Galway Culture Company’s Post

So after talking about #investment in the #Arts at the Culture Business Conference, a close corollary concern was #impact. How to measure it. How to communicate it. I was fortunate to attend two fabulous sessions presented by Marijke Smallegange on the work she has driven at Rijksmuseum. One insight that really rang out loud and clear is that #ImpactCommunications is a thing and not just a nice to have. And it's probably absent from most communications position descriptions in the Australian #ArtsSector. And what #ImpactCommunications requires is not the same as your average PR story or project blurbette on your funding acquittal. It requires a holistic method of quantitative data (yes, the numbers still matter), qualitative data (yes, free text in surveys is not dead), a deep engagement with your institution's #CulturalDNA (legacy that builds your institutional identity) and future direction. All wrapped up in a damn good story. #ImpactCommunications is all the more important now at a time when the #Arts is having to speak to such a diversity of interests in the funding and philanthropy sphere. Check out the Rijksmuseum #ImpactMonitor https://lnkd.in/gBTAsyTA

👀 COMING TO SUPERRARE ✧ November 8th “The Space Between” Presented by: Hildabroom Management x Colonna Contemporary x SuperRare This curated release features the work of 11 artists exploring the delicate balance between individuality and collective impact, as they navigate the evolving digital art landscape.  In this exhibition, the artists blur the boundaries between the digital and the tangible featuring works both digitally and physically native. Their work suggests that the relationship between these two mediums is not one of opposition but of mutual enhancement, creating a dialogue that enriches both types of their work. As we navigate the ever-evolving landscape of art innovation, these artists remind us of a fundamental truth: the strength of the pack is the wolf, and the strength of the wolf is the pack. They stand as individuals, each with their own distinct voice, yet they move in unison toward a shared goal. In their hands, the future of art is both a collective endeavor and a personal journey—one where digital and physical realms are not separate worlds, but integrated experiences. https://lnkd.in/g9zMiZcQ

Wall to Table An Art Installation to Mark the 35th Anniversary of the Fall of the Berlin Wall on Nov 9th. The core idea of this art installation is to transform an object once used to divide people into one that fosters connection. With this statement, I aim to speak not only to the people of Berlin but to the entire world during this memorial moment. Building walls and waging wars over land will never solve our problems. True peace emerges when we break down barriers, confront the harm we inflict on our planet, and open ourselves to dialogue and understanding. We must learn to respect our differences, agree to disagree, and seek compromise—not power or dominance through weapons. My invitation is simple yet profound: on the anniversary of the fall of the Berlin Wall, everyone is asked to bring their own chair as a symbol. And your topic: What holds you back from connecting with strangers? At this table, people can start listening, understanding, and finding creative solutions that make connection not only possible but enjoyable and mutually beneficial. To further this vision, I plan in the future to host creative ritual design workshops at the 'Berlin Wall Table', inspiring participants to turn negative issues into positive solutions. Through these workshops, I hope to spark a movement where art and dialogue replace division with unity, igniting hope and change in a world that so desperately needs it.

On June 27th, I had the pleasure of presenting my case study on The Museum of Innocence, titled "Finding Innocence in the Museum of Innocence," at the Social History Curators Group Conference. This was my first time presenting at a conference, and needlesly to say, the emotions were high on this one :) Although this subject may seem niche, focusing on why representation matters even when discussing fictional characters from a novel, it is crucial. As museum professionals, we are responsible for creating spaces where human dignity is preserved, regardless of whether the subject is fictional or non-fictional. Our responsibilities are significant and multifaceted; we must consider the people, groups, and cultures we represent and the audience experiencing our work as curators, educators, and tour guides. When a person, group, or culture is central to a museum's narrative, it is essential to provide them a place within the museum where their voice can be heard by the audience. Otherwise, it becomes an issue of objectification. I would like to thank all the presenters Anna Woodham, Jack Shoulder, Anna Marie Robson, Katya Provornaya, and our keynote speaker Kate Oliver. The effort Louise McAward-White put into organizing this conference was astonishing! Thank you for your relentless work! Next step is the publication of my article! The article, which delves into the topics of grief, toxic love, and objectification, will be available in the 37th issue of the SHCG Journal.

How is your organisation funded? We’re working with Creative Scotland and Museums Galleries Scotland to understand the funding sources for the cultural and heritage sectors. We’re particularly interested in how organisations assess opportunities around private investment. 💸 Understanding how organisations currently approach this will help us see where more support might be needed around policies and decision-making. We encourage you to participate in the anonymous Creative Scotland survey, which closes on Friday 6 September. Creative Scotland will publish the research results. We’ll review these findings from a heritage perspective to strengthen our sector’s resilience aligning with Scotland’s strategy for our historic environment, “Our Past, Our Future.” 👉 https://ow.ly/2r8W50T2RjQ

Journal 47 ‘Communities and care’ is now up on our website. Over the next few months we will be spotlighting the work of our contributors and revealing the second series of our podcast.  This week we are looking at 'How do we begin to tell the story of a river?'. The article was written by by Ali Reid and Claire Pounder with Dr Paul Stewart, all from MIMA (Middlesbrough Institute of Modern Art)/ Teesside University. This article is a reflection on the creative beginnings of MIMA's exhibition 'People Powered: Stories from the River Tees', which was on display in MIMA’s galleries in central Middlesbrough from July to December 2023. The last 20 years has seen a rise in gallery engagement practice towards new methods in terms of how publics experience exhibitions, artists and museums. From an educational aesthetics point of view, this is defined by Paul Stewart as viewing a particular type of gallery engagement and curatorial activity as a facilitation of, or an engagement with the aesthetic process, with the method of learning at its heart, rather than a substitutive process of translation or engagement to an existing curatorial activity. People Powered: Stories from the River Tees at MIMA is an example of this.  Communities and care is a response to the UK Government’s ‘Levelling up’ agenda connected to a perceived lack of culture or other infrastructure. At its core, is the idea of engaging communities, most often used in the professional arts sector to refer to collective groups working together, defined by a distinguishing factor across a shared experience. Take a journey through visual art practice, engagement and participation in the era of placemaking and levelling up, simultaneously exploring the uses of the word care in relation to this work. Login with your member details to read our journals: https://buff.ly/3Var3KO. #teesunicreativearts #teesside

My takeaways from #NEMOemc24 💡 PART 2 We explored the concept of museums’ #impartiality, developing out of the neutrality-independence discussion that we had in the sector for so long. Patricia Rahemipour shared how public #trust is built: on the belief or perception that there is no hidden agenda with museums, as we often expect it in politics or economy.  But being those trusted organisations, can we find our way speaking to hearts and souls of people, because this is where the change starts, as Maria Vlachou said, without using the Trump recipe?    And does that trust maybe lead to the #interdependence of museums that Olga Van Oost mentioned, acknowledging that museums are part of an ecosystem of different actors and stakeholders, that we need to balance better, and in alliance when needed.    What I heard throughout the conference: we need these discussions, and: we need to start #listening, carefully and with an open mind.   
How does NEMO - Network of European Museum Organisations come into this discussion? Which role can we take? We are noticing that things are changing fast, and not for the better, in politics and society, and we are here to discuss that, to provide museums and museum organistions with a platform for exchange about these topics that are hard, and that need extra care.     We do not want museums to step back from the conversation, to shut up and retreat. This would undermine all of our efforts in the past years to become #relevant to our communities. The pledge is: keep listening, with open ears and open mind!

The ICIVA is being organised since 2016. Our previous conferences have received accolades for their quality content, engaging discussions, and networking opportunities, which have been well published as Conference Proceedings with ISBN, also available on https://www.amity.edu/asfa. ICIVA’24 with theme: Art beyond Boundaries: Contemporary Art Practices in Visual Arts with UGC Care Listed Journal. The conference is supposed to be held on 18th December, 2024, focused on the evolving panorama of visual arts in a rapidly globalizing world. This conference aims to contemplate traditional boundaries of art, focusing on how contemporary visual practices transcend geographic, cultural, technological, and disciplinary limitations. The discussion will revolve around how artists, curators, and art institutions redefine the production, distribution, and reception of visual art in today’s interconnected society. The conference committee is targeting to publish a full paper, with a UGC Care Listed Journal. Varun Sahai (PhD), KAUSHIK LOHANI, Dr. Sugandha Gumber

You know when you're making a valuable contribution to an event when a post event write up uses the visual record to give a rallying call to action! wendy sims has just done that! Thank You Wendy! At the heart of the Illuminate Modern Slavery Summit, we wanted to create something that not only captured the key messages from the day but also served as a powerful visual tool to reflect on and engage with the issues of modern slavery. Enter this vibrant, intricate image created live by a talented graphic artist Anna Geyer from New Possibilities during the event. This image is not just an artistic reflection—it's a visual narrative. It weaves together key themes like collaboration, strategy, best practices, and empowerment. It's more than just drawings on a page; it’s a roadmap of where we've been, where we are, and where we need to go as we continue our collective fight against modern slavery. This visual isn’t just for looking back—it’s a strategic tool to help us move forward. It serves as a constant reminder of the work that lies ahead and the commitment we share to ending modern slavery. Whether you're part of a local authority, a business, or a member of the community, this image invites you to be part of the solution. It will be a permanent reminder of the summit and the collaborative action needed to create a slavery-free society. to read the full write up: https://lnkd.in/eknR8H8w

Looking forward to Dreaming in the Dark — a live performance evening exploring the radical potential that lies a the heart of utopia, art, and politics. Taking place next Thursday July 4th @ BAK, basis voor actuele kunst, 19.00-21.00, followed by drinks. All are welcome — just sign up here: https://lnkd.in/e6asEMzC Join us to imagine radically just futures amidst our troublesome times. Dreaming in the Dark weaves together a mosaic of performative provocations from 15 artist-researcher-practitioners attending the full Utopia*Art*Politics Sessions. Through live performances involving striking visuals, stories, music, and more, we provoke new ideas around the questions: How can we imagine more radically together? What is the role of art in fostering collective imagination? And how can such imaginative acts enable transformative politics? In essence, what radical potential lies at the heart of utopia, art, and politics? Rather than stay asleep amongst utopian ruins from the past, this event provokes us to dream radically otherwise, in ways that attend to colonial legacies and systemic injustices. Hosted by Urban Futures Studio & Community Portal @ BAK. Funded by the Copernicus Institute of Sustainable Development, Utrecht University.