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Creative work EUNIC 2010 – Plugging in – Roaming Cultural On display – Language in progress Leading Romanian culture – junctions – excellence in to go – the way to artists on enhancing fostering the Romanian teaching the cultural the interna- mobility for partnerships arts language co-operation tional art cultural with the market professionals locals 4 6 12 20 28 36 50 In Europe, in times of old, culture was a strictly notion of national culture. There are three reasons private domain. Consequently, states ignored it; pa- for this: in the first place, because the cultural trons of the arts cultivated it. Later, in the times markets tend to ignore national borders; in the sec- of the nation state, culture became an instrument ond place, because, in a sense, culture has become for the legitimisation of national awareness. And more powerful than nation states, just as European so, when they were unable to compel recognition by legislation is more powerful than national legisla- warfare, states promoted themselves through culture. tion; and in the third place, because the new way Once culture became national, its promotion, too, of conceiving national interest includes this step became a matter of state. This state of affairs led forward. to public diplomacy and, by extension, consolidated the ground for the emergence of cultural diploma- EUNIC represents the awareness of the fact that cy, for a long time its vanguard instrument. It was the national institutes for culture can no longer thus that the national institutes for culture mul- exist except in co-operation, just as major artists, tiplied and consolidated themselves. In more recent in order to become national artists, must now first times, the nation states gradually discovered the make a name for themselves on the international mar- virtues of co-operation and the national advantages ket. And just as today the best promotion of na- of transnational institutions. State propaganda re- tional values is guaranteed by the increasingly in- placed the national brand, and the promotion of cul- tegrated functioning of structures of transnational ture became an essential component of the promotion cultural co-operation, so, too, public diplomacy can of a country’s brand. The (national) culture itself learn from cultural diplomacy a more evolved model came to be thought of in terms of an (internation- of collaboration, in order for the European project al) country brand. Then, thanks to the creation of to succeed. Just as for the European nation states European unity, the promotion of national cultures the E.U. represents a new age, so, too, EUNIC repre- became a facilitation of contacts between cultures, sents for the national institutes for culture a new under the sign of a higher cultural unity. moment of affirmation. Together we can only succeed! Cultural diplomacy began to be replaced by direct HORIA-ROMAN PATAPIEVICI cultural co-operation. The (national) cultural mar- PRESIDENT OF THE ROMANIAN CULTURAL INSTITUTE kets display a tendency to correlate with each oth- PRESIDENT OF EUNIC er, in the footsteps of the economic markets, which already have a tendency to unify with each oth- er. EUNIC – the European Union National Institutes for Culture – represents a new phase in the life of the national institutes for culture: the transition from cultural diplomacy mediated through state in- terests to direct cultural co-operation. In order to legitimise themselves in the context of globali- sation, states can no longer utilise an outdated Creative work in progress 4 Dear friends of the Romanian Cultural Institute, (page 20). This contributes to exchanges of experi- ence and knowledge transfer upon which a cultural We invite you to enjoy with us the explosion of sector synchronised with international concerns and colour and imagination that characterised the year engaged in a competition beneficial for contemporary 2010 in Romanian culture abroad. This brochure con- dynamism depends. tains a selection of the activities whereby the network of Romanian Cultural Institutes abroad was able The intensification of relations with local part- to make a vigorous and strategic contribution to the ners (page 28) and positioning of the Romanian development of the cultural sector in Romania. Cultural Institute as a credible and valued part- ner have contributed to the growth in the prestige The year 2010 was one of consolidation and expan- of the Romanian cultural and creative industries, sion for the Romanian Cultural Institute, thanks in whether it be in cinema, with nominations at festi- particular to the coming to fruition of projects vals, the visual arts, with Romanian artists invited commenced in previous years and to especial ef- to the most important exhibitions, or literature, forts to maintain optimum financing in the context with requests for translations of contemporary writ- of the economic recession. Our network also expanded ers coming from publishers abroad (page 36). this year, thanks to the long-awaited opening of the “Mihai Eminescu” Romanian Cultural Institute in the We celebrate with our host countries not only Republic of Moldova. Romanian language and civilisation (page 50), but also, and above all, cultural co-operation through This year, the Romanian Cultural Institute took the construction of a shared creative course. on the role of leader in European cultural co-operation by assuming the rotating presidency of the All these successes have been possible with the European Union Network of National Institutes for constant support of our partners and the profes- Culture (EUNIC) for a one-year mandate (June 2010 – sionalism of the teams from the Romanian Cultural June 2011). Institutes abroad. Romanian artists are in the ascendency on international art markets, thanks to financial support for participation in festivals, fairs and success- OVIDIU DAJBOG-MIRON ful events that have made a direct contribution to DIRECTOR GENERAL, a growth in the value and market share of Romanian DIRECTORATE-GENERAL FOR THE ROMANIAN CULTURAL INSTITUTES ABROAD cultural products (page 12). The Institute has nurtured a veritable cultur- MARILENA STANCIU al wave by enhancing mobility for artists and pro- DIRECTOR, fessionals from every sector of the arts in more DEPARTMENT FOR PERFORMANCE ASSESSMENT OF THE ROMANIAN CULTURAL than one thousand projects over the course of 2010 INSTITUTES ABROAD EUNIC 2010 – Leading the way to cultural co-operation 6 EUNIC (European Union National Institutes for at the institutional level, and the majority of the Culture) has come to the fore as the most signifi- Romanian Cultural Institutes abroad joined their lo- cant European partnership for national cultural in- cal clusters. stitutes engaged in transnational projects through the pooling of human and financial resources with The President of the Romanian Cultural Institute, a view to implementing programmes that valorise the Mr. Horia-Roman Patapievici, was elected President European spirit. Just five years after its creation, of the EUNIC global network for a one-year mandate, EUNIC can already boast 20 members, 150 countries, which office he assumed at the annual meeting of 2,000 branches and 2,500 employees, proof of the representatives from member institutes that was held prestige it has won during this interval. on 17 June 2010 in Bucharest. The EUNIC network functions on two complementa- In addition, the Romanian Cultural Institutes ry levels of co-operation: the level of presidents abroad are very active in their local clusters, tak- or directors general for each national institution ing on leadership positions in the teams based in (heads) and the level of the local clusters, i.e. Brussels (2009–2010), Budapest (2010), London (2008 the groups of institutes that form associations in and 2009), New York (2010) and Prague (2010). each country. In each of the cities worldwide where EUNIC clus- The mission of EUNIC is to develop shared projects ters are active, European institutes for culture or- to stimulate the transfer of knowledge and good ganise cultural events that mobilise artists from practices in international cultural co-operation, every sector of the arts and hold conferences, dis- fostering linguistic diversity and facilitating the cussions, exhibitions and performances to debate mobility of artists’ works between its clusters in recent history and issues of current concern to Europe, the U.S.A., Latin America, Africa, Oceania the European Continent. Such annual events include and Asia. Literature Night, held in six European cities and bringing together writers and translators from more On Romania’s accession to the European Union, the than twenty-six countries, and Language Rich Europe, Romanian Cultural Institute became a member of EUNIC celebrated by all the institutes every 26 September. 8 “WE, THE FIRST FREE GENERATION OF EUROPE BORN IN THE HISTORICAL YEAR OF 1989 GATHERED IN BRUSSELS, DECLARE OUR READINESS TO TAKE OUR SHARE OF RESPONSIBILITY TO DEAL WITH THE ISSUES FACING THE EUROPEAN AND GLOBAL COMMU- NITY IN THE WORLD OF THE 21ST CENTURY.” (DECLARATION OF GENERATION ’89, 29 APRIL, 2010, BRUSSELS) ← We, Generation ’89 and Hungary. Over the course of four meetings held simultaneously in Brussels, Bucharest, Prague and The twentieth anniversary of the collapse of the Warsaw between 25 and 28 April, they took part in communist regimes and the establishment of democrat- discussions about the events of 1989, information ic regimes in Central and Eastern Europe was of par- sessions about EU youth policies, and workshops in ticular significance. The events organised by the which a Declaration about the rights of future European citi- cultural institutes of the EUNIC network in 2009 zens was drawn up. The most active participants at was complemented in 2010 by a project initiated by the meetings in Bucharest, Prague and Warsaw were the Romanian Cultural Institute, via its Prague in- invited to a further meeting with European Union stitute, which focussed on how young people born in officials in Brussels, where they presented the 1989, the ’89 Generation, view the future of the new Declaration of Generation ’89.

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