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Networking in Progress

Culturelink review, no.27/April 1999 - contents - imprint - archive

Asia-Pacific Regional Cultural Development Databases of the APRCCN

In its Newsletter no. 3/1998, the Asia-Pacific Regional Centre of the Culturelink Network (APRCCN) gives an overview of its newly redesigned Internet Web site (at http://www.unesco.or.kr/culturelink) and presents its recent activities regarding the establishment and development of its Cultural Development Databases (Cultural Institutions Database, Cultural Policy Database, and Cultural Law Database). The issue also discusses cultural funding in Fiji and New Zealand and introduces cultural institutions and Web sites.

The Cultural Institutions Database covers the relevant institutions in the field of culture in some 30 countries of the Asia-Pacific region, listing each institution's general profile (including its founders, year of establishment, number of researchers, contacts, fields of interest, objectives, activities and projects), information documentation activities (such as information infrastructure, type of information offered, its classification and categorization, holdings, retrieval, availability and dissemination, as well as main databases), and an overview of the hardware and software used. The Cultural Policy Database contains textual information on national cultural policy issues, such as administrative structures, financial and legislation schemes, cultural industries, and sectorial activities in 9 countries in the region. The Cultural Law Database, set up in July 1998, so far covers New Zealand, Korea, Malaysia, Thailand, Bangladesh and Australia, listing statutory legislation being executed in the field of culture and the arts.

All of these Cultural Development Databases are freely available over the Internet at http://www.unesco.or.kr/culturelink/data/

For more information, please contact: Asia-Pacific Regional Centre of the Culturelink Network, Korean National Commission for UNESCO, P.O. Box Central 64, Seoul, Korea, tel.: (82-2) 539-0624; fax: (82-2) 567-5118; e-mail: clink@mail.unesco.or.kr; http://www.unesco.or.kr/culturelink

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International Association of Music Libraries Archives and Documentation Centres (IAML)

The International Association of Music Libraries Archives and Documentation Centres (IAML) was founded in 1951 to promote international co-operation and support the interests of the profession. It has national branches in 22 countries, five professional branches, four subject commissions, and various working groups.

The IAML draws most of its membership from Europe and North America, Australia and New Zealand, but extending its coverage to Asia, Latin America and Africa is an important goal of the association.

The IAML's principal aims are as follows:

  • to encourage and promote the activities of music libraries, archives and documentation centres and to strengthen co-operation among institutions and individuals working in these fields;
  • to support and facilitate the realisation of projects in music bibliography, music documentation and music library and information science at national and international levels;
  • to support the development of international and national standards for cataloguing, preservation and availability of music materials;
  • to promote professional education and training.

To join contact: IAML Office of the Secretary General, Attn. Alison Hall, Carleton University Library, 1125 Colonel By Drive, Ottawa ON K1S 5B6, Canada, tel.: +613 520-2600 Ext. 8150; fax: +613 520-2750; e-mail: Alison_Hall@Carleton.ca

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Relais Culture Europe

Setting up the European Community requires, alongside the political foundations, active participation of its citizens, social players, local and national authorities. The sector of arts, heritage and books - a privileged area for mobility and exchanges on the scale of individuals and know-how - is certainly one which can anticipate and help the complex development of Europe, through the symbolic, the imaginary, the poetic and the senses, transcending economic and monetary acts - all this in line with the logic according to which differences and common references must co-exist.

Community support of the arts and heritage must therefore be a priority in the Community programmes. To do this, the European Union has set up three support programmes in favour of culture - Kaleidoscope to encourage artistic and cultural cooperation, Ariane for support in the field of books and reading, Raphaël for the European cultural heritage. These will be grouped together in a single financing and programming instrument for cultural cooperation 'Culture 2000', covering the period from 2000 to 2004. The idea is to study the possibility of working out an overall approach for cultural action in the Community. (See also pages 55-56 in this issue.) Culture being one of the main objectives of the Union, the European Commission sees cultural objectives as part of a whole. Thus, support for predominantly cultural projects is not the exclusive brief of cultural programmes of the Commission, but can also involve the Community programmes for youth, training, employment, local development, etc. Throughout, many questions arise for professionals in the arts and heritage sectors, both as regards information access and the setting up of projects on a European scale.

In September 1997, the European Commission (DGX - Information, Communication, Culture, Audiovisual) decided to set up Cultural Contact Points (CCP) in the member countries and the European economic space. These are support organisations intended to help inform potential applicants about possible financial support through the cultural mechanisms of the Community. This initiative will become effective more specifically within the framework of the new Community directives set up for the year 2000. Having revised the conditions of its financial support and given new political guidelines in favour of different fields of culture, the European Community found it necessary to set up relay structures to inform professionals and national administrations of these new directives, with the exception of the media, for which similar structures already exist in the Media Desks. The Cultural Contact Points are responsible for information regarding Community support mechanisms in the field of culture, setting up means of communication and information networks, in particular via the Internet, providing technical assistance to cultural agents with regard to application procedures. Such actions are accompanied by advisory measures and encouragement addressed to all those working on projects, as well as to national, local and regional administrations, as part of cultural cooperation on a European scale.

The French CCP, the Relais Culture Europe, is a non-profit organisation presided over by Catherine Lalumière. The Board of Directors is composed of members from the International Affairs Department of the Ministry of Culture and Communication, the Media Desk France, the Leonardo Agency, and the Youth for Europe Agency. The organization plays the role of an interface between the different constituents and agents in the cultural field (artists, politicians, administrators, professionals) and the European Union institutions. Beyond its task of providing information and orientation on Community directives regarding culture, it brings its know-how to people who run projects, helping them with the setting up of European initiatives, finding partners, and whatever measures are needed to help the development of European projects. The Relais Culture Europe also hopes to be present at the regional level, in order to reinforce the existing ties between local authorities and cultural operators, to improve certain aspects of European cultural cooperation, and create a greater awareness of how the Community functions.

With its fellow institutes in the countries of the European Union and the European Economic Area, the Relais Culture Europe wishes to form a network which can encourage cultural cooperation on a European scale through the exchange of information and skills and joint actions, and particularly through the creation of a motor for research which would function with a single keyword 'Culture'. It has offices in Paris, where it provides an information service on Community programmes and other sources of information on Europe and culture.

Project leaders who wish to contact the Relais Culture Europe regarding Community directives on financing can send a message via e-mail, a letter, or a presentation file on their project(s).

For more information, please contact: Director: Claude Véron, Project Manager: Valérie Martino, Relais Culture Europe, 17 rue Montorgueil, 75001 Paris, France, tel.: +33 1 53 40 95 10; fax: +33 1 53 40 95 19; e-mail: info@relais-culture-europe.org; http://www.relais-culture-europe.org/ (site being set up)

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The Forum of European Cultural Networks

In recent years, political, economic, technological and social changes have deeply affected the conditions of artistic creation as well as cultural production and distribution on the European continent, namely, in the Central and Eastern European countries. In the spirit of intergovernmental cultural co-operation in Europe, no effort has been spared to try and meet the new challenges that now face the agents of cultural life - the enlargement of the European cultural space or the upheaval resulting from the application of new technologies, such as the mass communication tools, in the field of artistic creation.

European cultural co-operation quite obviously means direct contacts with creative artists on the one hand and with cultural leaders and managers on the other hand. It also means being in touch with centres of creative work, which are today the living spaces of European culture.

At a meeting held at Arc-et-Senans, France, in April 1988, the Council of Europe encouraged the creation of a Forum of European Cultural Centre Networks (See Culturelink no. 26/November 1998, pp. 44-47.). The aim was to foster the emergence of synergies, a more rational cultural approach in Europe, the organisation of exchange schemes between partners interested in processes of creation and dissemination, as well as the circulation of information about each centre's own work.

Several thematic networks were created as a result of that meeting - per subject, per intervention zone and per activity. The Forum's role has greatly changed since then. Nowadays, it is much more than a mere open information and exchange platform on cultural and artistic practices in Europe: it is also a place for debates on cultural development issues in Europe, a place where ideas are proposed which are likely to influence cultural policies in Europe.

One of the questions that is now being discussed is a possible link between this direct-contact co-operation mode between the agents of cultural life and the objectives of the Council of Europe. This could help to enrich and advertise its activities. The Forum's dynamics allows for the detection and better understanding of the most significant evolutions and events in different cultural sectors and thereby for the establishment of more direct communication between political and administrative decision-makers and cultural operators.

The Forum therefore presents itself as a laboratory for ideas, a project fair that enables the country that hosts it to be more open towards Europe. This is why it constitutes an efficient integration platform for the Eastern and Central European countries, one that is easily accessible thanks to its informal operational structure. The Forum enhances and strengthens contacts between the artistic and cultural circles of the Western European countries and those in the Central and Eastern European countries which have already joined the European Cultural Convention.

The Forum aims at representing all of the European Cultural Networks (See p. 94 in this issue.) that meet the criteria defined in the networks' Charter.

For more information, please contact: Ms. Corina Suteu, Ecume, 2, bd. Gabriel, 21 000 Dijon, France, tel.: +33 3 80 39 52 51; fax: +33 3 80 39 52 59; e-mail: ecume@axnet.fr

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PRELUDE International Network

PRELUDE operates as an associative networking programme (See Culturelink no. 23/November 1997, pp. 5-7.) bringing together some two thousand members from ninety countries in all the continents, mainly voluntary researchers involved in Sustainable Co-Development and Responsible Citizenship. PRELUDE's work is based on interrelations between research, higher education and sustainable development, priority being given to concrete fields and to related case studies with an interdisciplinary orientation.

The principal demonstrations, meetings and seminars of the decade 1989-1999 have engendered and oriented activities, thematic projects and seven ongoing subnetworks:

  • Education and training for sustainable co-development,
  • Women, knowledge, science and co-development,
  • Urban sustainable development,
  • Human pharmacopoeia,
  • Health, animal production, environment,
  • Telecommunications,
  • Sustainable island development.

PRELUDE encourages partnership not only between researchers but also with socio-economic, political and cultural actors involved in sustainable development. It makes a point of combining advanced science and technology with local or traditional knowledge, i.e. the know-how of a particular culture. Its methodological approach includes permanent assessment and evaluation of all phases of action, from conception to implementation and evaluation.

Valorisation of experiences and evaluation of results are disseminated through the PRELUDE trimestrial review, the Liaison PRELUDE newsletter, and worldwide databanks.

Contact: Service de la coordination scientifique de PRELUDE, Département Sciences, Philosophies, Sociétés, Facultés Universitaires Notre-Dame de la Paix, rue de Bruxelles, 61, B-5000 Namur, Belgium, tel.: +32 81 72 41 13; fax: +32 81 72 41 18; e-mail: georges.thill@fundp.ac.be

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The European Union Migrant Artists' Network

The European Union Migrant Artists' Network (EU-MAN) was established in January 1997 to promote the situation of migrant visual artists from outside Europe who are living and working in the EU. The network arranges exhibitions, seminars and courses for artists, as well as formal and informal meetings. The objectives of the network are the following:

  • to promote a multi-cultural Europe,
  • to introduce migrant artists and art to the EU area,
  • to support communication among migrant artists based in the EU area,
  • to promote interaction and dialogue between migrant and native Europeans.

EU-MAN also promotes contact and dialogue between artists and their countries of origin to further creative development. It produces a monthly newsletter, Universal Colours, which focuses on particular issues of concern to migrant artists. Each issue features the work of one particular member artist. The network has recently produced a CD-Rom on its work and members, which can be purchased from the address below.

EU-MAN currently has more than eighty members in nine member states and is keen to expand its membership.

For more information, please contact: EU-MAN, PO Box 523, 00101 Helsinki, Finland; tel.: 00358 40 5546896; fax: 00358 9 160 56 129; e-mail: euman_2000@yahoo.com; http://www.eu-man.org.

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The Grga Novak Mediterranean Institute for International Studies and Advanced Courses in Sciences, Arts and Public Affairs

The Grga Novak Mediterranean Institute is a private establishment set up in 1998 by a group of writers and scholars intending to encourage and co-ordinate endeavours in the field of scholarship, art and public activity in Dalmatia, the Republic of Croatia, the Mediterranean, and the world at large.

The founders of the Grga Novak Mediterranean Institute are aware of the cultural and political importance of the Mediterranean area for the Republic of Croatia. In the last few decades, especially in recent years, the negligence of those responsible and the absence of concern by government and international institutions has seriously put at risk the economic and intellectual development of Dalmatia. And Dalmatia is not an exception. It shares the fate of many regions of the Mediterranean. They, too, are victims of the worsening division into the poor South and the rich North. They, too, are to be found on the invisible but clear border between the rich West and the undeveloped East.

The programmes of the Grga Novak Mediterranean Institute will promote the culture of peace and stress the uniquely Mediterranean view of the world, a view which is, however, the sum of a number of individual national and regional identities. No one has the right any longer to think of Dalmatia, or of the Mediterranean, in terms of warships, or Yalta. Nothing in the Mediterranean may be reduced to divisions, and least of all can the Mediterranean be an area in which divisions are made among civilisations. Although the geography of the region suggests enclosure, its only real being is to be found in dialogue and in openness. Participation, the dialogue of all the identities involved, is the central feature of the Mediterranean spirit.

Today, it is still not clear to many that only in Dalmatia, that is in the Mediterranean, can the drama of divided Bosnia-Herzegovina be transformed into the future happiness of its inhabitants. Dalmatia is the natural outlet to the sea for Bosnia-Herzegovina, just as Bosnia-Herzegovina is Dalmatia's natural hinterland.

The founders of the Grga Novak Mediterranean Institute are aware of the negative energies that have for centuries been invested in the Mediterranean and its hinterland. They realise that the question of Bosnia-Herzegovina and the whole Balkan question, as it is called, are eminently Mediterranean questions; it is clear to them that these problems have to be solved as part of a project for the culture of peace in the whole of the Mediterranean region.

The Grga Novak Mediterranean Institute plans to set up branches in many Mediterranean cities, create a whole network of artistic and scholarly workshops, consulates in their way, which will promote a dialogue of the peoples and nations on the shores of the Mediterranean. In addition, the Mediterranean Institute in Hvar will create a chain of offices of numerous Mediterranean cities and institutions that have at heart ideas about the importance of the Mediterranean area for both the future of world peace and its place in cultural cooperation among nations.

The Grga Novak Mediterranean Institute will work in line with the conclusions of the United Nations Mediterranean Conference held in Barcelona in 1995 and the conclusions of the Mediterranean Conference of PEN International held in Split in 1997.

The Institute will accept institutional and individual members from all over the world. In the first three-year period, the Institute will work on the construction of a network of sponsors and supporters and secure the premises and other material conditions, in Hvar and other cities, necessary for its work. After the preliminary period, the founders of the Grga Novak Mediterranean Institute will organise the Institute's first Congress in Hvar in the autumn of 2002, where they will present the framework programme for the next decade and give full recognition to all the sponsors and supporters to date.

Interested institutions and individuals from all over the world are invited to help in the founding of the Grga Novak Mediterranean Institute in Hvar and to take part in its projects, thus contributing to the culture of peace in the region and to the economic and cultural progress of increasingly neglected and ignored Dalmatia.

The Mediterranean Institute in Hvar is named after Grga Novak (1888-1978), who was for many years the president of the Yugoslav (now Croatian) Academy of Arts and Sciences, founded in Zagreb in 1867. The most important works of this distinguished Croatian historian and scholar include a history of Split in three volumes, books about Hvar, Vis, [ibenik and Dubrovnik, and a synthetic review of the history of Dalmatia in the 19th and 20th centuries. He wrote important treatises on Dalmatia in the ancient world - The Ancient Greeks on the Adriatic and The Topography of the Roman Province of Dalmatia. Throughout his life, Grga Novak consistently promoted the values of the Mediterranean, of dialogue and cultural reciprocity, leaving an important mark not only in his own country but also in many foreign universities and academies where he lectured and received praise for his scholarship.

For more information, please contact: The Grga Novak Mediterranean Institute, HR - 21450 Hvar, Croatia.

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The National Institute for Cultural Orientation (NICO), Nigeria

The National Institute for Cultural Orientation (NICO) is the organization committed to the promotion of the cultural well-being of all Nigerians in line with the United Nations declaration through UNESCO that culture should be the bedrock of development. Mindful of the Cultural Policy for Nigeria, NICO has the primary responsibility of effecting a sense of cultural direction and relationship to meet the challenges of social integration, peace, unity and national development. The Institute serves as the vital force for promoting Nigeria's programmes of cultural diplomacy and energizing the various cultural establishments in the new direction advocated by Nigeria's Cultural Policy.

It was established in 1993 in response to the UN declaration of the World Decade for Cultural Development (1988-1997).

The main objectives of NICO are the following:

  • to serve as a focus for orientation in cultural matters for Nigeria's policy makers and other government officials;
  • to develop cultural materials for promoting the cultural image of Nigeria nationally and internationally and use them for the realization of the nation's cultural diplomacy objectives;
  • to train cultural development officers who will integrate Nigeria's culture into the educational system at all levels to facilitate the practical application of the Nigerian culture in everyday activity;
  • to promote and develop relevant curricula aimed at integrating Nigeria's culture into the educational system at all levels;
  • to carry out public enlightenment campaigns of the various facets of Nigeria's culture to effectively mobilise Nigerians toward a culture-oriented life style;
  • to sponsor and undertake research into all aspects of Nigeria's arts and culture.

To realize its objectives and cater for many aspects of development, NICO runs the following programmes:

  • Public enlightenment programmes through lectures, conferences, cinema, films, seminars, workshops, etc.;
  • Research and documentation;
  • Development of training models and curricula for educational institutions;
  • Exhibition of aspects of the cultural heritage;
  • Library and information services;
  • Publications;
  • Implementation of cultural diplomacy;
  • Organizing courses and training programmes for policy makers, cultural/information officers, diplomats, traditional rulers, and foreigners.

Since culture is inseparable from economic and technological achievements, and is fundamental to sustainable development, NICO has the capacity to serve as one of the major catalysts for Nigeria's economic and technological progress.

For further enquiries, please contact: The Executive Secretary, National Institute for Cultural Orientation, Plot 1503 Abidjan Street, Wuse Zone 3, Abuja, Nigeria, tel.: 09-5233728, 5233729 or National Institute for Cultural Orientation, National Theatre, Iganmu, P.M.B. 1390, Apapa, Lagos, Nigeria; tel.: 01-5835095.

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The Institute for International Music and Cultural Economics Joined with the Hamburg Conservatory

The independent, non-profit Institute for International Music and Cultural Economics (IIMK) was established in Hamburg/Germany in 1998 by a group of experienced German scholars and artists. The Institute's aim is the promotion and support of intercultural exchange, with particular focus on non-European arts and the corresponding economic topics and references. Its activities include cultural presentations, workshops, seminars, as well as related research and consultancy services for cultural organisations/administrations. Thus, the Institute will arouse and broaden intercultural understanding and empathy, as well as competency in cultural economics on an international level.

Within this framework, the Institute will specialise in problems and prospects of cultural modernisation and globalization (such as communication technologies and the new media) and their impact on international cultural development and exchange.

The Institute is directed jointly by Dr. Ullrich Laaser and Professor Peter Bendixen.

For more information, please contact: Institute for International Music and Cultural Economics, Suelldorfer Landstrasse 196, 22589 Hamburg, Germany; tel./fax: 872248; e-mail: ULaaser@aol.com or BendixenP@aol.com

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Istituto Italiano per l'Industria Culturale

The Italian Institute for Cultural Industries (IsICult) is a not for profit organization devoted to research activities, documentation, analysis, advisory service, planning and event organization, international cooperation, professional training and technical support in the field of cultural industries, particularly in the area of the media, audio-visual, entertainment, and new technologies.

The founder and Director of the Institute is Angelo Zaccone Teodosi. He is a free-lance journalist and holder of many major posts connected with the media sector. At present, the Institute, led by Francesca Medolago Albani, employs about ten skilled consultants and a team of researchers and experts on cultural industries. Among its institutional areas of interest, mention ought to be made of the following:

  • Study and research activity on the culture market, with particular interest in interactions among different media;
  • Activity of cultural promotion;
  • Editorial and media production such as Cult - Il Giornale della Cultura e dei Media;
  • Management of a documentation centre for the Italian media industry and of its European activities;
  • Management of an updated database on the policies of the European institutions for cultural industries.

The research team analyzes cultural industries from diverse points of view (sociological, technological, economic-financial, and political), with particular emphasis on the structural aspects and international comparisons.

One of the latest projects of the IsICult is Per Fare Spettacolo in Europa, a guide to European media activities (such as cinema, theatre, TV, music, publishing, new multi-media technologies, heritage, etc.), promoted by the Dipartimento Spettacolo of the Prime Minister's Office and published by its Dipartimento Informazione e Editoria. The handbook is accompanied by its first CD-ROM edition, distributed during the Venice Film Festival.

Another important publication issued by IsICult is Il Settore dei Cartoni Animati in Italia, a brochure presenting a synthesis of the IsICult research into the international market of animated cartoons, commissioned by the Cinemafiction RAI.

The IsICult's current activities are as follows:

  • Research of the national and international media market for the Italian public broadcasting company (RAI) and a major private media company (Mediaset);
  • The planning of the first Italian monitoring unit regarding cultural sponsorships;
  • Communication support for the Opera Nazionale Montessori.

The Institute benefits from an expertise and methodology unique in Italy and is able to offer top-quality research and consultancy.

For more information, please contact: IsICult, Istituto Italiano per l'Industria Culturale, Via della Scrofa 14, Roma 00186, Italy; tel./fax: +39 06 689 23 44; e-mail: isicult@tin.it

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Institut für Kulturwissenschaft (ikw)

Founded in 1990 as a private institution with the purpose of establishing close links between the basic and further training for professions in the fields of art, culture and cultural research, museum consulting, and the organisation of exhibitions, the Institut für Kulturwissenschaft (ikw) offers theoretical and practical training, thus creating the basis for managing the current and future challenges in arts and cultural management, particularly in the organization of national and international exhibitions and museums.

The concept of the Institute is based on a unique, productive interaction of research, training and consultancy, expressed also through the specific design of the postgraduate curatorial study courses offered (See also p. 34 in this issue.). The studies dealing with museums and exhibitions and communication in museums cover cultural theory and policy, museology, collection management, design and realization of exhibitions, project management and coordination, conservation of cultural heritage, communication and didactics, media communication, and legal and tax issues. The students participate in practical work, lectures, seminars, workshops and discussions to encourage the exchange of experience.

The Institute implements an application-oriented research plan with a series of publications discussing educational research, visitor studies, theory and practice of exhibiting, museum and collection analyses, computers in cultural and academic activities, and the use of new media in the arts and cultural activities. The Institute also performs feasibility studies, strategic planning for cultural institutions, exhibition management, and media concepts for cultural and academic institutions.

For more information, please contact: Institut für Kulturwissenschaft, Museumsquartier, Museumsplatz 1/5/3, A-1070 Wien, Austria, tel.: +43 1 522 53 84; fax: +43 1 522 56 98; e-mail: ikw@thing.at; http://thing.at/ikw

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LED ART (ICE ART)

The multimedia group LED ART (Led=Ice) was founded in 1993 in the specific social-political climate in Yugoslavia (war, destruction, poverty) to serve as a symbolic - FROZEN - mirror of today's icy reality. Their iced art appears to be an equivalent to the iced reality at the time of general poverty, ruin and decline in the country which was at that time not at war. In its work, ICE ART cultivates ethics within aesthetics. ICE ART interprets the new social conditions as a change of the states of aggregation of water, using this as a method for artistic creation. Freezing (and, conversely, melting) is the symbol for various levels of existential questioning, which can be interpreted in two ways: as interruption of life functions until death (stopping of evil), or as hibernation (preserving of values).

In their numerous actions, the ICE ART artists have sent out their open anti-war and anti-nationalistic messages, expressed also in the texts accompanying their exhibitions and shows. Apart from that, ICE ART is interested in ecological problems, pollution (of both the physical and the mental world), destruction of nature as a metaphor for the destruction of culture and art. The essence of their activities, actions, works, performances and exhibitions is protest, which activates public attention very much, strongly engages the spectator's mental and emotional structures, and therefore provokes the necessary and expected reaction and resistance.

Wide-open for all forms of artistic creation, the group ICE ART communicates with artists of different individual expressive orientations. The group works in an urban milieu and chooses unusual spaces to exhibit, such as deep-freeze, refrigerator truck, street, garbage dump...

For more information, please contact: Dragan Zivancevic, Fruskogorska 21, 21000 Novi Sad, Yugoslavia, e-mail: ledart@EUnet.yu or Vesna Grgincevic, Patrijarha Rajacica 33, 21131 Petrovaradin, Yugoslavia; e-mail: zizins@EUnet.yu