Author: glammons

13/02/2025  

This case study is part of CREARE Social research conducted by Lyudmila Petrova and Matilde Ferrero for GLAMMONS project.

CREARE Social is starting a series of discussions with Associazione Bastione, an independent art space in Turin, Italy, to include them as a case study in their analysis for GLAMMONS project. Bastione’s practice is a powerful example of a cultural and artistic practice that is based on artistic and economic autonomy, long-term personal commitment and collaboration.

In this conversation with ECHN, CREARE explores the key elements that define their practice and the core values they assign to it.

ECHN: Could you describe Bastione’s approach to artistic practice and how it has evolved over time?

CREARE: Bastione’s practice is rooted in mutual collaboration, autonomy, commitment, strong personal bonds and care for the space. The collective is made of 10 visual artists who work across a range of media and disciplines, including performance and music, as part of their grassroots approach. Their work is inherently interdisciplinary, fusing different forms of artistic expression to create immersive one-day events in their space.

From 2017 until 2019, Bastione has reclaimed abandoned spaces in the form of an occupation of the Bastione San Maurizio, the bastion of the Cavallerizza Reale, a historic building in the centre of Turin. Later, after being evicted in 2019, they relocated to a new historic site that they found thanks to social capital, demonstrating both adaptability and a deep commitment to space as an essential part of their artistic practice.

ECHN: What are the key values in their practice?

CREARE: Artistic and economic autonomy is central to Bastione’s identity – as individuals they act autonomously and make decisions collectively, without relying on external funding, i.e. they manage their projects independently.

Another value is care for space: the collective actively restores and transforms its spaces, treating the physical environment as an integral part of its artistic practice.

Last but not least, mutual collaboration is embedded in both Bastione’s daily operations and artistic co-creation. Through regular meetings and brainstorming sessions, each member’s input contributes to governance of collaborative projects. This spirit of collective creation also extends to the blending of different art forms, resulting in work created at the intersection of different disciplines and in conjunction with other artists outside the collective.

ECHN: What can we learn from Bastione’s practice?

CREARE: Bastione demonstrates that it is possible to remain autonomous and connected to the community and its spaces without totally relying on institutional support. Its emphasis on co-creation, spatial care and autonomy offers lessons in how to be autonomous in making art through a set of values and practices that are capable of creating a network of support.

Would you like to share your experience? Feel free to leave a reply! 

07/02/2025

Ostavinska is a gallery located in a former warehouse on public property, operating as part of Magacin, a self-organized and self-managed cultural center in Belgrade (Serbia).

Read more about the case #8

The Ostavinska Gallery in Belgrade, a research conducted by Miljana Milojković, Ares Kalandides, Bastian Lange, and Georgios Thodos. 

Magacin was initiated in 2007 by artistic and cultural collectives and non-profit organizations. Since 2016, the gallery is housed in one of three buildings that make up Magacin. Alongside Ostavinska, these spaces are used to support the practices and productions of various users, addressing the diverse needs of different art forms and social groups requiring spatial resources.

A key element of Magacin is its focus on cultural exchange, social cohesion, and community organizing, prioritizing the creation of an ecosystem that upholds democratic principles, equitable use of shared resources, solidarity, and cultural diversity.

The distinctive feature of both the gallery and the cultural center is the implementation of the “Open Calendar Model,” which allows organizations, collectives, and individuals engaged in art, culture, and social activism to access resources. The only requirements for interested parties are that they do not charge an entrance fee and that they organize events in alignment with the values promoted by Magacin.

The primary beneficiaries of Ostavinska are those who most need these resources—non-governmental organizations and emerging young artists. Since its inception, all members of the Management and Operational bodies have worked on a voluntary basis, driven by a passion for supporting artists and the community.

The Magacin Users’ Assembly is the main governing body of the center, composed of all regular users (individuals, collectives, NGOs) of the space. The Assembly is responsible for managing the space, making decisions on activities, development, maintenance, usage conditions, and joint actions. Decision-making is highly participatory and horizontal, occurring during monthly assemblies as well as through both offline and online communication.

Ostavinska is managed by one of the five working groups of Magacin. These groups include the Users’ Assembly Coordinator (who supports users and coordinates the activities and sessions of the assembly), the Technical Maintenance team, the PR team (communications), and the Photo Documentation team. The Coordinator and the Photo Documentation team receive symbolic financial compensation for their work, with the amount depending on Magacin’s current financial capacities.

The Association of the Independent Culture Scene of Serbia represents Magacin and advocates for its status as a space for independent culture and social engagement. Until Magacin’s legal status is formally established, ICSS will represent the center, participate in projects on its behalf, and ensure its visibility and presence within other networks and initiatives, alongside the Assembly of regular users.”

The financial model of Magacin relies on donations from users, friends of Magacin, and citizens. All users of the space are encouraged to allocate a portion of their project proposal budgets for the maintenance of Magacin.

The core values of Magacin are equality and fairness, professionalism, participation, cooperation, accessibility, financial transparency, respect, and social change.

One of the main challenges Magacin has faced since its inception is the unresolved issue of the legalization of the space. Numerous attempts have been made by various political parties and cultural policy actors to take control of Magacin, alter its purpose, or establish agreements that do not align with the values of its users.

Have you also encountered legislative challenges? Would you like to share your experience?

03/02/2025

The Ekatarina Pavlovic Library in Serbia serves as an inspiring model that promotes culture, education, and social services. It employs feminist pedagogy to foster critical thinking, creativity, and civic awareness in an underprivileged region. By treating spatial resources, books, and knowledge as common goods, the library continues to support the community’s well-being and cultural needs through specialized activities, such as bibliotherapy sessions and Children’s Club workshops.

Read more about this case #7:

The Ekatarina Pavlovic Library in Serbia, a research conducted by Nova Iskra and Inpolis: Miljana Milojković, Ares Kalandides, Bastian Lange, and Georgios Thodos. 

Initially set up in an old wine cellar on a private property in the village of Markovac, the library quickly attracted individuals who recognized the value of contributing to this initiative. Thanks to donations from publishing houses, organizations, and individuals, the library’s collection now exceeds 4,500 books and serves over 400 members across multiple locations.

The Ekatarina Pavlovic Library is part of the Rural Cultural Center Markovac (RCCM), which was established in 2020 by the artist group Hop.la! with the primary goal of revitalizing cultural and social life in the villages surrounding Velika Plana, a town in eastern Serbia. This region is one of the most underfunded in the cultural sector. In response to this challenge, RCCM aims to provide culture, education, and social services to all social groups, regardless of gender, ethnicity, residency, or economic status. Through the efforts of local volunteers running the library and art professionals who visit Markovac to lead activities, the Center plays a significant role in advancing the decentralization of culture—a key challenge and priority in Serbian cultural policy.

The Rural Cultural Center Markovac is a non-profit civil society organization. Artists and educators collaborate to implement multidisciplinary approaches. Through the library’s activities, they promote critical reading of literature that challenges nationalism, colonialism, xenophobia, and other forms of discrimination. Membership is voluntary and free of charge. In addition to the main book collection, there are shelves for sharing books and textbooks, which citizens can access on a self-service basis.

The management is divided between the director, Aleksandra Milosavljevic, a psychotherapist, and the vice director, Andjelka Nikolic, a theater director who leads the artist group Hop.la!. The library employs seven local women, aged 14 to 65, as librarians. External collaborators, including website editors, library catalogue editors, designers, and others, are also involved. Depending on the responsibilities and scope of work, these positions are either honorary or voluntary.

In addition to book and spatial donations, as well as voluntary work, the sustainability of the Center is supported through project funding and contributions from various sources. Over the past three years, public funding has been provided by the Serbian Ministry of Culture, surrounding municipalities, and the National Coalition for Decentralization. Several significant domestic foundations supporting society and culture have also recognized the importance of financially backing the Center, including the Reconstruction Women’s Fund, Trag Foundation, and Jelena Santić Foundation.

The activities at the Ekatarina Pavlovic Library are grounded in the principles of feminist pedagogy, which emphasize freedom of thought and speech, critical thinking, and equality in learning and development. Creativity, civic awareness, and environmental activism are central to the pedagogical approach of RCCM.

The Center strives to collaborate with similar initiatives and contribute to the public campaign for cultural decentralization, which has been widely recognized. As a result, RCCM has received several prestigious awards, including the Belgrade Open School Recognition Award for cultural decentralization and the fight for equal rights, BeFem’s Recognition Award for cultural mobility, and the Jelena Šantić Award for outstanding contributions to community development through art.

RCCM also supports the performing and visual arts, with a special focus on community art, eco-friendly art, and the preservation of both tangible and intangible cultural heritage.

We want to learn from your experiences.  Feel free to leave your comment.

31/01/2025

Read more about case #6: 

The Heritage House of South Holland ( Erfgoedhuis Zuid-Holland-HHSH) in Delft.

Co-curating history: The Bestemming bereikt? exhibition.

An interview with CREARE Social about the research conducted by Lyudmila Petrova and Arjo Klamer for GLAMMONS project.

ECHN: When you think of exhibiting cultural heritage, what comes to mind?

CREARE: At Erfgoedhuis Zuid-Holland (HHSH), the Bestemming bereikt? exhibition challenges conventional ideas about heritage by transforming the curatorial process. This initiative involves local migrant communities as co-creators, inviting them to share their personal migration stories and objects that symbolize their histories. The result is a collaborative, co-created exploration of cultural heritage.

ECHN: Why co-curation matters?

CREARE: Co-curation breaks away from the traditional top-down approach to museum exhibitions. At HHSH, this process gave members of the community—not just experts—a voice in determining what was displayed and how it was interpreted. Through engaging activities, such as “archaeological dinners”, participants shared personal stories and objects, fostering a meaningful connection between their lived experiences and the exhibition.

ECHN: Can you describe their core values: diversity, empowerment, and belonging?

CREARE: The Bestemming bereikt? exhibition transformed traditional heritage curation by focusing on personal stories and collective participation. Instead of simply displaying artifacts, it highlighted individual narratives, making history more relatable and contemporary. It brought underrepresented perspectives to the fore and promoted inclusivity and belonging. This approach amplified the voices of migrant communities. A sense of empowerment and ownership was created as participants became co-creators. Beyond education, using heritage as a bridge to address contemporary issues, the exhibition encouraged dialogue on migration and social cohesion.

ECHN: Why is it a new approach to heritage?

CREARE: What sets Bestemming bereikt? apart is its pioneering shift from traditional curating to a collaborative, community-focused process. Professionals and local people worked hand in hand to create an exhibition that celebrated the stories and identities of its creators as much as the objects on display.

ECHN: The result?

CREARE: An inclusive project that redefines how we view and engage with heritage, proving that history is more powerful when we tell it together.

Do you have a similar co-curation initiative with your communities? We want to learn from your stories.  Feel free to share your experience.

20/01/2025

This case study is part of CREARE Social research conducted by Lyudmila Petrova and Arjo Klamer for GLAMMONS project.

Read more about case #5:

The Vrij Paleis (Free Palace) in Amsterdam.

The origins of Vrij Paleis

The Vrij Paleis began in the late 1970s, when a group of artists took over the empty printing house after a major newspaper – that was once printed up until the late 1970s – left the building. The city council saw the value in maintaining a creative space in the city centre and facilitated the establishment of a foundation to own the building, ensuring that it would remain a non-commercial venue. Today, around 30 artists, craftspeople, filmmakers, designers and other creatives work together, sharing six studios and a common space for exhibitions and events.

The role of co-creation and collaboration

At the core of Vrij Paleis’ activities is a strong commitment to co-creation and collective ownership. Members share the physical space and are involved in organising exhibitions, workshops and events. This collaborative process extends beyond artistic creation to the day-to-day management of the space, where members of the collective contribute equally to the upkeep and running of the space without monetary compensation. This non-commercial approach remains an example of a thriving, independent art collective in a city where commercial forces tend to dominate the art market.

Vrij Paleis’ role in Amsterdam’s cultural landscape

Over the decades, Vrij Paleis has become an integral part of Amsterdam’s cultural infrastructure. It has made a significant contribution to the city’s alternative cultural scene, supporting experimental art, unconventional performances and grassroots artistic initiatives.

While other cultural spaces in the city have been taken over by commercial entities, Vrij Paleis remains a space of artistic freedom, demonstrating that it is possible to maintain a thriving artistic space without the pressures of commercialisation. It continues to play a vital role in promoting cultural diversity and innovation, not only through its exhibitions, but also by fostering a dynamic community of artists who contribute to the creative energy of the city.

Do you have a similar collaboration? We want to learn from your experiences.  Feel free to leave your comment.