Category: Blog

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.

17/01/2025

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

Read more about case #4:

The SciArt Project of the Joint Research Centre.

Exploring co-creation though cross-sectorial collaboration

SciArt operates as an emerging community of practice at the intersection of science, art and policy. Emerging as a bottom-up initiative within the highly institutionalized environment of the European Commission’s Joint Research Centre (JRC), the SciArt project exemplifies how interdisciplinary collaboration can revolutionize both creative and scientific practices.

Since its launch in 2016, SciArt has been breaking down barriers between the traditionally separate fields of art, science and policymaking. Through co-creation, the project brings together artists, scientists and policy makers from the outset to develop artworks.

How does this work?

Co-creation in SciArt involves collaboration and shared responsibility. Rather than a top-down approach where curators or scientists control the content, co-creation ensures that all participants – artists, scientists and policy makers – contribute equally to the process. Within the SciArt project, the collaborative spirit drives both the creation of artwork and the exploration of scientific ideas. SciArt brings together different perspectives and inspires new approaches to tackling contemporary global issues such as sustainability and environmental responsibility. The last exhibition, NaturArchy: Towards A Natural Contract (2024), the result of two years of collaboration, invites us to reimagine our relationship to nature.

Contribution

What sets the SciArt initiative apart is its emphasis on experimentation. By fostering creativity, curiosity and collaboration, it creates an environment where participants can break new ground and produce new science-related art that engages broader audiences and challenges traditional perception of science. SciArt aims to inspire societal change as it addresses critical issues such as sustainability and the decolonisation of nature. The project challenges existing systems and narratives, encouraging participants to re-imagine possibilities and drive meaningful change.

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

08/01/2025

How GLAM Institutions Are Rewriting the Rulebook: Adapting to the Post-Pandemic and Digital Age?

Cultural institutions like museums, galleries, and archives—known collectively as GLAMs—have always prided themselves on being community-focused, participatory spaces.
But the pandemic and the rise of digital technology have thrown these principles into sharp relief, pushing these institutions to adapt their management and organizational practices faster than ever before. How do these institutions maintain their identity while responding to new societal demands? And more importantly, how do they keep their core participatory practices intact in the face of  rapid change?
Our case study of the Schwules Museum in Berlin provides some compelling insights into these questions. The study explores the challenges GLAMs face as they attempt to balance traditional values with the modern pressures of digitization and post-pandemic reconfiguration.

ECHN met Ares Kalandides (Inpolis) and discussed what he has learned about the evolving role of management practices in cultural commons.

PART  II

ECHN: Would you like to share some specific tools that emerged from this study?

AK: What emerged was the importance of communication and moderation in managing this shift. Moderation and clear vision were identified as essential tools for mediating between different stakeholder groups and creating an environment where all voices could be heard. Volunteers and staff alike needed a platform to express their concerns and ideas, ensuring that the institution’s participatory nature wasn’t lost in the process.

ECHN: How do you envision the Future of GLAMs?

AK: The paper concludes by emphasizing that the future of GLAMs lies in their ability to remain flexible—adapting to new internal and external demands—while remaining faithful to their foundational participatory principles. As these institutions expand and professionalize, they must continue to prioritize the involvement of their communities, volunteers, and commoners in the decision making process.

ECHN: What would be your suggestions for Museums?

AK: In the case of the Schwules Museum, the study suggests that institutions can succeed by finding new tools for coordination and conflict resolution. By embracing new organizational practices that still allow for participatory governance, GLAMs can continue to evolve without losing their original sense of identity.

ECHN: What can we take away from this research? 

AK: First and foremost, that change is inevitable, especially in today’s fast-paced, post pandemic world. But that doesn’t mean institutions must abandon their participatory values. Instead, they should actively involve their communities in shaping the future of their practices. Whether through bottom-up initiatives, clearer communication channels, or more structured decision making processes, GLAMs must learn how to navigate these changes in a way that respects their history and ethos. As digitization and the pandemic continue to shape the cultural landscape, the research highlights a crucial point: the future of cultural commons will depend on institutions’ ability to adapt while staying rooted in the participatory principles that make them unique. The challenge now is to build GLAM institutions that are both innovative and inclusive, ensuring that their future is as vibrant and community oriented as their past.

ECHN: What are the conclusions from this research?

AK: The Schwules Museum case study offers a valuable lens through which we can better understand the evolving nature of cultural commons. As GLAMs face the challenges of modernity, they must remember that their greatest strength lies in their ability to bring people together whether physically or digitally—around shared values and practices. The future of these institutions will depend not just on how they adapt to external pressures, but on how they continue to center the voices of the very communities they were built to serve.

08/01/2025

How GLAM Institutions Are Rewriting the Rulebook: Adapting to the Post-Pandemic and Digital Age?

Cultural institutions like museums, galleries, and archives—known collectively as GLAMs—have always prided themselves on being community-focused, participatory spaces.
But the pandemic and the rise of digital technology have thrown these principles into sharp relief, pushing these institutions to adapt their management and organizational practices faster than ever before. How do these institutions maintain their identity while responding to new societal demands? And more importantly, how do they keep their core participatory practices intact in the face of  rapid change?
Our case study of the Schwules Museum in Berlin provides some compelling insights into these questions. The study explores the challenges GLAMs face as they attempt to balance traditional values with the modern pressures of digitization and post-pandemic reconfiguration.

ECHN met Ares Kalandides (Inpolis) and discussed what he has learned about the evolving role of management practices in cultural commons.

PART  I

ECHN: What did your research reveal about the central question for GLAMs today: How can they remain true to their core values community involvement, participatory decision- making, and cultural representation—while adapting to external pressures?

AK: The pandemic has forced many institutions to reassess how they operate, and digitization has only added another layer of complexity. In the case of the Schwules Museum, which has seen significant growth and international recognition in recent years, the introduction of new organizational practices created friction within the institution.

ECHN: You mean, for example, how the museum can introduce new exhibition topics, attract more visitors, and meet the expectations of a global audience without compromising its core values.

AK: Yes, as the museum expanded to meet growing demands, it found itself at a crossroads. The internal challenges were palpable: volunteers expressed frustration over a lack of communication and coordination, while management struggled to maintain a cohesive vision.

ECHN: Can you talk a bit more about the role of volunteers in shaping the museum’s organizational practices?

AK: At the heart of this shift is the crucial role of volunteers, who often form the backbone of GLAM institutions. Many of them felt that as the institution grew, their voices were being drowned out by the expanding operations. Despite the museum’s commitment to participatory practices, volunteers expressed frustration over hierarchical divisions and a perceived lack of agency.

ECHN: What was the direct impact on the organisation?

AK: The research revealed that three key organizational modes emerged in response to these challenges: top-down professional consultancy, bottom-up semi-professional practices, and routinized participatory modes. These modes reflected the growing diversity of duties and thematic focuses within the museum but also highlighted the tensions between professional management and volunteer-driven governance.

ECHN: How can new organizational practices be seen as legitimate by the museum’s stakeholders, particularly its volunteers?

AK: The crux of the issue lies in legitimacy. As GLAMs, like the Schwules Museum, adapt to new demands, they must also ensure that their practices remain aligned with the values that originally gave them legitimacy. The research found that the museum’s management was caught in a delicate balancing act: striving to meet the external expectations imposed by global trends, while keeping the core participatory ethos alive.