Main themes

Barcelona Art Factories – Old industrial spaces, new cultural uses

Sub themes

 Urban regeneration through CCI  Decentralising the cultural offer to city districts

Places to be visited

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Barcelona Art Factories – Old industrial spaces, new cultural uses

Barcelona City Council’s Culture Institute set up the Art Factories programme in 2007 to expand the city’s network of public facilities designed to support cultural creation and production. Many of these facilities are former factory buildings that have been refitted for use by artists, cultural agents and organisations involved in promoting creation. The Art Factories help strengthen the city’s networks and enrich its cultural fabric and aspire to become benchmark centres creating new discourses and contents based on excellence and quality.

The spaces included in the Barcelona Art Factory programme are:  Fabra i Coats.  Graner.  La Seca.  La Escocesa.  La Caldera.  La Central del Circ.  L'Ateneu Popular 9 Barris.  Hangar.  Sala Beckett/Obrador.  Nau Ivanow.

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WHAT IS IT?

The Art Factories programme is based on transforming disused spaces into new powerhouses of culture and knowledge. The goal is to put creativity, knowledge and innovation at the heart of the city’s policies.

Launched by Barcelona City Council’s Culture Institute, the project meets a longstanding demand by creators and collectives for spaces equipped for artistic creation and research. The Art Factories are therefore ideal spaces for cultural innovation and production. The end goal is to see culture as one of the city’s strategic assets as it develops its economic, social and urban aspects, as well as boosting its inhabitants’ creativity. Creativity here should be understood in its broadest possible sense, embracing artistic skills, intellectual exchange, critical thought, research, and leisure and fun-based initiatives. In addition, the Art Factories also aim to offer young creators the opportunity to take their first steps towards honing their skills on the path towards professionalisation.

WHO IS INVOLVED?

This living network of municipally owned facilities welcomes new spaces as members. It currently comprises:

• Spaces with a strong history of support from the city’s art collectives. Their membership backs initiatives that have helped and promoted creators for many years: Ateneu Popular 9 Barris, Hangar and Nau Ivanow. • New facilities run by agents and institutions representing different artistic areas: La Central del Circ, Graner, La Seca and La Escocesa, for example. • One 100% municipally run factory, Fabra i Coats, set up as the central hub of the project.

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WHAT SHAPE DO THEY TAKE?

Barcelona Art Factories is an integrating programme that works by joining forces and forging ties – a new model of management that eschews the usual trend of government administrations to create uniform, standard management networks. It works directly with the different groups that run the facilities, who are the ones that really shape and structure the project and make it grow. Barcelona City Council’s Culture Institute has signed specific collaboration agreements to run each facility in keeping with the different character of each centre, the artistic disciplines covered and the collectives working there. All this has only been possible following the major process to design and fit out these spaces: in total over 30,000 m2 have been given over entirely to support artistic and cultural creation and production.

KEYS TO THE PROJECT

The project can be explained through five key interlocking pillars that underpin its conceptual identity and, as part of a single strategy, cannot be understood in isolation.

• Quality. The project strives to achieve the maximum possible quality in the work carried out in the factories, as well as ensure a rigorous and professional approach by all concerned. • Professional networks. The factories should be agents with links to other professional networks (educational, social, business, academic) and should thus foster the development of new initiatives. • Multidisciplinarity. The design of the project itself calls implicitly for multiple languages, disciplines and contributions and therefore offers an open vision and the necessary flexibility to foster creativity. • Internationalisation. The factories will only be powerhouses for local development if they put forward projects on international circuits and promote strategic positioning and projection of a unique identity, vision and hallmark. • Hybrid management between the public and private sectors. Any sustainable project calls for hybrid management and shared ties between the public and private sectors, where everyone plays their respective role. This project brings creativity, innovation and culture together to enrich the city and make it a cohesive whole as they give it impetus in two directions: outwards and forwards.

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DISTRICTS OF BARCELONA

Barcelona is divided into 10 districts. These are administrated by a councillor designated by the main city council, and each of them have some powers relating to issues such as urbanism or infrastructure in their area. The current division of the city into different districts was approved in 1984. In 2009, in Barcelona started using a new division of 73 neighbourhoods (the 10 districts are still in use), a division that was done for a better service from the City Council. Some of these districts have a previous history as independent municipalities which were integrated into the city of Barcelona during the late 19th century and the first half of the 20th century, such as Sarrià, , de Palomar, Gràcia or Sant Martí de Provençals. However, other municipalities which are contiguous to Barcelona (such as L'Hospitalet de Llobregat, , Sant Adrià de Besòs or ) have remained separate towns to this day, and are part of the much larger metropolitan area of Barcelona. Barcelona Arts Factories are in the next districts:  Art Factory: Fabra i Coats  District: Sant Andreu.  Art Factory: Graner  District: -Montjuïc.  Art Factory: La Seca  District: .  Art Factory: La Escocesa  District: Sant Martí.  Art Factory: La Caldera  District: Les Corts.  Art Factory: La Central del Circ  District: Sant Martí.  Art Factory: L'Ateneu Popular 9 Barris  District: .  Art Factory: Hangar  District: Sant Martí.  Art Factory: Sala Beckett/Obrador  District: Sant Martí.  Art Factory: Nau Ivanow  District: Sant Andreu.

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Size Density Number District Population Neighbourhoods km² hab/km

Ciutat La Barceloneta, El Gòtic, , Sant Pere, 1 4.49 111,290 24,786

Vella Santa Caterina i

L'Antiga Esquerra de l', La Nova

2 Eixample 7.46 262,485 35,586 Esquerra de l'Eixample, Dreta de l'Eixample,, Sagrada Família, Sant Antoni

, , , la Sants- Marina de Port, la Marina del Prat Vermell, El 3 21.35 177,636 8,321

Montjuïc Poble-sec, Sants, Sants-Badal, Montjuïc*, Zona Franca - Port*

4 Les Corts 6.08 82,588 13,584 les Corts, la Maternitat i Sant Ramon,

Sarrià- El Putget i Farró, Sarrià, Sant Gervasi - la 5 Sant 20.09 140,461 6,992 Bonanova, Sant Gervasi - Galvany, les Tres

Gervasi Torres, , i les Planes

Vila de Gràcia, el Camp d'en Grassot i Gràcia

6 Gràcia 4.19 120,087 28,660 Nova, , , Vallcarca i els Penitents.

El Baix Guinardó, El Guinardó, Can Baró, El Horta- Carmel, la Font d'en Fargues, Horta, la 7 11.96 169,920 14,217

Guinardó Clota, , Sant Genís dels Agudells, , La Vall d'Hebron.

Can Peguera, Canyelles, , La Guineueta, Porta, , les Nou 8 8.04 164,981 20,520 Roquetes, Torre Baró, , El Turó de

Barris la Peira, Vallbona, ,Vilapicina i la Torre Llobeta

Baró de Viver, , El Congrés i els Sant 9 6.56 142,598 21,737 Indians, Navas, ,La

Andreu Sagrera i

El Besòs i el Maresme, , El Camp de l'Arpa del Clot, Diagonal Mar i el Front Marítim del Sant Poblenou, el Parc i la Llacuna del 10 10.80 221,029 20,466

Martí Poblenou, Poblenou, Provençals del Poblenou, Sant Martí de Provençals, , la Vila Olímpica del Poblenou

1. (*) Monjuïc and Zona Franca are not neighbourhoods but are in the district of Sants-Montjuïc.

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Projects and policies to be presented / places to be visited

Day one: May, 18th, 2016.

Name: Palau de la Virreina Address: Les Rambles, 99 - 08001 Barcelona Map: https://goo.gl/maps/SGyCGYSKLk22 A baroque building welcomes you in Barcelona's Rambla, past Carme street, and it will awaken your curiosity because its highly-decorated façade and the interior courtyard and staircases give a glimpse of wealth and power. Go inside Palau de la Virreina and maybe you will be surprised by some art exhibition organised there. A mysterious aura surrounds this building in Ramblas, where nowadays the headquarters of Barcelona's City Council Culture Institute (Institut de Cultura de l'Ajuntament de Barcelona) are located. Behind its name we will find that the vicereine (virreina in Catalan) was the wife of Peru's viceroy, Manuel Amat Junyent, Castellbell's marquis. He wanted to show his wealth by building a very ostentatious residence in Barcelona. He chose a style between baroque and rococo, which was not quite common in the city. The marquis himself directed the work from Peru with the help of the architect Carles Grau between 1772 and 1778. However, the viceroy did not enjoy the residence for a long time because he died shortly after returning to Barcelona. His widow, Maria Francesa de Fiveller and de Bru, was the main occupant. It is worth visiting the Palau de la Virreina, a jewel of Barcelona's local baroque, contemplating the main façade decorated with pilasters and a large balustrade with twelve vases and going into the interior courtyard from which a staircase starts. Temporary exhibitions, usually related to art, photography or literature, are held in this Rambla's palace. There is a culture information and ticket sales office for a wide range of shows on the ground floor of the palace. Palau de la Virreina has a baroque and rococo style very unusual in Barcelona. It is one of the emblematic places in the Rambla that is worth seeing.

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Day two: May, 19th, 2016.

Name: Fabra i Coats Art Factory Link: http://fabraicoats.bcn.cat/en/ Address: Carrer de Sant Adrià, 20 – 08030 Barcelona T. 932 566 150 / 619 131 616 Map: https://goo.gl/maps/Wjrdt7PaqhS2 1. What is Fabra i Coats - Art Factory? A centre devoted to experimentation, research and production in the arts. It is a flexible, versatile structure that provides support for creativity in all areas and languages, a public cultural facility at the service of the development of cultural projects. The centre’s size and singular characteristics make Fabra i Coats the main node in Barcelona’s Network of Art Factories. 2. What does it bring to the city? — A centre that supports the right to make mistakes: Fabra i Coats is a space for research, for trial and error, for artists and cultural stakeholders. — A centre devoted to artistic and cultural excellence: many facilities here are equipped for research and production, particularly in the fields of experimentation in sound and music, the performing arts and the visual arts. — A tool to promote connections with the local and international art and culture system. One important activity is that of mentoring artists, groups and resident initiatives. — A platform for public presentation and profile and raising: Fabra i Coats promotes exchange, communication and permeability with the territory. The centre has developed several formats (“In Process”, “Laboratory”, “Premiere”) to promote direct contact with initiatives on the part of both specialist and general audiences.

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3. What experiences would you highlight in the history of the centre? — Factorial: Fabra i Coats organised Factorial, an international biennial meeting devoted to thought and the exchange of ideas and experiences with regard to art factories. The first edition of this conference took place in October 2014. — Hothouse: the factory hosts platforms and groups that act as drivers for processes, projects and multiple connections with the city and its cultural, artist, social and educational systems. Some of the most important of these initiatives include TRANSformas, Makea Tu Vida, Agost Produccions, Librújula, BD Dansa and Coincidències. — Promoting events and meetings to support local and international creativity: Fabra I Coats has played a key role in the inception and/or development of such events as Mixtur, MiRA!, Cara B, GRAF, Col·lectivaccions, Minimúsica and so on. 4. The future: how do you see Fabra i Coats - Art Factory in ten years’ time? Connected to the world and its immediate surroundings, nurturing cultural and artistic processes and acting as a platform for experimentation, research and investigation into all artistic languages. And, more specifically, on the connections between educational, cultural, scientific and philosophical systems.

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Name: Ateneu Popular 9 Barris Link: http://ateneu9b.net/ Address: Carrer Portlligat 11-15 - 08042 Barcelona Tel. +34 933 509 475 Map: https://goo.gl/maps/NCa1kckX4aE2

1. What is Ateneu Popular 9 Barris? A public, social and cultural centre that is run in accordance with the community management model, which is based on civic action and proximity to the territory and sees cultural and artistic action as a tool for social transformation. 2. What does it bring to the city? In terms of art, it is a reference centre for the circus arts, in the city and beyond. The Ateneu pursues the mission of promoting creativity in the circus from a non-commercial, socially committed approach, providing support to young artists whilst always seeking quality and artistic excellence. In the field of cultural activity and promotion, it brings cultural activities of the highest quality to outlying neighbourhoods, promotes emerging cultures, enables the programming of local and city cultural projects and fosters cultural democracy and participation. As regards socio-educational aspects, it is a leading centre in providing circus training for children and young people and in the promotion of social circus projects. The centre aims to foster social engagement and solidarity and the critical spirit through the values and training provided by the social circus as an educational tool, a defining element in the Ateneu initiative from the very outset. 3. What experiences would you highlight in the history of the centre? — The Winter Circus, or Circ d’Hivern, which took place for the twentieth time in 2015. The Circ d’Hivern project was launched in 1996 with the aim of promoting the establishment of permanent professional companies related to the circus and to organise new, quality shows aimed at all kinds of audiences through a public call for proposals. — The Combinat de Circ (“Circus Combination”, now in its fiftieth edition). The Combinat de Circ has provided a meeting point in the circus world since 1996. It is a platform for the development and presentation of circus acts in good technical conditions. The event brings professionals into contact with each other, makes new numbers more widely known and encourages new artistic directions in the circus.

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— Continuous cultural programming. The Ateneu Popular 9 Barris cultural programme promotes values and criteria that make this a unique centre: the creation of our own audience, programming at city level and bringing outstanding shows to venues all over the territory, without ever losing the local perspective and the emphasis on networking and forming a part of the association movement in Nou Barris. 4. The future: how do you see the Ateneu Popular in ten years’ time? The future development of the centre will depend on changes that may take place in the local environment and how people who participate in the community management model build the collective project. The centre will continue to work locally, within the neighbourhood, supporting creativity in the circus arts, using the social circus as an educational tool and cultural promotion as the main focus of activity. The project promoted by the Ateneu is gaining more and more support in the social and non-profit economy, which provides a reference framework for its development.

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Name: La Central del Circ Link: http://www.lacentraldelcirc.cat/ Address: Moll de la Vela 2 - 08930 Sant Adrià del Besòs. Barcelona Tel. +34 933 560 890 Map: https://goo.gl/maps/AUFitC7BXt72 1. What is La Central del Circ? A space for creation, research, lifelong education and training for professional circus artists. 2. What does it bring to the city? A site where circus professionals can create and research, as well as train, in an environment that provides all the resources and support they need to develop their projects. 3. What experiences would you highlight in the history of the centre? Firstly, the move from two temporary marquees to the current site (4,121 m2) in March 2011. Secondly, the fact the centre is now considered an art factory setting and is publicly owned. Thirdly, the joint management between the APCC Board and the team at La Central. 4. The future: how do you see La Central del Circ in ten years’ time? As a reference site, both locally (in and ) and in Europe, recognised for its work in supporting creativity in the circus arts, as well as a platform to raise the profile of a growing sector and to promote professional development. La Central pursues the mission of achieving artistic excellence through support for creativity (which also involves promoting research and lifelong training) to help quality artistic projects, marked by the personal seal of the artists themselves, to come to fruition.

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Day three: May, 20th, 2016.

Name: Graner – Dance Art Factory Link: http://granerbcn.cat/en/ Address: Carrer Jane Addams 14-16 – 08038 Barcelona Tel. +34 934 26 18 75 Map: https://goo.gl/maps/dx2SZSBebs42 1. What is Graner? Graner is a centre for creation and exploration of the language of the body and movement. 2. What does it bring to the city? As an art factory or centre for creativity, it offers the opportunity to learn about artistic form and practice, and is characterised by close, inclusive relations with the public, organising local activities linked to formal and informal education. 3. What experiences would you highlight in the history of the centre? — A project where the epicentre of action is the artist and his/her universe, and which is open 24 hours a days, 365 days a year. — The capacity of Graner to create a network of cooperation with other local, national and international festivals and events (FF80 Temporada Alta, IPAM, Moduldance and Iberescena). — Participation in educational projects related to art (kindergartens, the Tandem Project and In Residency). 4. The future: how do you see Graner in ten years’ time? As a centre for transregional creativity and production that capitalises on the know-how generated within its structures, one that builds appropriate tools to expand on this know- how and helps to raise the profile of artists throughout their development. As a facility that interconnects the generations, where new spaces for dialogue and re- reading artistic content are generated, engaged with the immediate environment and generating clear social return linked to formal and informal education. As a platform for regeneration, focussing on the needs for improvement and change: promoting two lines of action in the live arts, with support for creativity (support for key creativity: two weeks and three months) and long-term artists’ residencies (three years).

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Name: Hangar - Centre for Visual Arts Research and Production Link: https://hangar.org/en/ Address: Carrer Emilia Coranty 16 - Can Ricart - 08018 Barcelona Tel. +34 93 308 4041 Map: https://goo.gl/maps/XJEfRnzkNcs 1. What is Hangar? A centre that supports artists and creatives by providing access to open production tools and the best possible setting for experimenting, researching and implementing projects linked to the contemporary arts. The initiative promotes artistic production and research and also helps to ensure the cohesion of communities, both that of the group of artists that established the centre, manage it and use its services and the various cultural stakeholders, groups, projects and institutions that Hangar has worked with over the course of its history. 2. What does it bring to the city? Hangar is a platform that provides the conditions for contemporary creativity with the emphasis on public service. Its mission is to promote an experimental space and enable access to production tools, providing a context for the generation of knowledge by a wide range of users: artists, first and foremost, but also other cultural and social stakeholders, producers, mediators and collective projects. This convergence fosters direct contact with stakeholders and agencies in different fields, such as research, creativity, training, production and so on. Hangar operates according to the logic of dynamic networks, in which relationships between local stakeholders in the territory are based on complementarity and not on competition. The centre seeks to break the traditional endogamy of the art sector, prioritising dialogue with both organised and information initiatives linked to local art practice whilst also working with independent groups and civic platforms in areas of common interest, and such sectors as the scientific community, the university, industry and technology. Hangar establishes links with mediating bodies and networks and promotes research and production projects that use cooperation between the art sector and others to generate cross-cutting dynamics. Both in art, in the strictest sense and in other areas, alliances are promoted with projects, organisations, bodies and networks. 14

Accordingly, the centre’s role in the city must be understood as that of a collaboration for art production and research that enables different stakeholders to work and experiment in multi-sector, multidisciplinary ways. 3. What experiences would you highlight in the history of the centre? — Its proximity to all artistic practices and the adaptability of its services and tools to them, in the generation of its service laboratories, for example. — The open approach to work, concerned with enabling access to production tools with special attention to those developed under the principles of open source. — The emphasis on research, through the visual arts and through the fusion of the centre’s methodologies and goals with other disciplines, strengthening relations with universities, art R&D centres and also with national and international civic, technological and scientific projects, and with both solo artists and groups. — The centre’s links with more experimental areas of artistic production, maintaining a space where artists can test their work, embracing works in progress that do not necessarily seek to achieve a particular level of excellence nor to enter the institutional space. 4. The future: how do you see Hangar in ten years’ time? From the perspective of art creation and production, Hangar should be able to maintain its open attitude to different practices, which is shaped by a flexible, constantly-reviewed structure that enables the centre to operate in a modular, proactive and reactive way: modular, in providing a specialised response to a broad range of needs; proactive, by reviewing and renewing processes, context and services; and reactive, in order to provide resources for contemporary creativity through permanent contact with artists. From the standpoint of research into art, the centre should continue to embody a non-formal resource aimed at redefining the standards that each research practice and discipline has accepted and memorised. An intermediate space where ambivalence prevails over antagonism, and where controversy and collision are fundamental elements. Finally, Hangar should be able to work in the community that gives it meaning, governance and direction. The challenge over the coming years will be to maintain the conditions that make it possible to achieve these three goals and to adapt the mechanisms that will enable the centre to continue operating and to become a reference centre for experimentation and production in the visual and numerical arts, and to achieve recognition as a research centre.

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Speakers

Day one: May, 18th, 2016.

Nicolás Barbieri.

PhD in Political Science, postdoctoral researcher at the Public Policies and Government Institute and adjunct lecturer at the Department of Political Science, Universitat Autònoma de Barcelona (UAB). He is also adjunct lecturer at the Universitat Oberta de Catalunya. His main research area is institutional and policy change (culture, urban, social). He was visiting research fellow at the Université Montpellier I, Universidad Nacional de Avellaneda and Universidad Nacional de Tres de Febrero. He has published books, chapter books and papers in international journals, available at link http://ubicarse.net. Cultural (and urban?) policies: lessons from Barcelona: The presentation will deal with three general and complex questions. What is urban policy and what are the main variables that characterize it? To what extent have cultural policies in Barcelona adopted the core features of urban policies? And finally what part does the third sector organizations (associations, platforms, civil society networks, cooperatives, cultural centres) play in this process? Manu Ripoll.

Manu Ripoll (1989) is a graphic artist. He studied Fine Arts degree in Spain and Poland and then he did a master specialization of Graphic Art and Illustration in Escola Joso, in Barcelona. He was travelling around Central America and Asia doing carnet de voyage drawings. Now he illustrates comic-books and sketches performances. www.manuripoll.blogspot.com

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Day two: May, 19th, 2016.

Sergi Díaz.

Responsible of the Barcelona Community Centres Network in the Barcelona City Council. Reports to Director of Culture Proximity and to Mayor Commissioner on Culture. Degree in Humanities from the Universitat Autònoma de Barcelona (UAB) and Master in Cultural Management from the (UB). He worked as Coordinator of the Department of Culture of the City of La Llagosta (in the metropolitan Area of Barcelona). From 2000 he was part of the Cabinet of the Department of Culture of the City of Barcelona until 2003. Then he became Coordinator of the Ateneu Popular 9 Barris (cultural venue managed by an Association). In 2008 he worked as coordinator of Barcelona Dialogue Intecultural Programme promoted by the City Council. From 2008 until 2013 he worked as a coordinator of the Barcelona Art Factories Since 2013 has been working at the Dirección de Cultura Comunitària i de Proximitat of the City Council ICUB in charge of the coordination of the Barcelona Community Centres network Briefing Barcelona Community Centres network comprise a total of 51 centres spread across the 10 districts of the city. The responsibilities of the management of each of the facilities corresponding to each District and the coordination of all centres as a network-level city falls, since 2011, in the Institute of (ICUB). This network of Community Centres aimed the social and cultural development of the territories, participation and the promotion of community life in the city. The main objectives of this network of facilities are:  Offering diverse culture, accessible and quality in all areas of the city.  Support the creation and artistic and scientific research. These centres should be a real network of laboratories near and accessible for emerging creation.  Promote creation projects with citizen participation. Increasingly, the concept of the public, citizens must see it not only as a set of proposals attendees passive agents but as active actors and authentic content generators and speeches.

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 Programs to attract new audiences. Cal approach and facilitate access to this potential public through new communication strategies, adjusting the supply of services and activities based on citizenship ages, interests, availability and various cultural concerns.  Strengthen its role as a dynamic cultural facility of a territory and an essential part in the development of the festive calendar of the city’s neighbourhoods.  Connect network Civic Centres cultural system of the city, promoting the exchange between great venues (National Museums, theatres, etc.) and this local cultural centres. Website: http://ajuntament.barcelona.cat/centrescivics/en

Day three: May, 20th, 2016.

Carles Giner.

Carles Giner Camprubí (Barcelona, 1965) is a cultural manager and social educator. Today, Giner combines the work of directing EN RESiDÈNCiA and his work for the executive secretariat of the Culture Council of Barcelona with coordination of the new Barcelona Cultural Strategic Plan 2016-2026. The holder of a degree in Humanities from the Open University of Catalonia, Giner has formed part of the Barcelona Institute of Culture team since 2004, taking part in cultural planning processes in the city and coordinating the development and approval of Nous Accents 06, Barcelona’s Strategic Plan for Culture. In this sphere, he also helped to establish and consolidate several cultural development initiatives, such as Barcelona Council for Culture, a tool for participation in the design and implementation of cultural policies, and the Creadors EN RESiDÈNCiA artist residency programme, which brings secondary pupils into contact with contemporary creativity through the continuous presence of artists at Barcelona schools.

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EN RESiDÈNCiA [IN RESIDENCE) - http://www.enresidencia.org/ca

Description: Since 2009, Barcelona Institute of Culture (ICUB) and Barcelona Education Consortium (CEB) have promoted Artists IN RESIDENCE at the schools of Barcelona, a pioneering programme in our country aimed at bringing contemporary art to state secondary schools through direct, continuous contact between an artist and pupils. Under IN RESIDENCE, then, an initiative developed in cooperation with the association A Bao A Qu, artists are invited to conceive a work that they will the produce together with a group of ESO compulsory secondary education pupils. Over the academic year, as part of the school timetable, these pupils take part in the conception and creation of the work. The artists play the role of the authors at the school, creating their own works, whilst dissemination is carried out through participation, discussion and direct contact with the work and the artist. Thought and analysis are also very important aspects of the learning process, and blogs are created in order to channel and share such activities. The project pursues a three-fold objective through this direct contact between art and education: . To encourage pupils to discover their own processes of contemporary creation through constant contact and discussion with an artist, and to think about art through their own personal experience. . To promote and generate situations and contexts that stimulate artistic innovation and creativity. . To help to transform schools into places that actively encourage culture, art and thought, into centres that host creativity and spaces for artistic experimentation and innovation. The success of this experience, both for the artists and the teachers and pupils, has enabled the programme to become consolidated as a key initiative in the city for establishing links between contemporary art and teenagers, and has generated new forms and contexts for creativity.

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Participants: ARTISTS. The artists are invited to develop their own creative processes based on initial open projects that will be altered, to some extent, through interaction with the specific context in which they are to be developed. The teams of mediators are those that invite artists to join IN RESIDENCE. The criteria for proposing artists for the programme are based on a series of variables: a) They should be firmly-established artists. b) Their practices and productions should be capable of generating discussion and establishing connections with the other participants. c) They should be both assertive and empathic by nature, and capable of adapting to a context outside their usual working environment. d) They do not necessarily have to be art teachers, although those invited are often artists with links to the world of training and education. From the initial definition onwards, the emphasis is very much on the need for the project to be the artist’s own work, something that part of their trajectory. The working process, moreover, should not take the format of a workshop or art class; the aim is not to teach what contemporary art is, but to enable the participants (pupils, teachers, mediators...) to experience all the processes that have to do with creativity: from the concept stage to production and public presentation, as well as the research, test, documentation and project stages... To this end, the artists are asked to make certain displacements in their usual creative practices and processes: physical displacement, since the process does not take place in their usual place of work (studio, workshop, art factory...), but in a classroom at a state secondary school; and “political” displacement, since IN RESIDENCE requires them to take part in a process in which, although their authorship is not questioned, they need to establish dialogues, negotiation, and, in short, to accept a degree of participation in their work both by pupils and teachers and mediators. Depending on the artist’s usual working routine and their view of artistic practices, this dialogue with other parties will lead to the introduction of processes that are closer to (or farther away from) collaborative approaches.

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PUPILS. IN RESIDENCE assigns pupils an active role to play as subjects in the creative process. In their dialogue with the artist and the teacher, moreover, they should also take part actively in all processes. Because the residence enables them to discover creativity as part of an open process, to play roles different from those they are accustomed to, and to take part in all stages in the creative process, from initial idea to final presentation. IN RESIDENCE enables participants to develop different dimensions and aspects of themselves and to learn about the cultural system thanks to the connections that are established during the project period. Since the programme was first launched, the participants have always been ESO compulsory secondary education pupils at state schools in Barcelona. These are, therefore, children aged from 12 to 16 years. Although pupils from all four ESO courses have taken part, most participants are groups in the fourth course, due to the organisational advantages, as many schools reserve their optional studies for this fourth year. We should remember that, apart from occasional exceptions, the project does not involve whole classes, but groups of 15-20 pupils. As a result, it is necessary to adjust timetables for the course in order to free up the weekly two-hour session with the artist and the second one-hour session. TEACHERS. Teachers play a key role: they help to adapt the residency to the learning made by the group of pupils; they link the project to material and content, both in their own subjects and others; they talk to the artist to find ways of making these connections; they link the residency to the school, helping to form alliances and partnerships that enable the former to “contaminate” the latter; they encourage transformations in the ways that contemporary art is seen at the school; they manage the “follow-up” to the residency, and so on. IN RESIDENCE necessarily requires the participation of a teacher as a reference point in the project. However, it is also recommended that this teacher should be accompanied, on a stable basis, by one or two teachers of other subjects. Although they play a secondary role, these colleagues can also make an important contribution to the full development of the residency. Firstly, they reinforce the specific project in their different areas and specialities; and, secondly, they help the whole school to become more involved in the initiative. We should remember that the residency is not designed as an experience restricted to the group of pupils directly involved; rather, it should “contaminate” the entire school and help to open up a process aimed at transforming the school’s way of going about things.

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The interdisciplinary nature of the project enables teachers from any knowledge area to take part. Accordingly, the reference teacher for the residency is not always from the art department. Very often, residencies have been led by teachers of technology, music, social sciences, Catalan, Spanish and natural sciences. MEDIATORS. The residencies are coordinated by teams of mediators, experts in the intersections between culture and education. Their role in the development of the programme is one of the features that help to make IN RESIDENCE a unique experience. Their duties, divided into two broad categories ("curatorial” and “coordinating"), are concerned with overall management of each residency in all its complexity. Accordingly, they manage the process in its different dimensions (artistic, educational, relational, productive). In short, the mediation teams work to ensure that the residency develops fully, establishing balances between the different factors at play (process/work; art project/educational dimension; authorship/participation) and contributing to the smooth development of the various interactions at play: artist/pupils, artist/teacher, classroom/school. Among their most important tasks is that of facilitating the connections that each residency, as the project gradually becomes defined, should establish with other stakeholders (cultural centres in the neighbourhood or city, professionals, guests, cultural projects etc.). Mediators also play a role in communicating and raising the profile of the residency. When the programme was initially designed, it was decided to assign a “curatorial” role to mediators. In fact, the mediators are those that the participating artists propose to ICUB and the CEB, and they are, therefore, responsible for the art project suggested. Moreover, their “curatorial” role does not end here as, throughout the process, they engage in continuous dialogue with the artist about the project as it develops. At the start, they approve (or propose changes to) the initial project and, as the residency advances, they work to ensure that the direction given to it by the artist fits well into the context and the educational goals for the project. In cooperation with the artist, teachers and pupils, moreover, they also establish the content of all texts (posters, exhibition materials, publications, communications, etc.) relating to the residency and, particularly, the works that result from the initiative. That is why the expertise and know-how required of mediators also includes a general skill that we can summarise as “familiarity with the cultural system (and, particularly, the art system) and the education system". This knowledge should be combined with more specific skills and abilities that can help to develop an art project within the school environment.

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CONNECTING STAKEHOLDERS: the task of connecting the cultural and education systems – a defining feature of the IN RESIDENCE initiative — is made possible by various models of connection that have been tried and tested since the launch of the programme. Firstly, there are the specific connections established between each residency and its environment (territorial, thematic, sectorial, professional, etc.) according to the particular project and its specific context. This connection may be more or less intense depending on a series of variables, and can range from the visit to the connected school or centre to coproduction (exhibition, venue for public presentation, etc.), including a full range of possibilities. Secondly, since its third edition, IN RESIDENCE has established structural connections with the MACBA educational team. Within this framework, and according to the project undertaken as part of each residency, the MACBA team, in cooperation with the artist, prepares a visit to the museum especially adapted to the characteristics of the group of pupils and the process they are taking part in. This first visit may be followed by a follow- up visit by the MACBA educational team to the pupils at the school, revisiting the activity and exploring in greater depth the themes and other aspects of the project in development. These connections amplify and expand the project and help to promote the right to take part in cultural life and the construction of a culturally active citizenry. The pupils are strongly encouraged to appropriate the cultural system, and are invited to participate as active agents with reciprocal duties and responsibilities. These connections are considered to be amongst the most potentially transformative effects generated by IN RESIDENCE: most of the pupils (and teachers, in some cases) have few links with the city’s cultural centres, stakeholders and events. And, vice versa, the cultural and art systems and the artists themselves, by their own admission, have only weak or non-existent links with the education system. PROGRAMME LEADERS. IN RESIDENCE is jointly managed generally by personnel from Barcelona Institute of Culture and the Barcelona Education Consortium. These managers are responsible for monitoring the overall project, shaping its objectives, opening up common ground and working spaces for different stakeholders, ensuring the continuity of the project and that the initiative is appropriately integrated into the different schools, extending connections, raising the profile of the programme, seeking funding for the initiative and organising the collective show after each edition has ended.

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The project cycle. Over the years since the initiative was first launched, IN RESIDENCE has gradually established a manner of going about things and developing the programme processes. We can distinguish three broad stages in the development of each edition: PRELIMINARY STAGE. From public call for proposals to the first day of residence: In spring each year, processes are launched to select the participating schools. Firstly, the selection of schools is made through a public call for proposals, which is decided in early June. At the same time, the mediation teams put forward their proposals for the artists to be invited to take part. In early summer, the residency at each school is decided, and initial contact is made between the participating artists and the teachers responsible for each residency. By early September, the artists have produced an initial description of the project that will be developed over the course of the residency. This is also when the organisational framework and times for each residency are decided. The residencies themselves get under way in late September, which is also when the blogs that will describe the creative process throughout the residency are launched. DEVELOPMENT STAGE. From the first day of the residency to public presentation: The weekly sessions with the artists, which take place until the end of the residency, are held from September to May. Another session, without the artist’s presence, also takes place every week. “Landing”: All the participants (pupils, teachers, artists, mediators) involved in each residency “land” during the autumn. The first sessions are devoted to enabling the participants to get to know each other and define the project to be developed. This is the stage that is most closely focused on research related to conceptualising the processes that will take place. From now on, each different residency begins to make its own specific connections, according to the type of project involved. Processes: In January and February, coinciding with a more concrete stage in the creative process, each participating school organises a session to discuss the current state and future horizons of the residency with the teaching team at the centre. These sessions have a dual objective: to communicate the process of the residency to teaching staff at the school; and to establish a range of collaborations with a view to expanding the impact of the residency on the centre.

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Formalisation, presentation and evaluation: The public presentations of the residencies take place in May. Each is presented at the most appropriate venue according to the process developed. Sometimes the presentations are made at the school itself, while in other cases the residency is presented at different cultural centres. Often, due to the connections established over the course of each residency, the processes and/or resulting works are presented publicly in other spaces. Although various evaluation processes have still to take place for each residency, the presentation implies the end of the residency. Pupils, teachers, artists and mediators take part in these evaluation sessions, which are held after the public presentation. FOLLOW-UP STAGE. From public presentation to collective exhibition: Since the first edition, the final processes have been presented in two-yearly collective shows at various exhibition centres in the city. The centres that have hosted these shows so far are the Suñol Foundation (2010), Fabra i Coats – Art Factory of Barcelona (2012) and La Capella (2014).

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http://lameva.barcelona.cat/lanitdelsmuseus/#main

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ARTS FACTORIES AND NIGHT OF THE MUSEUMS.

This year, the Barcelona Art Factories collaborate with the Night of the Museums. “Creation and Museums” is the name of this project, that links an Arts Factory with a museum of the city to create, from different disciplines, an artistic production related to the theme of the museum or an specific heritage site.

MUSEUM / ART FACTORY: ARXIU FOTOGRÀFIC / LA ESCOCESA

Discipline: Performance

Name: “Jo no hi vaig ser”

From 19:00h a 01:00h

Link: http://arxiufotografic.bcn.cat/

Map: https://goo.gl/maps/cgfwbcnhHnu

MUSEUM / ART FACTORY: CASTELL DE MONTJUIC / ATENEU POPULAR 9 BARRIS

Discipline: Circ

20:30-20:40: Juana Beltran.

20:50-21:30: “Iter” - Serena Vione

22:00-22:10: Juana Beltran.

22:30-23:30: Circus

Link: http://ajuntament.barcelona.cat/castelldemontjuic/en

Map: https://goo.gl/maps/tvJwcYNP2qC2

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MUSEUM / ART FACTORY: MACBA / GRANER

Discipline: Dance

Name: “REM”

20:00h and 22:00h – 15 minutes.

Link: http://www.macba.cat/en/index

Map: https://goo.gl/maps/8dU6X8fagfD2

MUSEUM / ART FACTORY: MUSEU MARÈS / LA SECA

Discipline: Magic

Name: “Près de vous” - Mag Hausson

Time: From 22:00h to 24:00h

Link: http://w110.bcn.cat/portal/site/MuseuFredericMares135e.html?lang=en_GB

Map: https://goo.gl/maps/pk1ZDUHbXdE2

MUSEUM / ART FACTORY: MUSEU DEL DISSENY / SALA BECKETT

Discipline: Installation

Name: “Teatre i Objecte”

Link: http://ajuntament.barcelona.cat/museudeldisseny/en/

Map: https://goo.gl/maps/njEu3eH41dk

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MUSEUM / ART FACTORY: MUSEU D'HISTÒRIA DE BARCELONA (MUHBA) / FABRA I COATS

Discipline: Installation / Workshop

NAme: “A Cor Obert” - Fèlix Vinyals

Time: From 22:00h to 01:00h

Link: http://museuhistoria.bcn.cat/en

Map: https://goo.gl/maps/nwhhMDyvs5u

MUSEUM / ART FACTORY: MUSEU DE CULTURES DEL MÓN / HANGAR

Discipline: Multimedia intervention

Name: A project by Giuliana Racco

Time: From 19:00h to 01:00h

Link: http://museuculturesmon.bcn.cat/

Map: https://goo.gl/maps/Ga2GrgiMABx

MUSEUM / ART FACTORY: MUSEU ETNOLÒGIC / LA CALDERA

Discipline: Music and dance

Play by Carles Santos and Esbart Sant Martí

Time: 21:30h

Link: http://ajuntament.barcelona.cat/museuetnologic/en/home

Map: https://goo.gl/maps/Aew7ukkhh5B2

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MUSEUM / ART FACTORY: CENTRE D'ART CONTEMPORANI DE BARCELONA / FABRA I COATS / NAU IVANOW

DIscipline: Theatre

Name: BLAU, a collective play created by teenagers

Time: 19:30h – 21:00h – 23:30h

Link: http://www.cccb.org/en

Map: https://goo.gl/maps/3kvc1s9Mmj92

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