Europe’s artistic heritage is partly made up of artefacts from former colonies by means of war, plunder and misappropriation. Some collections have been built with the profits of colonialism, and increasingly to the public exploitation of this heritage for politically populist and nationalist discourse. With pressure from the grassroots pushing for a more democratic and egalitarian society, we have seen a strong public debate around issues related to the way in which our histories are edited and our heritage is presented, demands that are still valid today. From the removal of historic statues and proposals for new memorials, to demands for educational reform, the repatriation of looted artefacts and reparations; We are questioning the connection between past and present, questioning how national identities are forged and how systems and structures of oppression are upheld.
DÁNIEL POULET – cultural manager, Head and Heart of PP Cult
I am a project manager at Pro Progressione with a background in archaeology, history, and cultural heritage management. I have experience in curating exhibitions and writing publications on heritage interpretation, with a focus on community involvement. Previously, I managed projects related to 3D historical reconstructions, animated movies, and interactive content. Additionally, I enjoy organizing art and music festivals. I think cultural heritage has significant social advantages, as they strengthen the sense of belonging and local identity of communities. Therefore their utilisation should focus on keeping the heritage alive and accessible, as a heritage can only meaningfully exist in the present, where historical value can be matched with new functions. The biggest advantage of our cultural heritage is not about what we possess, but how it helps to identify who we are.
JOHANNA LIBER – project manager
By profession, I am a visual art theorist; however, my diverse range of professional experiences collectively equip me to confidently dive into and navigate unfamiliar situations. I prepared to be a photographer, which laid the foundation for my unending curiosity about visual languages. During my studies, I immersed myself in social media management on behalf of the International Integral Conference (IEC) and the creation of virtual exhibitions. Additionally, I engaged in branding for gastronomic ventures, followed by working as a cultural manager at the Hungarian Association of Architects, where I organized numerous exhibitions and intergenerational roundtable discussions.
In the summer of 2023, I had the opportunity to serve as one of the organizers for the Balatorium, an ecological and cultural project linked to the European Capital of Culture, Veszprém.
In addition to my dedication to PP Cult’s activities, the role of a project manager presents the perfect opportunity for me to seamlessly translate my studies in art management, undertaken in Venice, into practical application.
ECHO Academies, based on the experience of implementing “ECHO: European Cultural Heritage Onstage” and “ECHO II: Traditions in Transition”, addresses issues of visibility, networking, employability and opportunities to enter the art market for new European talents. For that purpose, it uses heritage as an inspirational tool, building on the values of the European and glocal perceptions of heritage.
The CREAMARE project aims to create a trans-national and cross-sectorial collaboration framework in which cultural organizations, scientific/research bodies, creative professionals, and technology experts co-produce CC applications and media contents to communicate, disseminate and promote Underwater Cultural Heritage (UCH). Simultaneously, the project is raising awareness about relevant social problems like pollution and other environmental threats that affect the oceans.
Funded by the European Commission under the Creative Europe Programme, MANIFEST: New artistic perspectives on memories of the transatlantic trade of enslaved people aims to contribute to and enhance the re-imagination of Europe’s collective memory of the transatlantic trade of enslaved people.
Journey to the Beginnings is a collaborative project involving prehistoric cultural heritage sites and museums, contemporary arts and new technologies to rediscover and promote the prehistoric cultural heritage of the ancient civilizations that lived along the river Danube.
MUSE.ar is an international project that connects cultural and creative sectors with the aim of bringing artists – and thus arts – closer to museum collections by trial a digital application. This tool will provide an opportunity for artists from different backgrounds to build their own narrative for museums and visitors, using a digital collection.