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Call 2: Working sustainably internationally

With this call Flanders Arts Institute (Kunstenpunt) wanted to find candidates to develop ideas together about working internationally in the arts.

This call is now closed. Check all submitted applications and the 11 selected ideas below.

These candidacies were submitted

SELECTED - How to bring slowing down and deepening into practice?

We want to explore how we, as an international distribution agency, can shift our values from quantity to quality: responsible and ecological touring.
Sarah De Ganck ART HAPPENS
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SELECTED - "To withdraw gracefully", instruments and strategy, case 'World Tour' (Wereldtournee)

How to open up an organiser to other ways of working? And can a strategy of 'cutting back' reveal new possibilities for showing work?
Benjamin Verdonck
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SELECTED - Offset the damage and learn about alternatives.

What can a band do when passion, economics and the environment exist in mutually exclusive relationships?
Xolani Mdawe
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SELECTED - Supporting highly ambitious international collaboration with no or low travel in the performing arts

I'm concerned with how to create equitable models for low environmental impact collaborations, commissions and touring in theatre and live art.
Kris N. from LIFT
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SELECTED - Slow residency for non-EU artists

Slowing down international circulation, redistributing public funding, securing involvement beyond a single stay, making selections more fair and open
Yasen V. from Radar Sofia / Drama Pact
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SELECTED - MAINTENANT

Shifting the focus institutionally from contents to infrastructures. We created a network, appointed a curator-researcher and define work fields.
Pieternel V. from Netwerk Aalst (Kunsthal)
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SELECTED - How passports create power structures and determines one's right to travel.

Before we look at International 'professional' exchange, we need to first reflect at our passports and the power that we are accidentally born into
Abhishek T.
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SELECTED - The transformative force of international curatorial collectives in times of crisis

How we can provoke inventive ways of collaborating and organize projects where different arts practitioners join forces to define a mutual resource
Alexia A. from TASAWAR Curatorial studios
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SELECTED - Tackling creative desertification of the countryside in Europe

The way we travel, the number of planes professionals take each year and the fact we travel from a city to another without experiencing what's between
Loïc M.
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SELECTED - How to pay collaborating practitioners living in countries with dissimilar average and/or minimum income?

Repairing the differing revenue scales that international collaborators can access aside from the context of a given collaboration.
Alberto G.
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SELECTED - Developing, piloting and implementing New Coalitional/International Commissions in Socially Engaged Practice

Working across borders and collaboratively with international partners over time and not only in one-off, short-term projects
Aine O. from Beyond the Now
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Art of 21. century. Technology, ecology, efficiency

A culture performance in online space
Karel V. van Kulturní Morava z.s.
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Relationships are at the foundation of cultures. To address working internationally in the arts now, I would tackle interpersonal communications.

Working internationally involves many things, but I'm concerned with communication. Diversity, equity, inclusion, sustainability, & care rely on it.
Kevin F.
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The topic will be to look at reducing the relative impact artists international travel whilst studying the contested identities on Flanders, Ireland

Artists international travel
Fifi S.
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The lack of openness between borders is frustrating, so how do we make int'l travel/collaboration emotionally engaging and practical?

I think the lack of an accessible "artist visa" in the age of globalism is absurd. We hinder the true potential of art by not giving artists security.
Letizia A. from LesVoiZines
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The challenge of communicating/translating a performance across international borders without people and/or large objects travelling.

Accessibility e.g. the expectation of internet access for a livestream performance. Cultural relevance: how to know your audience if you're not there
Emma A.
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Internationaal Werken is beginnen met lokaal samen te werken

Een goede Europese kennis en een goede samenwerking om daarna mondiaal meer erkenning te krijgen. Europa vertegenwoordigd slechts 15% v/d kunsthandel
Marc D.
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Locally international: migrants in the arts

The idea of who gets to be involved in international work and how thinking through the sustainability lens can make this kind of work more equitable.
Lora K.
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Create new, sustainable networks in view of new limitations and breaking away from old ways of working without limiting practice and exchange.

International work within sectorial silos inhibits a more open, fair, inclusive & green network; need to create strong cross-sectorial partnerships.
Ulla-Alexandra M. van KOMA
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To face, together, a globalized market and to develop individual projects as well as collective projects on major and cross-border issues.

Our structure is composed of photographers based all over the world in order to treat subjects with different views and limit our travels.
Ariane K. van Inland
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Weird Entanglement

Drawing on the concept of Soverign Sustainment posed by the theorist Tony Fry, my work looks to the concept of global entnanglement as a weird force.
Karl L.
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Create a network of international touring which allows each project that travels to be presented in more them 1 venue

The amount of energy, money, time that 1 presentation abroad consumes. How can we make touring more efective and affordable without compromising art?
Maria João S.
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Against monocropping the mind: how to curate internationally beyond mobility and access to global artistic underground scenarios

The bubble and the shrinking down of social imaginaries due to a monocultural programming, hyper local presences and voices and lack of access to inte
Chiara O.
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The challenge of sustaining collaboration and relationships with international colleagues and communities upon completion of an international program.

How to sustain long term collaborations with professionals and their communities I meet over the course of a short-term international project.
Margarita P.
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