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OPEN CALL FOR A MANAGING DIRECTOR

Globe Art Point is looking for a new managing director/s to develop the association goals in the upcoming years. The applicant can be one person (100% salary) or a team of two (each with 50% monthly salary). 

Globe Art Point ry is an association founded in 2016 in Helsinki to promote and support the status and working conditions of international artists and cultural actors of different art forms living in Finland. The association’s work is supported by the Finnish Cultural Foundation, the Ministry of Education and Culture and the City of Helsinki.

We are looking for well-networked, experienced, collaborative and hard-working art and culture professional(s) based in Finland, who is/are interested in being part of our growing organization. The new manager(s) will work in close collaboration with the board.

Managing director ́s role:

  • The person/s should be based in Finland and familiar with the current status of art and cultural sector particularly of foreign-born artists and cultural workers in Finland
  • Working with transparency, intercultural dialogue skills, commitment and sensitivity, willingness and ability to build and maintain relationships with resilience
  • Good experience in association management, sufficient knowledge of administration, fundraising and policy-making in Finland
  • Applicant(s) should have an awareness of and dedication to equity, diversity, inclusion, and belonging in the cultural sector.
  • Good knowledge of different art disciplines and cultural work, experience in production. check here
  • Ability to do both teamwork, as well as independent
  • Experience in production/events organisation
  • Have minimum of bachelor degree in arts and culture work and have at least 3-5 years of experience in a similar position
  • Have excellent communication and writing skills in English and Finnish (if the applicant is a team at least one should have excellent language skills in Finnish)

The managing director ́s monthly salary is € 3,200.  This is divided in the case of selecting a pair. The work is ongoing, and there is a probation time of 4 months.

Please send your application in English together with relevant CV latest by 15.07.2019 at 16.00 through this link to the application form: https://forms.gle/7DjgYi5NWEPRc4YHA

More information on the open call 17.-21.6.2019 between10.00-17.00: board member Sepideh Rahaa, sepidehrahaa@gmail.com, tel. +358 44 23 66 530. More information on the association: www.globeartpoint.fi

Shortlisted candidates will be contacted at the end of July and the interviews will be conducted between 6-8 August. The start date will be negotiated, the chosen candidate can expect to begin August / September.

The office which is located in Kamppi, Helsinki. Our facilities are accessible on the street level, assistant dogs are welcome, there is no accessible toilet in the space office.

————————————————————————————————–

HAEMME TOIMINNANJOHTAJAA

Globe Art Point ry hakee toiminnanjohtajaa kehittämään yhdistyksen toimintaa tulevina vuosina. Hakija voi olla yksittäinen henkilö (100 % työaika) tai kahden henkilön tiimi, jossa kumpikin työskentelee 50 % työajalla.

Globe Art Point ry on Helsingissä 2016 perustettu yleishyödyllinen yhdistys, joka edistää ja tukee Suomessa asuvien eri alojen taiteilijoiden ja kulttuurityöntekijöiden asemaa ja työskentelyolosuhteita. Yhdistyksen tukijoita ovat Suomen Kulttuurirahasto, opetus- ja kulttuurirahasto sekä Helsingin kaupunki.

Etsimme kokenutta, yhteistyökykyistä ja työteliästä, Suomessa asuvaa, hyvin verkostoitunutta ammattilaista toimimaan kehittyvässä organisaatiossamme. Toiminnanjohtaja työskentelee läheisessä yhteistyössä yhdistyksen hallituksen kanssa. 

Odotuksemme hakijoille:

  • asut Suomessa, ja olet hyvin perillä taide- ja kulttuurialasta, erityisesti ulkomaalaissyntyisten taiteilijoiden ja kulttuurityöntekijöiden asemasta
  • arvostat työssäsi läpinäkyvyyttä, sinulla on vahvaa osaamista kulttuurien välisestä vuoropuhelusta, olet sitoutunut ja herkkä, olet hyvä luomaan ja ylläpitämään yhteistyösuhteita
  • sinulla on hyvää kokemusta yhdistyksen johtamisesta sekä riittävää osaamista hallinnosta, varainhankinnasta ja yhteiskunnallisesta vaikuttamisesta Suomessa
  • sinulla on kokemusta, tietoa ja tuotanto-osaamista eri taiteenaloilta ja kulttuurityöstä
  • sinulle tärkeitä asioita ovat oikeudenmukaisuus, monimuotoisuus ja osallisuus
  • olet itsenäinen tekijä ja hyvä tiimityöskentelijä 
  • sinulla on vähintään alempi korkeakoulututkinto taiteen ja kulttuurin alalta sekä vähintään 3-5 vuoden kokemus vastaavasta asemasta
  • sinulla on erittäin hyvät puhe- ja kirjoitustaidot englannin ja suomen kielellä (tiimihakijoista toisella pitää olla hyvät suomen kielen taidot)

Toiminnanjohtajan kuukausipalkka on 3 200 €, joka jaetaan kahtia mikäli toimeen valitaan kahden tiimi. Toimi on jatkuva, ja siihen kuuluu 4 kuukauden koeaika.

Lähetä englanninkielinen hakemuksesi ja CV:si 15.7.2019 klo 16 mennessä tämän linkin kautta: https://forms.gle/7DjgYi5NWEPRc4YHA

Lisätietoa hausta 17.-21.6.2019 klo 10-17: hallituksen jäsen Sepideh Rahaa, sepidehrahaa@gmail.com, puh. 044 23 66 530. Lisätietoa yhdistyksestä: www.globeartpoint.fi

Ilmoitamme haastatteluihin valituille henkilöille heinäkuun lopussa, haastattelut pidetään 6.-8.8.2019. Toivomme, että uusi työntekijämme aloittaa elo-syyskuussa, tarkempi aloituspäivä on neuvoteltavissa.

Toimitilamme sijaitsevat Helsingin Kampissa, katutasossa. Avustajakoirat ovat tervetulleita, toimitiloissa ei ole saavutettavia wc-tiloja.

The post ARE YOU OUR NEXT MANAGING DIRECTOR? appeared first on Globe Art Point.

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I came to Finland to pursue a Masters Degree in Visual Arts, Game and Narrative Design. But just into my second year, I ran into an unforeseeable financial situation, the kind of “unforeseeable financial situation” which is a regular fixture of adult life. I was completely unprepared for it, with my next visa renewal appointment just around the corner I had to save up Four Thousand Euros in Six months in order to not get kicked out of the country and continue my education. I started looking for work as a Game Designer and a Narrative Designer as I had prior experience of working on Game projects in these capacities but all my efforts went to no avail. While the native people who had started school with me were being offered jobs from Left and right, up, down and center. One of my Finnish friends a Fashion Designer, for example, was hired by a construction company, his job for the first year was to create a job for himself. He was literally getting paid for a year to define his own job description and to assist him with this nerve-wracking experience, he was provided with state of the art facilities, a corner office on the fifth floor, skirted by big glass walls, with a view… well, the view wasn’t much to take in really, it was basically just this building being reflected in the glass façade of the identical building opposite to it, or maybe I lacked the appreciation for this view given my soreness. And yes I was sore, I was about to reach a century of Job Rejections.

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Rejection: Rejection occurs when an individual is excluded from a relationship or social interaction. A person can be rejected by individuals or an entire group of people. Rejection can be either active, by bullying, teasing, or ridiculing, or passive, by ignoring a person, or giving them the “silent treatment”. Rejection can become a problem when it is prolonged or consistent. Rejection by an entire group of people can have especially negative effects, particularly when it results in social isolation.

There’s also a third type of rejection which Uzair was encountering along with the previously mentioned types. This is a mix of active and passive rejection. This is when a company that you have applied to for a job refuses to engage with you directly and instead employs a computer program, an algorithm that rejects you actively. This rejection starts with a Thanking note before breaking to you the news of your rejection, the algorithm knows you have braced yourself for yet another heartbreak as soon as it thanks you for your interest in the position, so it quickly follows the thanking note with informing you that is not only in your misery. They received many great applications and yours was one of them. You were so good that you actually made it pretty difficult for them to make their decision, but alas! You were not “suitable” enough for this position. The algorithms will never define this suitability but will encourage you instead to find out more about that by following the company on social media. By this stage, they assume that they have done enough talking to squeeze one more like one more follower out of a broken and dejected applicant. This is the rejection of the post-industrial world, it is structural, it is systematic, it wants to maximize capital, and it is deceptively passive and active.

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I did not give up, never give up Immigrant attitude! I kept applying to all job openings I could possibly find and finally, I got my big break. I was called in for an interview by the local postal service. A substitute supervisor there wanted to hire me as an early morning newspaper delivery boy, for a locality he was taking care of for the time being. He wanted to hire me for the holiday season from the beginning of December till the end of January. I negotiated a week’s break between the months as I had to travel to Sweden to present a Game Project in a conference. All was set my task was simply deliver over 200 newspapers between 1-4 AM every night or morning if you will. I was told that if I can perform well during the Holiday period when the workload is greater, accompanied by the challenge that the weather presents at that time of year, I’ll definitely be locking down a long term contract. They gave me the contact details of my on-field trainer’s; he would train me for a week after which my real test will begin.

My trainer was a young man in his early thirties with an athletic build, but he seemed to be lacking in energy and had a limp in his walk. He told me that he had been working through a knee ligament injury which that had reoccurred for the third time this year and was finally getting a break from work after training me. He had also come to Finland as a student immigrant from Nigeria and was working on the side to survive in this economy. He shared his experience of working in the Postal service and was quite open about how much he despised their treatment towards immigrant workers. The Postal service took advantage of the immigrant workers not knowing their rights; they hired them on monthly contracts, for work trials, paid them less and then dismissed half way without providing them with any explanations. My trainer also expanded on the general lack of warmth and trust the Native society has towards immigrants. He had a Masters degree in electrical engineering for example but was delivering newspapers to make ends meet due to biases of the Finnish job market against immigrants. Many immigrants in Finland have to do labour intensive jobs that have nothing to do with their relevant educational qualifications.

My trainer and I also connected over our fear of working alone at night in barren landscapes with howling and barking of dogs in the background. We shared cultural anecdotes on what the barking of a dog at night signifies, I remember sharing a South Asian myth with him one night according to which dogs can see what people cannot, they can see the ghosts at night and then they bark at them. We both also had a common passion for football which was a constant topic of discussion throughout the training period amongst other more worrying subjects. He could understand Finnish and we would often go over the headlines of the front pages. People of colour would only get a mention when for example a tragedy like the Turku Terrorist attack occurs, but when a Pakistani immigrant, father of a 4-year-old gets stabbed thirty times in Vantaa by three native youths for not giving them cigarettes to smoke because they looked underage, a crime as heinous as this never gets a mention in any headlines, not in the papers not on TV and the local authorities refuse to recognize this as a hate crime. It’s unfathomable the trauma a man and his family suffers from, who survives after getting stabbed thirty times. Even after switching three houses that family lives in constant fear for their lives, they have not been able to find a place that they can call home again.

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Home: When Uzair types “Home” in the Google search tab, the first result that appears is a link to Wikipedia English about Home, according to which “Home is generally a place that is close to the heart of the owner, and can become a prized possession. It has been argued that psychologically the strongest sense of home commonly coincides geographically with a dwelling. People may become homesick when they leave their home over an extended period of time. Places like homes can trigger self-reflection, thoughts about who someone is or used to be or who they might become.”

Popular sayings about home include:

“A man’s home is his castle”

“There is no place like home”

“Home sweet home”

“To be at home”

“Home away from home”

“Make yourself at home”

“Home is where the heart is”       

                    and

“You can never go home again”

The second search result for “Home” is from the Finnish edition of Wikipedia according to which, “Home is a microfiber that grows a distinctly distinctive flesh or spore mass. Homes are naturally important organic matter breakers. They also cause contamination of food and structures, neurological symptoms, allergy symptoms, asthma, mold dust, hypersensitivity and other indoor diseases.” It further states, “Approximately 800,000 Finns are exposed to significant humidity and home damage at home, at school or at work every year.”

The third search result about “Home” for Uzair is the Home page of Finnish immigration services. A Home page that he regularly visits, still trying to calculate the processing time of his visa renewal application today, an application which has been waiting get processed for over eleven months now, an application on the processing of which he will finally get to travel towards a place which was once home. Home he thinks is like the horizon for immigrants. The more they yearn for it the more distant it seems. It is as if they are always trying to travel towards home and home is always travelling away from them.

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As the training period ended, my trainer advised me to find a strategy to get myself through the night’s work or else the job will become pretty lonely and cumbersome. I had decided to treat this work as a challenge, a game against time, a game which I have to win in order to secure a longer contract. While working alone at night I started to find an unnerving partnership in my own infinite reflections, trapped behind opposing mirrors in elevators and double glass doors. My image, dressed in the Postal service uniform, performing repetitions reminded me of the many such rituals enforced upon immigrant workers that my trainer used to talk about. I tried to disassociate myself from this image of myself, I tried to completely immerse myself in this game as if it were a cardio routine of some sort. Perhaps this was also my trainer’s strategy, to avoid mental displeasure at the cost of running your body into physical pain.

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Disassociation: Dissociation is any of a wide array of experiences, from mild detachment from immediate surroundings to more severe detachment from physical and emotional experiences. The major characteristic of all dissociative phenomena involves a detachment from reality. Dissociation is utilized by immigrants as a strategy in times of emergency when their entire agency of actively resisting second-grade treatment is neutralized. Immigrants then switch from their First person experience of reality to a Third person experience of reality in order to deal with the inescapable oppression. They try to approach the biases confronting them objectively in an attempt to find the best possible solutions while in a state of intermittent alienation from their emotions.

Dissociation is not recommended as a long-term strategy though, and should only be exercised in cases of unbearable stress and trauma; otherwise, it can lead to dissociative disorders that are characterized by failures of integration of memory, perception, consciousness and identity.

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Midway through the second week of work, the holiday period decorations started to appear on and around the doors of the apartments that I had been delivering papers to. It somehow felt as if the blank shut doors were responding to my gesture of feeding them papers every night. During the third week of work while the decorations continued to grow a door on the top floor of one of the buildings was uncharacteristically wide open, with a view to complete darkness. I had noticed this door before as it was oddly painted in a pistachio green shade unlike all the other brown doors with a vinyl façade. I was part scared, partly intrigued, I took a quick glance over my mobile device to check if I had an extra ten minutes today to check on this open door, someone might need my help, I decided to take a closer look.

As I got closer to this door it became clear that the door actually opened to the rooftop terrace of this six-story building. I proceeded towards the roof and as I stepped out under the sky again, this time six stories closer to it, I experienced a change in perspective that I had not seen the city through before. From this terrace, I could see all the tightly packed lookalike buildings that I had been delivering papers to. Buildings, the colours of which had become unsaturated over the years as if life had been sucked out of them over the course of many winters, to my amazement were capped by vibrantly coloured slanting roofs, a contrast to behold really. And in the distance beyond the limits of this multi-coloured grid of rooftops, I could see a glowing panoramic white stripe connecting the two blues of the sky and the sea. I could feel a tangible connection with this infinite belt of purity which was all around. But soon I was brought back from this serene experience by the squawking of a nearby seagull as if it was telling me to “get back to work”. And from my thoughts of going beyond the horizon in sight when I travel on a ferry to Sweden to present my game project, I was rushed back to my present reality, building number twenty-five next, with another ten to go before I can call it day. But from that day onwards there was a spring in my heel, the mood had changed, my interaction with the infinite reflections trapped behind glass doors and mirrors was far more cheerful, infinity had taken a new meaning altogether.

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Perspective: East and west look at nature through different lenses or at least used to. Their understanding of space has had a major influence on what they did in it, and what they did to it. One wanted to preserve its eternal magic while the other wanted to conquer space and colonize it. One saw infinity all around them and themselves as a part of it, while the other saw infinity in the vanishing distance, something to strive towards endlessly. These converse ideologies are best represented in image making traditions of East and West, Chinese Tapestries, Japanese prints and Persian Miniature paintings all resisted spatial depiction through Linear perspective and instead painted the infiniteness of space. On the other hand, paintings in the west predominantly made use of one point perspective since its inception in the early 1500s. The invention of Linear perspective also assisted western military technology majorly, leading to the creation of projectile weapons that fulfilled the colonial dream. Mirror reflections played a key role in the realization of a linear perspective. They helped make space more predictable and calculable, these developments further cemented ideas of linear time and linear progress which are integral to the operation of all Capitalist economies today.  Mirror reflections are not an exact representation of reality though, they are an illusion, they are laterally inverted.

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A few days later as the decorations outside the doors continued to grow, a few presents also started appearing with notes on them addressed to me. I learned that these presents were for me later when after not accepting the presents for a few days, the notes switched language from Finnish to English. This was perhaps an attempt from the Finnish society to include me in their holiday festivity, I felt a part of these celebrations. I decided to compliment this correspondence extended to me by the inhabitants living behind these doors and planned on bringing them gifts of my own. “What can I bring as a present?” I thought to myself, I hardly had any money to spare. The only thing I had a lot to spare were extra newspapers that I dumped every night. The day before I was completing my first month of work and leaving for Sweden the next day, I brought an origami piece made out of the spare newspapers, a paper flower for every apartment that left me a present, a paper flower that symbolized the fragility of a relationship developing between natives and an immigrant.

I left for my own apartment after work that day with a feeling of pride and delight at being able to communicate with the natives, albeit through gestures. I felt like any other citizen that day, for a split-second all distinctions between natives and immigrants had vanished. I decided to take a different, longer way back home. I wanted to exercise my feeling of belonging to this city, a confidence, an ownership had transpired in me. In the midst of my thoughts as walked pass a fenced backyard, a dog from the other side of the fencing viciously attacked me. I was completely caught off guard, the attack by the dog sent shivers down my spine and after a moment or two of instinctively trying to rush away from the scene, I slowed down, turned towards the direction of the barking dog and shouted out curses until my adrenaline levels normalized again. I started walking back to my apartment slowly, thinking of the myth I shared with my trainer earlier about dogs barking at ghosts. “Immigrants are like ghosts to native societies that only dogs see and bark at” I thought to myself and quickly rejected the idea “it’s just a stupid legend, shouldn’t dwell on it too much”. My newly acquired connection with the native community and the idea of going beyond the horizon to Sweden the next day provided great optimism.

I returned to Helsinki refreshed physically and mentally after a successful presentation in Sweden, with many developments to look forward to, but for the next month, I had to get to back to living the double life, full-time student in the day and a full-time newspaper delivery boy at night. I called the substitute supervisor who hired me to inform him of my return to Helsinki and discuss the work situation. A far coarser and deeper voice than that of the sub supervisors returned the call. This person snapped at me as soon as I introduced myself and went on a rant about my absence from work for a week, this was the permanent supervisor that the sub supervisor was covering for when he hired me.  Without asking for any explanation from me and without reviewing my contract the permanent supervisor told me that I was not required as a worker anymore. I was shell shocked, still holding my mobile phone to my ear a minute after the call had ended, I could hear the sound of a barking dog echoing from my mobile phone and resonating all around me. I had acquired a state of complete groundlessness.

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Groundlessness: Groundlessness is an inversion of temporal reality. Everything around you turns on its head and floats in space, it is the absence of gravity. You are free falling in a loop stitched so perfectly at its tips that you cannot tell where the fall starts and where it ends. And as you continue to free fall endlessly soon you lose all sense of movement and direction, you are suspended in an inversion of space, a place oblivious of linear time. Past, present and future cease to exist.    

Uzair Amjad is an Interdisciplinary Artist, born in 1989, Sahiwal, Pakistan. He works with multiple techniques of storytelling to make visible the connections between culturally induced beliefs and human agency.
In his practice, he examines storytelling itself as an apparatus with the potential to either cement or challenge cultural hegemonies. He is currently based in Helsinki, pursuing an MA with a major in Visual Culture, Curating and Contemporary Art, at Aalto University. 

The post Groundlessness: Reflections in First and Third person, by Uzair Amjad appeared first on Globe Art Point.

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OPEN CALL FOR A MANAGING DIRECTOR

Globe Art Point is looking for a new managing director/s to develop the association goals in the upcoming years. The applicant can be one person (100% salary) or a team of two (each with 50% monthly salary). 

Globe Art Point ry is an association founded in 2016 in Helsinki to promote and support the status and working conditions of international artists and cultural actors of different art forms living in Finland. The association’s work is supported by the Finnish Cultural Foundation, the Ministry of Education and Culture and the City of Helsinki.

We are looking for well-networked, experienced, collaborative and hard-working art and culture professional(s) based in Finland, who is/are interested in being part of our growing organization. The new manager(s) will work in close collaboration with the board.

Managing director ́s role:

  • The person/s should be based in Finland and familiar with the current status of art and cultural sector particularly of foreign-born artists and cultural workers in Finland
  • Working with transparency, intercultural dialogue skills, commitment and sensitivity, willingness and ability to build and maintain relationships with resilience
  • Good experience in association management, sufficient knowledge of administration, fundraising and policy-making in Finland
  • Applicant(s) should have an awareness of and dedication to equity, diversity, inclusion, and belonging in the cultural sector.
  • Good knowledge of different art disciplines and cultural work, experience in production. check here
  • Ability to do both teamwork, as well as independent
  • Experience in production/events organisation
  • Have minimum of bachelor degree in arts and culture work and have at least 3-5 years of experience in a similar position
  • Have excellent communication and writing skills in English and Finnish (if the applicant is a team at least one should have excellent language skills in Finnish)

The managing director ́s monthly salary is € 3,200.  This is divided in the case of selecting a pair. The work is ongoing, and there is a probation time of 4 months.

Please send your application in English together with relevant CV latest by 30.06.2019 at 16.00 through this link to the application form: https://forms.gle/7DjgYi5NWEPRc4YHA

More information on the open call 17.-21.6.2019 between10.00-17.00: board member Sepideh Rahaa, sepidehrahaa@gmail.com, tel. +358 44 23 66 530. More information on the association: www.globeartpoint.fi

Shortlisted candidates will be contacted at the end of July and the interviews will be conducted between 6-8 August. The start date will be negotiated, the chosen candidate can expect to begin August / September.

The office which is located in Kamppi, Helsinki. Our facilities are accessible on the street level, assistant dogs are welcome, there is no accessible toilet in the space office.

————————————————————————————————–

HAEMME TOIMINNANJOHTAJAA

Globe Art Point ry hakee toiminnanjohtajaa kehittämään yhdistyksen toimintaa tulevina vuosina. Hakija voi olla yksittäinen henkilö (100 % työaika) tai kahden henkilön tiimi, jossa kumpikin työskentelee 50 % työajalla.

Globe Art Point ry on Helsingissä 2016 perustettu yleishyödyllinen yhdistys, joka edistää ja tukee Suomessa asuvien eri alojen taiteilijoiden ja kulttuurityöntekijöiden asemaa ja työskentelyolosuhteita. Yhdistyksen tukijoita ovat Suomen Kulttuurirahasto, opetus- ja kulttuurirahasto sekä Helsingin kaupunki.

Etsimme kokenutta, yhteistyökykyistä ja työteliästä, Suomessa asuvaa, hyvin verkostoitunutta ammattilaista toimimaan kehittyvässä organisaatiossamme. Toiminnanjohtaja työskentelee läheisessä yhteistyössä yhdistyksen hallituksen kanssa. 

Odotuksemme hakijoille:

  • asut Suomessa, ja olet hyvin perillä taide- ja kulttuurialasta, erityisesti ulkomaalaissyntyisten taiteilijoiden ja kulttuurityöntekijöiden asemasta
  • arvostat työssäsi läpinäkyvyyttä, sinulla on vahvaa osaamista kulttuurien välisestä vuoropuhelusta, olet sitoutunut ja herkkä, olet hyvä luomaan ja ylläpitämään yhteistyösuhteita
  • sinulla on hyvää kokemusta yhdistyksen johtamisesta sekä riittävää osaamista hallinnosta, varainhankinnasta ja yhteiskunnallisesta vaikuttamisesta Suomessa
  • sinulla on kokemusta, tietoa ja tuotanto-osaamista eri taiteenaloilta ja kulttuurityöstä
  • sinulle tärkeitä asioita ovat oikeudenmukaisuus, monimuotoisuus ja osallisuus
  • olet itsenäinen tekijä ja hyvä tiimityöskentelijä 
  • sinulla on vähintään alempi korkeakoulututkinto taiteen ja kulttuurin alalta sekä vähintään 3-5 vuoden kokemus vastaavasta asemasta
  • sinulla on erittäin hyvät puhe- ja kirjoitustaidot englannin ja suomen kielellä (tiimihakijoista toisella pitää olla hyvät suomen kielen taidot)

Toiminnanjohtajan kuukausipalkka on 3 200 €, joka jaetaan kahtia mikäli toimeen valitaan kahden tiimi. Toimi on jatkuva, ja siihen kuuluu 4 kuukauden koeaika.

Lähetä englanninkielinen hakemuksesi ja CV:si 30.6.2019 klo 16 mennessä tämän linkin kautta: https://forms.gle/7DjgYi5NWEPRc4YHA

Lisätietoa hausta 17.-21.6.2019 klo 10-17: hallituksen jäsen Sepideh Rahaa, sepidehrahaa@gmail.com, puh. 044 23 66 530. Lisätietoa yhdistyksestä: www.globeartpoint.fi

Ilmoitamme haastatteluihin valituille henkilöille heinäkuun lopussa, haastattelut pidetään 6.-8.8.2019. Toivomme, että uusi työntekijämme aloittaa elo-syyskuussa, tarkempi aloituspäivä on neuvoteltavissa.

Toimitilamme sijaitsevat Helsingin Kampissa, katutasossa. Avustajakoirat ovat tervetulleita, toimitiloissa ei ole saavutettavia wc-tiloja.

The post ARE YOU OUR NEXT MANAGING DIRECTOR? appeared first on Globe Art Point.

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Photography credits: Marta Anna Løvberg

The following text is closing words speech by Kemê Pellicer at the seminar “Opening the Nordic Art Sector” organised by Globe Art Point in collaboration with the Center for cultural policy research Cupore, Culture for All and Hanaholmen, supported by the Arts Promotion Center Finland and the Finnish Ministry of Education and Culture, on May 16th 2019 as part of the #STOPHATREDNOW 2019 Festival.

Here we are, at the end of the seminar.


You know, some days I feel sad because I can not attend all the seminars, conferences, workshops or talks I would like. Other days I feel exhausted “Another one? Really?” Some days I am even defeated “I can’t take it anymore. What’s the point?! Are things going to really change someday?!”. (I don’t know if you might relate to that.)

But then I have these moments when I remember that learning, real learning, it’s a long process.

I have been thinking a lot these days about it, and I believe that we are learning to see the world as it is, not as some think it should be or want it to be.
We are learning to see the world as it is because only that way we can be able to understand how different it could be from where we live in, how we live it.

It takes repetitions and mistakes; it takes frustration, patience, surprises, joy, and growing. Sometimes with a heavy heart full of pain and sometimes with so much warm love that it becomes a singing bird.

It takes us, here, it takes endless dialogue and discussions, over specific issues and details, about broad, vague topics and their interpretations. Including old and new voices, the voices of those whom you didn’t hear yet and the voices that we thought we knew how they would sound like.

It takes brave people, hard-working people that started creating these safe learning spaces a long time ago. (Think about, for example, #stophatrednow, the festival this seminar is part of, we are in its fourth edition! and it is just an example of a long list.) 


We are not inventing anything here; it is not about getting the first ones to an imaginary finish line, it is about figuring out the roads, resting areas and ways to continue moving together with respect, accountability, solidarity critical thinking and humility. In #allyship.

I want to say an honest thank you because I had the opportunity today of being in the same room with a lot of gorgeous, brave humans beings that want to learn and empower each other to take action for change as much as I do. That’s is not a little thing.


I was facilitating this day, and I know it wasn’t perfect. So, sorry for my mistakes or if by ignorance, I might have hurt others with my words or actions.
But hey! I can’t be sorry for choosing to learn and see how many differences and nuances we embody and inhabit, the abundance of possibilities and potential that it gives us.

Thank you for failing and trying over and over.

I hope that wherever you go tonight, you will have a nice night of sleeping and that tomorrow when you will wake up you will reflect for a moment about this day, ask yourself: Is there any new thing that you could try? Is there any idea that you could explore? If so, I am going to ask you a favour, especially to those working at institutions and organisations:
Have a meeting with your coworkers and tell them, share with them this seminar, the good and the not so good, the topics we talked about. Remember that the important part is not for them to agree with you, ask them: “Is there any new thing that we could try? Is there any new idea we could explore? How can we implement it?”.
If some of us here today would meet again, and I hope so, ask the others what they took in and how are they taking action.

I don’t have any lecture to give you here, If I am an expert in something it is in being me, at least most of the days.

Love and respect!

Kemê is a visual artist and cultural agent working primarily with photography, performance, installation and text. Exploring our nature and artificiality, the complexity of our construction and the constructions we inhabit, our role in it, through concepts like memory, representation, symbols, instability, the unconscious or tales. Her current artistic practice is focused in the intersection between, identity, art, community, intersectional feminism and the quality of myths as an open source.

As a culture worker, her work is centred on cultural diversity, migration, antiracism, best practices and social justice in the art field. Kemê currently works in several initiatives dealing with those issues such as Globe Art Point (G.A.P.) as project coordinator, or the group Critical Friends, (project: “An inclusive cultural sector in the Nordics” led by Arts Council Norway).

The post Kemê’ Final words speech at Opening the Nordic Art Sector seminar appeared first on Globe Art Point.

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In Autumn 2019, the Avaus project organizes an open lecture series on topics related to cultural diversity. The series of three lectures is part of the Diversity Agent Course carried out by Culture for All Service, Globe Art Point and the Center for Cultural Policy Research Cupore in 2019. The events are open and free of charge to everyone interested. The language is English.

Monday, 19 August 2019, 16:00-18:00

Globe Art Point, Malminkatu 5, 00100, Helsinki

Shadia Rask

How is Experience turned into Expertise?

(lecture and discussion)

This session will focus on experiences of discrimination. In her lecture, Shadia will discuss research findings on experiences of discrimination and the association between discrimination and wellbeing. The latter part of the session will discuss how narratives from lived experience can be used to illustrate evidence from research.

Shadia Rask, Ph.D. and occupational therapist, is a Project Manager at the National Institute for Health and Welfare (THL) and a member of the Expert Group of Cultural Diversity MONET at THL, Finland. Her main research interests are related to diversity and health in the population.

 

The lecture is streamed live on the Facebook-page of the Culture for All Service.

The other two lectures take place on 16 September and 14 October 2019. Their content and speakers will be announced soon.

The post 19.8.2019 – Avaus Open Lecture: How is Experience turned into Expertise? by Shadia Rask appeared first on Globe Art Point.

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Welcome friends, strangers, fellow art workers, curious and neighbours!

Globe Art Point will close its doors for the summer on June 20th at 3 pm, but before that, we would like to thank all our friends for their support one more year.

Join us for some drinks and snacks at our headquarters!

Kids are welcome.

WHEN: 19 JUNE 5-8 pm

WHERE: Malminkatu 5, Kamppi, Helsinki

ACCESSIBILITY INFO: Our facilities are accessible on the street level, assistant dogs are welcome, there is no accessible toilet in the space office.

The post Welcome all! appeared first on Globe Art Point.

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OPEN CALL FOR A MANAGING DIRECTOR

Globe Art Point is looking for a new managing director/s to develop the association goals in the upcoming years. The applicant can be one person (100% salary) or a team of two (each with 50% monthly salary). 

Globe Art Point ry is an association founded in 2016 in Helsinki to promote and support the status and working conditions of international artists and cultural actors of different art forms living in Finland. The association’s work is supported by the Finnish Cultural Foundation, the Ministry of Education and Culture and the City of Helsinki.

We are looking for well-networked, experienced, collaborative and hard-working art and culture professional(s) based in Finland, who is/are interested in being part of our growing organization. The new manager(s) will work in close collaboration with the board.

Managing director ́s role:

  • The person/s should be based in Finland and familiar with the current status of art and cultural sector particularly of foreign-born artists and cultural workers in Finland
  • Working with transparency, intercultural dialogue skills, commitment and sensitivity, willingness and ability to build and maintain relationships with resilience
  • Good experience in association management, sufficient knowledge of administration, fundraising and policy-making in Finland
  • Applicant(s) should have an awareness of and dedication to equity, diversity, inclusion, and belonging in the cultural sector.
  • Good knowledge of different art disciplines and cultural work, experience in production. check here
  • Ability to do both teamwork, as well as independent
  • Experience in production/events organisation
  • Have minimum of bachelor degree in arts and culture work and have at least 3-5 years of experience in a similar position
  • Have excellent communication and writing skills in English and Finnish (if the applicant is a team at least one should have excellent language skills in Finnish)

The managing director ́s monthly salary is € 3,200.  This is divided in the case of selecting a pair. The work is ongoing, and there is a probation time of 4 months.

Please send your application in English together with relevant CV latest by 30.06.2019 at 16.00 through this link to the application form: https://forms.gle/7DjgYi5NWEPRc4YHA

More information on the open call 17.-21.6.2019 between10.00-17.00: board member Sepideh Rahaa, sepidehrahaa@gmail.com, tel. +358 44 23 66 530. More information on the association: www.globeartpoint.fi

Shortlisted candidates will be contacted at the end of July and the interviews will be conducted between 6-8 August. The start date will be negotiated, the chosen candidate can expect to begin August / September.

The office which is located in Kamppi, Helsinki. Our facilities are accessible on the street level, assistant dogs are welcome, there is no accessible toilet in the space office.

————————————————————————————————–

HAEMME TOIMINNANJOHTAJAA

Globe Art Point ry hakee toiminnanjohtajaa kehittämään yhdistyksen toimintaa tulevina vuosina. Hakija voi olla yksittäinen henkilö (100 % työaika) tai kahden henkilön tiimi, jossa kumpikin työskentelee 50 % työajalla.

Globe Art Point ry on Helsingissä 2016 perustettu yleishyödyllinen yhdistys, joka edistää ja tukee Suomessa asuvien eri alojen taiteilijoiden ja kulttuurityöntekijöiden asemaa ja työskentelyolosuhteita. Yhdistyksen tukijoita ovat Suomen Kulttuurirahasto, opetus- ja kulttuurirahasto sekä Helsingin kaupunki.

Etsimme kokenutta, yhteistyökykyistä ja työteliästä, Suomessa asuvaa, hyvin verkostoitunutta ammattilaista toimimaan kehittyvässä organisaatiossamme. Toiminnanjohtaja työskentelee läheisessä yhteistyössä yhdistyksen hallituksen kanssa. 

Odotuksemme hakijoille:

  • asut Suomessa, ja olet hyvin perillä taide- ja kulttuurialasta, erityisesti ulkomaalaissyntyisten taiteilijoiden ja kulttuurityöntekijöiden asemasta
  • arvostat työssäsi läpinäkyvyyttä, sinulla on vahvaa osaamista kulttuurien välisestä vuoropuhelusta, olet sitoutunut ja herkkä, olet hyvä luomaan ja ylläpitämään yhteistyösuhteita
  • sinulla on hyvää kokemusta yhdistyksen johtamisesta sekä riittävää osaamista hallinnosta, varainhankinnasta ja yhteiskunnallisesta vaikuttamisesta Suomessa
  • sinulla on kokemusta, tietoa ja tuotanto-osaamista eri taiteenaloilta ja kulttuurityöstä
  • sinulle tärkeitä asioita ovat oikeudenmukaisuus, monimuotoisuus ja osallisuus
  • olet itsenäinen tekijä ja hyvä tiimityöskentelijä 
  • sinulla on vähintään alempi korkeakoulututkinto taiteen ja kulttuurin alalta sekä vähintään 3-5 vuoden kokemus vastaavasta asemasta
  • sinulla on erittäin hyvät puhe- ja kirjoitustaidot englannin ja suomen kielellä (tiimihakijoista toisella pitää olla hyvät suomen kielen taidot)

Toiminnanjohtajan kuukausipalkka on 3 200 €, joka jaetaan kahtia mikäli toimeen valitaan kahden tiimi. Toimi on jatkuva, ja siihen kuuluu 4 kuukauden koeaika.

Lähetä englanninkielinen hakemuksesi ja CV:si 30.6.2019 klo 16 mennessä tämän linkin kautta: https://forms.gle/7DjgYi5NWEPRc4YHA

Lisätietoa hausta 17.-21.6.2019 klo 10-17: hallituksen jäsen Sepideh Rahaa, sepidehrahaa@gmail.com, puh. 044 23 66 530. Lisätietoa yhdistyksestä: www.globeartpoint.fi

Ilmoitamme haastatteluihin valituille henkilöille heinäkuun lopussa, haastattelut pidetään 6.-8.8.2019. Toivomme, että uusi työntekijämme aloittaa elo-syyskuussa, tarkempi aloituspäivä on neuvoteltavissa.

Toimitilamme sijaitsevat Helsingin Kampissa, katutasossa. Avustajakoirat ovat tervetulleita, toimitiloissa ei ole saavutettavia wc-tiloja.

The post ARE YOU OUR NEXT MANAGING DIRECTOR? appeared first on Globe Art Point.

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In 2019, Culture for All Service, Globe Art Point and the Center for Cultural Policy Research Cupore organize a Diversity Agent Course for cultural workers and artists of non-Finnish origin or background. The course is part of the project Avaus and supported by the National Agency for Education.

The aim of the course is to offer tools for developing diversity in the arts and culture sector.

The course introduces participants to topics related to diversity, familiarizes with the arts and culture sector and cultural policy in Finland and offers an opportunity to work concretely with diversity in an institutional context. Participants are asked to actively contribute their own expertise and offer sparring to each other.

There are 11 arts and culture professionals participating in the course: Anastasia Artemeva, Anna Litewka-Anttolainen, Arlene Tucker, Daria Agapova, Ilaria Tucci, Kemê Pellicer, Laura Gazzotti, Sheung Yiu, Sadjad Shokoohi and Tatiana Solovieva. They have been selected through an open call procedure in March 2019.

Presentation of the Agents

Back from left to right: Daria Agapova, Anastasia Artemeva, Anna Litewka-Anttolainen, Laura Gazzotti, Tatiana Solovieva, Sheung Yiu. Front from left to right: Arlene Tucker, Ilaria Tucci, Sadjad Shokoohi

Anastasia Artemeva is a visual and relational artist, born in Russia, raised in Ireland, and currently based in Helsinki.  Her antisocially-engaged art investigates and introduces spaces for communication. Conceptually, it draws from the codes of social norms and accepted truths, questioning transparency and exclusivity affected by socio–political, cultural and personal restrictions. Artemeva is the founder of Prison Outside project that is focused on artistic practices around the subject of incarceration.
anastasia-artemeva.com
prisonspace.org

Laura Gazzotti has an MA in Arts from the University of Helsinki as well as a degree in Educational Sciences from the University of Buenos Aires specializing in Non-Formal Education. Since 2004, she has been working as a freelance cultural producer in Helsinki, specializing in creating multidisciplinary, multicultural, intergenerational and multilingual events in Cultural Centers and Public Libraries in Helsinki and the metropolitan area.

Tatiana Solovieva is one of the millions Europeans who are trying to make life better. As an event and project producer she gives support to artists and helps them achieve their dreams. Sometimes she dreams too.

Ilaria Tucci is a theatre practitioner (BA in acting) and peace scholar (BA, MA in Peace Studies). During the last ten years, she has been developing her own applications of theatre as a tool of dialogue among people, participation, peacebuilding and empowerment. Since January 2013, Ilaria has been living in Tampere, and now she is a PhD candidate at the Tampere University (TAU) in the Peace and Conflict Studies Program with an interdisciplinary research which combines ethnography, applied theatre and peace research.

Arlene Tucker is an artist and educator, and her work focuses on finding ways to connect and make meaning in our shared environments. Her process-based artistic work creates spaces and situations for exchange, dialogue, and transformations to occur, surprise, and activate all players. As she has roots in Taiwan and USA, but has spent most of her life roaming Europe, semiotics and translation studies have been inspirational in finding ways of challenging concepts and modes of communicating, understanding, and listening. 
arlenetucker.net

Sheung Yiu is a Hong Kong image-based artist and writer based in Helsinki. His work explores the concept of epistemological images – the visual record of human knowledge.  His work is exhibited internationally, including Fotogallery Wien, Guangzhou Image Triennial 2017 and Hong Kong International Photography Festival Satellite Exhibition 2018.

Kemê Pellicer is a visual artist, poet and culture worker based in Helsinki. Her current artistic practice is focused on the project “Villi Akka” in the intersection between, identity, representation, art, community, intersectional feminism and the quality of myths as an open source. Kemê is a member of the group Critical Friends, (project: “An inclusive cultural sector in the Nordics” led by Arts Council Norway) and works on development and analysis of best practices and inclusion within art and culture institutions/organisations in the Nordic countries, addressing especially cultural diversity, migration and antiracism. She also works at Globe Art Point (G.A.P.) as project coordinator. website

Source: Culture for All Kulttuuria Kaikille article

The post Diversity Agent Course, Open Call Results appeared first on Globe Art Point.

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 “We live longer

but less precisely

and in shorter sentences …”

These lines are picked from “Tutaj” (Here), a painfully beautiful dialogue between two great souls who are not with us anymore: the Nobel Prize-winning poet Wisława Szymborska (1923–2012) and the extraordinary trumpeter Tomasz Stańko (1942–2018). The stunning trumpet improvisations in response to the poet’s reading makes this live-recorded poetry and jazz combination a treasure and reminds us that at the end of the day what stays in our hearts are the stories we share. What is it that determines who we are, what are our values, our beliefs, and what are the experiences that make up the stories of our lives? Some have the chance and will articulate and listen, while others prefer to remain distant, silent and ignorant. For those of you who are curious to listen, this is a story from the Finnish capital, Helsinki, where my entire relationship with art institutions has mutated beyond recognition in the last few years. And it is told by a producer of “culture” as Paul J. Kuttner elaborates perfectly: “an ongoing process of collective meaning-making.”

Helsinki and its neighbouring city Espoo witnessed a historically significant reunion last November. The metro line extension that connects the most dynamic regions of the metropolitan area finally became operational after nine years of construction and delays that stretched over the last three years. The arrival of the very first train scheduled at 5.09 am at the darkest month of the year was given a most colourful civic celebration. Eager people jumped out of their beds to seize the moment, fill the station and turn the grey morning into a carnival. The cheering crowds greeted the arriving train with loud cries of joy as one would greet a saviour and celebrated with champagne – which is definitely not how Finns usually act. The commuters travelled in black tie or in shiny costumes and hats. You could see people in “Star Wars” outfits or dressed up like Mighty Eagle from “The Angry Birds”. What did we, the cultural workers, do that morning? How did we contribute? We didn’t! We continued sleeping in our beds. The local cultural institutions undeniably ignored the reality of the public life. I was disappointed. I would have liked the very first train to be a stage for divergent acts co-curated by a number of art institutions and occasionally more creative individuals. What does this institutional ignorance in Finland, which can undoubtedly happen anywhere in Europe, tell us?

Let’s begin our mental journey with the assumption that the core moral function of art itself provides an understanding that allows one to notice patterns that otherwise would not have been visible. My perception of cultural work and cultural institutions is not only shaped by the years I spent as a producer and programmer at the Izmir Foundation for Culture Arts and Education, one of the flagship institutions of Turkey; it was formed and developed further during the Finnish chapter of my life. The transition from Turkish society, which has been discussing and seeking the European identity for ages, to Finnish society, a harmonized community with a functional democratic system and civil rights supported by solid institutions, was a culture shock. This shock came with a cost; I was left with the constant need for a reliable reference point – a North Star that would show me the right path in reproducing values for a new self in my adopted country. From a cultural worker’s perspective, it was natural for me to look for shelter in the arts. Have I found the haven I was looking for in Finland, though? The shift from insider to outsider forced me to identify the exclusive norms embedded in the framework of the institutions. I belong to the 14 percent of the Helsinki residents who are non-Finnish, -Swedish or -Sami speaking and I am faced with the need to redefine my points of reference in order to understand, to adopt, to refuse, to take, and to contribute to my new surroundings.

Do the cultural institutions address us? Is their representation as diverse as the society itself? What about the professional segregation within the art field, “otherness” within the art field? How equal are we when it comes to providing possibilities, artistic development, and supporting artists with different backgrounds? In Finland, we have gender quotas, but the largest multidisciplinary festival in the country, the Helsinki Festival, has never had a female artistic director – let alone the possibility of a non-Finnish one in the whole team – in its half-century history. Having a quota for women or announcing top-down reforms to push plurality does not seem like an effective solution. We need to change our mindset.

Up in the north, like many other European countries, we are struggling to find ways to negotiate cultural plurality within the paradigm of a nation state and populist political discourses. Are cultural institutions only the means to an end for a designed identity and culture which is formed around the totem of language and national values? Would and could a mono-cultural identity be translated into a new set of definitions with cultural plurality? We cannot deny the need to develop a further rethinking beyond the inadequate concepts of integration and multiculturalism. One has to move beyond and try to capture the piece missed by the dictated definitions of dominant culture.

How is this relevant for a Berlin jazz festival? Let’s exercise our imaginations and picture an institution; a museum, an art centre or a festival house, like Berliner Festspiele; and start with a simple question: what does “institution” mean? Is it, as the dictionary states, “a social structure in which people cooperate which also influences the behaviour of the same people”? Or are we the ones creating temple-like structures filled with rules, policies, traditions, ever-repetitive ideas and power-games? The sophisticated techniques we develop in favour of our ongoing power struggle have led many institutions to become shelters for a shadow power. This power is invisible; it’s hidden within the folds of the structure. It has been there for ages, and nobody truly considers where it comes from. This could be an attitude that becomes “normal” for the institution. It could be hidden under the guise of “experience” and “being established”. But it definitely prevents us from making “unorthodox” decisions; and in the worst-case scenario, it builds an unarticulated wall of resistance towards “the different one”. This shadow power that lurks in all institutions and organizations evolves into a problem that hinders change. In an age of transition, and desolation of all traditional power structures, how can we encourage arts and cultural institutions to challenge themselves? We need to reveal the invisible barriers and break through them. Discovering the reasons behind such patterns and conservative attitudes requires critical thinking about the border between inclusion and exclusion. I am both a cultural worker and an avid consumer. I have the advantage of analysing the cultural institutions with a critical eye: I simultaneously belong within and without these institutions. 

So, what is it that hinders our colleagues working in these institutions – who are well educated, intelligent, humanistic, creative minds – in reframing the values of an inclusive society? Are the institutions’ channels open for outsiders’ influences? Are we awake like those self-organised Finnish commuters who showed up at the metro station in the wee hours of the morning without any expectations? Currently institutions tend to take hold of their employees with the strong hand of shadow power and shape their workers to their will. We need to resist it by deconstructing the concept of “the institution” in our minds. But how?  

I propose an unconventional solution: creative chaos. A chaos that inspires transformation. Chaos is nothing new; it has been always there. It has been discussed by scholars in terms of its relation to creativity. Nevertheless, I still have a strong feeling that instead of letting it in, we have done everything to keep it away. Let’s start changing our mindsets by letting chaos into the creative process by provoking people to take “out-of-the-box” actions. The time has come to take our change-proof shields off; to be bold enough to step out of our comfort zones; to engage with minds from different cultures, disciplines and references. We cannot possibly address or solve the global problems of the day by only working alongside like-minded people. Arts and cultural institutions should promote creative chaos by welcoming provocateurs and divergent thinkers among them if they wish to become a point of reference like the North Star. The empowerment of individuals and accommodation of cultural plurality are among the most important tasks of today’s art scene. 

Let’s put a few more chairs around the table, alter the seating order and encourage controversial discussions in longer sentences!

Ceyda Berk-Söderblom is a Helsinki based independent cultural manager, producer and curator with more than 17 years of experience, mostly working as a programmer of international festivals with close ties to international institutions, orchestras and artists. She is co-founder of MiklagardArts, an innovative platform and facilitator for promoting transnational collaborations.

Picture: Johannes Romppanen

Source: This essay was originally commissioned by Berliner Festspiele and published in the Jazzfest Berlin 2018’s magazine.

The post UNVEIL CREATIVE CHAOS! A CALL TO STORM THE BASTILLE. By Ceyda Berk-Söderblom appeared first on Globe Art Point.

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