Home » Topics » Culture and the Arts Program
Culture and the Arts Program
Salzburg Global YCIs Travel to New Orleans for Regional Meeting
The Contemporary Arts Center, New Orleans (Photo: Flickr/Reading Tom)
Salzburg Global YCIs Travel to New Orleans for Regional Meeting
Oscar Tollast 
YCIs from Detroit, Memphis, and New Orleans have been reunited to take part in the second US regional meeting. Thirty Salzburg Global Fellows, all of whom have attended the Salzburg Global Forum for Young Cultural Innovators in recent years, will convene at the Contemporary Arts Center, New Orleans, on Saturday afternoon (April 7). The two-day program will see YCIs reflect on what it means to be part of a creative hub in cities undergoing radical urban transformation and social renewal. The opening conversation is titled “From Me to We.” Fellows will explore city-based change-making and civic innovation. They will go onto share city briefs and reflect on what’s currently happening in Detroit, Memphis, and New Orleans. Several YCIs have agreed to lead site visits in New Orleans on the first evening of the program, offering a range of options for participants to choose from. This includes a tour of Jockum Nordström’s “Why is Everything a Rag” exhibition and Sarah Morris’ “Sawdust and Tinsel” exhibition, both of which are at the Contemporary Arts Center. Alternatively, participants have the chance to attend an exhibition opening and performance of The Rent is Too Damn High, which takes place at the Crescent City Boxing Club. This event, run by YCI Fari Nzinga, is described as a combination of visual art with performance and political satire, exploring themes of home, belonging, cultural transmission, gentrification, and displacement. A third option is to walk to New Orleans’ French Quarter to visit the French 75 bar and the New Orleans Mardi Gras Museum. In this group, participants will discuss subjects involving private foundations and privately-funded cultural activities. A “Cultural Corridor Tour” will also take place, including visits to the Ashe Cultural Arts Center, Tulane Small Center for Collaborate Design, and Roux Carre. All three of these organizations are engaged in community-based art, education, and design. On top of this, participants could also take part in a tour of Studio BE, a 35,000 sq ft warehouse of art, currently housing Brandan Odums’ first solo show. Regardless of which site participants visit, all will be asked how their learning from it could relate to their own work and home city. They will report back at the start of the second day of the program. The rest of the day will be spent discussing modes of collaboration and developing impact plans for the hubs, before wrapping up and outlining the next steps forward. The YCI Forum has hubs in six regions. Hubs include Adelaide, Athens, Baltimore, Buenos Aires, Canada, Cape Town, Detroit, Malta, Manila, Memphis, Minnesota, Nairobi, New Orleans, Mekong Delta, Plovdiv, Rotterdam, Salzburg, Seoul, Slovakia, Tirana, and Tokyo. The Forum also has a dedicated hub for Rhodes Scholars. The Salzburg Global Forum for Young Cultural Innovators engages the world’s most dynamic young creative change-makers. Launched in 2014 as a 10-year project, 50 innovators are invited each year to take part in a session held at Schloss Leopoldskron, in Salzburg, Austria. Salzburg Global Seminar is committed to fostering creative innovation and entrepreneurship worldwide. The Forum aims to help build a more vibrant and resilient arts sector while advancing sustainable economic development, positive social change agendas, and urban transformation worldwide. The Regional Fellows Event is part of the multi-year Salzburg Global Forum for Young Cultural Innovators. This session is being supported by The Kresge Foundation. More information on the session can be found here: www.salzburgglobal.org/go/594
READ MORE...
Connecting Local Innovators with Global Resources
Connecting Local Innovators with Global Resources
Salzburg Global Seminar 
“With more than 250 Young Cultural Innovators now connected in communities around the world, the YCI Forum is one of the most dynamic and impactful global cultural networks and a dynamic creative catalyst for innovation, civic transformation, and social change worldwide,” says Susanna Seidl-Fox, Salzburg Global Seminar’s Program Director for Culture & the Arts. Now entering its fifth year, the Salzburg Global Forum for Young Cultural Innovators (YCI Forum) held its fourth annual session at Schloss Leopoldskron in October 2017. The global reach of Fellows now extends from Adelaide, Australia, to Valletta, Malta, and 21 cities – called “YCI Hubs” – in between. The 2017 Young Cultural Innovators (YCIs) hailed from 13 countries, with each participant facing unique challenges, tied to their specific heritage and industry. They were met with 10 facilitators and five speakers, and the committed staff of Salzburg Global Seminar.  Despite their geographical distances and differences in practice, the YCIs, the facilitators and speakers are intimately connected. A commitment to the arts and cultural sector, and shared ideals of community and justice make this a cohort of peers whose differences act not as barriers, but as bridges. The YCIs see themselves in a global context. They engage in international discourse without losing sight of their own communities. The new report from the latest session, written by returning YCI Sanja Grozdanic, chronicles the week’s events including the plenary presentations, skills-building workshops, small group discussions and vibrant “Open Space” events, organized by the YCIs themselves. “I have been in search of a world city that has intellectuals, artists and those trying to make the world better through their work, I have come to find that unlike the past there isn’t just one place for all these people they are spread out throughout the world and it really takes seminars like this to bring them together,” explains Yasmine Omari from the Memphis YCI Hub in Tennessee, USA.  Linda Kaoma, from the Cape Town YCI Hub in South Africa adds: “I am walking away better equipped to continue to do my work as an artist, cultural practitioner and leader in my community and with a strong affirmation to always lead with the heart. Salzburg Global Seminar has introduced me to new friends, colleagues, accountability partners and future collaborators from all over the world.”  The report includes many more testimonials from Fellows, as well as all their bios and those of the session facilitators and guest speakers. Download the report as a PDF (low-res)
To receive a hi-res edition of the report, please email press[at]salzburgglobal.org The Salzburg Global Forum for Young Cultural Innovators IV is part of a ten-year multi-year series. This year's program is supported by the Albanian-American Development Foundation, American Express, Arts Council Malta, Cambodian Living Arts, Canada Council for the Arts, Edward T. Cone Foundation, Fulbright Greece, Japan Foundation, The Kresge Foundation, Lloyd A. Fry Foundation, The McKnight Foundation, Adena and David Testa, and the U.S. Embassy Valetta, Malta. More information on the session can be found here. More information on the series can be found here. 
READ MORE...
YCI Creates Intercultural Toolkit for Diverse Partners to Work Together
YCI Creates Intercultural Toolkit for Diverse Partners to Work Together
Oscar Tollast 
An intercultural toolkit designed to bring partners together from diverse backgrounds has been created by a YCI Fellow. Leni Stoeva, a member of the Memphis YCI Hub, has put forward a Cross-Partnership Development Toolkit, which will soon be available in multiple languages. Stoeva views the toolkit as an “invitation to partnership and creativity,” which will allow individuals and organizations to gain more perspective, skills, and networks. She said, “A significant takeaway from the [Salzburg Global Forum for Young Cultural Innovators] is new relationships formed. 21st century Europe is facing a growing complexity of societies and a standardization of lifestyles and cultures. “Meanwhile, USA is facing a time of self-segregation based on class, race, and values at the root of the country’s pressing problems. The world’s future depends on inter-community connection and partnerships that foster understanding between people who may have little in common.” Stoeva, who attended the third session of the Salzburg Global Forum for Young Cultural Innovators in 2016, created the resource after partnering with the Bulgaria YCI Hub. Both worked together last year during the Bottom Up Culture Project, a project designed to highlight and discuss the current issues the creative community in Bulgaria is facing. Stoeva helped to facilitate two consecutive sessions, the first of which was a university talk in Sofia and later a workshop in Plovdiv. Both events brought more than 60 people together. Specific goals that were outlined ahead of the event to lead discussions included creating partnerships from a diverse set of interests, collaborating between major and smaller, local cultural institutions, establishing inter-sectoral partnerships, and introducing a specific cultural diversity strand to local partnerships. This project held a forum that explored culture-led urban regeneration, cultural entrepreneurs, creative places, creative quarters, and neighborhood change and gentrification. After the event, Stoeva searched for the best practices of partnership development on national levels to present as a structured toolkit. Stoeva said, “I believe that by participating in a cultural exchange seminar in Plovdiv provided me with compelling opportunities to continue conversations begun in Salzburg and foster learning across countries. With the project, we worked on identifying best practices for cross-partnership development.” For more information about the Salzburg Global Forum for Young Cultural Innovators (YCI), please click here. Download an English version of the Cross-Partnership Development Toolkit 
READ MORE...
Amy Karle - "It's Really Important That We Choose and Focus on the Future We Want to Achieve"
Amy Karle - "It's Really Important That We Choose and Focus on the Future We Want to Achieve"
Carly Sikina 
From a very young age, Amy Karle was taught to envision a future full of hope, and as a transdisciplinary artist, she applies this optimism to her work. Karle is an international award-winning bioartist and designer who examines how technology can be used to support and enhance humanity. Her artwork and designs combine digital, physical and biological systems to explore what it means to be human and how technology can be used to empower humanity.  Karle attended the Salzburg Global Seminar session, The Shock of the New: Arts, Technology and Making Sense of the Future, which took place at Schloss Leopoldskron. Karle shared her work and insights during the session’s opening panel discussion. Karle understands the importance of transdisciplinary exchange, as many of her projects cannot be created using art and design alone. While producing Regenerative Reliquary - a bioprinted scaffold in the shape of a human hand 3-D printed in a biodegradable PEGDA-hydrogel that disintegrates over time – cross-disciplinary collaboration was crucial. “I definitely had to collaborate with scientists and doctors and technologists to be able to learn how to build these scaffolds, to learn how stem cells will be triggered to turn into different kinds of bone cells… in a way that will biodegrade.” Not only did she have to create partnerships across disciplines, but she also had to collaborate with other life forms. “It was really important that I collaborated with the actual stem cells and collaborated with this intelligence that creates life ...I see a lot of disciplines trying to harness nature and trying to harness the natural and control it. I’m more interested in witnessing it and letting it teach me how it grows, how it creates.” Throughout her career, Karle has used art and design to explore what it means to be human. It’s a “very interesting” time in history, according to Karle, a point in time many still consider technology to be outside of ourselves. “However,” Karle says, “just in communicating with these devices and working with these devices, we have actually now reshaped out brains to think in different ways.” Although many people see these changes as negative, Karle recognizes the benefits of developing new technologies. By consciously thinking about how we integrate technology into our lives, Karle believes we can explore how it can help empower us. Despite her optimism, Karle understands this issue is not always black-and-white. “Human induced evolution can occur much quicker than natural evolution and we can’t undo things like this [genetic editing] so this is where it takes the most conscious awareness.” Images of the future can often appear dark or grim. There appears to be an underlying assumption parts of society will be unable to keep up with advancements in technology and will pay the price. Karle strikes a different note. She says, “When we look at combining artificial intelligence and genetic editing, we can easily see the potential doomsday scenarios, but we can also see enlightened futures as well.” Karle identifies recognition and emotions as ways to explore what it means to be human. The vision behind Regenerative Reliquary was to create something “that was uniquely and immediately recognizable as human.” She chose a human hand design because of all of human bones, hands are one of the most identifiable. She continues, “I feel my contribution to humanity as an artist is that I have a platform to first share these common emotions - common feelings - of what it means to be human. Beyond our skin tone or economic status, what country we are from, or what language we speak, there are common truths about being human that we all share, that we all experience, like death and suffering, and most of us also have an opportunity - even if it’s just for one small moment - to experience this joy and the awe and mystery of life as well.” Karle’s inspiration derives from personal experiences. “What inspires me is human needs - some of them are my own needs and internal motivations that I can’t always identify.” She states, “They are what made me who I am from the moment that I was born – the way I tap into the world, the ways that I experience the world and I’m trying to share my exploration and reflections with others.” When asked about her time at Salzburg Global, Karle speaks passionately about the ideas she’s heard, including the notion that the artist is not a PR machine for science. She says, “This is really hard for me because in a lot of ways, I am a scientific and a medical illustrator, and that speaks to me. But being a PR machine reduces the importance of the artistic and scientific stories. But it’s a tension because we need the PR in order to keep producing the work, to get the funding for the work research, whether that be an art or science.” Karle has maintained an optimistic view of the future throughout her life. “From my very beginnings, I was painted a future of hope. I was born with a life-threatening birth defect, and most of the other cases before me had passed away from this, but my parents instilled and carried this vision of a future full of hope for me. “I can see all these different kinds of futures that are available to us, and it’s really important that we choose and focus on the future that we want to achieve. We cannot always achieve that, but if we are working towards that, we can get a lot closer than if we are blindly going into the future without thinking about it – without being conscious about it. It does require some work.” Karle took part in Salzburg Global session, The Shock of the New: Arts, Technology and Making Sense of the Future, part of the multi-year series Culture, Arts and Society. The session is supported by the Edwards T. Cone Foundation. More information on the program can be found here. You can follow all of the discussions on Twitter using #SGSculture.
READ MORE...
Festivals as Future Labs - How Cross-Cultural Collaboration Can Lead to Social Change
Festivals as Future Labs - How Cross-Cultural Collaboration Can Lead to Social Change
Carly Sikina 
Festivals can provoke meaningful and productive conversations about the future(s). They are spaces where cross-sectoral exchange and collaboration can flourish and help shift the way we see the world and the future(s) of the planet. If you want to drive a movement, inspire creativity and expand mindsets, a festival is a useful tool in this regard. While there may be some disagreement as to whether “festival” is the right word to describe such an event, what we can be sure of is an opportunity exists to utilize and explore cross-disciplinary collaboration. During the Salzburg Global Seminar session, The Shock of the New: Arts, Technology and Making Sense of the Future, participants discussed the importance of cross-cultural collaboration when thinking about the future – or the possibility of multiple futures. One participant who believes in the importance of festivals is Cynthia Selin, director of the Center for the Study of Futures at Arizona State University (ASU). During a panel discussion, Selin described ASU’s multi-year festival, Emerge. Selin sees Emerge as a way to discuss and cultivate futures fit for everyone. “[Emerge is] designed to break down those walls between the university and the community.” She says the festival is unique because it creates a sense of “A collective experience that is unlike others that [people] have access to.” Tom Higham, former executive director of FutureEverything and now creative director of York Mediale, builds on this point, citing the “unintended consequences” that can often occur. He adds, “They are experiments - they are experiments in time. They have different rules than normal life and amazing things can come from that – awful things come too – but it’s a powerful vehicle that can be used for amazing things.” David Wright, founder of the f3 Futures Film Festival, shares a similar mindset to Higham. What sets him apart, however, is his apprehension of using the word “festival.”  He says, “Although [f3] started off as a futures film festival, we found in Australia, there’s something called festival fatigue, and people think ‘Oh god, another festival, no.’ So they kind of get put off by the idea.” Moving forward, Wright is exploring alternative ways of defining f3. Options have included the future film transmedia event, super event, and mega event. Wright says, “We experimented with the word ‘fiesta,’ which is the Spanish word for ‘party’ because I see it as a bit like a party.” Wright describes his vision for f3 as “a way to generate new kinds of means [and] synergies which brings in people from around the world who have futuristic ideas, not just high-techy, Silicon Valley kind of stuff, but new kinds of social experimentation ideas and so on.” Despite his concerns regarding festivals, Wright understands the importance of bringing people together through shared interests and cross-sectoral collaboration. “From a general point of view, festivals are a way of bringing like-minded people together over a certain period of time and then bumping into each other and they generate new ideas…” Selin emphasizes the value of cross-sectoral initiatives like Emerge. “[Transdisciplinary collaboration] matters because so many of our pressing social problems – whether you think about climate change, poverty, equality, even things like literacy [and] problems with our food system – there is no single discipline that is able to address it. “We must re-gear our knowledge production, our educational systems… to foster this interdisciplinary collaboration. Emerge is really an opportunity to illustrate, to demonstrate what that looks like and [how to] foster an environment where that kind of work can thrive.” Similarly, Higham and Wright recognize the importance of collaboration between the arts, sciences, and technology. Higham sees the arts and sciences as being able to collaborate in interesting ways that benefit both disciplines. Interdisciplinary exchange between an artist and a scientist can “create amazing things that neither could create on their own.” Wright identifies the lack of common language surrounding futures as one of the key issues that can be remedied through cross-cultural collaboration. Wright believes there is “no shortage of compelling images” of the future, but they are largely scattered and therefore, must be brought together so that they have “shape, pattern, coherence, upon which people [feel] empowered to act in the real world.” He continues by mentioning the power of cross-sectoral initiatives. He sees collaborative efforts, especially with the arts, as a way “to inspire futures-oriented behaviors.” Selin discusses the amount of “common-ground” among the participants, despite their diverse backgrounds. “What’s beautiful about being here [at Salzburg Global Seminar] is that I think there’s similar points of inspiration to try to work in whichever way you are best equipped to - to create positive social change, more equity, more justice, more sustainability, [a] sort of better quality of life and well-being…” The Salzburg Global program The Shock of the New: Arts, Technology and Making Sense of the Future is part of the multi-year series, Culture, Arts and Society. The session is supported by the Edward T. Cone Foundation. More information on the program can be found here. You can follow all of the discussions on Twitter using #SGSculture.
READ MORE...
Michael Edson - Collaboration and Partnerships Are Essential to UN Live
Michael Edson - Collaboration and Partnerships Are Essential to UN Live
Helena Santos 
Michael Edson introduces himself as a painter who fell into technology. While working at the Smithsonian Institution’s two museums of Asian art in the 1990s, he wanted to educate himself further on the role of technology and new media programs. Being an autodidact in this field led him to becoming the director of web and new media strategy for the Smithsonian. With this experience behind him, Edson joined the founding team of the Museum for the United Nations - UN Live - a museum that goes way beyond its’ physical presence.  “I fell in love with the project when I saw how much our stakeholders were committed to being a truly global institution. A world-class building would be critical, but the digital presence and the network of partners would be where the real global action was going to happen,” he explains. UN Live will try to engage as many people as possible in problem-solving across the world on three platforms: UN Live Online, UN Live Network, and the UN Live Building. The latter is scheduled to be open in 2023, but public engagement on the other two platforms is expected to begin later this year. “The network, I think, is the most powerful part of UN Live. It’s a structure that allows a lot of people in the world to understand how they can collaborate and amplify each other’s work. It also brings us very close to local communities, which is one of the most important aspects of the museum. I’m beginning to think that there’s no such thing as ‘global’. Global, to some degree, is just weaving together a lot of different people’s local realities.” This idea of building a bridge between awareness and action, involving as many people as possible, is something Edson expressed during the panel “Designs on Tomorrow” and was reaffirmed through his conversations with other participants at Salzburg Global Seminar. “Collaboration and partnership are essential to UN Live. We’ve recognized that there are hundreds or thousands of very effective organizations already doing great work, many of whom have told us they wish to be connected to each other, they wish to have their work amplified, they wish to be networked. We think that we can create more impact in the world, faster, if we serve as a convener — a guide and an aid with many partners — than if we try to do everything ourselves.” According to Edson, the UN Live project will try to connect everyone in the world to the values and mission of the UN through the idea that local communities already have an abundance of unique skills and expertise that could benefit from more direct links to the United Nations — and to each other. “A starting point for us has always been to try and unlock people’s understanding of the UN’s work and values on a personal level and try and understand what it is they have to offer as individuals, communities, as societies to the larger challenges of the world,” he states. The UN Live will bring dialogue about intricate topics such as the Sustainable Development Goals down to the language people use in their everyday lives. Leaving jargon out of the equation, this project hopes people will understand they are already working on the same issues as the United Nations with their communities, but they simply use other words for it. “For millions of people, working on global goals is just solving problems, helping their neighbors, and making better communities,” Edson clarifies. Having worked for a long time in the way arts and technology will define the future, Michael Edson decided attending the Salzburg Global Seminar session, The Shock of the New: Arts, Technology and Making Sense of the Future, was an opportunity he couldn’t resist.  Edson, who proudly labels himself a Salzburg Global Fellow on his social media profiles, says, “When I saw the invitation I realized that this seminar was asking the same questions I’ve been wrestling with for the last 20 years. The chance to spend a few days here, with this global, diverse, talented bunch of people was an opportunity I could not pass up. It was unimaginable that I would not be here. Whatever I had to do to be here I would do…” Michael Edson was a participant of the Salzburg Global program The Shock of the New: Arts, Technology and Making Sense of the Future, which is part of the multi-year Culture, Arts and Society series. The session is supported by the Edward T. Cone Foundation. More information on the session can be found here. You can follow all of the discussions on Twitter by following the hashtag #SGSculture.
READ MORE...
Alexandra Deschamps-Sonsino - "Technology Has the Power to Connect But Also to Make Us Very Lazy About Our Connections"
Alexandra Deschamps-Sonsino - "Technology Has the Power to Connect But Also to Make Us Very Lazy About Our Connections"
Helena Santos 
Since 2011, Alexandra Deschamps-Sonsino has brought people together in London once a month to hear about the latest developments affecting the Internet of Things. Talks have centered on urban infrastructure, smart grids, open hardware, the quantified self, open data, smart homes, and more. The group has amassed more than 12,000 members and shows no sign of slowing down. As an interaction designer, and founder of the Good Night Lamp, Deschamps-Sonsino has an interest in this field. In 2014, BusinessInsider.com named her as one of the 100 most influential tech women on Twitter. Deschamps-Sonsino was a participant of the Salzburg Global Seminar session, The Shock of the New: Arts, Technology and Making Sense of the Future. During the session, she spoke to Salzburg Global about the Internet of Things, open data, and whether technology brings us together or makes us more isolated. Salzburg Global: Since you are involved with the Internet of Things (IoT) community, what do you think should be the next steps toward  its’ protection?ADS: Well, the Internet of Things is a very dynamic space that is unregulated, and that is open for entrepreneurship. What that has led to are a number of unfortunately bad design decisions that have led to security breaches and to a degree of uncertainty for both entrepreneurs and consumers. So I’m currently working to stir a global community to talk about what trust marks might mean for connected products. What I mean by trust mark is the equivalent to something like the fair-trade mark. So when you put fair-trade on a banana, you know that banana comes from working conditions that are better. What does that look like for the Internet of Things? Can I put a sticker on a connected thermostat where I know that connected thermostat is not selling my data on to a third party, that has been designed in a secure way, that it is reparable, that if the company goes bankrupt can I still use my physical product but with a digital service offered by someone else? These are some of the things we are exploring. SG: In your opinion should there be any limits to open data? ADS: I think open data as a concept is important. I think that there are of course different types of sensitivities around what kind of data. Whether your lamp is on or off is interesting, but not that interesting a piece of data. Where you are in the world, what your health is like, where you are eating and what you’re eating… These start to become very personal pieces of data, and so we have to treat it in a very secure way, we have to treat it in a way that complies to something like GDPR, which is the incoming legislator and we have to enable consumers to use archive and keep their own data.So, open in the sense of open and owned by people. We also have to make people care about that because right now they don’t. SG: What’s your take on the dichotomy of isolation/connectivity regarding technology?ADS: I think technology has the power to connect but also to make us very lazy about our connections. We assume that a like on Facebook or a comment is as powerful as a face-to-face conversation and it isn’t of course. We see that everywhere people suffer from more and more isolation, depression, mental illness regardless of the advanced technologies that we have. What I try to do with the Good Night Lamp is provide a context for people to engage with each other more often. Right now, especially with families who have young children, it’s very hard for a grandparent to know when the right time is to catch up either with their children or with their grandchildren. So to create that opportunity, that opening of time and that window for these complex family structures to actually know when is the right time to sync and to call each other, and to have a meaningful connection. So I think that it is a dichotomy in the general tech sector, something I try to address in my small way with the Good Night Lamp. WATCH: An Introduction to the Good Night LampSG: From all the discussions that took place during the session, what do feel are the most important remarks for the IoT community? ADS: I think I will come back with a sense that there are communities in the world who are talking about the interaction between arts and sciences and technology in ways that will reach small companies eventually and it may be in the shape of innovation processes, in the shape of policy-making and I think that most entrepreneurs around me are very concerned with the next six months of their work, with the next engineering challenges and not so much the policy challenges, not so much the cultural shift not so much the innovation processes around them. I would like to highlight those for them. I would like to invite them to be more strategic and to be more high-leveled with the conversations that they would have themselves as small companies.  Alexandra Deschamps-Sonsino was a participant of the Salzburg Global program The Shock of the New: Arts, Technology and Making Sense of the Future, which is part of the multi-year Culture, Arts and Society series. The session is supported by the Edward T. Cone Foundation. More information on the session can be found here. You can follow all of the discussions on Twitter by following the hashtag #SGSculture.
READ MORE...
Displaying results 1 to 7 out of 141
<< First < Previous 1-7 8-14 15-21 22-28 29-35 36-42 43-49 Next > Last >>