the responsible federal states.

The Kunstfonds now has a considerable pool of art from the GDR. It is the next largest collection of commissioned art and public purchases from this period after the inventory of the Beeskow Art Archive. In addition to the works acquired primarily through state purchases and within the framework of commissions, the collection also includes important (partial) artistic estates, for example from Hanna Hausmann-Kohlmann, Alfred Hesse and Herbert Kunze, donations and, occasionally, art from the first half of the 20th century th century, such as by Fritz Beckert, Hans Grundig, Joseph Hegenbarth, Albert Hennig, Carl Lohse, Erna Lincke and Wilhelm Rudolph.

Art

The Kunstfonds now has a considerable pool of art from the GDR. It is the next largest collection of commissioned art and public purchases from this period after the inventory of the Beeskow Art Archive. In addition to the works acquired primarily through state purchases and within the framework of commissions, the collection also includes important (partial) artistic estates, for example from Hanna Hausmann-Kohlmann, Alfred Hesse and Herbert Kunze, donations and, occasionally, art from the first half of the 20th century th century, such as by Fritz Beckert, Hans Grundig, Joseph Hegenbarth, Albert Hennig, Carl Lohse, Erna Lincke and Wilhelm Rudolph.

https://kunstfonds.skd.museum/

Kumu views its role as being an initiator of a social and cultural debate in connection with both expositions of art history and events in the Gallery of Contemporary Art, which has become an incubator for new ideas for domestic and foreign artists. Besides preservation, important tasks of the museum include displaying the works of art in its collections to initiate debates on their meaning and to shape various interpretative environments. In the fifteen years before Kumu was opened, people did not have constant access to the classics of Estonian art and the permanent display of Soviet art only became possible once Kumu opened. Our expositions need to speak to different audiences: to the well-versed and the relatively unknowing, the old and the young, local and foreign visitors, schoolchildren and to their teachers, art lovers and art experts.

In 2008, the Kumu Art Museum received the European Museum of the Year Award from the European Museum Forum.

 

https://kumu.ekm.ee

The Neue Sächsische Galerie (NSG) is a museum for contemporary art and an action space of the art association Neue Chemnitzer Kunsthütte. It owes its existence to the committed efforts of Chemnitz citizens during the period of reunification. The local Stasi headquarters for state surveillance of citizens was transformed into a place of liberal thinking and creativity – the Neue Sächsische Galerie.
In the seventies and eighties, the city had produced a vital art scene. At that time, the potential for provocation, but also the value of intellectual self-determination, was experienced anew by artists and viewers alike. The gallery is still committed to this idea today. Its core activities relate to the art scene in the wider environment of Saxony, but also to the exchange with international contemporary art positions. The gallery focuses particularly on artistic achievements that are aesthetically and intellectually trenchant and thus generate friction and debate. In doing so, she takes up developments in the classical art genres as well as in the new media.

The Arsenal Municipal Gallery is a self-governmental cultural institution financed by the Municipality of Poznań.

We are active in the fields of exhibiting, publishing, organizing cultural events, and developing educational programs. We continuously extend the Gallery collection. As a public institution, we are interested in our immediate political, social and ecological contexts.

Our main goal is to create a place of debate on every possible subject. By using art as an argument, we address topical discourses and point out new, yet unarticulated ways of participating in the world, the world we co-create and take responsibility for.

The Gallery is a shared space. Its character is based on participation. We are an institution which is not so much critical as affective, sensitive to voices and impulses from outside of its own universe, and open to what evades the logic of the Anthropocene.

 

https://arsenal.art.pl


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