WAVE OF CHANGE by Piran2025

Introduction â&#x20AC;&#x201C; General considerations

Contribution to the long-term strategy

Cultural and artistic content

European dimension

Outreach 62 Management 70 Capacity to deliver

Candidacy on the Way A Scientist speaks Culture Nature is like an ever-present travelling companion, always available to artists, scientists, researchers... everyone. Nature can be everything to an artist: an eternal and universal muse, a blank canvas, a motif, a stage, a curtain, a source of inspiration, beauty, the largest studio in the world, a safe haven, a mystery or a path to greatness. Even we scientists do not study the laws of nature simply because they may be useful, but because we find joy in unravelling the complexity of our environment, its web of connections, its unyielding laws, the magnitude of its processes and, not least, its sheer beauty. All of the above makes it even harder to accept our current position, at the cross-roads of this existential threat.

Right now, humankind is capable of destroying its natural environment to the point where it can endanger its own cultural and societal achievements, jeopardize its own survival and that of millions of other species. It is not easy to explain why our impact on the environment has surpassed that of natural phenomena; however, there are three milestones that set the pace of this transformation. The first one involved the use of fossil fuels, which, together with technological advancement, allowed humans to overcome the limitations imposed on other species by a finite supply of energy originating from the sun. The second milestone coincided with the period of massive rebuilding and expansion after World War II and an exponential population boom. The third milestone was reached when the United States of America, and its neoliberal ideology driven by the accumulation of capital, imposed itself as the sole bearer of a novel global world order. This system is based on a growing exploitation of natural resources, which are erroneously assumed to be both limitless and free. Yet, the Earth itself cannot grow. Decades ago it was already clear the Earth had a diminished capacity to “buffer” our impact on the environment, which is why some of the ensuing problems have now become an existential threat. If we pass identified sustainable checkpoints, sudden and irreversible environmental changes may set in and permanently affect our future. Unfortunately, we have already likely passed four of these markers and are steadily contributing to other environmental problems. 2

Has the concept of the programme described for the ECoC

But science clearly needs help as its advice goes largely unheeded. In spite of researchers warning us that a global pandemic was unavoidable in this decade, we failed to cooperate, listen to scientists or even then learn from the mistakes of the first wave. Europe should be truly ashamed of not having planned any contingency measures over the summer of 2020. Even worse, we allowed the spread of false claims, conspiracy theories and diverted our attention elsewhere. Humankind has never really managed to make timely choices, yet we somehow always succeeded in catching the last train and, in spite of collateral damage, survived. There is hope that the same will happen this time, but only if we help science find its voice and momentum. This help should come from the sphere of arts and culture in its broadest meaning, from civic society and from those who believe in a mutual and environmental interconnection. Only together will we find a solution.

We need to behave as a single entity which is aware of how fragile each one of us are but also of how immensely strong we can be when we act together. It is not easy to formulate difficult choices in a way that people accept them; however, we must stop living beyond our means, pillaging the natural resources we borrow from future generations. Preparing this candidacy for European Capital of Culture has been the ideal occasion to think about creative and sustainable forms of development in light of the limits imposed by our planet, as well as the planning of a brighter future. We want this European Capital of Culture to send a universal message to people, particularly the younger generations. We should learn that on a limited planet such as ours, growth can be measured in forms other than economic indicators, through an increase in knowledge, art, culture, sport, and the quality of personal relationships. Lučka Kajfež Bogataj, Nobel Prize co-winner, climatologist, researcher, full professor at the Biotechnical Faculty and head of the Department of Agrometeorology, member of the Intergovernmental Panel on Climate Change (IPCC) in Geneva

year changed between the pre-selection and the selection stage? If yes, please describe the new concept and explain the reasons for the change.

Tartini Square under water in Piran – photo: Romana Kačič.

Our slogan ‘Wave of Change’ remains the same yet our concept has been through a significant revision and deeper consultation process since the preselection stage. The cultural programme PI2025 was written in a polyphonic way by the voices of 57 artistic and cultural collectives, representing 80% of the cultural sector of the region. The local and global climate crisis observed from a community, artistic and cultural point of view is now at the core of our programme; it has also been embedded into our approach to audience development and all accompanying management and policy strategies.

Aqua alta1 Piran is flooded more often and in a different way because of climate change. The same happens to the other Istrian cities and to our regional partners: Venice, Trieste and Pula. While writing the first bidbook the worst floods in more than 50 years left Piran’s Tartini Square submerged under one metre of water, underlining the growing environmental threat and forcing us to respond through our cultural programme. The wave of the energy provoked by our first bidbook impacted across the region and as a result more territories and cities have joined our journey, deepening the concept in partnership with us and profoundly expanding the scope of our ambition. Beside the Istrian Region in Croatia which was with us since the preselection phase, we gained a whole new Italian region as a partner: Region Veneto including the City of Venice. Now our regional partnership is on one side truly Northern Adriatic and on the other side deeply European thanks to all the ECoC German candidature cities and all the confirmed collaborations with institutions around Europe.

PI2025 concept Our concept, indeed our intention, is to be part of a Wave of Change which transforms Europe into a place ready to reconfigure its relationship with the environment. We will examine the relationships between culture and climate change and weave together a series of participatory processes and creative adventures to create a ‘big picture’ depicting the interdependence between ourselves and our natural world. Being a coastal community we know that water ab/uses are matters of significant ecological, economic and security concern. We make this bid not despite of COVID-19 but because of COVID-19 as it is yet one other manifestation of our broken relationship with our environment. COVID-19 has forced us to reconsider the way we breathe, travel and touch each other. It has also made us acutely aware of the complexity around the issue of borders: geographical, emotional, mental.

This is why we need a Wave of Change – a cultural programme which places the need for an approach to human and community resilience at the centre of our cultural life. In Istro-Venetian dialect means high water, is caused by a combination of factors exacerbated by climate change - from rising sea levels and unusually high tides to land. 1

Contribution to the long-term strategy

PIKA coordination and cooperation Between 2019 and 2020 the four coastal municipalities in Slovenia created the first Kultura.PIKA Strategy: our first coordinated joint cultural strategy. The word PIKA is an acronym derived from the initials of the names of Piran, Izola, Koper and Ankaran. PIKA represents the systematic cooperation among the all four coastal municipalities of Slovenia. This cooperation has some antecedents from the past and underwent ups and downs during the years, but in the last years it has become systematic. Strategically important themes are being addressed through joint coordination and local policy making (PIKA Coordination). The enforcement of municipal collaboration and the setting of common goals was fostered by the fact that there is no regional administrative level in Slovenia. The cooperation of the four municipalities enables us to be more articulate and have a stronger impact in solving issues that are related to state institutions, the government, and the environment such as the shared efforts towards the first National Maritime Spatial Plan.

Describe any changes to the cultural strategy since the preselection stage, and the role of the ECOC pre-selection in these changes, if relevant. Indicate specifically which priorities of this strategy the European Capital of Culture action intends to contribute to, and how.

Participatory and decision-making steps until March 2020 Informing the Cultural Sector

The roadmap to Kultura.PIKA

March â&#x20AC;&#x201C; October 2020 Mapping and Preparation of the Strategy Basis

The step towards the first common strategy was the endorsement of the strategic PIKA.Statement by all four city councils in 2019. Developing the Kultura. PIKA strategy has been taking place up until November 2020 and went through the following steps:

September â&#x20AC;&#x201C; October 2020 Consultation and participatory process: Workshops with cultural stakeholders, operators and civil society representatives from all four municipalities to reshape the cultural vision and the strategic objectives; online dialogue platform to reach stakeholders (due to the COVID-19 regulations). In October, participants were asked to vote for the final version of the vision and the list of key measurements of the strategy.

October â&#x20AC;&#x201C; November 2020 The strategy was the result of a co-decision mechanism with the cultural stakeholders (see above) in adopting the final form of the strategic framework. The PIKA Coordination endorsed the Kultura.PIKA Strategy on the 3th of November 2020. The four municipalities councils endorsed it later in November.

Istrian regional railway between Slovenia and Croatia photo: FotoExTempore Novigrad-Cittanova.

CONTRIBUTION TO THE LONG-TERM STRATEGY

Kultura.PIKA Vision

In 2030, Istria will be a place of joyful people, where tradition is enriched with cultural heritage and modern cultural practices, and where high art and culture are accessible to all. The cultural sector will become resilient and will be based on synergies that connect the urban with the rural, the natural with the cultural, synergies that retain local specificities and upgrade common features. Modern infrastructure will provide a supportive ecosystem for artistic production with special emphasis on environmental awareness. Systematically cultivated cultural education and the spirit of diversity will enrich cultural consciousness from top down and from bottom up.

Needs for a common cultural strategy

Kultura.PIKA defines eight strategic objectives to lead to benefits for everyone in Istria: from residents, businesses, politicians and policy makers, to school children, and those enjoying retirement. PI2025 delivers answers to the strategy objectives in a very concrete way:

Stream of delivery

Key measures (common priorities with PI2025 are underlined)

PI2025 projects and actions contributing to the common priorities

Ecosystem.ISTRIA

· Coordinated joint cultural development · Long-term projects and plans in the field

· The ECoC candidacy as the first

For the municipalities: 1 systematic cooperation of Istrian municipalities; 2 strengthening the regional impact of cultural policies;

financial and non-financial resources towards culture, including funding mechanisms. · Enforce the power of the cultural sector to influence policy decisions. · Support the cultural ecosystem to realise and develop cultural projects and programmes that are sustainable.

· National and international residency

· International residency programme

· Upgrade of existing festivals and events · Exchange of audience development best

· PI2025 as an innovative approach to

For the culture sector: 3 quality, contemporary and internationally connected cultural sector; 4 cooperation between the cultural sector and other sectors with resilience orientation; 5 development of programmes and audiences with emphasis on inter-municipal mobility; For the municipalities and the culture sector: 6 strengthening the competencies of cultural operators; 7 preservation and new interpretation of natural and cultural heritage;

Kultura.PIKA is a full integration of the four municipalities into a bigger development conurbation, in cooperation with the wider crossborder Istrian region. The need for a systematic collaboration is reinforced by the fact that the Istrian region faces various challenges and dangers that need to be answered by strategic cooperation:

For the whole Istria: 8 nurture the multicultural identity with an emphasis on the Italian community.

· Istrian identity and its changes; · Municipalities’ economic profiles, the influences

Backed by the mission, aims and objectives, our strategy has three main delivery streams. These will be reviewed throughout to ensure the relevance, the aims and objectives of the strategy.

of tourism and the port;

· Climate crisis, the need for more sustainable social behaviour, water pollution;

· Future generations, the challenges of brain-drain

and lack of creative industries; · Need for increased capacities in the cultural sector; · (Non)Regionalisation and the centralisation of Slovenian state structures; · Need for joint cultural infrastructure in Istria.

Strategic objectives

· Consolidation and extension of

Cooperation.ISTRIA

· Create interventions in the community to become co-creators of the cultural offers through various participatory mechanisms. · Consolidation and enlargement of institutional cooperation through established legal entities involving actors from local, regional, national and European level, too.

PI2025 boosting Kultura.PIKA

Key measures are priority actions we have defined to become a place of supportive cultural ecosystem, systematic cooperation and quality cultural offer. The key measures have been mapped with the needs for change through a participatory process with cultural stakeholders. PI2025 creates a fast lane in delivering Kultura. PIKA. Our platforms, several projects and structural programmes will have a direct impact on the strategy implementation contributing to many of the key measures:

Upgrade.ISTRIA

· Develop awareness and accessibility to the cultural offer of the area (incl. audience development, actions aiming specific groups with fewer opportunities) · Create a framework for collecting and analysing data and conducting relevant research · Enable conceptual and incremental innovation in the cultural field focusing on its societal aspect, especially.

of culture · Cross-sectoral collaboration with special emphasis on environment and social cohesion · Common funding policies · New financial fund for culture · Common grants system for students in the field of arts · Foundation of common cultural awards · Cultural education · Strengthening the cultural market and connecting with the economy

programmes · Support of creative industries · Support of multilingualism and empowering of a translation centre · Education of cultural heritage and identities · New approach to teaching Italian at schools · Promotion of arrangement of archives as building blocks of the community identity

practices and fostering new activities · Capacity building programme for the regional scene · Improvement of cultural marketing · Joint Istrian cultural event calendar, communication and programme coordination · Profiling · Find a sustainable solution for the storage needs of cultural institutes (archives, museums, galleries, theatres) · Studios and rehearsal rooms for artists · Mobility with regular inter-municipal transport connections for cultural purposes

completely joint cultural endeavour of the PIKA municipalities in close cooperation with the cultural sector · The long-term legacy projects outlined in Q3 in line with the Kultura.PIKA Strategy · Environmental and social resilience as a key word of the ECoC project with participatory projects bringing the objectives of European Green Deal to the people (platform Cultural Embassy of Climate Crisis) · Beyond our platforms and projects, the whole ECoC programme is based on a green/resilience policy

elements in many projects (Air Animations, Community Resource Lab – TRAJNA, Forum Babylon, Beyond Borders Microfestivals, Sozvočja – World Music Hub in Trevisini Palace Piran, IstriYards, The Wave@Monfort, ULAY Harbour House, Salty Waves and The Symphony of Salt) · Legacy project Forum Babylon will remain a residency centre after 2025 · Projects fostering creative industries development (Community Resource Lab – TRAJNA and The Wave@Monfort) · The project Forum Babylon and the entire cluster Uprootedconvey regional multilingualism, multicultural heritage and identity in a European context.

marketing and communication (see more in Q38) · Radical upgrade and internationalisation of Primorski Poletni Festival · Rescale of the Tartini tradition within the renewed Tartini International Music Festival and the Tartini Music Hub · The running capacity building programme Tlakovec to be continued

CONTRIBUTION TO THE LONG-TERM STRATEGY

Q3 Have your intentions in terms of long-term impact of the European Capital of Culture action on the city changed since pre-selection? If yes, please describe the changes or further impact foreseen.

The definition of the expected long-term impacts of PI2025 have been developed in more detail since the preselection phase. As we demonstrated in Q2, the PI2025 programme will systematically support and accelerate the Kultura.PIKA implementation. Therefore the success of PI2025 will be an immense contribution to the success of the Kultura.PIKA Strategy. If PI2025 – and Kultura.PIKA – will be implemented successfully, the following long term impacts can be expected in the Istrian region:

Cultural impact

Social impact

Economic impact

· The increase in the region’s cultural

· People

· A

quality and international profile will bring more awareness, interest and acknowledgement throughout Europe, along with new audiences, as well as a high number of new, international cooperative projects for the cultural sector.

· Participation,

bottom-up initiatives and independent cultural activity will become more frequent and will foster a change in the governance of culture towards a less controloriented attitude.

· Contemporary,

progressive artistic achievements will give the region a place at the table of modern European cities/conurbations.

· Systematic

and coordinated cultural cooperation among the municipalities and the institutions will lead to a shared Istrian cultural identity as one cultural space.

· The

pioneering role of arts and culture opening environmental debates will lead to resilience and green attitude within the cultural sector.

becoming more proactive, participative and enthusiastic about shaping their cultural environment creates new and vital communities playing a key role in reaching wellbeing and joy.

· Well designed high quality projects and participatory events will assist people to recognise the region’s multiculturalism and shared cultural heritage as an important value and future potential. This will lead to a higher level of acceptance, solidarity and tolerance.

more creative ecosystem will stimulate innovation and entrepreneurial spirit, helping to invigorate the economy.

· A region with a high quality creative

industry is an attractive place to live and work, open to investors in commerce and industry.

Tlakovec 2020-2026 - our capacity building programme Strategic goal is to upgrade the Istrian cultural sector and transfer knowledge and skills from Europe to the local cultural operators and institutions. Tlakovec responds to the needs of a new generation of cultural leaders. During the ECoC preparation phase in 2020 we have already started with the implementation of the programme to boost the cultural and creative sector. Tlakovec is a programme which provides training to the Istrian cultural sector (institutions, individual operators, community activists, youth and volunteers, professionals from communication, fundraising, audience development, marketing, and management fields). In the period from 2021 to 2026 Tlakovec will focus on annual themes at the intersection of creativity and analyticity, inspired by the pop perception of human brain division. Tlakovec Session in Piran – photo: Aleš Rosa.

· An

exciting, high quality cultural offer will attract new audiences, visitors and tourists from Slovenia, the cross-border region and Europe generating economic growth.

· A more enlightened approach to our

environment and natural heritage will help to recreate a liveable urban, maritime and rural setting for people.

· The

pioneering role of arts and culture opening environmental debates will lead to shared awareness and activism among citizens in fighting the climate crisis.

· The

continuous debate about current European topics, as well as the participation in international networks will lead to a stronger understanding of Europe as a community of shared values increasing mobility.

Good to know!

Tlakovec has started with a series of workshops during 2020 Target group: Istrian cultural sector with a special focus on ECoC project coordinators Our themes: Climate crisis and our world; Art and ecology; Sustainability, resilience and cultural planning for ECoC; Audience development; European dimension; Marketing and communication; Building a project budget for ECoC Our session leaders: Lučka Kajfež Bogataj (SI), Chris Baldwin (UK/BG), Lucy Latham – Julie’s Bicycle (UK), Agata Etmanowicz (PL), Ulrich Fuchs (DE/FR), Suzana Žilič-Fišer (SI), András Süli (HU)

CONTRIBUTION TO THE LONG-TERM STRATEGY

Tlakovec 2021-26 - Knowledge, skills and networks for the legacy Thematic package left / right*

Target groups and formats/methods

New Professionals - Project and production development LEFT: Strengthening and upgrading of the project idea - imagination, realisation, communication, European values, resilience (incl. post COVID-19). Difference between Romanticism and Realism - How does an idea become reality? RIGHT: From a plan to implementation - financial planning, HR and fundraising; Production challenges - who and how?

Target groups: culture professionals (institutional and individual), operators, project coordinators, festival organisers Formats: workshops, seminars, study visits to other ECoCs/ European institutions

New Audiences - Audience development LEFT: From past to future - continuity as a basis for new challenges RIGHT: From Europe to Istria - wider audience engagement

Target groups: culture professionals (institutional and individual), operators, project coordinators, festival organisers Formats: workshops, seminars, audience research

New Resilience (meets Reality) - Implementation development LEFT: Nature, culture and resilience - what do we will leave to posterity? RIGHT: Contracts, liquidity, and silver tape - what can go wrong

Target groups: Istrian municipalities’ representatives, cultural institutions and individuals, operators, festival organisers, teachers, other institutions (cross sectoral interlink) Formats: workshops, seminars, study visits

New Activism - participation and volunteering development LEFT: There is no I in project - team building, volunteering and activism RIGHT: Participative and volunteering approaches in HR planning and implementation

Target groups: local communities, schools, university, youngsters at age 14-25, retired people Formats: workshops, seminars, co-working and co-creation programmes, local community campaigns, thematic camps, volunteering activities

New Challenges - Youth and creative entrepreneurship development LEFT: My job is to change the world - socially responsible entrepreneurship, social innovations and cultural industries RIGHT: What does the entrepreneurship of the 21st century need? - Strategy, competencies and international approaches

Target groups: young creatives at age 14-25, schools, university, artists Formats: workshops, training sessions, mentoring, exchange programmes with other ECoCs, internships (locally and in Europe), summer camps, volunteering activities

New autonomy and responsibility - legacy development LEFT: The show must go on - let’s plan the day after tomorrow RIGHT: Under pressure - follow up and fundraising

* “The pop psychology notion of a left brain and a right brain doesn’t capture their intimate working relationship. The left hemisphere specializes in picking out the sounds that form words and working out the syntax of the phrase (...) The right hemisphere is more sensitive to the emotional features of language …” Carl Zimmer, Discover magazine

Target groups: municipalities’ representatives, ECoC management, Istrian cultural institutions and operators, artists Formats: workshops, seminars, joint planning of the Kultura. PIKA Strategy Delivery Plans for 2027-28 and 2029-30

Beyond 2025 - The Common Cultural Development Body (CCDB)

Beyond 2025 - How to push the Wave of Change forward?

One of the key actions defined by the Kultura. PIKA Strategy is the establishment of the Common Cultural Development Body (CCDB) to offer professional support for the creative and cultural industries in the region. The CCDB will bring Istria to the level of other progressive European regions. The CCDB will be established as the legacy body of the PI2025 Foundation (ECoC management). From 2026 on - the CCDB will become the engine of a new, joint, resilient creative-cultural ecosystem in Istria:

The legacy of PI2025 will be a complex benefit for all communities and the cultural sector of Istria. Artists, NGOs, institutions, officials of the municipalities, youngsters, and citizens will capitalise on the international networks, the cultural offer, the awareness boosted by the CCDB. Environmental and social resilience building will be a stepping stone for the cultural discourse. So will capacity building and audience development for cultural operators.

CCDB will create

connections between skilled people who contribute to the development of Istria by:

· creating local and international collaborations

· sharing and getting the ‘know-how’ · having a shared strategy

Furthermore, the selected legacy projects are in line with the Kultura.PIKA Strategy vision and its objectives. The CCDB will have the tools to deliver these projects after 2025.

Project or programme / Reason for legacy status Animate!

· people from the cultural and creative industry · emerging and also established business owners · students · cultural innovators

This will be the only creative art and special needs education programme in the region. → social cohesion, young generation

Community Resource Lab TRAJNA

A future laboratory regenerative programme based on the circulation of local resources. → environmental awareness, sustainability

CCDB will:

The Wave@ Monfort

A creative hub for new media, combined with environmental activism, involving emerging artists. A key component for long-term creativity development. → ecosystem boost, resilience building, young generations of artists

Uprooted

A project cluster reflecting and reinterpreting identities, memories and borders in an innovative way. There is so much to do, even for decades. → social cohesion, intergenerational understanding

Istrian International Contemporary Performing Arts Centre (IICPAC)

A long-term new centre that brings contemporary international collaboration to Istria. A key element for making Istrian cultural life more contemporary and connected. → young generations of artists

Ship of Tales

Intergenerational, intercultural storytelling and theatre activities for children and their families. → youngest generations in focus, intergenerational approach

CCDB will respond to:

· be a professional creative hub · offer mentoring to public institutions, enterprises

and NGOs (e.g. funding, networking, audience development) · manage relations and memberships in international cultural and creative networks · implement key projects from the Kultura.PIKA Strategy · initiate or participate in EU-projects · work on the climate policy for the cultural sector · develop a cultural network/platform of wider crossborder Istria · build on sinergies · take over Tlakovec capacity building programme and legacy programmes/projects after 2025 (e.g. The Wave@Monfort)

CONTRIBUTION TO THE LONG-TERM STRATEGY

Who carries out the evaluation?

Describe your plans for monitoring and evaluating the impact of the title on your city and for disseminating the results of the evaluation.

Defining success - and measuring it Wave of Change shall lead to a new creative way to green transition and to a transformation in people’s mindsets, as well as to the empowerment and extensive capacity building for both operators and audiences.

We want to merge the intellectual power of the cultural and creative sector to tackle the climate crisis and strengthen the capacities of cultural operators. When we set up the main objectives for our monitoring and evaluation plans, these are the most important changes that we wish to see; success for us means if development is clearly seen after a qualitative analysis of results. We manage and mitigate the environmental impacts of our creative operations, minimise the ecological footprint of buildings and events, the mobility of the involved, and the procurement processes and also artistic production methods. We also aim to identify risks and opportunities towards biodiversity and natural heritage throughout the artistic programme. We plan PI2025 to operate as a circular ECoC and, last but not least, demonstrate how an ECoC can use culture as a vehicle for “green inclusion”. We consider with equal importance all other long-term economic and social impacts (detailed in Q3); a well-documented progress in key performance indicators shall show that PI2025 will have contributed a lot to Istria becoming a place of joyful and caring people - which is a crucial point in this critical period for humanity. We will also monitor the outreach of the programme and the audience response in order to secure a meaningful legacy of the ECoC title and our aims.

In order to ensure the independence and the transparency of the process, we will set up an Evaluation Task Force (ETF) to design the strategic pathline for the evaluation throughout the ECoC project. The ETF will be a group of five members: one designated person from within the PI2025 Foundation (who will act up as a bridge between the workgroup and the ECoC team), one delegate from the Cultural Departments of the PIKA Municipalities, a professor from the University of Maribor, an expert in green issues supported by our partner Julie’s Bicycle (UK) and a representative of a widely recognized research agency from Europe chosen via a call for specific research activities during the ECoC. The operationalisation of the process will be coordinated from within the PI2025 Foundation following the guidance given by the ETF and with the involvement of the University of Maribor, the University of Primorska and the chosen research agency. As the ECoC project concludes, the monitoring tasks of the foundation shall be taken over by the Common Cultural Development Body (CCDB). Culture Action Europe, as a long-time established organization in the field of European cultural networking, also helped us to formulate our plans on evaluation and they are continuing to be a potential partner through the implementation of the project. We will dedicate at least one per cent of the total programming budget of PI2025 for evaluation purposes.

Baseline data, objectives and milestones We have to bear in mind that no relevant, widespread research activities about culture and people in the region are currently accessible. However, we will use some existing (touristic, demographic etc.) statistics, data from specific project-related research activities and we plan the first milestone to be a comprehensive situation assessment for benchmarking. For this, we involve municipalities, public bodies, key partners and cultural stakeholders. We also encourage all four PIKA municipalities to find a way to implement regular population surveys among local people about their attitude towards social, economical, environmental and cultural issues, which would be a legacy with added value from hosting the title.

3nd milestone - 2024

Right before the title year implementation start A snapshot before the big year Comprehensive data collection Workshops for dissemination The big Q: Are we ready to start the European Capital of Culture title year?

Common understanding Comprehensive data collection Choosing the agency Start of longitudinal surveys The big Q: How green are we now and what is the role of arts and culture in this awareness?

Measuring long-term cultural, social and economic impacts Examining how the project contributed to the well-being and joyfulness of Istrian people Testing the level of cultural integration by the PIKA municipalities The big Q: What did PI2025 give to Europe - and what did Europe give to Piran and Istria?

5th milestone - 2026

A big picture about our tangible project results Measuring mid-term impacts Conference A final study for dissemination with a deep analysis of the programme The big Q: Did we manage to bring the European Green Deal to life by the Cultural Embassy for Climate Crisis, Lost and Found, Connect and Care and Salt and Sea?

4th milestone - 2025

Involvement and preparation Situation assessment and benchmarking

Long term follow-up

Short term follow-up

2nd milestone - 2022-2023

1st milestone - 2021

6th milestone - 2030

Endless elaboration Common development of research processes Participative work on indicators Finding fun ways for data collection (e.g. games) The big Q: What do we have to change in order to ride the Wave of Change?

Title year monitor Continuous event monitor Extended use of smart methods: big data analysis, mobile location etc. Media content and perception analysis Start of longitudinal surveys The big Q: How do people react on our programme and its outreach?

CONTRIBUTION TO THE LONG-TERM STRATEGY

What sort of information - finding the proper indicators Key performance indicators (KPI’s) help us to find answers and they also express our priorities.

At the end of the project we have to know how we succeeded in our specific ECoC objectives: tackling the climate crisis from an artistic, cultural and community viewpoint and helping Europe to transform into a place that is ready to reconfigure its relationship with the environment.

We must also reflect on the general (‘GO’) and specific (‘SO’) objectives of the ECoC programme as an EU initiative, as set up in the ‘Guidelines for the cities own evaluations of the results of each ECoC’ and also connect them to the long-term social and economical impacts we want to achieve in frames of the Kultura.PIKA Strategy with the significant help of PI2025. We also rely on the overall findings and recommendations published in the expost evaluation reports of the precious ECoC’s. All indicators shall be consistent with SMART principles (being specific, measurable, achievable, relevant and time-oriented). We are going to use all the suggested indicators, here we just give some examples in the light of our programme platforms:

Programme platform

kpi

Typical methods

The Cultural Embassy for Climate Crisis

A higher level of involvement of the cultural sectors’ representatives in strategic city planning and policy making (GO2) More spaces for cultural dialogues about our future (GO2)

Focus group interviews, data analysis and statistic aggregation

Practise - designing and implementing the environmental governance, monitoring and evaluation structures. These indicators monitor the environmental footprint of ecoc activities.

· Reports

on our environmental performance (environmental impact data and activities). · Use data of electricity / gas to inform energy reduction actions. · Get water consumption data and use of water saving devices, rainwater harvesting facilities. · Use of energy efficient lighting, lighting sensors, timers. · Procurement of green tariff electricity from a 100% green electricity supplier. · Existence of a waste monitoring and management strategy, recycling percentage, elimination of single-use plastic. · Use of sustainable travelling methods, artist / staff / audience travel policies. · Policy and guidelines for sustainable procurements. · All programme venues and sites to provide an environmental baseline, by reporting against a set of environmental criteria developed by the PI2025 management.

Programmes - hosting a social, communityfocused conversation though culture, promoting social cohesion and resilience through the construction of every single project

· Increasing number of produced / programmed / curated works exploring environmental themes.

Lost and Found

A higher awareness and appreciation of the diversity of European cultures (GO1) An increasing number of activities highlighting European values (SO1)

Attitudinal surveys, focus group interviews, data analysis

Connect and Care

Increase in the number of local communities and grassroots organizations involved to the cultural offer (SO2) More cross-sectoral collaborations including the cultural and creative sector (SO3)

Focus group interviews, data analysis and statistic aggregation

A rational increase in overnight stays beyond the main touristical season (SO4) Positive changes in the city/region representation on national and European level (SO4)

Smart methods (big data, mobile location), media content analysis

Salt and Sea

specifically supporting groups traditionally underrepresented in this space (e.g. POC, LGBTQ+, working class, or other) to make work on environment / climate themes. · Extended use of sustainable production and/or exhibition methods (e.g. repurposed materials, design for reuse/efficiency, energy efficient stage lighting).

· Increasing number of collaborations with other cultural

organisations on finding and sharing solutions to environmental issues. · Increasing number of collaborations with neighbourhood/ city decision makers on finding and sharing solutions to environmental issues (e.g. contributing to local policy/ strategy). · Increasing number of collaborations with the private/third sector on finding and sharing solutions to environmental issues (e.g. R&D of sustainable goods, services and business models). · More frequent facilitation of environmentally-themed activities and campaigns for our local communities. · Increasing number of collaborations between artists, practitioners and ‘green’ suppliers across Europe. · Cultural professionals realise the ‘added value’ of addressing environmental sustainability, namely the financial, reputational, social, wellbeing, and employability benefits to working more equitably with the environment.

Paradigm-shift - bridging local, regional and international perspectives regarding sustainable development and identifying opportunities for new cultural policy and investment frameworks that create a lasting legacy in the city.

· Cultural

funding bodies and policy makers understand the relevance of environmental sustainability in cultural management. · Increasing use of digital platforms to support collaboration, dialogue and accessibility. · Cultural professionals are trained to develop new skills, competences and know-how to develop their leadership and entrepreneurial potential in relation to environmental change. · Cultural organisations and artists share their environmental actions to audiences and stakeholders, raising awareness and demonstrating culture’s role as a conduit for societal change.

Dissemination of the results

Reflecting to our main objectives, we design a special set of performance indicators that concern environmental sustainability and the green challenge we plan to tackle. We set four category of “green indicators” against those goals: 14

· Increasing number of paid artistic/creative opportunities

People - training and capacity-building stakeholders to meet our shared environmental objectives and minimise impacts across all cultural activities.

In order to ensure open access, all outputs will regularly be published online on the project’s website, with paid social media posts when a new study or evaluation material goes public. This is a basic and obvious, but not necessarily effective way of reaching a wide range of people. In terms of citizens, we would like them to have memorable moments through the whole ECoC period, and we plan to make them remember these moments when spreading information about the positive impacts of the ECoC project in the follow-up years. It is important to disseminate the results among

stakeholders locally, nationally and also across Europe. Workshops prior to and during the title year and a larger conference right after the first ‘ex post’ evaluation will be organized for several local, national and European representatives and stakeholders of the cultural sector where an interactive debate shall be generated about the outcome, based on a detailed presentation about the processed data. We also plan to leave databased development plan proposals using the existing ECoC experience as a legacy activity and submit them to the municipalities, policy makers and other public authorities. 15

Cultural and artistic content

Our programme features artists and cultural practices which see the need to develop work in deep collaboration with scientists and multidisciplinary teams, in order to understand the nature of the challenges we face as Slovenians and Europeans. Prof. dr. Lučka Kajfež Bogataj, Slovene Nobel prize scientist on climate change is part of our bidding team and has inspired the development of the cultural programme at every stage of the second phase. It is a theme which has a specific expression in the Northern Adriatic. Our vision is drawing attention to the global climate crisis from an artistic and cultural point. We promote social and community-based conversations about our environment, the climate crisis and the need for deeper social resilience and cohesion.

Describe in detail the artistic vision and the strategy for the cultural programme of the year outlined at pre-selection stage, explaining any changes brought in since pre-selection.

512

signed Memorandums of Understanding for the implementation of pi2025 programme

In the PI2025 programme four significant contemporary women Slovenian artists represent the change. Their art promotes community-focused conversation, social cohesion and resilience. Wide European cooperation We have established the widest possible spectrum of confirmed European partnerships and reached out to the most relevant international artists, scientists, curators and organisations our projects and plans require.

100 41

from over

from / with

cities

countries

former, current, future and candidate ECoCs

90%

of the programmes listed in this bidbook involve international partners

partners from the Italian and Croatian part of Istria

Our open call, The Big Picture, has worked hand in glove with dozens of European partners in putting together the global puzzle of the climate crisis, starting from local phenomena. We have recognised that we need a culture and community driven international discourse and related actions

connected to water (sea), resources (groundwater), food production, recycling mechanisms and resilience. The result are joint projects and partnerships implementing promising and exciting artistic and community approaches. As a result of talking about resilience, we examine the theme of borders - both geographical-physical (historical and contemporary) and those of our minds (mental, physiological, emotional). Our programme still explores how art and creativity can address these borders. In addition, the COVID-19 pandemic gives us another perspective to our relationship with nature, reminding us that we are inescapably and ecologically part of biology and the natural world. Our RE:CONCEPT axis (see pages 18 and 19) is the way we have chosen to bring these themes into focus with audiences and communities through our cultural programme. Four platforms are the bedrock of our programme. Associated with these platforms are projects and clusters of projects: The Cultural Embassy for Climate Crisis, Lost and Found, Salt and Sea and Connect and Care. Additionally, all of our projects are also identified on our RE:CONCEPT axis containing six words helping us describe the intersection between art, ecology, and audiences.

Sound Invasions - Maja Smrekar and Robertina Sebjanič, Kiblix Festival –

photo: Janez Klenovšek.

CULTURAL AND ARTISTIC CONTENT

The Cultural Embassy for Climate Crisis

A space to rehearse the changes we envision together in an international, no-border forum. From Change-dvocacy (change and advocacy forums) to exploring the design of post COVID-19 cities (Informal Cities). The platform also includes processes and artistic reflections on the human desire to fly (Airanimations) imagines non-extractive means to achieve this (Theo Jansen’s Strandbeest).

Lost and Found

Tumultuous change and political reconfigurations, population ‘exchanges’, restructuring of economic models, complex historical legacies (tangible and intangible), and linguistic ebbing and flowing. This platform supports the development of projects which focus on the present identity and history of Istria (across Croatia, Slovenia, and Italy), its mentality and languages – factors that have both divided and united us in that past. It will also enable us to ask how conflicts can be turned into opportunities to develop new humanist and civic outcomes through culture and art.

Connect and Care

If the changes we require in Piran and wider Europe are to lead to greater social resilience and cohesiveness, we need to invest in supportive, human ecosystems, those that acknowledge the interdependence of all living things. This platform focuses upon how we design our future(s) using cultural and artistic tools in multidisciplinary settings. It combines cross-generational and youth initiatives, digital art, human and international networks and municipality driven co-initiatives.

Salt and Sea

Our relationship with our natural world is broken. We act as if we are inheriting endless riches from the past rather than borrowing from the future. Our coastal towns have repeatedly flooded in recent times and COVID-19 reminded us that our bodies and minds are inseparable from nature. This platform explores ways of moving beyond old 20th Century dualities of extract and consume and proposes a new way of working, thinking and feeling about nature, hinterlands, navigation, the legacy and future of tourism, seasonality, and salt.

RE:VIEW Showing something to audiences in a different way can often be enough – in all its splendour or horror. This kind of engagement is an invitation to look, listen or feel from a different angle.

RE:FORM We may question the ecological ethics of the kind of art which used heavy earth-moving machinery to displace tons of natural materials and scar the face of the Earth… but such grand interventions did enable audiences to see patterns and connections with nature otherwise un-noticed. Some of our exhibitions and projects invite audiences to consider the historical development of ethics, artistic practice and the natural environment.

RE:SEARCH Artists who wish to go deeper in understanding elements of nature. Artists take a cue from science – often taking a research, questions-based approach to their work, looking for interdisciplinary ways to share or co-create work with audiences. Audiences will be encouraged to see how art is embedded in ideas and rarely comes out of no-where.

RE:USE Artists who are concerned with the way we use and abuse the Earth’s resources often also look for innovation in the way they interact with communities and audiences. From participatory projects of soil analysis we will invite and encourage audiences to see creative potential in waste management.

RE:CREATE The search for solutions to environmental problems involves seeing audiences as stakeholders, co-designers, and fellow designers of spaces and processes. Where audiences want to co-create, codesign, co-generate we will have an offer ready.

RE:ACT Art and culture as direct political environmental action. Audiences and participants are invited to engage in the work as committed citizens and active agents for change as our land, sea and air need us to reflect, in order to be able to act within our lives, environments, families and communities. 19

MANAGEMENT

Q6 Describe the structure of the cultural programme, including the range and diversity of the activities and the main events that will mark the year.

The Cultural Embassy for Climate Crisis Community Resource Lab – Trajna How to create and establish an innovative and regenerative cultural programme? For us, learning-by-doing with expert practitioners, theoreticians, and local communities, seems to be the wisest way to get there! We will experiment with regenerative ways of interacting with (damaged) landscapes in Istria. Through creative residencies, international meet-ups, and mentoring activities, we will foster the activation and circulation of untapped local resources (such as invasive species & agro waste) initiating new community economies and practices of landcare. The project will draw expertise, production approaches, and transformative vision from Krater lab, in Ljubljana, and bring it to the urban and rural corners of the Istrian region. The Community Resources Laboratory programme consists of 3 pillars: 1) Intensive meet-ups: local communities in Istria will be challenged to react upon selected sites of ecological emergency and co-create regenerative project proposals. Getting to know the land through the perspective of invasive species through earning about ecologies, histories & cultures of the region, mapping sites of interest, connecting with inspiring local groups or individuals. A visionary brainstorming camp, an intensive 7-day meet-up with local and international designers, architects, artists, lawyers, activists, researchers & Istrian residents. 2) Creative residencies: international designers, artists and architects will experiment with waste materials and imagine new opportunities for sustainable micro-production lines - Designing New Bio-materials & Setting up (Micro)Shop.

3) Development of mentoring possibilities and networking activities to support emerging projects. Feral Start-Up School: an alternativebusiness-model incubator, a consultancy centre, and a laboratory for new sustainable economies. Aimed at local start-ups, and young people transitioning from school to work. Climate Breakdown Regional Fund: microgrants to enable local communities to fund selfinitiated, eco-social projects. Legal Support & Advocacy: legal project support, project advocacy, calculating the value of commoning. Output: successfully implemented projects, calculation of the social & environmental impact of the project. KROG (Piran) & KRATER urban ecolab (Ljubljana), (partly online) international designers, architects, artists, lawyers, activists, researchers & Istrian residents, local startups, and young people transitioning from school to work. PI2025; Matera Basilicata 2019 Foundation (IT); Saša Spačal (SI); Slovenian Permaculture Association (SI); prostoRož (SI); Kate Rich, Institute for Experiments with Business (UK); Community Economies Institute (AU); Servis 8 (SI); Cooking Sections/Climavore (UK); Brave New Alps with Diverse Economies Fund members (IT); Atelier Luma (FR); BC Architects (BE); Academy of Fine Arts and Design, University of Ljubljana (SI); RaumlaborBerlin (DE); Museum of Architecture and Design, Ljubljana (SI); MakerBay Hong Kong (HK); Soft Baroque (SI/UK); CommonsLab (DE); YO-YO (HR); Stichting International Foundation MyVillages.org (NL); Rok Oblak (SI); Žilina 2026, candidate (SK); Tampere 2026 candidate (FI); Hildesheim 2025 candidate (DE); Town of Hlohovec (SK).

Strandbeest – photo: Animaris Ader 2020.

Strandbeests - Exhibition and Demonstrations by Theo Jansen (NL) Theo Jansen and his Strandbeests will appear on beaches, borderlands, and salt pans. Smaller, animated, even extinct Strandbeets, will settle down in Piran’s most beautiful historical locations, as a two-month exhibition will open to the public in Monfort. Local young people and students will be invited to keep the Standbeests healthy and alive through love, care, and attention during the period of the exhibition. A series of lectures or workshops and school visits, managed within COVID-19 (and other) safety restrictions, will be led by Theo Jansen. Four municipalities and Monfort (partly online) General public PI2025; Theo Jansen (NL)

Year 2024: A residency led by composer Pawel Romanchuk and Małe Instrumenty focusing on manufacturing musical instruments out of waste, while Rionach Ni Niell, director for Galway 2020 flagship programme Hope it Rains | Soineann nó Doineann, will lead a residency on fashion, clothing and upcycling. Year 2025: Bringing the artists responsible for the residencies in year 2023 and 2024 a new participatory performance called AirAnimations. Four municipalities Young people and families PI2025; Centre of Useful Objects - Komunala Izola (SI); Okolje Piran, recycling company (SI); Philippe Geffroy (FR); Paweł Romańczuk (PL); Žilina 2026, candidate (SK); Municipality of Muggia (IT); Hope it Rains - Ríonach Ní Néill (IE).

AirAnimations A three-year community-focused participatory arts project, placing three artistic residencies at its core. Co-designing, upcycling, co-building, and sharing are the keywords of a project aiming to develop the understanding that we are nature, — and that art can bring healing to our endangered natural environment. Learning to make treasure out of trash, while traveling light towards a zero-waste future. Year 2023: Flying Dreams – A residence led by Philippe Geffroy, inviting young people to codesign and co-build a giant spaceship using recycled waste materials.

21 Drowned Galway – photo: Joe Lee

MANAGEMENT

Grounding Ecologies - Saša Spačal (SL) What does the world need? It needs stories of connections, cohabitation, coevolution, co-creation and care. Why does the world need stories? To develop empathy; to see, experience, feel, hear connections, and ground them in everyday life. Certain connections are too obvious, and have thus lost their magic; others, newly discovered by scientists, have yet to find theirs. If stories bring magic, how do we bring magic into science? The fertile territory of fabulation and mythogenesis allows us to reflect upon the inherent complexity of relationships between the human and nonhuman, the artificial and the supposedly natural world. This project consists of four sections. Touchscaping: Interactive audiovisual performance with soil critters: An intra-active living sculpture in which the performers interact with nests of earthworms. A system of sensors will transfer the touch of the interactions into sound and visual animation. Touchscaping triggers a confrontation with the uncertain and alien within us, allowing an empathic connection otherwise difficult to perceive due to our cultural context. MycoMythologies: Fungal storytelling. A series of ontogenetic mythological stories, video essays and installations. If a microscope could tell a story? What would it say and how? How can fungi help humans think up possibilities of entangled life in and out of capitalist ruins? Posthuman Dinner: Dinner performance with microbes which nurture parts of the human body and its microbiome. Audiences will be fed delicious locally picked and wildcrafted meals with microbes, whose role will be experienced via digital storytelling sound performances through participatory involvement. Assembly Ritual of Decomposition: Public participatory sculpture. Waste is overflowing through our planet’s metabolic system; the Earth is not able to digest the overflux yet it often remains invisible. To overcome the invisibility of waste, artists – with the general public and industries – will create an act, a ritual, a process, a story of transformation involving decomposition. Monfort and industrial zones (partly online) General public Saša Spačal (SI); Eva van Rossum (NL); Stiching waag Society, Lucas Evers, Waag (NL); Matic Potočnik (SI); Prof. Matthias C. Rillig, Freie Universität Berlin (DE); Lina Rica (SI); mikroBIOMIK Society (EU); Art Laboratory Berlin (DE); prof. Toby Kiers, Vrije Universiteit Amsterdam (NL); International Hackteria Society (CH); Pim Boreel (NL). 22

International Retrospective of OHO Group OHO was the most important Slovene neo-avantgarde group of artists. Its idea was the Reism, an attempt to reach a non-anthropocentric world of ‘things” and its activities included extending our understanding of many contemporary art forms. In the The 70’s it was transformed into a community and developed a specific type of conceptual art which aimed at establishing a spiritual communication. This major retrospective will take into account the Istrian context and underscore those ecological aspects of OHO’s work of particular interest for connecting to today’s public. The project will constitute a very significant and fruitful collaboration between the Moderna galerija, and the coastal spaces, associations and institutions. The iconic photo of Tomaž Šalamun, The Sea, 1969 (archive of the The Museum of Modern Art, Ljubljana) on the right. The Museum of Modern Art in Ljubljana and Galleries in Piran and Koper General public, activists, artists National Museum of Modern Art (SI); PI2025; Coastal Galleries, Piran (SI)

The Big Picture International Exhibition PI2025 will invite one internationally renowned artist and a Nobel prize winning scientist to curate an exhibition on the nature of climate change, by showcasing constellations of localized, specific points of view from artists around the world to showcase. This will be an extension of the work we began in 2020 with our Big Picture Open Call. Online on www.piran2025.eu and Coastal Galleries Piran in four municipalities. General public PI2025; see in the European dimension unit Q11.

The Sea, 1969, Tomaž Šalamun, Archive of the Museum of Modern Art Ljubljana

Change-dvocacy Focused towards young people and students voting for the first time in the next five years, this project will encourage participation in political and social processes through art and cultural activities (Theatre of the Oppressed, scenario planning, design & creative thinking). We will innovate, adapt, and refine tools such as citizen assemblies, digital deliberation, and participatory budgeting to amend and innovate the processes of representative democracy. In the 2025-2027 period the European Commission will evaluate the Multiannual Financial Framework (MFF) of the European Union for 2021-2027. At the same time, the first drafts for the MFF 2028-2034 will start to take shape, guided by the European Green Deal (EGD) with the clear goal to further reduce the European Union’s greenhouse gas emission by at least 50%. We intend to take up this challenge through our Change-dvocacy programme, developing and implementing a series of artbased participatory processes to evaluate the MFF 21-27 (and its impact on the EGD implementation), and to co-create the MFF 2832 with the main focus on the implementation of the EGD goals. Union member states Citizens of the countries of the European Union, holders of the right to vote and those who will have it in the next Four years. PiNA, Association for Culture and Education (Koper, SI); PI2025; Matera Basilicata 2019 Foundation (IT); Amapola Association (IT).

Water – Stream of Consciousness: Water Responsibility in the 21st Century Piran and Magdeburg (DE), are connected by a common concern: unusual water level fluctuations. Tandem: Water is not simply an essential natural resource, but a prominent part of human identity and an economic source related to salt production, navigation, trade, fishing ... The power of arts should lead us to a new awareness of our natural resources. Scientific data and research, provided by the Magdeburg-based Helmholtz Centre of Environmental Research and the Marine Biology Station of the National Institute of Biology in Piran, will create a sound base for action. Network: The legacy we will leave is a sustainable network of cities where water-level changes are a tangible process. Leeuwarden could be under the sea without appropriate technological and ecological responses, and Bodø will inevitably face the consequences of a rising sea level caused by the melting ice caps. High mountain areas will be affected as a result of warmer temperatures, glaciers melting and disappearing forever. Bridge: The cities will build a digital artistic bridge through the exhibition of digital art works from Piran (The Wave) and Magdeburg. Piran and Magdeburg (DE) and virtual bridge online. General public PI2025 and Magdeburg (DE); Emajogi River Barge Society Tartu (EE); Bodø 2024 (NO); VEB 2023 (HU); Žilina 2026, candidate (SK).

CULTURAL AND ARTISTIC CONTENT

Lost & Found Forum Babylon Forum Babylon is a literary project aiming to highlight the rich literary heritage of Slovenia, Italy, and Croatia, and support contemporary literary production. It will explore the ways in which the various languages of the territory interact and influence each other. Writers, translator, and language professionals, play an invaluable social role as bridge builders across cultural and linguistic barriers to bring stories from one community to the other; in doing so, they foster mutual respect and understanding. It will be divided into three segments, inextricably intertwined: 1. Literary translations and publishing: The consequences of the crisis of the publishing sector glaring in border areas, where people living few kilometres apart remain completely oblivious about the contemporary literary production circulating just across the border. A comprehensive series of books translations across three languages (Slovenia, Italian, Croatian) will thus be promoted and supported by Forum Babylon. 2. A new international translators and writers residency centre aims to host practitioners from different countries allowing them to live and create new works in a stimulating linguistic environment. The Forum Babylon project has a strong regional support. 3. The creation of a new book Section for the Slavic languages of former Yugoslavia within the Srečko Vilhar Library in Koper (SI). 4. Forum Babylon Festival featuring author and book presentations, public readings, and literary debates. This segment is an upgrade of Forum Tomizza, a successful cross-border initiative. After twenty years, the event is poised to achieve professionalization. Koper, Trieste, Croatian Istria and partly online. Readers and writers, literary sector (consumers and industry) Irena Urbič, Cultural club on behalf Forum Tomizza (SI) and Gašper Malej, KUD AAC Zrakogled (SI); Festival Pranger/Prevodni Pranger (SI); Baltic Centre for Writers and Translators (SE); Association Sanjam knjige u Istri, book fair of Pula (HR); City library Pula (Pula, HR); Istrian Branch of the Croatian writers association Pula (HR); Umag Town (HR); City library Pazin (HR); Poreč City Library (Poreč, HR); City Library of Umag (HR); Zvona i nari, Ližnjan, (HR); Petofi Literary Fund- Pecs Residency (HU). 24

Božeglav Japelj, Coastal Galleries, with Alenka Malej, scientific councillor. Be Petrified: Sculptures in the sea, symposium by Majda Božeglav Japelj and Medusa vs Medusa: an exhibition on the Myth of Medusa.

Forma Viva (Portorož) & Medusa vs. Medusa Forma Viva is a unique outdoor sculpture collection displayed at four diverse locations in Slovenia, focusing on different materials: Portorož (stone), Kostanjevica na Krki (wood), Ravne na Koroškem (steel), and Maribor (concrete). It began in the early 1960s as a quest to find an ideal balance between nature and art, experimenting with new materials and expanding urban landscapes. For decades its symposia have attracted artists from all over the world, each leaving their own creative mark in the city. These outdoor sculpture collections offer a fascinating insight into a wide array of outdoor plastic art creations, critical for academic and research purposes. This project aims to revitalise this important national and European site of cultural heritage. A significant infrastructural upgrading of Forma Viva park as a cultural heritage site is planned by the Municipality of Piran. It will build upon and extend a management plan for the protection of the sculpture collection and its natural landscape (2021-23). The area of the park will be expanded, and extended to include the historical nucleus of Piran’s old town (2021-25). Year 2021: Nature & Art - celebrating sixty years of sculpture at Forma Viva. Year 2023: Hortus Conclusus – Forma Viva on Piran Terraces focusing on the question of contemporary visual arts (sculpture) in direct contact with natural and urban environments.

Coastal Galleries, Forma Viva, Piran (SI). Locals, international sculpture audiences, young people, and tourists Coastal Galleries Piran (SI); Maravee Art Association (IT); Opera Viva Cultural Association (IT); National Institute Of Biology (SI); Faculty Of Life Sciences, University Of Vienna (AT); Hampstead School Of Art (UK); Isabel H. Langtry (UK), Gail Morris (SI); Maajaam MTÜ Ojaveere (EE); Town of Labin (HR); Mediterraneam sculpture symposium, Labin (HR); Museum of Contemporary art of Istria, Pula (HR); Greek brance of the international dance council of Unesco (GR); Institute for the Cultural heritage Corfu (GR).

Singing Lullabies for our Lives Lullabies are most often the first contact of a human being with organized sounds, invoking a gentle connection between the carer, infant, and larger community, thus representing an important means of socialization for humans. Singing Lullabies for Our Lives is divided into three segments: Lab, Performance(s), Festival. ‘The Lab’ will develop practices for a better understanding of what we need and desire as individuals and communities. Work with institutions dealing with vulnerable groups in care homes, hospices, hospitals, immigrations centres, detention centres will also take place. ‘Performance(s)’ will offer individuals and communities special encounters with the professional art world. ‘Festival’ (2025) will draw all the strands and years together.

Like much of Europe, the region has witnessed a steep decline in housing opportunities as a result of decades of lack of a clear strategy, and “zero-to-none” investments. Liveable spaces have become a battlefield between local inhabitants fighting for their quality of life, and the demands of the tourism market. Performance — Video-installations and performances in different languages will be housed in abandoned, neglected buildings and will incorporate participatory, observationbased practices where the spectator becomes an active participant of the happening. Research and Advocacy – Identification of empty places suitable for housing and the creation of an online interactive map. Koper (SI), Piran (SI) and partly online. Local and young people. Urška Bradaškja (SI); PiNA, Association for Culture and Education, acting for the net Stanovanja za vse Houses for everybody (SI); Davide Del Degan (IT); Samanta Kobal (SI); Dario Marušić (HR); Sebastian Cavazza (SI); Ivan Zerbinati (IT); Mojca Fatur (SI); Vesna Tominac Matačić (HR); Lorenzo Aquaviva (IT); Maja Gal Štromar (SI); Lučka Počkaj (SI); Simon Pribac (SI); Association Zadrugator (SI); VEB 2023 (HU); STEALTH.unlimited (NL); MOBA Housing SCE (HR).

Beyond Borders Microfestival Throughout the border territories of Italy, Austria, Croatia, and Slovenia, multiculturality has played a fundamental role in the development of local identities: borders, as well as transit and refugee areas, are the ‘surfaces of contact’ between different cultural and linguistic identities.

Year 2025: Medusa vs Medusa will present a renewed concept of the sculpture park Forma Viva, and include exhibitions of mixed media, photo exhibitions, collateral events for different audiences.

Festival online and four municipalities (SI). Families and children. Research community and artists. Katarina Juvančič and Mojca Zupanič (SI); Sežana Cultural Centre (SI); Irena Z. Tomažin (SI); Hasmik Harutyunyan (AM); University of Ljubljana, Faculty of Arts (SI); Karine Polwart Ltd. (UK); Orkney International Science Festival (UK); Koper Theatre (SI); Association of Cultural Societies Piran (SI); Association for culture Rož (AT).

This project will identify three different routes leading to Piran from the North (AU/IT), the South (HR), and from the inland. Each route will be divided into stages coinciding with a village where artists, anthropologists, researchers will create mobile transdisciplinary residences. Local inhabitants will be invited to collaborate in both in-depth research and artistic outcomes that will be carried out over three years (20232025).

Meduse Mirabilia will be a programme for children and adolescents by curator and visual artist, Lorena Matic, Art Association Opera Viva, in collaboration with the National Institute of Biology, Marine Biology Station, Piran (SI)’s the didactic programme of activities under United Nations Decade of Ocean Science for Sustainable Development 2021-2030. Medusa Magister: multimedia exhibition by Sabrina Zannier, Art Association Maravee and Majda

Welcome Home During Yugoslavia, and the first decade after its dissolution, homelessness was non-existent in Istria. After Slovenia’s independence in 1991, workers on minimum wages could purchase real estate thanks to the so-called Jazbinšek Law. But today it is almost unimaginable for young people to afford to buy their own home. The influx of students and tourists is further complicating the housing situation in Istria.

Piran from the North (AU/IT), Buje (HR), Buzet (HR) Communities across these locations Puntozero (IT); PiNA, Association for Culture and Education (Koper, SI); Žilina 2026, candidate (SK); Cultural Research Centre and Lusevera Ethnological Museum (IT); Municipality of Muggia (IT); Buje Town (HR); Buzet Town (HR); Tourist organization Pro Val Pesarina (IT); Cocula APS Association (IT); Mediterannean art Istra (HR); Open University Augustin Vivoda Buzet (HR); Association Festum Umag (HR). 25

CULTURAL AND ARTISTIC CONTENT

CLUSTER: MUZIKA Where the sounds of past generations find contemporary resonance

Venice Baroque Orchestra in Piran 2020 – photo: Peter Litavsky

Tartini Music Hub Palace Trevisini in Piran will become a regional hub for music called Tartini Music hub. The Municipality of Piran launched in 2019 the DISCOVER TARTINI brand which aims to preserve, evaluate, develop and promote the cultural heritage of the famous Giuseppe Tartini, born in Pirano in 1692, and one of the most famous composers and violinists in the Age of Enlightenment. The hub will be the home also for The Tartini International Music Festival (Lost and Found) and Sozvočja (see below). Palace Trevisini, Piran (SI) general public, pupils, acclaimed musicians and teachers. Italian Community Piran; The Giuseppe Tartini State Conservatory of Trieste (IT); University of Padua, Faculty for linguistic and literature (IT); Philharmonic of Rome (IT); Cultural, promotional and Congress Centre Auditorium Portorož-Portorose (SI); Coastal self governing Italian ethnic Community (SI); Italian Union (HR).

Sozvočja - World Music Hub in Trevisini Palace Piran / Cluster: Muzika Traditional music is a memory from a distant past, an echo of a land voicing the diversity of a region. With its internationally quoted hexatonic scale, its sonoric peculiarities and historical subtexts, traditional Istrian music earns a distinct place in the world music landscape. It is important to continue the work done by notable ethnomusicologists, performers, composers, and folk music societies, to preserve knowledge of Istrian music, dances, instruments, and customs, and to incorporate it into the contemporary musical landscape. The ethno division of a new music hub in Palace Trevisini will offer a platform for various activities: Education: workshops and permanent world music lessons, summer world music school - in collaboration with acclaimed musicians and teachers. International collaborations: collaborative music projects and productions, residencies, curated concerts based on world music. Production: audio and video production, music archive, online platforms, sheet music and teaching materials for music schools, teachers, musicians, released under CC licence. Palace Trevisini, Piran (SI) general public, pupils, acclaimed musicians and teachers. Janez Dovč (SI); Research Centre of the Slovenian Academy of Sciences and Arts (SI); Portuguese Music Association A Gostar dela Propria (PT); Marino Kranjac (SI); Kulturbahnhof Leisnig Cultural Centre (DE); Cultural and Artistic Society Sestava (SI); Cultural and Ethnomusicological Folk Society (SI); Goran Krmac (SI); Association TradinEtno, Pazin (HR); ONE Music Society (SI); Bojan Cvetrežnik (SI); Dario Marušič (HR); VZW Nestas (BE); Rudi Bučar (SI); Italian Community Association Santorio Santorio, Koper (SI).

Janez Dovč on stage – photo: Peter Uhan

The Tartini International Music Festival A major upgrade to this festival celebrating the Piran-born composer Giuseppe Tartini (16921770) – a star of the European Baroque, and one of the world’s most iconic violin composers, virtuosos, and teachers. Year 2023 and 2024: an international violin competition and monthly concerts, masterclasses and symposia. Year 2025: the festival presents the best interpreters of Tartini in world, Venice Baroque orchestra, Giuliano Carmignola, Il Giardino Armonico, Kremerata Baltica, Gideon Kremer, Leonidas Kavakos, Salzburg Chamber Soloists, Nicola Benedetti, Mario Brunello, David Plantier. The Festival will be based at Palace Trevisini, acting as a development platform for talent, audiences, and community engagement. In partnership with PI2025 it will reach out to local and national schools, care homes and community centres as well as to its established international audience. The Tartini International Festival will also enter into a partnership with Ship of Tales - Children’s Immersive Theatre project, to develop music and theatre for young audiences. Piran (SI) International audiences, local music audience and tourists Lib-art Association on behalf of Tartini Festival (SI); Deutsche Kammerkademie Neuss am Rhein Chamber Orchestra (DE); Emilia Romagna Festival (IT); Ferruccio Busoni New Orchestra (IT); I Solisti Veneti Orchestra (IT); Musicae Amoeni Loci Ancient Music Festival (IT); Salzburg Chamber Soloists Orchestra (AT); Sergio Gaggia Music Association, Cividale Del Friuli (IT); Divertimento Music Association (FR); Historic Towns of Slovenia Association (SI); Barroco Europeo Association (IT); Duo Tartini (FR).

Etno Hist(e)ria site-specific / Cluster: Muzika Folk music, alternative puppet theatre, street theatre, film, circus and site-specific stage design: six artfields, all coordinated by internationally acclaimed partners, will interact with local thematics to create fresh and unexpected encounters in remote locations. It will connect creatives to gardeners, ecologists, architects, and cooks to build a unique fusion of art and social events. At the crossroad of folk music, performative art, film, food and ecology, it will organise events for all ages and masterclasses for professionals. The platform is built on almost two decades of experience with Floating Castle Site-specific Festival (2014 - 2020), Festival Histeria (2011 - 2013) and Etno Histeria World Orchestra (2003 - 2020), with a network of 2000 professionals.

Istrian hinterland and KROG, Piran (SI) creatives, gardeners, ecologists, architects, and cooks; general public. MCLU - International Center for Puppetry Arts Koper, Matija Solce (Koper, SI); Koper International Center for Puppetry Arts (SI); Matita Cultural Association (SI); Association for Circus Pedagogy Cirkokrog (SI); Ljud Cultural Association (SI); Petra Pan Film Production (SI); Etno Cahuil (CL); DAMU - Prague Theatre Academy (CZ); Gorizia Soc. Coop. - Centre for Theatre and Animation (IT); Teatr Figur Krakow Foundation (PL); Studio Damuza o.p.s. (CZ); Sunshine Cabare (CZ); Umeå Unga Folkmusiker - Umeå 2014 (SE); Karzat Theatre, Five Churches Festival (Győr; HU); Academy of Music and Drama, Gothenburg University (SE); Documentary Film Promotion Association MAKEDOX (MK); Rijeka City Puppet Theatre (HR); Pohoda festival s.r.o. (SK); Research Centre for Organic Farming - University of Life Sciences Tartumaa (EE); Tampere 2026 candidate (FI).

IstriYards / Cluster: Muzika The ‘Istoryia’ of our region, Istria, is a story of diversity, division, community, violent borders, land appropriation, identity “marking” and fluidity. The outdoor/indoors open-spaces will function as platforms for exchanging knowledge about Istrian artistic, cultural and natural heritage, on one level, and its contemporary arts, crafts and goods production, on another. It will do so through Artistic/Research Residences (inviting local and international experts) and MUSELABs (experiential workshops/ seminars/lectures). By 2025 six IstriYards will be established throughout Istria, and across three countries: Croatia (Pazin & Vodnjan), Italy (Opicina & Muggia) and Slovenia (Sveti Peter & Portorož). HR (Pazin, Vodnjan), IT (Opicina, Muggia) and SI (Sveti Peter, Portorož) general public, pupils, musicians and teachers. Muzofil Association, Portorož (SI); Cultural and Ethnomusicological Society Folk Slovenia (SI); Science and Research Centre Koper (SI); Cultural Organisation Korte Izola (SI); Cultural and Sport Association SAMO Bertoki (SI); Italian Community Association Santorio Santorio (SI); Slovenian Cultural Society Tabor (IT); Pazin City Museum (HR); Pazin Town (HR); Association of Musical societies of the City Pula (HR); Vodnjan Town (HR).

CULTURAL AND ARTISTIC CONTENT

CLUSTER: UPROOTED – PAN-EUROPEAN ART AND HISTORY INITIATIVES Post-conflict population transfers; collective traumas, silenced memories, rootlessness, ‘hunger for memory’ The beginning of the third millennium is marked by two opposing tendencies – increased global interconnectedness, one hand, and a renewal of radical nationalisms worldwide, on the other. Nationalisms represent a major threat to European identity and feelings, as well as to the main achievements of the post-war modern society globally; human rights, solidarity, empathy, global struggle for keeping peace and responding to the climate crisis, are all at risk. Radical nationalist feelings often stem from unacknowledged identifications, inequality of different social (not necessarily only ethnic) groups, which, in turn, is a late consequence of major strategic political choices throughout the different post-war periods of the 20th century – namely population changes in border areas. After the second world war, forced migrations of a significant number of people were carried out in an attempt to produce an ethnic homogenisation of multicultural areas, ‘keep peace and avoiding further conflict’. However, such practices proved to have strong and long-lasting consequences, impacting on the sense of identity of those who were forcibly relocated, on their place-attachment, and on their collective memory. Its echoes still play an important, yet unacknowledged role, in contemporary societies. Post-conflict population transfers left a major wound upon Europe, which resulted in personal and collective traumas, silenced memories, rootlessness, ‘hunger for memory’, engendering silenced conflicts still brewing inside the EU today. Population transfers, namely during the 1945-1956 period, are a key feature Istria’s recent history. This cluster is composed of seven projects that merge academical research and performance to transform these submersed, still existing tensions into an open field of creativity and interaction. Art offers a unique context to channel these suppressed conflicts and tensions into creative dialogue. Parallel and intertwined activities will consist of conferences, performances, exhibitions and artistic productions. 28

Exit sign at Istrian regional railway – photo; FotoExTempore Novigrad-Cittanova

Laboratory of Uprooted Memories / Cluster: Uprooted Anchored at the crossroads between humanistic studies and artistic expression, this project will investigate phenomena related to populationchanges, shared heritage, contested memories and identities, led by international experts (from the field of anthropology, heritage studies, history) and artists.

HeartHealing / Cluster: Uprooted The Earth feels the pain of its people, nature absorbs it. Yet, some locations are so deeply wounded that they need a healing intervention. HeartHealing project will offer a set of creativemeditative workshops, set in the Istrian landscape, to identify places that need healing through different forms of art. The artist Marko Pogačnik (SI), a world known land-artist and UNESCO Artist for Peace, will finally create a set of stone pillars that act as acupuncture needles where healing of the wounded landscape is needed. First (2021-2024)

Project activities will be intertwined with artistic interventions as scientists and artists collaborate in joint investigations, while merging methods and comparing approaches. Outcome: three on-line symposium, two conferences, one scientific monograph, fifteen public lectures (three per year).

Phase 1 (2021-2024): Research of the Istrian landscape to identify its wounded places as well as its place of vital, healing power. Public workshops will be organized in different places in Istria so that guests can experience them and have the opportunity to collaborate in the artistic processes of healing through sound work, imaginations, and Gaia Touch movements.

Koper, Piran (SI), and online. local population (high-school students, university students, adult local community), scientific community.

The Art of Reflection / Cluster: Uprooted The Art of Reflection is an Arts-Based Research (ABR) project, integrating tenets of the creative arts into research contexts to address issues of contested identities, silenced memories, otherness, minority-feeling and marginality. By developing empathy through artistic practices, we will investigate the perceptions that we have of ourselves, and our »Others«. The project comprises five experiential seminars taking place outdoors, in the natural parks of Istria, where participants will be invited to set off on an artistic inner journeys of exploration. Each year a different target group will be involved. The results will be summarized in monographic publications as well as in a closing performance or multimedia spatial installation.

Phase 2 (2023-2024): The artist Marko Pogačnik will identify places in need of a more profound healing process, to be achieved through the art of lithopuncture – acupuncture work done on specific points in the landscape.

Koper’s Mall – photo: Guido Stocco, Archive of the Italian Community Association Santorio Santorio, Koper.

Koper, Piran (SI), and online local and international youths, and adults.

Phase 3 (2025): The lithopuncture stones will be carved with cosmograms and placed upon the chosen places. Carving will be done in public places. All activities will take place in the open places of Istrian cities and landscapes, from Koper (SI) to Pula (HR), and Rijeka (HR).

Palimpsests / Cluster: Uprooted A set of five interconnected, interactive, urban photography exhibitions, seen both as a palimpsest of memories and as a trigger for researching the sense of place of a community. Each year an exhibition will be organised extended with written, oral or participatory collected testimonies linked to the images presented. In the first year (2022), the exhibition »Atonement for Königsberg« by the photographer Dmitry Vyshemirsky will be shown, accompanied by the performance/lecture of sociologist Olga Sezneva, during their residence in Istria. The second year (Year 2023 will be dedicated to the pivotal photographer of Istria in the period (1930-1956), Libero Pizzarello. His images of pre-and-early-post-1945 Koper/Capodistria will be presented in public together with texts either from literary works or oral testimonies that local students will collect. In 2024, local photographer Zdenko Bombek will upgrade a former project into the exhibition titled »Faces of the Istrian coastal cities«, presenting »once/today« diptychs of portraits of local inhabitants from the post-1945 period until today. The images will be enriched by testimonies of the portrayed, to be collected by the students of the University of Primorska. In the same year (2024), the exhibition Chi partì e chi rimase (Who left and Who Stayed) by the Italian (originally Istrian) photographer Lucia Castelli, will be expanded with new motifs and presented in public space as well. In 2025, the initiative Come Over for a Coffee (Pridi na kavo/Vieni a prendere un caffé) will take place: the inhabitants of the three Istrian towns will meet the pre-war inhabitants and/or their descendants, to be then portrayed together. The invitation will be extended to others who wish to overpass the anger, grief and nationalistic borders inflicted by the older generations, who experienced ‘population transfers’. The photographs will be taken by Zdenko Bombek, and finally exhibited in 2025. Istrian towns and Trieste (IT). high school students, university students, all local population from Istrian towns and Trieste.

Koper (SI) to Pula (HR), and Rijeka (HR) and online. general public and artists 29

CULTURAL AND ARTISTIC CONTENT

Walks-Memory-Talks / Cluster: Uprooted Between 2021 and 2024 a set of memory walks and/or memory talks, will gather local communities in interactive thematic strolls through their hometowns, along which they will be invited to exchange perceptions and share their memories related to buildings, sites, past events, customs and traditions, natural features etc., but also objects related to these memories. Similar talks/walks will take place in Trieste (IT), and in the Croatian part of Istria. Topics of the memory talks/walks will be decided accordingly with the results of the »Laboratory of Uprooted Memories – scientific project«. Walks will lead to workshops (carried out by Quarantasettezeroquattro), and the creation of an “Audio-video Memory Experience” (multimedia presenting contemporary space in the cities with historic material, mixed with testimonies and extracts from literature). Identified important spots in the three cities will be mapped into itineraries, “Topographies of Memory”. In 2025 a major multimedia and sound installation will present the highlights of the research. In year 2024 colleagues from the ECoC Kaunas 2022 will come and present their project City-talking and join the walks/talks. Trieste (IT) and the Croatian part Istria, SloveneAustrian-Italian Border areas. General public

Memory Of The Future / Cluster: Uprooted Uprootedness firstly opens the possibility of a wider horizon, and, secondly, it opens the ground for new, intertwining roots – by seeding. Three chapters will thus deal with the issue of uprootedness on an European and global scale: contemporary society, incapable of dealing with major migration flows from Asia Minor and Africa has a lot to learn from smaller local, historical context. The cities of Nürnberg (DE) and Budapest (HU) revise their attitude to their (invisible) historic minorities in the project NotAnIsland. The Timisoara ECoC will present the project »Moving Fireplaces« on migration stories of the German and other (Serbian, Bulgarian, Hungarian) communities in Romania, where personal narratives about migration and historical events are presented through performative art, murals, music. Lastly, Palestine has been since the key postWWII period a central and perpetual case of population transfer, and so of uprooting and replanting. London (UK)-based artists Larissa Sansour and Søren Lind will come to Istria for a residency in the region with the aim to develop a new work, based on the concepts of memory, futurism and inherited trauma. This resulting work will be exhibited during the main 2025 event, along with three of their works on similar topics - the sci-fi film In Vitro, the installation Monument for Lost Time and film In the Future They Ate from the Finest Porcelain. Istria and online. General public

The Brand New Past Fair / Cluster: Uprooted The past has become unreliable. Due to our concern about the future we tend to trust the power of memory. We believe that our society can be improved through a careful and respectful collection and public transmission of the citizens’ memories. Yet, while engaging in an attempt to harness the past, the present rushes by as an insignificant accessory of a better future. It is precisely in this very present where a new past is born. It can be harvested via apparent fiction: The Domestic Research Society (a curatorial and artistic collective based in Slovenia) will thus conceive The Brand New Past Fair. Through a series of interviews, radio shows (podcasts), public workshops and a regular annual fair as a participatory format – exhibition, the facets of present that urge us to seek refuge in the past will be revealed. Slovenia and online General public. Neža Čebron Lipovec, Katja Hrobat Virloget - University of Primorska (SI); Saša Poljak Istenič - Science and Research Center, Slovenina Academy of Sciences and Arts (SI); Martina Vovk – Modern Gallery (SI); Michele Baussant - French Research Center in Humanities and Social Sciences (FR/CZ); Johana Wyss and Maria Kokkinou - French Research Center in Humanities and Social Sciences (FR/CZ); Olga Sezneva - Program Group ‘Cultural Sociology’ at the Amsterdam Institute for Social Scientific Research, University of Amsterdam (NL); Catherine Perron - Sciences Po, Centre for International Studies - CERI (FR); Mila Orlić - University of Rijeka (HR); Jasna Čapo - Institute of Ethnology and Folklore Research (HR); Beata Halicka - Adama Mickiewicza University in Poznan (PL); Janine Schemmer - Alpe Adria University Klagenfurt (AT); Aleksandra Schuller (SI); Marko Pogačnik (SI); Association Quarantasettezeroquattro (IT); Kaunas 2022 (LT); Alenka Pirman, Jani Pirnat, Damijan Kracina - Domestic Research Society (SI); Nürnberg 2025, candidate (DE); Larissa Sansour, Søren Lind (UK); Timișoara 2021 (RO); Tampere 2026, candidate (FI); Žilina 2026, candidate (SK); Dmytry Vyshemirsky (RU/DE); Lucia Castelli (IT); Zdenko Bombek (SI); Ljiljana Vukašinović (HR/SI); Humanistic Society Histria (SI); Italian Community Association Santorio Santorio Koper (SI); Italian Community Giuseppe Tartini Piran (SI); Institut for Cultural Analysis - University of Klagenfurt (AT); European Cornel, Rijeka (HR); Association without Borders, Rijeka (HR); CRAF, Lestans (IT); Family Pizzarello, beneficiaries of the Koper photo city archive since 1945 (IT).

Post-futuristic Eastern European Modernism / Cluster: Uprooted The collection of eastern European modern objects and their stories takes the perspectives of these territories seriously, without falling into nostalgia. These objects are able to convey the differences between former socialist countries of eastern Europe, while also shedding light on their commonalities; they help younger generations and visitors understand our recent past. The project will engage design students and artists from all over Europe who will take these everyday objects from our former socialist past and make them fit for the future. The objects will be collected through a participatory process. The newly developed objects will be exhibited in their everyday settings in Chemnitz, and will later travel to the partner cities. Postfuturistic Eastern European Modernism is part of the Chemnitz ECoC 2025 programme. Chemnitz (DE), Rijeka (HR), Piran (SI), Koper (SI). General public Chemnitz ECoC 2025 and PI2025; Klub Solitaer e.V. (DE); University of Rijeka - DeltaLab Rijeka (HR); Novi Sad 2021/22 (RS); Italian Community Association Santorio Santorio Koper (SI).

Modern administrative building in Koper designed by Edo Mihevc and Invest Biro, 1967 photo by Marco Citron, Archive of Istrian regional railway between Slovenia and Croatia – photo: FotoExTempore Novigrad-Cittanova.

the Italian Community Association Santorio Santorio Koper.

CULTURAL AND ARTISTIC CONTENT

CLUSTER: URBAN ACUPUNCTURE Small-scale, bottom-up projects and initiatives that foster community engagement inviting citizens to become active partners in the transformation of public spaces. Architecture of Leisure / Cluster: Urban Acupuncture The modernist architectural heritage of four Slovenian coastal municipalities is marked mostly by buildings for leisure and mass tourism. A major transformation of both social and urban structure occurred as new city dwellers, working-class from ex-Yugoslavia, became the new workforce for the Port of Koper (1957), Tomos Motorcycle Factory (1954) and Delamaris Fish Production Company (1959). The last urban plan for the Slovenian coast was proposed in the 1960s by Edo Mihevc. He developed an urban paradigm, a residential skyscraper as a symbol of the socialist workingclass, which is considered a case in point in the urban modernization. As the Mediterranean climate is perfect for hosting workers during their leisure time, buildings designed for leisure (hotels, health resorts and other mass tourism structures) began to grow up along the coast. This project examines the nature of this legacy, its counterparts across ex-socialist Europe and how transformation over the last thirty years throws light onto changing patterns of behaviour, values and beliefs. It will lead to a major public exhibition and a permanent digital archive promoting new content diversity, dwelling and understanding of the cities via temporary use of spaces and staging new ways of thinking about urbanity and new manifestations of solidarity, especially during hard times of COVID-19 pandemic. Informal City Island / Cluster: Urban Acupuncture An action-research analysis of the current urban planning situation in Koper, through interviews with different stakeholders and public debates with a monitoring of results will be executed. One of the aims of these intense conversations is finding a common language – a new vocabulary for dwellers, users, and politicians to talk about their public spaces. The outcome will be disseminated via pamphlets and website during the creation of the vocabulary and gathered in a book at the end of the project. The project aims to define a model for community-driven ecological initiatives, starting from a water recuperation project carried out and implemented on specific sites by the artist Marjetica Potrč. 32

Temporary Utopic / Cluster: Urban Acupuncture An analysis of the modern architectural heritage of leisure of the Slovenian coast carried out by students and academics from the Faculty of Architecture Ljubljana. Led by prof. Miha Dešman and Vlatka Ljubanović, the project will lead to the production of a digital architectural heritage database. The results will be disseminated through Architectuul’s global community. Research, study and definition of the content and leftover modern buildings (from the mapping catalogue) for temporary uses will be developed with KUD C3 and partners. Definition of strategies for speculative design at workshops with prof. Barbara Predan and creation of a participative process of different stakeholders and dwellers to define a COVID-19 proof ways of new living in the cities. Staging the content for new city urbanity, creation of spaces for commons in collaboration with the international summer school Holis during three years process.

The Bad Bank Legacy / Cluster: Urban Acupuncture In 2007, a financial crisis broke out in the United States which spread throughout the world, and developed into one of the worst global financial and economic crises in the history of modern society. In 2008, almost all economically developed countries, including Slovenia, saw a decline in economic activity and population prosperity, as well as rising unemployment, and bank failures. The European Union experienced a difficult debt crisis, as the economic power relations between developed and developing countries changed. The project will examine the socio-spatial effects of the global financial crisis in four coastal municipalities (Koper, Izola, Piran, Ankaran). Focusing on real estate that was (and often still is) owned by bad banks on the Slovenian littoral, the project will critically analyse and evaluate several casestudies to understand the effects of bad banks from various perspectives.

Cultural and Artistic Association C3 Avtomatik Delovišče (SI);Marjetica Potrč (SI); Christian Burkhard (editor in chief), dr. Boštjan Bugarič (senior editor) Architectuul (EE); Mateja Filipič, landscape architect, designer, Martin Valinger, architect PhD researcher Cultural and Artistic Association C3 Avtomatik Delovišče (SI); Domen Grögl (SI) fotograf; dr. Barbara Predan (designer, theoretician), Academy of Arts - University of Ljubljana (SI); Pekinpah Association (SI); prof. Miha Dešman, Vlatka Ljubanović, professor team University of Ljubljana - Faculty of Architecture (SI); dr. Michala Lipkova, designer (SK), Maxim Dedushkov designer, economist (HU) Holis Nonprofit Kft. (HU); Toni Bračanov, journalist, Independent Costal Radio NOR (SI); Ula Schneider, Soho in Ottakring (Vienna, AT); dr. Igor Kovačević, Centre for Central European Architecture MOBA (CZ); dr. Viltė Migonytė – Petrulienė, Kaunas 2022 (LT); Bekim Ramku, Kosovo Architecture Foundation (Kosovo); Matevž Čelik, coordinator Future Architecture Platform, Museum of Architecture and Design (SI).

The project will consist of two parts:

DUTB – BAD BANK EMBASSY: Year 2025. A platform for the presentation of audio-visual content, an open-space for dialogue with the local community, featuring social events, exhibitions, music performances, lectures, round tables. Slovenia and online. local society; experts in the field of urban planning, urban revitalization, and cultural regeneration, experts in the creative economy, experts in the development studies; public administration workers Tina Cotič, Faculty of Education (Visual Arts and Design) - University of Primorska (SI); Assoc. prof. dr. Matjaž Uršič, Faculty of Social Sciences - University of Ljubljana (SI); Daniel Novaković, chief photographer Slovenian Press Agency (SI); Atelier 3 (BG); Ateliermob – Arquitectura, Design e Urbanismo Lda. (PT); SP(R)INT STUDIO (IS).

Part 1 (2021 to 2024) Research (mappings, context analysis etc.) to be carried out at different locations: Plovdiv/Sofia (BL), Lisbon (PT) and Reykjavík (IS) and in the four Slovenian coastal municipalities Piran, Izola, Koper, and Ankaran. The results will be published in indexed scientific journals (e.g. index SCOPUS, MBI, etc.); the material gathered will be used as a basis for film production and other artistic activities. Part 2 (2023 to 2025) Cultural and artistic production. DOCUMENTARY: made in collaboration with local artists and students of the Visual Arts and Design program at the Faculty of Education, University of Primorska. The film will be freely available online. In addition, it will be registered at festivals and screened at various urban locations in the four coastal municipalities. HANDWOVEN UPHOLSTERY: Year 2023 to 2024. Production of a hand-woven, largeformat tapestry, symbolizing and summarizing research findings. It will be donated to one of the art institutions as part of a permanent collection. PERFORMING ACUPUNCTURE: Year 2025. Performing three urban acupunctures – creative urban interventions organized and designed following the results produced by the project’s research activities.

Bad Government, Bad bank, graffiti in Portorož – photo: Alma Glumac.

CULTURAL AND ARTISTIC CONTENT

Primorski Poletni Festival One of the oldest cultural projects in the region will initiate a radical upgrade to respond to the demands of a contemporary audience. The new four-year plan is designed in concentric circles representing years and geographical areas. Each year we will dedicate the festival to a different European region, establishing cooperation with its different cities.

Connect and Care

The Wave@Monfort An immersive new media centre, The Wave, will be based in the former salt warehouse, Monfort, acting as a production centre facilitating exhibitions, screenings and performances, as well as a technological hub for various outdoors artistic activities. Modular, mobile and flexible, it will be used for implementation of orchestrated large-scale guerrilla art interventions (environmental art activism, laser projections on industrial infrastructure, monuments, city buildings, natural artefacts), installations and performances (big scale and small scale), and for hosting “Mobile Monfort” at various non-new media festivals such as etno, metal or classic music festivals. We will use art, in tight collaboration with scientists and research institutions, with sports, entertainment and industrial sectors, with the aim of dissolving ideological borders to work together on raising sea-related ecological awareness. In order to create new audiences and reach out to existing ones across Europe, we plan international collaborations (residencies for artists and presentations at partner festivals), and exploitation of immersive factors to address wider audiences. We set out to expand the new media scene in Slovenia which is predominantly conceptual and hermetically sealed and is not reaching wider audiences. We have lots of emerging artists that need supporting institutions to help them build recognition. Activities will be split into eight categories: 1. Orchestrated large scale guerrilla art interventions; 2. Dissolving inter-cultural borders / stepping out of comfort zone; 3. Dissolving cross-sector borders - Making artworks out of collaboration between artists and sportsmen / fishermen / scientists; 4. Dissolving inter-species borders (making artworks out of collaboration between artists and other species including AI systems and robots); 5. Education, workshops, masterclasses, ad hoc presentations of work in progress, debates, seminars; 6. Cross-border 34

The Hole – photo: Tadej Droljc.

collaborations; 7. Production of new works / using Monfort as a studio; 8. 2025 New Wave Festival. Thematic work includes: 1. Stories from the Sea: Phytoplankton to climate change; Nonsustainable fishing; Microplastics; Changes in behaviours of sea creatures - jellyfish, shells etc; 2. Stories from the Land: Air pollution; Climate change; Construction projects that are hazardous for the environment; The fishing and food sectors; Factories that poison drinking water; Heavy industry in the Gulf of Trieste etc. The Wave@Monfort will be a PI2025 legacy project. The Wave Project Coordinator: Tadej Droljc has worked with many immersive new media venues, both fixed and mobile ones. He is an artist and an engineer with an expertise in designing software tools for creating immersive new media content and their creative use. Monfort, Piran (SI), and online. A new public for culture. PI2025; 14 Lieux Theatre Company (CA); Ars Electronica Linz GmbH & Co KG (DE); PiNA, Association for Culture and Education (SI); AUAUFEIOMAU – Cultural Cooperative (PT); Stichting AVnode (NL); Biennale NEMO (FR); Urban Culture Centre Kino Šiška (SI); Cryptic Glasgow (UK); Flyer srl impresa sociale (IT); Gabriela Prochazka (CZ); GNRation (PT); Ida Hiršenfelder (SI); Institute of Bioorganic Chemistry PAS - Poznan Supercomputing and Networking Center (PL); Izland (SI); Joanie Lemercier (BE); Juliette Bibasse (BE); Cultural Society Matita (SI); Cultural Society Priden Možic, Kamfest Festival (SI); Kunstkraftwerk Leipzig - Center of Digital Art (DE); Le Centquatre-Paris (FR); L.E.V. Festival (ES); Lunchmeat, z.s. (CZ); MakeDox Festival (MK); National Institute of Biology (SI); Nicolas Bernier (CA); Ouchhh (TU); Push 1 stop (PT); Robertina Šebjanič (SI); Stran 22 Collective (SI); Osmo/za Consortium (SI); University of Huddersfield (UK); Cultural Institute Delavski dom Trbovlje (SI); Municipality of Braga - European Youth Capital (PT); Estonian Literary Museum Tartu (EE); NGO Aparaaditehas Tartu (EE); Tampere 2026 candidate (FI); University of Rijeka (HR); Žilina 2026 (SK).

International Koper Biennale of Contemporary Music A wave of new contemporary music floods iconic locations. A new festival is set to fill in the gaps in the local musical landscape with a constellation of Europe-wide collaborations. From music production to performance – with a focus on younger generations. Years 2022 and 2024 - Five-day festival taking place across Koper’s (SI) most iconic performance spots and cultural institutions: Koper Regional Museum, St. Francis Church, Tito’s Square and the Koper Music School. In collaboration with the Slovenian Philharmonic Orchestra. Year 2025 – Special ECoC edition. “From One Seed Life Blossoms”. A week-long contemporary music festival taking place in the industrial spaces of the Port of Koper (SI). Featuring Catalan Spanish company La Fura dels Baus (ES) and CRM Centre for musical researches, Rome (IT). Original electronic music inspired by Piran-born Baroque composer, Giuseppe Tartini. Youth section – performances by music school students from Koper (SI) and Białystok (PL), the Pan European Orchestra (La musica un ponte tra i popoli), NO.VI.ART (IT). Erasmus exchanges with the Graz Conservatoire (AT) are also planned. Audiences: Students from Italy, Spain, Romania, Slovenia and all the republic of ex-Yugoslavia; music enthusiasts of all generations. Koper (SI). Association Friends of Music Koper (SI); Ernst von Siemens Foundation (CH); ACTIVIDADES ARTÍSTICAS LA FURA DELS BAUS, S.A (ES); Slovene Philharmonic Orchestra (SI); CRM Centre for musical researches, Rome (IT); No.Vi.Art (Noviolence Arts) (IT); Muzyki Nowey Orchestra (PL); Neofonía Music Association (SI); Zagreb Chamber Orchestra (HR); Klangforum Wien (AT).

Year 2022: Exodus explores the sense of belonging of a fragmented region and its main cities: Venice (IT), Trieste (IT), Koper (SI), Pula (HR), Rijeka (HR) – all still grappling with past traumas and contested national narratives. Exodus is linked to the history of the Northern Adriatic co-produced with Veneto Permanent Theatre (IT). Year 2023: Where Are YU From? With the dissolution of former Yugoslavia, the sense of rootedness of its citizens dissolved as well. While trauma is frequently individually experienced (and often medically treated in confidential isolation), it also needs to be addressed in a broader context, taking into account the individual’s socio-economic relations. The many traumas left in the wake of the fall of Yugoslavia, have robbed people of their sense of belonging. Where are YU from? will offer the space to let these feelings out in the open to facilitate wound healing processes. Year 2024: Mitteleuropa - An Illusion? Linked to the history of Central Europe. What does Mitteleuropa mean? Is it purely the geographical territory of the former Austro-Hungarian empire? What is the narrative of a region fragmented by history and still facing so many social, political and economic challenges? Year 2025: Europe is the Sea linked to the migrations in the Mediterranean area. The ECoC year celebrates sea connections, linking coastal cities and Mediterranean capitals to the new migration spots of Lampedusa (IT) and Lesbos (GR). Europe is the sea emphasises sustainable development and ‘green solutions’ for the Mediterranean area. Outdoor spaces General public Association Primorski Poletni festival (SI); SSG Slovenian Resident Theatre Trieste (IT); University Centre for Theatre CUT (IT); Qendra Multimedia (Kosovo); Lipadusa Culture and Music Association, Lampedusa (IT); REDPLEXUS Marseille (FR); VEB 2023 (HU), Institute for the Danube Region and Central Europe Vienna (AT), Novi Sad 2021/22 (RS); Novi Sad Theatre (RS); Timișoara 2021 (RO); Zsolnay Heritage Management Nonprofit Limited Liability Company (Pécs, HU). 35

MANAGEMENT

CineIstra The Kino Otok – Isola Cinema International Film Festival is a well-established and widely recognized international event dedicated to world art house cinema, with a focus on classical and contemporary European cinema. After sixteen years of activities it is planning to gradually increase in size from 2021 onwards, culminating in a full-blown, internationally curated, virtual cinema experience for general audiences: Films for Change – International Documentary Film Festival and InSight Forum. Films for Change seeks to inspire general audiences to reflect upon the human condition, but also employ the power of documentary for critical cross-disciplinary academic reflection on our relationship with our environment. Edu-Films Connecting the Region - Structured film education for children and youngsters. A film education programme: selected films for various age groups. Children will be invited to watch a selection of 4-5 films each year, the selection of the films will include Slovenian, Italian and Croatian films to build, enhance, and preserve the cultural connection in the region among the younger generations. All films will be subtitled – not synchronized – in order to foster connection through language as well. As Film Education has entered elementary schools as an optional subject in Slovenia in 2019, there is a demand, especially amongst trained teachers, to develop such an initiative, expand it, and connect it to selected schools in Friuli Venezia – Giulia (IT) and Istria. Film Festival for Children - A proper film festival for children with a selection of quality film productions. The festival will place young people as main protagonists. Cultural Hubs – Hinterland. Cultural spots in nature, forest, by the river in Inner Istria. Cultural hubs will further develop the project Movies in Motion (co-financed in 2020 by MEDIA Creative EU) and will create cultural hubs in local communities combining cinema with other artfields (music, literature, performing arts, etc.). It will include cinema events organized in rural areas of Istria (Slovenia/Croatia) which will be organized in collaboration with Stazione di Topolò (IT). rural areas and hinterland (SI, HR) Local in international students and researchers in the field of arts, humanities, social sciences, natural sciences. Teachers and pedagogues. Local film enthusiasts, international visitors from abroad. Otok – Institute for the Development of Film Culture (SI); Motovun Film Festival (HR); E A bao A Qu (ES); Doc-Air (CZ); Primary School of Film - Slovenian Art 36

Cinema Association (SI); Topolò-Topolove Association (IT); Italian Cineteque Foundation (IT); Bologna International Film Academy (IT); Live Cinema UK (UK); European Film Academy EFA Productions gGmbH (DE); Alpe Adria Cinema - Trieste Film Festival (IT); Poreč City library (HR); City of Poreč-Parenzo (HR); Public Institute Pula Film Festival (HR).

Beyond Vocals Beyond Vocals places the human voice, wellbeing, creativity, creative healing, and community at its core. A space for aspiring singers, vocal festivals, artist retreat sand workshop aiming for connection with oneself and others. Beyond vocals creates opportunities for people to meet and explore communication, empathy, vulnerability/being exposed, staying present and open, having the courage to make mistakes and to build confidence through working on vocal expression, performance and improvisation. Led by award winning vocalist, Emilia Martensson (UK), and run by professional musicians from around Europe. Projects will include The Beyond vocals ‘Essential to life’ program which educates artists about the climate change crisis with the aim to produce new creative work used for live performances and educational purposes. In 2025, the Beyond Vocals festival will be a large international celebration of singing. Emilia Martensson, artists (UK);Janez Dovč (SI); Marina Martensson (SI); Musik Centrum Öst (SE); Irena Preda (US); Matthew Robinson (UK); Anja Brenko, Yoga room (SI).

Radical Impro Summit Unorthodox music has very few opportunities to be performed in the Istrian region. Radical Impro Summit will be a tool to bring musicians together to explore new horizons, establish relations, empower individuals to create music, reclaim and reanimate urban public spaces. It will also be a platform for activism; it will address problems of cultural infrastructure and develop narratives that connect individuals beyond national borders. It will start as small pop-up happenings taking place in unused and abandoned buildings in Istria, four times per year. All sessions will be recorded, digitalized and made freely available online. online and via radio broadcasts, in abandoned buildings in Istria young people interested in music production and digital technologies. Luka Bevk, culturologist (SI); Radio Študent (SI); Utkur Timur Tavil (DE); Tomi Okretič (SI); Teja Viler (SI); Leni Bržan (SI); Jaka Berger (SI); Anja Tedeško (DE).

Theatre – photo: Marko Sterle

Animate! Animate is a national, practice-based research project focussing on creative arts and special needs education. Its inclusivity-oriented programme was developed by the Unesco school CKSG – Hearing and Speech Centre, Portorož (SI). The School in Culture will be the first Slovenianwide research programme focused on creative arts education within the special needs sector. Between 2021 and 2025, three times per year, the school will host groups of youngsters from other Slovenian schools for special needs who will be involved in cultural events, exhibitions, workshops, and meetings with cultural workers. The goal is to create a large-scale case study to encourage reflection and debate about Slovenia’s public education curriculum design. Our goal is to lead and present a follow-up study, led by a selected group of international researchers. The results of the study will be presented to the Slovenian Ministry of Education, Science, and Sport with the aim of including them in the National Curriculum for Slovenia. The project ArtDOWNUP finds its main motivation in creating a large, inclusive community of individuals with special needs, and all those who want to express their creativity through painting and clay modelling. Thanks to the ECoC experience, the project will evolve, adding new artistic fields of application. International media artists will be invited to lead workshops on video, photography, and multimedia art installations for local and international students.

ArtDownUp – photo: Ubald Trnkoczy

The Inclusive Theatre finds its main motivation in wishing to present a well-developed practice from EU states which needs further integration and advocacy in the educational reality of Slovenia. Between 2021 to 2025 the school will invite special needs artistic groups from different countries to organise workshops and present their artistic production to a general audience. Four theatre groups from three EU countries that work in the field of inclusive arts will present their selected productions during the ECoC year. Prior to 2025 the theatre companies Chorea Teatr (PL) and Blue Teapot (IE) will organise educational workshops for professionals and enthusiasts. Especially Art ∙ Symposium and Report is the culmination of the project, its conclusion, but also a new beginning for CKSG Portorož. The Symposium, to be organised in November 2025, will feature lectures on education, art and inclusion, and the importance of holding the space for a complex population of extraordinary people to engage in artistic activities. All our main partners will be invited to attend. Portorož (SI) local, international special-needs students, art enthusiasts, creative CKSG – Hearing and Speech Centre Portorož (SI); Sergej Mašera Maritime Museum (SI); Coastal Galleries Piran (SI); Soline ltd - Saltpans Sečovlje (SI); Chorea Theatre (PL); Blue Teapot Theatre Company (IE); Foundation Teatr21 (PL); Association Of The Pathological Theater Onlus (IT); Pula School for Pedagogy (HR); UNESCO International Dance Council - Greek branch (GR).

CULTURAL AND ARTISTIC CONTENT

CLUSTER: SAFE HARBOUR The square (agora), set aside from the centre offers tranquillity, but also freedom. An emphasis on visual arts residencies and curatorial practices embedded in place and reflection, framed by the work of Ulay. Ulay’s Pier and Pavilion / Cluster: Safe Harbour The artist Ulay (1943–2020) examined the issue of water within the framework of his art for more than a decade: “I want to do something about water, apparently the cheapest, the most taken for granted, most carelessly treated commodity. Yes, this has to do with age. Hopefully getting older than now – I’m now 69 – and 69 is a good age to understand that you still have a pretty good chance to justify your life with something more important than art. (...) Now, after having streamed life I stream water. It is not that different. Where there is no water, there is no life. The life we have streamed, we must nourish with water otherwise it will die.” Ulay’s Pier and Ulay’s Pavilion will sit together with the already existing Lena & Ulay’s Harbour House to form Ulay’s Safe Harbour. Starting from the idea that lived human experience is necessary spatial and that place is fluid and flexible, the project will construct two temporary places which will transcend the idea of producing/making fixed cultural spaces and instead offer a more liquid notion of place. Ulay’s Pier. Inspired by the well-known Hastings Pier renovation project, Ulay’s Pier is to be a place, not a path, similar to a British pleasure pier but without any tangible content - a communal space. The pier, coloured in pink, will offer a ‘kontrapunkt’ to the blueness of the sea and connect with Ulay’s pink expression. It will be a man-made open space that resembles, but at the same time opposes, the vastness of the sea, and creates a cultural vacuum in need of filling up with new ideas, new forms, new people.

Ulay’s Pavilion will be a small tea pavilion set inside the garden of Lena & Ulay’s Harbour House in Piran. A tiny structure, set to accommodate a single person or small group, questioning the idea of private and public space and offering sanctuary to the artist, the nomad, the everyday person, to inspire and provoke ideas. Maintaining a holistic approach, the topics and workshops carried in and around the pavilion in small groups, rethink the functioning, conditions and limitations of the art world and its necessity to connect with other disciplines – as part of PI2025 focusing on the urgent connection with (young) environmentalists, scientists, activists and climate change researchers. The content produced in the intimacy of the Harbour House and Pavilion, where people live and work throughout the whole year, will be publicly presented on the pier as part of a curated programme. Designs for both structures are to be commissioned by ULAY Foundation to an architect selected in a public open call by a jury formed by representatives of the foundation, of PI2025 and members of the professional public. Structures will be constructed by the beginning of 2025. Harbour House Residency Programme / Cluster: Safe Harbour The Harbour House will expand its role in hosting young, emerging artists from various fields as the PI2025 residency programme and Curatorial Ports between 2021 to 2025. It will function as an open, transient, intimate space, constantly in movement, a laboratory in transit, a yearly home for the young artists, their consulate – consulate of PI2025. Curatorial Ports / Cluster: Safe Harbour Curatorial Ports will host annual international seminars for young curators at the beginning of their career (under 30’s) and will take place in Piran leading to pop-up exhibitions in unused or under-used spaces across the municipality. Piran Municipality and Slovenia artists constantly in movement, young artists, emerging artists, art lovers, general public ULAY Foundation (SI) supported by PI2025; Hildesheim 2025 candidate (in cooperation with Kunstverein and University Hildesheim) (DE); Fotopub Association for Contemporary Culture (SI); Vertigo Institute for Cultural Activities (SI); ZOO Magazine (NL/DE); Borusan Contemporary Museum, Istanbul (TR); Elevate Festival (AT); Marina Abramović Institute (US); Queen Mary University, London (UK).

Ulay – photo: Primož Korošec for Schirn Kunsthalle Frankfurt 2016.

Ship of Tales - Immersive Performance Practice for Children The Ship of Tales is community-building project involving intergenerational, intercultural storytelling and theatre activities for children and their families. Social cohesion rests on the creative ability of all of us, and in particular of our children, to acquire new knowledge mediated by empathy. In this project we will develop a rich multicultural dialogue focused on story and performance between: · children (owners of an often-unrecognised emotional intelligence, and of an unusual way of perceiving the world) · the elderly/grandparents (custodians of culture and history through lived experiences). Within the four Slovenian municipalities, and across Croatian and Italian Istria, this unique four year project will touch the life of children between the ages of three and ten, placing their voices, imaginations and creativity at its heart. It will enable our youngest and oldest citizens to work together to develop their own stories. Focused on connection and transcending borders, these activities will foster an attitude of care towards nature and the environment. The project aims to revolutionise thinking about art and education by introducing pedagogues to groundbreaking child-centred methodologies, focused on the innate creativity of the child. Additionally, it will encourage professional theatre artists to engage with children as cocreators and decision-makers of social change. The project will draw on world-renowned, innovative child-centred educational and artistic practice. In 2021 a mobility project for project leaders, key artists and educators will take place. The skills acquired will be shared in 2021 and 2022 via presentations and workshops for educators and theatre professionals; these will further inform a range of residencies on storytelling and theatre for children, parents and grandparents. In 2023 work will commence on the creation of professional theatrical interventions/ narrative performances, focusing on an old fishing ship (a story and theatre playground) while spreading across the four municipalities and beyond: fascinating imaginary characters will be encountered - former inhabitants of the towns, possibly a magical sea-creature; unusual objects may be found - letters or poems hanging from trees, strange multi-coloured fish in a shop window; beautiful music emanating from behind closed doors. In response to these encounters, children will create visual images, take photographs, and tell stories which will be scribed and gathered by their teachers, parents and grandparents.

In 2024, artists will take the rich source material to create what will become the culmination of the project in 2025: an immersive, interactive performance at sea and on land; a unique theatrical experience for young and old, drawn exclusively from the creative imaginations of the region’s youngest citizens, reflecting their hopes and dreams for the sustainability of the place in which they live. four municipalities babies, children, young people, families and carers Samanta Kobal, association Talia (SI) and Sarah Argent (UK); Urška Bradaškja, actress (SI); Venetian Association The new Trionfo, Venice (IT); Špela Šedivy (SI); Tinka Leskovšek (SI); Abakkum (SI); 55 Coop School of Music, Trieste (IT).

Back & Forth The territory stretching from Trieste (IT) to Rijeka (HR), from Venice (IT) to Dubrovnik (HR), shares a rich yet complex history. Places where different languages are spoken and where exchanges between cultures are commonplace are now facing the challenge of the COVID-19 pandemic. This project begins with a walk through the region. Back & Forth is led by an artistic duo Marco Artusi and Evarossella Biolo (IT). Wayfarers, careful travellers, will travel through these places as collectors of stories, landscapes, music: they will trace changes, investigate commonalities as well as divides. Over the first three years (2022 to 2023) we will identify and establish a working group, collect materials, and begin to study it in line with the direction of a scientific committee composed of geographers, anthropologists, historians, and writers. In the final year 2025, our process will be reversed: we will give back the processed material to the territory – a work returned in multiple languages so that every person living in the area can benefit from it. The material will be translated in four in situ performances in summer 2025 in Venice-Mestre (IT), Trieste (IT), Piran (SI) and Pula (HR). Mestre and Trieste Port - Warehouse n,18 (IT); Tartini Square, Piran (SI), Roman Arena, Pula (HR). General public Dedalo Furioso, Vicenza (IT); Italian Community Association Santorio Santorio, Koper (SI); Foundation Verdi Theatre, Trieste (IT); Ethnographic Museum of Istria, Pazin (HR); Woodstock Theatre (IT); Veneto Resident Theatre Carlo Goldoni, Venice (IT); History and Maritime Museum of Istria, Pula (HR); City of Pula (HR); Centre for the Historical Researches, Rovinj (HR); Faculty of Humanities, University of Pula (HR); The Istrian Historical Society Pula (HR), 55 coop School of Music, Trieste (IT); Theatre Association Skysma (SI). 39

CULTURAL AND ARTISTIC CONTENT

Salt and Sea

and sonified to an evolving soundscape. The storytelling / libretto will be sung by opera singers and contemporary singers with spoken narration. As the bioluminescence accrues the show will be timed to incorporate the presence of this phenomenon in the manner that will not be disturbing for aquatic life. The underwater opera will last until the glowing sea turns into night. Robertina Šebjanič (SI), Marco Barotti (IT); Ars electronica Lintz (AT); University Research Institute UR Zagreb (HR); Otto-prod (FR); Annick Bureaud (FR); Miha Godec (SI); National Institute of Biology - Marine biology station Piran, dr. Alenka Malej (SI); Istrian National Theatre of Pula (HR); Archaeological Museum of Istria (HR); Association Quality of Life Zona Pula (HR); Association Sonitus Pula (HR); Association Metamedia Pula (HR).

Istrian International Contemporary Performing Arts Centre (IICPAC) Istrian International Contemporary Performing Arts Centre, directed by Agata Tomšič and Davide Sacco / ErosAntEros, will produce and programme multidisciplinary, multilingual, multicultural performances, workshops, masterclasses, and participatory projects. Located in the former salt warehouse Monfort in Piran (SI), the Centre will make contemporary performing arts the new salt of this territory with an international programme of activities oriented towards Europe. The centre will combine development (of the audience and the territory), education (of professionals and spectators), production and programming (of international and local artists) in projects deeply based on multilingualism. Between 2023 and 2025 the IICPAC will produce three big, site-specific, participatory performances by ErosAntEros in three different industrial heritage settings on the Slovenian coast: two theatre classics that will be rewritten drawing on local history and the personal stories of its citizens. A third great collective work produced will be the result of the meeting of these (hi)stories with the work of five dramaturgs of different nationalities. Misterija buff by Vladimir Majakovskij will be transformed into a piece about climate change and the rising seas that threaten to make the cities of the Istrian coast disappear. Die heilige Johanna der Schlachthöfe by Bertolt Brecht will be turned into a piece about the history of the huge fish-canning industry that strongly marked this region and the lives of its inhabitants from 40

the late 19th century until today. And in 2025 a completely new piece of theatre, created with the intention of confronting the deep traumas that have shocked the cultural identities of this territory and its inhabitants over the centuries, to lead towards a sense of belonging to a united and supportive european citizenship. A oneyear-long participatory process for each of the three performances will give people the chance to get in contact with each other through the collective exercise of artistic creation. PI2025 / ErosAntEros (IT); Academy of Performing Arts Baden-Wuerttemberg (DE); Bitef Festival - Bitef Theatre (RS); Virgilio Sieni Company (IT); Department of the Arts Alma Mater Studiorium - University of Bologna (IT); Croatian National Theatre - HNK Drama (HR); CSS Friuli Venezia Giulia Resident Innovation theatre (IT); Laibach (SI); IIPM - International Institute of Political Murder (CH); MC93 - Maison de la Culture de SeineSaint-Denis à Bobigny (FR); MESS International Theatre Festival (BA); Mini Teater (SI); Odin Teatret - Nordisk Teaterlaboratorium (DK); OTSE Officine Theatrikes Salento Ellada (IT); PiNA (SI); Presence Group (HU); Ravenna Theatre / Teatro delle Albe (IT); RTV Slovenija (SI); Santarcangelo Festival (IT); Schaubühne (DE); SSG Trieste Slovenian Resident Theatre (IT); Socìetas Raffaello Sanzio (Cesena, IT); Structure production (FR); Tempo Reale Music Didacticts Centre for Research and Production (IT); Luxembourg National Theatre (LU); Strasbourg National Theatre (FR); Wallonie-Bruxelles National Theatre (BE); Trafó - House of Contemporary Arts (HU); Via Negativa (SI); Foundation Theatre Verdi, Trieste (IT); Festival Periscope, Rijeka (HR); Artistic organisation Kabinet, Rijeka (HR).

The Symphony of Salt With their destinies linked to salt heritage, Piran 2025, SKGT 2024 (AT) and Valletta (MT), come together to create a symphony about salt and its role in both the greatest conflicts and peace initiatives seen in Europe.

ErosAntEros in Monfort – photo: Aleš Rosa.

Life Aquatic – A durational opera of togetherness from under/above waves Life aquatic will be a durational underwater experience/opera where mythologies and science, history and future, fears and desires, humans and non-humans speak about our ability to address challenges of the time of the Anthropocene. It will take place from sunset until midnight in the title year on the bay in Izola. As the audience on land reaches out to the expanse of sea, they will hear the sounds and calls of those less often acknowledged – those from beneath the waves. From sunset to midnight the music will consist of underwater recordings, live transmissions of hydrophones and real-time measurements of water quality data which will be streamed from a sensor

Each year from 2022-2025 a group of musicians and composers will participate in a month-long residency in one of the three participating centres to create a movement of music, reflecting local perspectives on salt. In addition, a series of participatory open music workshops and events will accompany their work. In 2025 the three pieces movements will be united and performed at Piran’s salt pans by the No Borders Orchestra (RS/ DE), a symphony orchestra of professional musicians from countries belonging to former Yugoslavia. Having acquired widespread social and political recognition, NBO has displayed a strong educational vocation; the orchestra’s artistic practices have been aimed at the deconstruction of stereotypes, and the overcoming of nationalisms, racism, xenophobia, and the gory legacy from the past. NBO will hosted by Tartini Festival. Lib-art Association on behalf of Tartini Festival (SI); PI2025; Valletta Cultural Agency (MT); SKGT 2024 (AT); No Border Orchestra (RS/DE).

SEA STATION

PRODUCED BY AN AUTODESK STUDENT VERSION

CULTURAL AND ARTISTIC CONTENT

DESCRIPTION:

– floating social sculpture – dialogue space – research facility

LOCATION:

ACCESSIBILITY: by boat

OBJECTIVE:

to develop and increase empathy through Art by finding new perspectives on functional restoration of our ecological systems through the reflection of borders, freedom, nation, new normality, citizenship, ecology, empathy and solidarity.

the Gulf of Trieste at the maritime boundaries of Slovenia, Croatia and Italy.

FUTURE VISION:

after 2025 the SEA STATION would be donated to the local community as a reminder of unity between the three nations, while a part of this multidisciplinary facility could be used as a tool for studying marine biodiversity.

KEYWORDS: water, molecule, metaball, unity, transformation, diversity, equilibrium, participation, solidarity, plurality, locality, sinergy, sustainability

PRODUCED BY AN AUTODESK STUDENT VERSION

Sea Station - a durational participatory performance in public sea-space There are borders. But people, plants and animals are breaking the rules all the time.

This durational performance explores the social and personal paradoxes revealed by the COVID-19 era. The central stage for this project will be a Sea Station located on the sea border between Slovenia and Croatia. The station, to be understood as a social sculpture, will be at the same time a research facility and a space for common dialogue. Slovenian artist Maja Smrekar will live on the Sea Station in years 2024/25, aiming to prepare a project for the opening of PI2025 as well as facilitate gatherings of artists, scientists, researchers, different focus groups, government and non-government institutions representatives.

The station will offer open days to promote dialogue between local people and the artist. Annual sea meetings and watery conferences will take place, focussing on art as an agent for empathy, marine biodiversity, globalisation and climate change, and migration politics of the three regions during arbitration. The guests visiting will be invited to bring animals and plants to cohabitate. As a highlight of Wave of Change – Opening of PI2025 a concert on the Sea Station will be synchronized with the environment, so that no noise pollution will occur; it will be broadcast as part of the event. Maja Smrekar (SI); Stitching Unbore – BioArt Lab (NL/ IT); Art & Science Masters program of ITMO, University Saint Petersbur (RU); Faculty of Fine Arts, University of Barcelona (ES); Faculty of Fine arts, University of Bologna (IT); Maclab, Arts and Culture of the Department of Management, Ca’ Foscari University of Venice (IT); CERS Venice – Consortium of European Re-enacment Societies (IT); Quo Artis – Art & Science Foundation (ES); Association Istria Inspirit (HR); City of Novigrad (HR); Rovinj City Museum (HR); Faro 11 - Association for the development of CC (HR); Rovinj Open University (HR); Novigrad Lapidarium Museum (HR); UNESCO International Dance Council - Greek branch (GR).

PRODUCED BY AN AUTODESK STUDENT VERSION

Concept: Maja Smrekar Drawing: Aljaž Rudolf

The Sea Cannot be a Border (Sea SoundLightScape), (Adriatic & Arctic Crystal Soundscape) The Mediterranean Sea has a salinity of 38,5‰ - much higher than the world average. Salt crystals illuminate the landscape in numerous salt pans scattered throughout the Mediterranean and Adriatic seas. Although seemingly different, they bring another kind of crystals to mind: ice, which illuminates the coasts of the North Pole. These two natural formations are, in fact, intimately connected by the sea. The aim of this project is to create a musical composition that interprets the Mediterranean world of the salt crystal as well as the Arctic ‘home’ of ice crystal. The project, lead by landscape architect Romana Kačič, will select, evaluate, and record sounds produced during traditional salt-making processes as well as those produced in the icy landscapes. Year 2021: a set of sounds related to the traditional salt production; event in the salt pans of Sečovlje. Year 2022: a set of sounds related to the traditional production of salt pans in the Mediterranean; event in Greece. Year 2023: collection of sounds of the natural Arctic ice landscape, event in the Moon Bay near the Salt Pans of Strunjan. Year 2024: sea sounds played with organ; two events: of the beginning of the salt season Sečovlje and in the harvest season at Punta in Piran. Year 2025: production of LP record - promotion, dissemination, electronic registration over the network; two events to present the LP record in the Salt Ware Houses in Piran and Venice (IT). Salt pans and Arctic, online. General public. Abakkum Piran (SI); Piteå Studio Acusticum (SE); National Institute of Oceanography and Applied Geophysics Trieste (IT); Miramare Marine Protected Area (IT); Accademia Ars Nova Association (IT); Sergej Mašera Maritime Museum Piran (SI); Local Community Piran (SI); Network of Cultural Associations ZKD (SI); Gajbla Cultural Association (SI); Sailing Club Čupa (IT); Association Arzanà for the study and conservation of Venice’s boats, Venice (IT); Bodø Cathedral (NO); Venetian Association The last Trionfo, Venice (IT); Chorus, non profit Civil partnership, Eleusis (GR).

Salty Waves: Dance and Performance Residencies (Sečovlje / Strunjan saltpans). When taking a glance at the only remaining saltpans in the northern Adriatic in Piran (SI), one cannot fail but notice there is something melancholic, nostalgic, and romantic about them. A kind of quietness pervades you when you see on the horizon the saltpan-workers’

fragile, crumbled, and uninhabited stone houses. Salty Waves aims to bring life back to these beautiful, yet dilapidated salt heritage sites, by combining artistic performances with traditional practices related to salt production. The project is designed by Piran’s Venetian rowing female team, Voga Veneta, to promote a sustainable symbiosis between human beings and nature. An upgrade of local traditional events will be achieved in 2025 with an unusual collaboration between local and international dancers, actors, musicians, poets, scientists, salt pan workers, and the rowing team. The ‘salt’ produced during their encounters– knowledge, ideas, movements, thoughts – will be harvested to become a symbol for the need to restore a harmonious relationship between humans and nature. In 2025, artists-in-residence working with local elements (salt, mud, flora) will lead weekly workshops for different groups (families with children, teenagers). The end of the residency will be marked by a performance (August 2025) taking place at dawn and sunset; it will be recorded for broadcast. Access to the venue will be made possible by boats and other non-motorized vehicles (rowing). Assistance for mobility-impaired visitors will be arranged. Strunjan and Sečovlje salt pans, Piran (SI) General public Italian Community Piran on behalf of Voga Veneta, Piran (SI); Strunjan Landscape Park (SI); Local Community Strunjan (SI); Muzofil (SI); Morigenos – Slovenian Marine Mammal Society (SI); Primary School Vincenzo e Diego de Castro Pirano (SI); Faculty of Tourism Studies –Turistica, University of Primorska (SI); ACG Venice-Giudecca Rowers (IT); Batana Salvorina Italian Community Association (HR); Julie Anne Stanzak, Tanztheater Wuppertal Pina Bausch (DE); Tijuana Križman Hudernik (SI); Primož Oberžan (SI); Angelo Menolascina (IT); Nicolas Simeha (FR); Soline - Saltpans ltd, Sečovlje (SI).

Saltpans - photo: Romana Kačič.

CULTURAL AND ARTISTIC CONTENT

Marks – An Artistic Intervention This seven-kilometres long open-air installation project by Carinthian Slovene artist, Tanja Prušnik, confronts the essential issue of today’s climate crisis: What remains after us? What traces do we leave behind? The planned open-air installation stretches from Piran’s hinterland to the sea. A foil will be unfurled and attached performatively. The whole length of the installation will only be seen for a short period of time. For a few hours, the foil will be carried from there across the sea into the Bay of Piran Bay via small boats. The town’s residents with their boats as well as the rowing association Voga Veneta will thus become participants in this art installation. The participation of Piran’s citizens (students, school, associations, fishermen) is essential. After being recycled, the material will be conserved for further use in the field of art. Piran and Bay of Piran (SI) General public Tanja Prušnik and Künstlerhaus (Vienna, AT); Academic, Electronics and Maritime High School (Piran, SI)

THE 2025 CORNERSTONES Four cornerstones, celebrational, popular and fun, will help us point up the key moments for many kinds of audiences simultaneously. Yet, COVID-19 has changed the cultural landscape regarding large events. Our fist bidbook states that ‘local residents will walk alongside tens of thousands of guests and tourists to enjoy for extended weekends’«, but due to COVID-19 our world has completely changed since then, and with it the way we need to think and plan for moments of ‘cultural coming together’. One hundred years ago Koper was the venue for the hugely popular Prima Esposizione Provinciale Istriana – an early Expo in function and design, which consisted of four pavilions each dedicated to a theme: society, nature, economy and technology. We will take the four themes of the original Esposizione and give them contemporary interpretations:

Wave of Change - Weekend of 11th January 2025 Wave of Change will be the name of the cocreated Opening Weekend and Ceremony: A highlight will be a concert on the Sea Station synchronized with the environment, so that no noise pollution will occur; broadcast internationally. Other artists from the 2025 ECoC’s candidate cities will be invited to take centre stage alongside citizens placing collaboration through creativity at the core. The ECoCs of the year 2024 Tartu, SKGT and Bodø will be invited as co-creation partners. The Sea Contains, the Sea Divides (14/15th June 2025) The time when the Istrian coast and its economy are normally transformed by the arrival of tens of thousands of tourists from Europe, is the perfect opportunity to start a European conversation: a summer celebrational weekend dedicated to our relationship with the sea. Large scale performance, configured for their (post) COVID-19 times, and intimate, co-created experiences in spaces usually hidden from the casual visitor. Our maritime based PI2025 Ambassador Scheme with Bora ltd (see Q8) will also be incorporated into this occasion. Slovenian National Theatre Maribor (SI); Tourism sector: Vinakoper (SI); Eurotas Hotels ltd (SI); Lifeclass Hotels, Istrabenz tourism ltd (SI); Palace Hotels Portorož (SI); Mate Matjaž - Hotel Tomi (SI); Sava Tourism ltd (SI).

Mobile Borders (11/12th October 2025) Three major projects from our platforms will come together to explore this vital European concern: Uprooted and its history book for Istria created by artists coworking with children and young people; ErosAntEros - Large Scale Site Specific Performance Programme will present a new work; Beyond Borders Micro Festival (highlight) will demonstrate how culture has the magical power to let borders disappear. Svetilnik/Faro (Lighthouse) 13/14th December 2025 Is the Closing Weekend and Ceremony: A jointly curated co-created event between artistic groups from PI2025 and the two winning ECoC cities in 2026.

Economy: Wave of Change - Opening Weekend and Ceremony (11th January 2025) Nature: The Sea Contains, the Sea Divides (14th and 15th June 2025) Society: Mobile Borders (11th and 12th October 2025) Technology: Svetilnik/Faro (Lighthouse) - Closing Weekend and Ceremony (13th and 14th December 2025)

Our cultural programme consists of 57 projects distributed between four platforms, four clusters and more than 300 envisioned events and outcomes chosen as the result of an 18 month consultative process involving artists, cultural and scientific institutions at local and national level, international partners and past and future ECoC’s. The process has been led by creative coordinator Chris Baldwin in collaboration with bid leader Martina Gamboz, deputy bid leader Borut Jerman and International coordinator Márton Méhes. We have woven an open capacity building process Tlakovec (Stepping Stones) into the process of collecting, generating and refining this cultural programme. Tlakovec was communicated widely across social media platforms and all groups, individuals and institutions. Those who wanted to join us immediately gained access to the whole Tlakovec programme in 2020 (which due to COVID-19 was delivered by Zoom and in presence). Tlakovec gave potential cultural partners a forum and time to listen to the emerging concepts of the bidbook, contribute and modify its development, and also build their own proposals for inclusion in the final programme. Tlakovec sessions were followed up by over 500 meetings with potential cultural partners in order to support the development of their proposals into the projects included here. Partners were encouraged not to see ECoC as a one year festival, but as a developmental process for the region delivered by the collective force of their individual initiatives. Thus, most projects became longitudinal in design, stretching across a number of years in methodology, development, and delivery formats. Each project has begun developing plans for audience development, management, capacity to deliver, and the fundamental theme of culture and the climate crisis (from both a managerial perspective and a thematic perspective). Each project has also initiated budget planning although this will take a considerable amount of more work should the title be awarded to PI2025. As a result of this supportive and value-driven approach, we have been able to include every single project in the cultural programme which has been developed in this manner. This is not really a surprise as we believe deeply in the power of dialogue and exchange as a way of creating sustainable and creative relationships at institutional and personal levels. In the post title-awarding phase (2021 onwards) we will continue this development and transparent approach to building our cultural programme. Projects described in this bidbook will be offered support (Tlakovec 2021-25) to develop their projects and management structures further, in preparation for entering into formal contracts

with PI2025 Foundation. Where necessary, we will find ways to financially support cultural partners in order to allow them to prepare their projects before the final contract stage through ‘project development memorandums’. We already envision around 300 events and outcomes in our cultural programme. But over the years 2021 to 2025 we will supplement this programme with new initiatives. We have earmarked funds for open calls to be managed and curated by young people and citizen groups. We will maintain our commitment of developing the cultural programme PI2025 in a polyphonic way by supporting the voices of artistic and cultural collectives and share as widely as possible further programming decisions at a grassroots level. Celebrating the tangible cultural heritage of our area is expressed in infrastructure plans by the municipalities for two former salt warehouses (Monfort in Piran and Libertas in Koper). Furthermore Piran will transform the 19th Century Palace Trevisini into a public-facing hub for the celebration of music and music-making. The cultural programme contains projects which promote and innovate various manifestations of our intangible cultural heritage. Composer, teacher and violinist Giuseppe Tartini (born in Piran) is present through the developments proposed by the Tartini International Festival and its innovation to lead The Symphony of Salt project and educational ambitions with collaborations with children’s project Ship of Tales. The PI2025 cultural programme for Baroque, classical traditional and folk music, together with Piran municipality infrastructure plans for Palace Trevisini as a music hub, amounts to a coherent plan combining regional cultural strategy, plans for tourism, infrastructure, audience development and offices for cultural organisations as PI2025 Foundation.

Q7 How will the events and activities that will constitute the cultural programme for the year be chosen?

Q8 How will the cultural programme combine local cultural heritage and traditional art forms with new, innovative and experimental cultural expressions?

Etno Hist(e)ria site-specific (Cluster: Muzika) sits at the crossroad of folk music, performative art, film, food and ecology and reaches back into traditional music forms deeply associated with the lands of Istria. ‘Sozvočja’ - World Music (Cluster: Muzika) emphasises the sonoric peculiarities and historical subtexts of traditional Istrian music which earns a distinct place in the world music landscape. IstriYard also focuses on activities from musical heritage to later implementing a wide variety of so called “musal” activities as well as craft, technical, social and cultural characteristics of the area of Istria. Language and multilingual societies living within liquid borders is another manifestation of intangible cultural heritage. Translation centre Forum Babylon brings a modern 45

CULTURAL AND ARTISTIC CONTENT

Our relationship with the sea and sailing is a fundamental part of our local cultural identity and heritage, and is one of the most natural ways in which we express our internationalism and relationships with other maritime EU countries. We will initiate a maritime based PI2025 Ambassador Scheme by joining forces with Bora ltd in a 4-days sailing race of European maxi sailing yachts (Sailing as way of life) to connect cities of Piran (SI), Rovinj (HR) and Venice (IT).

How has the city involved local artists and cultural organisations in the conception and implementation of the cultural programme?

Social media, 75 press and television articles and appearances, and almost 30 local public meetings have been led by bid leaders across all municipalities and, in recent COVID-19 times, combined with consultative processes related to the PIKA cultural strategy development discussions. Our Tlakovec capacity building programme has also been a regular online forum in which the conception and implementation of the cultural programme has been developed, discussed and agreed upon. More than 80% of our cultural programme partners have taken part in Tlakovec online or in person. Local NGOs have been at the centre of the development and implementation plans for the cultural programme. PiNA association, a major player in the Slovenian NGO sector is represented in the bidding team at the most senior level (Borut Jerman - deputy bid leader) and has taken the lead in ensuring the bid represents the opinions and commitment from a wide range of voluntary sector stakeholders in housing, economic development, democracy and sustainability sectors, youth organisations and Slovenian digital arts.

some concrete examples and name some local artists and cultural

Way of life in Venice 2020 – photo: Gorazd Mauri.

Apart from regular consultative meetings with the artistic board, artists and cultural organisations, over 400 individual and group-meetings have taken place to discuss the development of particular projects, clusters and platforms. To put this into context, it is important to remember how small these four PIKA municipalities are. A total of 88.756 residents occupy a territory of 385 square kilometres.

Please give

organisations

Partners: Bora ltd (SI); City of Rovinj (HR) and City of Venice (IT); Motomarine s.r.l. (IT).

Q10

Four Slovenian local artists with international reputations, Saša Spačal (Grounding Ecologies), Robertina Šebjanič (Life Aquatic), Maja Smrekar (Sea Station), and Marjetica Potrč (Cluster Urban acupuncture) play a fundamental role in our creative programme.

perspective to this heritage as does the Uprooted cluster, which offers a unique context to channel the heritage of suppressed conflicts and tensions into creative dialogue. The modernist architectural heritage of the four municipalities is central to the Urban Acupuncture cluster and leads to a series of experimental and digital outcomes.

Local cultural and scientific institutions have all received invitations to join us on this initiative by being part of the artistic board or by proposing cultural projects. Many have taken the opportunity to reflect deeply upon their own visions and plans, addressed their audience development ambitions and the core theme of the PI2025 bid - namely culture and climate change. As a result, long-standing festivals (Primorski Poletni Festival, International Koper Biennale of Contemporary Music, Tartini International Festival and Forum Tomizza), enduring cultural projects and institutions (Komunala Izola, Kino Otok, ULAY Foundation, Coastal Galleries, Koper Public Library), local educational institutions (Primorska University, ZRS Koper Research Centre, CKSG Portorož) and research institutions (Science and Research Centre, Koper, Marine Biology Station Piran) are partners in our programme. Having listed all these supporting institutions, cultural, artistic and scientific, it is also important to reiterate that the majority of partners in our bid are from smaller or emerging organisations. This reflects the reality of 30 years of uneven development in the region. Nevertheless the energy and vitality of this group must not be underestimated. They represent a younger, international generation who have already achieved extraordinary things with few resources. This bid, with all the support from the more established institutions, aims to give these younger voices the support they require to work with audiences on the urgent theme of climate change.

Forum Babylon’s two local leaders, curator Irena Urbič and internationally recognised translator Gašper Malej, will be leading a series of international exchanges with translators from across Europe and in particular Slovenia, Croatia and Italy. Trajna’s project, Community Resource Laboratory, was initiated by two local and young practitioners, Gaja Mežnarić Osole and Andrej Koruza, who now work between Piran and Ljubljana. Tatjana Jercog (Koper), artistic director of Koper’s International Biennale of Contemporary Music, will be working with orchestras from across Europe as well as Catalan Spanish company La Fura Dels Baus. Lorena Pavlič (Izola), curator and festival organiser, will be leading CineIstra. Artist Urška Bradaškja (Koper) leads Welcome Home in collaboration with artists and activists from across Slovenia. Local actress and pedagogue Samanta Kobal will lead Ship of Tales (Immersive theatre for children) with Sara Argent (Wales, UK). Majda Božeglav Japelj, curator of Coastal Galleries will work in collaboration with Alenka Malej, Slovenian biologist of National Institute of Biology Piran (SI) on Forma Viva - Medusa vs. Medusa with national and international collaborators.

(architects) - Faculty of Architecture, Ljubljana, dr. Michala Lipkova and Maxim Dedushkov (designer, economist) – Holis summer school, Domen Grögl (photographer). Architect Romana Kačič (Abakkum Piran) will develop The Sea Cannot be a Border in collaboration with artists from Italy. Local actress Agata Tomšič will work with Davide Sacco (ErosAntEros) developing the Istrian International Contemporary Performing Arts Centre with artists from across Europe. Musician Luka Bevk runs Radical Impro Summit with jazz artists from across Slovenia. Journalist Neva Zajc leads Primorski Poletni Festival.

with which cooperation is envisaged and specify the type of exchanges in question.

Saša Spačal archive.

Local musician and musicologist Maja Bjelica (Muzofil Association) will lead IstriYards in cultural exchanges with Cultural and Ethnomusicological Society Folk Slovenia, Science and Research Centre Koper, TradInEthno (HR). Local Koper architect Tina Cotič will run Bad Bank in cooperation with University of Ljubljana - Faculty of Social Sciences - Center for Spatial Sociology - Assoc. prof. dr. Matjaž Uršič (spatial (urban) sociologist) and Daniel Novaković (chief photographer of Slovenian Press Agency. Local curators and sociologists Neža Čebron Lipovec and Katja Hrobat Virloget will curate the international cluster Uprooted. Architect dr. Boštjan Bugarič (Koper) leads Informal City on the Island and Temporary Utopic in collaboration with Marjetica Potrč (artist, architect), Mateja Filipič (landscape architect, designer), Martin Valinger (architect) - Avtomatik Delovišče, dr. Barbara Predan (designer) – ALUO Ljubljana, Pekinpah, Miha Dešman and Vlatka Ljubanović 47

CULTURAL AND ARTISTIC CONTENT

2020 2021 2022 2023 2024

2025 Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

2026+

Cornerstones

Salt and Sea

Cluster SAFE HARBOUR

Connect and Care

Cluster URBAN ACUPUNCTURE

Cluster UPROOTED

Lost and found

Cluster MUZIKA

Cultural Embassy For Crises Climate

Community Resource Lab – Trajna (Re:Create, Re:Use, Re:Act) AirAnimations (Re:Use, Re:Create) Strandbeests (Re-View/Re-Search) Grounding Ecologies (Re:Search, Re:Create) International Retrospective of OHO Group (Re:View, Re:Use, Re:Create) The Big Picture International Exhibition (Re:View, Re:Search, Re:Use, Re:Create, Re:Act) Changedvocacy (Re:Create, Re:Search, Re:Act) Water – Stream of Consciousness (Re:View, Re:Search, Re:Act) Forum Babylon (Re:Search) Forma Viva (Portorož) & Medusa vs. Medusa (Re:View) Singing Lullabies for Our Lives (Re:View, Re:Search, Re:Create) Welcome Home (Re:View, Re:Create) Beyond Borders Microfestival (Re:View, Re:Create) Tartini Music Hub (Re:View, Re:Create) Sozvočja - World Music Hub in Trevisini Palace Piran (Re:View, Re:Use, Re:Create) The Tartini International Music Festival (Re:View) Etno Hist(e)ria site-specific (Re:View, Re:Use, Re:Create, Re:Act) IstriYards (Re:View, Re:Use, Re:Create, Re:Search) Laboratory Of Uprooted Memories (Re:View, Re:Search) The Art of Reflection (Re:View, Re:Search) HeartHealing (Re:Search, Re:Create, Re:Act) Palimpsests (Re:Search, Re:Create, Re:Act) Walks-Memory-Talks (Re:Search, Re:Create, Re:Act) Memory Of The Future (Re:Search, Re:Create, Re:Act) The Brand New Past Fair (Re:Search, Re:Create, Re:Act) Post-futuristic Eastern European Modernism (Re:View, Re:Search) Architecture of Leisure (Re:Search, Re:Create, Re:Act) Informal City Island (Re:Search, Re:Create, Re:Act) Temporary Utopic (Re:Search, Re:Create, Re:Act) The Bad Bank Legacy (Re:Search, Re:Create, Re:Act) The Wave@Montfort (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) IstriYards (Re:View, Re:Use, Re:Create, Re:Search) International Koper Biennale of Contemporary Music (Re:View, Re:Create) Primorski Poletni Festival (Re:View, Re:Create, Re:Act) CineIstra (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Beyond Vocals (Re:View, Re:Search, Re:Create, Re:Act) Radical Impro Summit (Re:View, Re:Create, Re:Act) Animate! (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Ulay’s Pier and Pavilion (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Harbour House Residency Programme (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Curatorial Ports (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Ship of Tales - Immersive Performance Practice for Children (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Back & Forth (Re:View, Re:Search, Re:Create, Re:Act) Istrian International Contemporary Performing Arts Centre (IICPAC) (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Life Aquatic – A durational opera of togetherness from under/above waves (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) The Symphony of Salt (Re:View, Re:Search, Re:Create, Re:Act) Sea Station - a durational participatory performance in public sea-space (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) The Sea Cannot be a Border (Sea, Sound, Lightscape) (Re:View, Re:Search) Salty Waves. Dance and Performance Residencies (Sečovlje / Strunjan saltpans). (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Marks – An Artistic Intervention (Re:View, Re:Search, Re:Create) Wave of Change - Weekend of 11th January 2025 (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) The Sea Contains, the Sea Divides (14/15th June 2025) (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Mobile Borders (11/12th October 2025) (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) Svetilnik/Faro (Lighthouse) (13/14th December 2025) (Re:View, Re:Use, Re:Search, Re:Create, Re:Act) 48

European dimension

Q11 Elaborate on the scope and quality of the activities: · Promoting the cultural diversity of Europe, intercultural dialogue and greater mutual understanding between European citizens; · Highlighting the common aspects of European cultures, heritage and history, as well as European integration and current European themes; · Featuring European artists, cooperation with operators and cities in different countries, and transnational partnerships. · Name some European and international artists, operators and cities with which cooperation is envisaged and specify the type of exchanges in question. Name the transnational partnerships your city has already established or plans to establish.

Our bidbook is about the most burning global question. To speak clearly: We need to act and fight together as Europeans to save the planet, strengthen social cohesion, support stable ecosystems, and save resources. We need to understand what it means to be resilient and then take one further step – take action. In our opinion the European Green Deal is a political step in the right direction.

With our ECoC we go directly to the people: Artists and cultural productions are able to emotionalise the situation around the globe in a way scientific knowledge cannot.

Our concept, indeed our intention, is to be part of a Wave of Change which transforms Europe into a place ready to reconfigure its relationship with the environment. We will examine the relationships between culture and climate change and weave together a series of participatory processes and creative adventures to create a ‘big picture’ depicting the interdependence between ourselves and our natural world. We want to bring the European Green Deal to life by the cultural actions of citizens and develop a new creative-social way towards the green transition. Our bid directly addresses the relationship between culture, climate, and the environment at the local level and at the European/international one, based on our detailed conversations and exchange with the other ECoCs.

Our programme makes the case that local culture shapes the local climate debate and this fact is replicated across Europe and across the world. Our cultural programme promotes and commits to the following six key concepts which we would like to offer to Europe to gradually embrace and recognise together as a common goal and through our cultural projects present and proof as real common sustainable way of life and legacy of the project:

1. Decarbonise

Immediate, rapid and urgent reduction in greenhouse gas emissions to net zero.

2. Decolonise

Collective reimagining of environmental justice for humans and nonhumans alike.

3. Democratise

Programmes and practices that facilitate dialogue and inclusive decision making. / Polycentric governance and promotion of dialogue and inclusive decision making.

4. Feminise

Leadership ethics based on compassion, connection and collaboration. / Networked responses and leadership ethics contingent on connectivity, diversity, and compassion.

5. Enterprise

Knowledge, skills and participatory processes for a socio-ecologically regenerative economy.

6. Pluralise

Transdisciplinary vision that integrates diverse knowledge ecologies: traditional, scientific, emotional, spiritual. / Resilience through diversity of peoples and knowledge: traditional, scientific, emotional, spiritual, artistic.

EUROPEAN DIMENSION

The Wave that Threatens Us: The Climate Emergency

To Overcome Borders – To Build Social Cohesion

The programme platform Cultural Embassy for Climate Crisis (Justice, Change, Emergency) will be a space to rehearse the changes we envision together in an international, no-border forum. Here are some examples for concrete projects from the platform:

Istria stands for European cultural and linguistic diversity - and borders. In our programme we examine the theme of physical and mental borders that are deeply rooted in European identity. Istria has the experience of tumultuous change, political-economic reconfigurations, population ‘exchanges’, and shares these experiences with several other places in Europe. Through the

Project name

What do we offer to Europe?

What do we learn from Europe?

AirAnimations

We show how to use waste and other recycled materials for art works, music instruments etc. production based on a local recycling experience (Komunala Recycling centre Izola – Waste Collection).

We invite experts and artists from Europe to develop the “artistic recycling” process (Philippe Geffroy (FR); Pawel Romanchuk and Małe Instrumenty (PL))

Community Resource Lab – TRAJNA

We will initiate a Community Resources Laboratory and build a network of artists, designers and activists creating a durable action to respond to the local and global climate crisis. The local association KROG, Piran will cooperate with the Ljubljana based Krater/Simbiocen urban eco lab on the realisation.

We decided to adopt/connect with the initiative Open Design School Matera, learn from their strengths and struggles and upgrade it into The Community Resources Laboratory.

The Big Picture (see box for more information)

We have been creating a digital climate-emergency platform for international artists including our local perspective.

Through the eyes of artists from Europe and the world we will put together the big picture of climate emergency.

Good to know!

19 organisations from Europe have already joined the growing community of the The Big Picture: Within the Cultural Embassy of Climate Crisis platform, we have initiated a digital project for artists from around Europe and the world reflecting on the phenomena of climate emergency from their local perspectives. How can we see the big picture, the global mosaic of climate change as it impacts our world, our lives and our futures? 19 organisations from 18 European cities have nominated an artist or a creative team to present an artistic work in the specific formats (video sequences, photos, photo-montage, collages or short literary texts). The collected art-works can be seen here: www.piran2025. eu serving as a basis for the Europe-wide exhibition The Big Picture, planned for 2025 (see description Q6). 52

1. LDA BALKAN, Prishtina (KO) 2. Plovdiv 2019 Foundation, Plovdiv (BG) 3. Edgarundallan | theater collective, Hildesheim (DE) 4. Faro 2027 candidate, Faro (PT) 5. Nürnberg 2025 candidate, Nürnberg (DE) 6. Kaunas 2022, Kaunas (LT) 7. Serlachius Museums / Tampere region2026, Tampere (FI) 8. Munich Art Film Festival (AFFE), Munich (DE) 9. IKA-Istarska kulturna agencija-Agenzia culturale istriana, Pula (HR) 10. BW: Workplace Experts, London (UK) 11. Rede Cultura 2027, Leiria (PT) 12. VEB 2023, Veszprém (HU) 13. Counterpoints Arts, London (UK) 14. Proyecto ÑAQUE S. L., Madrid (ES) 15. Lucija Marin (SI) 16. National Academy of Arts of Ukraine // Development Centre “Democracy through Culture”, Kiyv (UA) 17. Culture Declares Emergency Movement (UK) 18. Chemnitz 2025, Chemnitz (DE) 19. Künstlerhaus, Vienna (AT)

platform Lost & Found we develop projects which focus on the present identity and history of Istria (across Slovenia, Croatia, and Italy), its mentality and languages – factors that have both divided and united us in that past. At the same time Lost & Found is a dialogue platform to discuss with our international partners how conflicts can be turned into new humanist opportunities through culture and art, like in the following projects:

Project name

What do we offer to Europe?

What do we learn from Europe?

Project Cluster Muzika

We focus on less known traditions, memories, sounds and food of past generations of Istrians.

Our local heritage will find contemporary resonance in close cooperation with partners from all over Europe including their local traditions into the discourse and co-production.

Project Cluster Uprooted

Our historical experiences of population transfer in the Istrian border area and how to transform these submersed, still existing tensions into an open field of creativity and interaction.

Similar historical experiences are painful pieces of European identity. Hence, the activities will be based on a European artistic and scientific dialogue, collaboration and exchange.

The Bad Bank Legacy

The project examines the socio-spatial effects of the global financial crisis in and after 2007 in our four coastal municipalities. We focus on real estate that was and often still is owned by bad banks and located on the Slovene littoral.

We will investigate similar phenomena in other European cities: Sofia (BG), Lisbon (PT) and Reykjavík (IS). At a later stage, we will adapt the data of the operation of the bad bank on a socio-cultural level via artistic platforms and transfer it to the city level.

Supportive human ecosystems Our platform Connect & Care consists of projects that contribute to the establishment of a new, supportive human ecosystem for the sake of greater social resilience. Numerous cities throughout Europe have recognised the need for this kind of change, focusing upon how we design our future(s) using cultural and artistic tools in multidisciplinary settings. Cities define their new ecosystem visions in their city cultural strategies,

European and international programmes and titles (Smart Cities, Creative Cities, United Cities Local Government – Agenda 21) support or promote the development. With the implementation of the cross-border regional Kultura.PIKA strategy boosted by the ECoC programme, Piran and its partner municipalities will join this European tendency as explained in Q3.

EUROPEAN DIMENSION

Project name

What do we offer to Europe?

What do we learn from Europe?

The Wave@Monfort

An innovative combination of a production centre and a technological hub for various outside art activities. Our aim is to use art, in collaboration with science and research, as well as with sport, entertainment and industrial sectors, for dissolving ideological borders and to work together on raising sea related ecological awareness.

In order to create new audiences and reach out to existing ones across Europe and the world, we plan manifold international collaborations (residencies for artists and presentations at partner festivals), exploitation of immersive factors to address wider audiences, large scale orchestrated guerrilla interventions and education (workshops, lectures).

Beyond Vocals

We focus on creating inspiring and creative opportunities and experiences for singers including an annual Jazz Vocal Course and a Vocal Festival in Izola that celebrates vocal music from all around the world and appeals to a wider audience.

The project will be led by professional musicians from around Europe and set up by award winning vocalist Emilia Martensson (SE/SI/UK).

We offer a radically upgraded summer festival that responds to the demands of a contemporary audience. The development years will be dedicated to European themes (exodus, former Yugoslavia, Mitteleuropa, migration and the Mediterranean).

European partner cities and institutions, as well as selected European co-curators will contribute to the redevelopment of the festival.

Primorska Poletni Festival

With the Kultura.PIKA Strategy and the further development of the action plan, we offer a model of regional strategy building and cross-border cultural cooperation among municipalities. In the frame of our ECoC we will seek exchanges with such regions for mutual learning. The dialogue has just begun with Žilina 2026 ECoC candidate forming a regional application for the Beskidy region (SK/CZ/PL).

Salt as a Metaphor for Resources

the date when humanity’s demand for ecological resources and services in a given year exceeds what Earth can regenerate in that year. Our platform Salt & Sea reminds us of our relation to nature and resources. The projects explore ways of moving beyond old dualities of extractand-consume and propose a new way of working, thinking and feeling about nature, hinterlands, navigation, the legacy and future of tourism, seasonality and salt.

When writing this bidbook in autumn 2020, we passed the so-called ‘Earth Overshoot Day’ on the 22nd of August. Earth Overshoot Day marks

The city of Venice and the Region of Veneto have a strong historical relation to the Slovenian coastal municipalities that goes back to the Venetian Republic, and is more than obvious even today in architecture, traditions and language dialect. Despite these traditions, it will be the first time that we manage a systematic, new quality cooperation in culture with Venice and Veneto accompanied by generous political and financial commitments.

City/region

Political agreement

Contribution with content

Region of Veneto (IT)

Signed statement of support

For joint cooperation projects via open calls

City of Trieste (IT)

Signed agreement of the Mayors

Wide range partnership with Trieste organisations: Teatro Verdi, Politeama Rossetti, OGS, Slovenian National Theatre SSG,…

City of Venice (IT)

Signed statement of the Mayor of Venice

Development of concrete joint actions in the following thematic areas: History and Local Traditions; Culture; Food; Water (see below for more details)

Croatian Istria region (+ 10 cities) (HR)

Signed agreement of the region and the four mayors; 10 agreements signed by the Istrian mayors

Fifty Croatian institutions from Istria are part of the PI2025 programme; municipalities associated with PI2025 projects: Pazin and Vodnjan: IstriYards; Labin: Forma Viva; Poreč: IstriCine; Pula: Back and Forth; Umag: Forum Babylon; Novigrad: Sea Station; Rovinj: Ambassador Scheme; Buje and Buzet: Beyond Borders Microfestivals

City of Muggia (IT)

Signed agreement of the Mayors

A special edition of Muggia Carnival to be integrated into the Opening Ceremony

Good to know!

Project name

What do we offer to Europe?

What do we learn from Europe?

Istrian International Contemporary Performing Arts Centre (IICPAC)

A brand new artistic production centre in close cooperation with theatre organisations from across Europe combined with audience development and educational components. Performances focusing on local environment and resource related issues like fish canning industries or sea level rising.

Professional training and placement will include intensive masterclasses with international artists and professionals from all areas of live performance. Audience development and engagement will encompass meetings, workshops and participatory projects with artists, scholars, critics, professionals of the highest international importance.

Zvoki Solin - Dance and Performance Residencies at saltpans

The project reflects the only remaining saltpans in the northernmost Mediterranean in Piran and emphasizes the sustainable symbiosis between human and nature through the unique saltpans. The first time in life, local and international artists and natural scientists will work in residence in collaboration with the local salt pan workers.

We will work with researchers, scientists and experts from different institutions from Slovenia, Italy and Germany as part of the Cultural Embassy for Climate Change regarding the influence of climate changes on the biodiversity of our area, ecological intelligence and mindfulness.

Though we share the same Istrian identity with our geographical neighbours, political and ethnic conflicts have made collaboration difficult. This bid is an absolutely new level of cooperation with our cross-border region. Our Istrian partner municipalities of Trieste and Muggia (IT), as well as the Croatian Istria Region (which is an administrative unit including ten cities) are fully committed to our application, supporting us both on a political and financial level. We have agreed with them on concrete contents for cooperation as well.

We will initiate a maritime Ambassador Scheme by joining forces with the company Bora ltd in a 4-days sailing race of European maxi sailing yachts to connect the cities of Piran, Rovinj (HR) and Venice (IT) providing high visibility for the new Istrian connectedness and our programme.

Piran and Venice agreed on joint actions in the following fields: History and local traditions: on the occasion of the 1600th anniversary of the foundation of Venice in 2021; toponym-walks; conferences of the universities on the Venetian dialect Culture: Slovenian artists hosted at the Venice Pavilion during the Biennale – International Art Exhibition; initiatives dedicated to Giuseppe Tartini, in cooperation with the Fenice Opera Theatre and the Venice Conservatory, to be addressed to families and their children and students along with a music contest Food: food festival to be held in Venice and Piran Water: projects for students focusing on the construction and/or maintenance of traditional wooden boats Symbol of Venice – photo: Aleš Rosa.

EUROPEAN DIMENSION

Good to know!

Number of confirmed European and international partners (organisations and individuals) in our bidbook:

512 from

signed Memorandums of Understanding, we outline some partners:

Theo Jansen THE NETHERLANDS Rita Orlando ITALY Andrew Alamango MALTA Ars Electronica Linz AUSTRIA Pawel Romanchuk & Male Instrumenty POLAND Philippe Geffroy FRANCE Ríonach Ní Néill IRELAND Community Economies Institute AUSTRALIA MakerBay HONG KONG Stichting International Foundation MyVillages.org NEEDERLAND International Hackteria Society SWITZERLAND Municipality of Faro PORTUGAL Baltic Centre for Writers and Translators SWEDEN Teatr Figur Krakow Foundation POLONIA Pohoda festival s.r.o. SLOVAKIA Bekim Ramku Kosovo Architecture Foundation KOSOVO 14 Lieux Theatre Company CANADA Lunchmeat, z.s. CECH REPUBLIC MakeDox Festival MACEDONIA Ouchhh TURKEY Estonian Literary Museum Tartu ESTONIA ACTIVIDADES ARTÍSTICAS LA FURA DELS BAUS, S.A SPAIN Klangforum Wien AUSTRIA Marina Abramović Institute UNITED STATES OF AMERICA Queen Mary University, London UNITED KINGDOM Bitef Festival - Bitef Theatre SERBIA Odin Teatret - Nordisk Teaterlaboratorium DENMARK Luxembourg National Theatre LUXEMBURG Strasbourg National Theatre FRANCE Wallonie-Bruxelles National Theatre BELGIUM Trafó - House of Contemporary Arts HUNGARY University Saint Petersburg RUSSIA UNESCO branch DANCE GREECE

100 41

from over

from / with

cities

countries

former, current, future and candidate ECoCs

90%

of the programmes listed in this bidbook involve international partners

partners from the Italian and Croatian part of Istria

Collaboration with European networks

ECoCs:

EUNIC – European National Institutes of Culture: we agreed to cooperate in projects highlighting the importance of creative industries in economic and sustainable development. Collaboration will start with the EUNIC-project Creative Boost: in the frame of the Slovenian EU-presidency 2021.

Plovdiv (BG), Matera (IT), Timișoara (RO), Novi Sad (RS), Bodø (NO), Bad Ischl (AT), Tartu (EE), Kaunas (LT), Rijeka (HR), Veszprém (HU), Galway (IE), Wroclaw (PL), Pécs (HU), Maribor (SI), Chemnitz (DE)

UNESCO Creative Cities Network: to take a closer look at cities holding a creative city title, especially to the holders of the City of Music. Culture Action Europe (CAE): we are in contact with CAE about monitoring and evaluation (Evaluation Task Force PI2025) and culture climate actions.

Candidates: Tampere (FI), Oulu (FI), Žilina (SK), Hlohovec (SK), Faro (PT), Nürnberg (DE), Hildesheim (DE), Magdeburg (DE), Hannover (DE), Ljubljana (SI), Nova Gorica (SI)

A Soul for Europe – Cities for Europe: we are in contact to join the Cities for Europe workshops to elaborate on the Action Agenda for Europe. 56

EUROPEAN DIMENSION

Q12 Can you explain in detail your strategy to attract the interest of a broad European and international public?

Come and Kiss the Beest! At first sight, Piran and the Slovenian coast are lucky picturesque places at the seaside where half of Europe is on holiday every summer.

The programme Wave of Change represents a radical change in the perception towards our environment. It is an invitation to Europeans to actively take part in our programme, to experience what we can do. They will meet Theo Jansen’s iconic Strandbeests at beaches or salt pans to be kept healthy and alive by love and care. We will invite them to an extended exhibition of our call The Big Picture, curated by internationally renowned artists and a Nobel prize awarded scientist on climate change, Lučka Kajfež Bogataj, showcasing the climate emergency from the local point of view of artists from all continents. With AirAnimations and Community Resource Lab TRAJNA our guests will experience that arts and design can be pioneering in reusing materials (even trash) and in rethinking local resources, with Grounding Ecologies the hidden connections and knowledge regarding nature, human and artificial will be experienced.

You are not Alone with your Past We will involve many Europeans into our systematic investigation of borders, divisions, conflicts and multiple identities.

Collective traumas, hunger for memories and rootlessness, as well as silenced conflicts persist and still influence conflicts inside the EU today. Population transfers are a key feature of the past of many border regions in Europe and Istria too. Within the cluster Uprooted – Pan-European Art and History Initiatives our visitors will have the chance to elaborate on the past together with other Europeans and to transfer the still existing tensions into an open field of creativity and interaction. 58

The programme offers special highlights too: Europe-wide there is a huge interest for socialist modernism or brutalism. Architecture of Leisure shows the nature of this legacy and its counterparts across ex-socialist Europe to the visitors, as does Postfuturistic Eastern European Modernism with redesign ideas for modern objects from the European socialist era.

Thanks to our cross-border Istrian collaboration with Trieste, Muggia and the Croatian Istria our visitors will enjoy programmes and performances in and from the whole region.

Q13 Describe the links developed or to be developed between your cultural programme and the cultural programme of other cities holding the European Capital of Culture title.

Port Cranes Playing Music Our programme is very rich in European collaborations and participating European artists, curators or scientists, and many of them are widely known personalities or groups who will attract people from the whole continent. The most popular soloists and orchestras will perform in the totally redesigned Tartini International Music Festival, while the Istrian International Contemporary Performing Arts Centre (IICPAC) will be a new place of international co-creation with leading artists, theatre ensembles and directors from all over Europe including Schaubühne Berlin (DE) or Trafó House of Contemporary Art Budapest (HU). The International Koper Biennale of Contemporary Music is an exemplary project celebrating industrial heritage and contemporary performance.

In times of COVID-19 Our four celebrational cornerstones during the year 2025 will help us point up the key moments for many kinds of audiences at one time. Yet COVID-19 has changed the cultural landscape regarding large events. This is why up to 60% of our overall programme will be broadcasted online too. Numerous projects – including the cornerstones – offer alternatives to mega event scenarios like Beyond Borders Microfestivals happening in villages, with a smaller number of participants.

On a Clear Day, You Can See Venice Yes, Wave of Change will offer something for most summer holiday tourists too. But we want to turn mere touristic consumers into co-creators and activate new audiences and visitors who will be be guided by art and culture through hidden places and treasures like the salt pans (Dance and Performance Residencies) and to the cultures and communities of villages, border, and hinterlands (Beyond Borders Microfestivals). Our programme will reinterpret seaside places like the Seča peninsula by expanding the Forma Viva sculpture park or the Sea Station at the Croatian sea border to be understood as a social sculpture. The coastal municipalities are determined by the sea and the Port of Koper having a huge impact on their lives. The Port will now be included as a cultural venue.

Through our cooperation with Venice and the Region of Veneto, our programme will be linked to the famous Venice Biennale and the Theatre La Fenice helping us on our journey to a new, international, contemporary and quality cultural life throughout Istria.

Good to know!

PI2025 established a special, strong relation to Rijeka 2020/21: Rijeka is not just one of the two current ECoCs, but a city situated only 70 km from our region. We have a lot in common, a lot to share. Therefore we established systematic collaboration with the Rijeka team, organisations and artists.

· Regular consultancy with the Rijeka 2020 team · Joint visit of the PIKA Mayors to the Mayor of Rijeka for ECoC exchange and learning

· The Wave@Monfort linked to Sweet and Salt

(DeltaLab/University of Rijeka) – We agreed on mentoring and project cooperation · The Association Without Borders and the NGO Dren – linked to the cluster Uprooted (shared topics: silenced memories, changing borders) · The NGO Dren and University of Rijeka - linked to Back and Forth · Project cooperation and guest curation in the field of contemporary dance with the International Periskop Festival and the NGO Kabinet – linked to IICPAC – Istrian International Contemporary Performing Arts Centre · We will carefully observe the extension of the Rijeka 2020 programme to 2021 and will connect our programme to the legacy of Rijeka ECoC for more partnership and to support Rijeka’s organisations and artists to realise their legacy plans

Joining and learning from the ECoC family has had high priority for us from the very beginning. We organised study visits for the mayors and the ECoC team to Rijeka, Novi Sad, Matera and Elefsina already at pre-selection stage. During the final selection round, we have been looking for deeper cooperation structures with ECoC friends:

· Learning from former and acting ECoCs (best practices, role models)

· Development of joint projects (tandems) · Matching of projects for future cooperation · Identifying common interests/themes (mainly with 2025-27 candidates)

· Liaising with artists and organisations from ECoC cities and candidates

· Establishing systematic cooperation with all 5

German finalist cities (knowing that Chemnitz won the title, but with the clear intention to still invite all the others as well) · Inviting ECoCs and candidates to the call The Big Picture

Symbol of Rijeka - photo: Aleš Rosa.

EUROPEAN DIMENSION

Pécs 2010, Wrocław 2016, Valletta 2018

Legacy organisations of former ECoCs as partners: Zsolnay Heritage Management Ltd Pécs (Primorski Poletni Festival); Writer in Residence Programme Pécs and Strefa Kultura Wrocław (Forum Babylon); Valletta Cultural Agency (The Symphony of Salt)

Magdeburg 2025 candidate

Tandem project development: Water - Stream of Consciousness PI2025 joined the following Magdeburg projects: A MD-Summer Night’s Dream (focus on socially disadvantaged kids), Reform Laboratory (public storytelling).

Matera 2019

Matera’s Open Design Center as a role model and co-leading partner of Community Resource Lab TRAJNA Matera-Basilicata 2019 Foundation as partner of Change-dvocacy

Nürnberg 2025 candidate

Plovdiv 2019

The Volunteering programme of Plovdiv as a best practice for our Volunteering Programme. The leader of the Plovdiv Volunteering Programme Franz Kadiri confirmed to be our adviser. The Plovdiv 2019 Foundation participates in The Big Picture

PI2025 joined Nürnberg’s project NotAnIsland - Traveling through Migration in Time for joint further development: thematic links to the Uprooted cluster and to the theme of borders. Nürnberg 2025 participates in The Big Picture

Tampere 2026 candidate

Tampere 2026 nominated an artistic contribution The Big Picture. Etno Hist(e)ria Site-Specific linked with Wild@Cuisine of Tampere 2026 and is considered a cooperation flagship (interaction between nature and the city, food and art etc.). Tampere 2026 is interested in cooperation in Community Resource Lab TRAJNA and The Wave@Monfort, Laboratory of Uprooted Memories (to extend the international discourse about borders and revolutions) PI2025 associates with the Tampere 2026 projects Non-Fossil Get-Togethers - Regional Flagship, Green Handprint, Quilt of Europe and Muralismo! Street-Level Urban Planning

Oulu 2026 candidate

Both main themes of PI2025 as a good basis for further collaboration: Oulu 2026 has a central focus on climate culture actions and a long history of borders in a triangle with Russia and Sweden.

Hlohovec 2026 candidate

Hlohovec’s concept pillar called “Safe Environment” offers opportunities for cooperation with the platform Cultural Embassy of Climate Crisis. We recognised Hlohovec’s proposal for a European Small Town Coalition as a good basis for further cooperation.

Žilina 2026 candidate

Environmental issues: Including Piran projects: AirAnimations, Water – Stream of Consciousness and Community Resource Lab TRAJNA; Žilina projects: Immersive Environmental/Water Center. Special mutual interests in the field of recycled/reused technologies referring to Piran’s The Wave@Monfort which corresponds with Žilina’s The WIRE (circular economy and techniques of reparation). Memories/Transborder identity: Including Piran projects: Beyond Borders Microfestivals and The Art of Reflection; Žilina projects: Argillia

Faro 2027 candidate

Faro’s Europe at Home was a role model for our open call The Big Picture. PI2025 participated in the onlineproject Europe at Home, while Faro 2027 followed us in The Big Picture.

Galway 2020/21

Climate as a thematic overlap: AirAnimations linked to Galway’s Hope it Rains!

Novi Sad 2021/22

The Novi Sad team supported our work through regular consultancy. Their experiences with building a managing structure for ECoC helped us when designing our ECoC Foundation We have agreed with the Novi Sad 2021/22 Foundation to deepen collaboration regarding Postfuturistic Eastern European Modernism and Primorski Poletni Festival

Timişoara 2021/23

Common topic: multiethnicity, historical conflicts - Uprooted linked to Timişoara’s Moving Fireplaces; Primorski Poletni Festival to Timişoara’s Chiaroscuro

Kaunas 2022

Kaunas 2022 participates in The Big Picture and the two clusters Uprooted and Urban Acupuncture. Kaunas’ Tempo Academy as a best practice for our Tlakovec capacity building programme.

VEB 2023

Common themes: seasonality in culture and tourism, the question of housing (2nd residents) PI2025 joins the VEB 2023 projects Balaton Ecology Festival and Republic of Freedom to collaborate on green policies, climate issues and resilience building VEB 2023 becomes partner of Water - Stream of Consciousness, Welcome Home, Urban Acupuncture and Primorski Poletni Festival VEB 2023 nominated an artist for The Big Picture

Bodø 2024

We will associate with the project Via Querinissima which is about sea trade routes in Europe and is a joint project of Bodø’s region Nordland and the Italian region Veneto, a partner region of PI2025 Collaboration with Tartini-expert Sigurd Imsen from Bodø Bodø 2024 is partner of Water - Stream of Consciousness Bodø Cathedral as partner of The Sea Cannot be a Border – Adriatic & Artic Crystal Soundscapes Salt as shared topic with Bodø as well as with SKGT 2024 and Valletta.

SKGT 2024

Main common theme: salt - both SKGT 2024 and PI2025 have an impressive salt production history. The same material, but different sources (salt mines in the mountains and salt pans at the seaside). As salty friends we have jointly initiated the tandem project The Symphony of Salt (description on Q6) Overtourism as a common challenge: How to find ways out of traditional mass tourism? Which alternative models we find together for the deconcentration of masses and environmentally friendly behaviour of tourists? Monitoring and evaluation: regular exchange in evaluation and monitoring (especially green policies and a change in tourism issues).

Tartu 2024

Chemnitz 2025

With Tartu we managed to interlink several projects and their leading organisations: Environment/water: Water – Stream of Consciousness with Tartu’s Reclaiming the River Emagoji and the Great Lakes Borders: Forma Viva with Tartu’s Wild Bits Exhibition 2024, Etno Hist(e)ria Site-Specific with Tartu’s Growing with your Food Ecosystems: The Wave@Monfort with Tartu’s Enter Woodland Spirits and Postmarket Street Festival Chemnitz 2025 takes part in our project The Big Picture Common field of action: investigation of the recent socialist past - joint European partnership project Postfuturistic Eastern European Modernism (see description Q6) Chemnitz-Piran Joint Partnership Project Fund: joint budget of € 150.000 per partner for joint partnership projects selected from a pool of applications starting in 2022.

Hannover 2025 candidate

With a link to the Uprooted cluster: street names in European towns to understand the past.

Hildesheim 2025 candidate

Partnership with Hildesheim organisations in Curatorial Ports; Hildesheim 2025 to join Community Resource Lab TRAJNA.

Cooperation with other “capitals of Europe” programmes: We will contact the European Science Capitals, the European Youth Capitals and the European Green Capitals of the next few years and develop cooperation with them. As a first step, we have established cooperation with ESOF Trieste 2020 and will associate the legacy of their programme with our ECoC. Green/resilience standards for ECoCs: We will create a network of ECoCs who are ready to collaborate on resilient ECoC standards for the future. Salty alliance: We will cooperate closely with ECoCs where the theme of “salt” is relevant, demonstrating the importance of salt for economy, civilisation, cuisine, lifestyle, but also as a form of our relationship to nature (potential members of the network: Rijeka 2020, SKGT 2024, Bodø 2024, Aveiro 2027 candidate).

Slovenian ECoC alliance: · Nova Gorica (GO2025) candidate: The city proclaimed as ECoC will host the other city for a two weeks presentation of programmes in 2025 selected via open call in 2024. The two cities will cofinance this programme with 50.000,00 EUR each. · Ljubljana (LJ2025) candidate: The two cities signed a letter of intent to cooperate (i.e. for co-production of projects from the bidbooks). Within the projects The Wave@Monfort and the LJ2025 project Technology Pact, we will strive for the realisation of one major joint international project that will be created between Piran and Ljubljana. We also plan to cooperate within the LJ2025 projects Academy of Cultural Management and Emotions in Motions. · Maribor: We have included several ex-ECoC Maribor organisations as partners into our programme (Forum Babylon, Salty Waves, Wave@ Monfort). The University of Maribor will be one of our experts on monitoring and evaluation. 61

outreach

In 2018 the candidature process started with the Istrian municipalities appointing the project team and the artistic board (30 cultural operators) to prepare the strategic approach for the development of the proposal; the key words were culture by and for citizens, and participation. In the first period we identified various target groups and we gave voice to young artists and creatives, teachers and professors, educators, NGOs dealing with environment, local and national institutions, municipalities, professional services and NGOâ&#x20AC;&#x2122;s directly and indirectly, professionally and nonprofessionally involved in the cultural sector, chambers of commerce, chambers of crafts, business incubators, entrepreneurship capacity building institutions, employment service, etc. Over 300 people were involved in the process at the time.

Most importantly, with the participative process of the Programme Clinic, we stimulated 80% of the cultural operators of the region to design the cultural programme of the first bidbook. Proudly entering the second stage, we continued to work as one big team, engaging more than 150 people for the development of 57 project ideas. Regional, national and international bonds came together, all with one horizontal aim to draw attention to the global climate crisis and how to engage creativity in order to confront our society, our decisions, our behaviour towards it. As a result of the Tlakovec capacity building first year programme (2020), daily contacts with many citizens, visitors and tourists (who visited us in the PI2025 office), debates with mayors, city councillors, different professionals, experts, academics, civil society organisations, we understood that there is no real change without the continuation of a social, community-focused conversation through culture and without the promotion of social cohesion and resilience. The science, the numbers are here and they are dramatically clear. We need a new approach, a commitment towards the search for new ideas, to create understanding and new policy approaches. This is what art is and what culture can do. And this commitment is present in the construction of every single step of the PI2025 project. The commitment is embedded in the transversal axis Re:Concept, which is at the heart of our 62

Q14 Explain in detail how the local population and your civil society have been involved in the preparation of the application and will participate in the implementation of the year.

cultural programme and important for the inclusion and participation of the local population and civil society. Re:Create projects point towards contents and solutions to environmental problems placing audiences as stakeholders, involving them to co-design processes and solutions. Re:Act goes even further, involving audiences in direct action, promoting culturally-based active citizenship. PI2025 projects are all designed to engage audiences in different ways. In each of the four platforms there are projects that are completely based on participation and engagement. AirAnimations rethink the quantity of trash we produce and propose new approaches in its reuse. Local populations will manufacture art through trash, reflecting the importance of reducing waste production, improving urban areas with nature, implementing green areas with art. Theo Jansenâ&#x20AC;&#x2122;s Standbeests will be totally dependent on local young people and students to keep them healthy and alive, reinforcing the consciousness about how human action affects technology, how that technology, its action and the impact it has on the environment is just a consequence of our action. Community Resource Lab and Trajna extend this work in a systematic way across the region, Ljubljana over the whole five years of our ECoC. Change-dvocacy is developed, planned and deeply correlated with participatory processes with all kinds of participants, from local people from all over the region and Europe to develop, innovate, and adopt new approaches, methods, policies, behaviour, and solutions. Tourism and other economic reasons are the basis of the housing problems in old city centres and Welcome Home will engage inhabitants to reflect upon them through art and to find creative solutions for housing of tomorrow. The CineIstra, Animate! and Ship of Tales projects will emphasise the importance of children in art making and cultural education, working closely with the youngest members of local communities, some of them the regional cultural operators of tomorrow. The Istrian International Contemporary Performing Arts Centre (IICPAC) will develop participatory performances in different industrial heritage settings, reflecting the fish canning industry that strongly marked this region and its inhabitantsâ&#x20AC;&#x2122; lives, climate change and rising seas that threatens to make the cities of Istrian coast disappear. 63

OUTREACH

Q15 How will the title create in your city new and sustainable opportunities for a wide range of citizens to attend or participate in cultural activities, in particular young people, volunteers and the marginalised and disadvantaged, including minorities? Please also elaborate on the accessibility of these activities to persons with disabilities and the elderly. Specify the relevant parts of the programme planned for these various groups.

The Wave of Change was born from the recognition that we need to transform our territory and its relationship to the natural environment by creating new opportunities for the largest number of people possible. We are well aware that our newer generations, in order to achieve their professional dreams, are forced to search for opportunities elsewhere. Creativity and culture are not just pastimes, but have a concrete developmental potential that ultimately creates growth and job opportunities. But this potential is realized only if we successfully overcome sectoral divisions and the closure of the local environment. That is why we embedded various layers of audience involvement in the basis of our programme. Re / View, Re / Form, Re / Search, Re / Use, Re / Create and Re / Act are defining the way in which (and to what extent) the audience will transcend the so-called invisible wall between art and viewers. Because only through the involvement of people can projects provide enough understanding and create conditions that ensure the successful continuation of activities even long after the end of the title year. All programme platforms are conceived in a way that all the projects have the basis for the involvement and collaboration between professionals and amateurs, creatives and pragmatics, technicians and thinkers, locals and foreigners of all ages. This is a modus operandi which marked the creation of the Wave of Change from the very beginning. All projects were conceived bottom up, working with artists and cultural organisations, together more than 400 individual and group meetings. The representatives of the Italian minority are part of the working team, artistic board and leaders of the cultural projects. The fact is that a multitude of young, promising creatives born in the region and forced to relocate to other parts of the country or Europe to develop 64

their potentials, have decided to put effort into project development, placing the responsibility on PI2025. The involvement of the lost generations and the human resources development are important points of the PIKA cultural strategy as well. We will pay special attention to volunteer work learning from other ECoC best practice in this area (Plovdiv 2019, Kaunas 2022). We believe that the experience of volunteering helps to strengthen social competencies and increase social cohesion. To this end, we have teamed up with Europe Direct Koper-Capodistria, run by the Association for culture and education PiNA, which already provides mobility for over 150 volunteers a year through the Terminal program. They are experts for the ESC (European Solidarity Corps) and with their support we will arrange a volunteering system for domestic and foreign volunteers. Some projects in particular will create opportunities for young people and marginalised groups. The Community Resource Lab will provide a series of intensive meet-ups for local communities in Istria that will be challenged to react upon selected sites of ecological emergency and co-create regenerative project proposals. Mobile workshops and production spaces will roam around the region, showcasing possibilities for material applications. The collaboration with the Open Design School, Matera production programme will enable us to host local and European craftsmen and artists and transfer their skills to local youth. One of the aims is to develop an alternative business model incubator, consultancy and laboratory for new community economies linked to sustainable development with a special focus on youngsters and elders. Beyond Borders Microfestival will act like the shuttle of a loom, weaving together the story of a transnational landscape, a moving artistic residence where the practice of listening to the territory and the participation of its inhabitants will be central. It will open up new, participatory opportunities for rural people to express their views on the most pressing issues of modern society. The Singing Lullabies for Our Lives will develop practices for a better understanding of what we need and desire as individuals and communities to create a more inclusive, nurturing society, with a special feeling for all marginalized groups present in the region. At the crossroad of folk music, performative art, film, food and ecology “Etno Hist(e)ria site-specific / Cluster: Muzika creative artists from various fields to gardeners, ecologists, architects and cooks. Placed in specific communities it will build events for all ages, engaging local communities.

The CineIstra project will develop and implement structured film education for children and youngsters in the region. Children will be invited to watch a selection of films each year that will include Slovenian, Italian and Croatian films to build, enhance, and preserve the cultural connection in the region among the youngest. Animate! is a national four-part practice-based research project into creative arts and special needs education. THE SCHOOL IN CULTURE will be the first Slovenian wide research programme into creative arts education within the special needs sector with a strategic inclusive approach. Our goal is to lead and present a follow-up study, led by a selected group of international researchers, which will be the base for a significant proposal to the Ministry of Education, Science and Sport regarding a new implementation of the national school’s curriculum in all educational programmes across our country. ArtDOWNUP finds its main motivation in creating a large inclusive community of persons with special needs and others who want to express their creativity. THE INCLUSIVE THEATRE finds its main motivation in wishing to present a welldeveloped practice from EU states which needs further integration and advocacy in the educational reality of Slovenia. ESPECIALLY ART · SYMPOSIUM and REPORT aims to create both a so called ‘closure’ and a new era for all developed activities lead by the Unesco school CKSG – Hearing and Speech Centre, Portorož. Children are in the centre of the Ship of Tales - Immersive Performance Practice for Children project focusing on community building through intergenerational, intercultural storytelling and theatre activities for children and their families.

Q16 Explain in detail your strategy for audience development, and in particular the link with education and the participation of schools.

Our audience development principles are very much in place and embedded in the whole process of rethinking and rewriting the cultural programme throughout 2020. Throughout the cultural programme audiences are called by different names. Sometimes they are citizens or temporary residents, other times co-creators, partners, artists, scientists or policy makers. And then there are spectators, children, listeners, readers, activists, teachers. While the name given to the audience shifts, depending on who is speaking or who is being addressed, we are always clear about “for whom” we work! Perhaps unifying our approach and terminology regarding audiences could be/should be one of our future exercises but the most important thing is already in place and already happening - there is no artistic vision without the audience. In our PI2025 revised programme the audience is at the core of all our foreseen actions. Without knowing our audience the main goal of PI2025, namely to stimulate social change towards the environment, will be impossible.

In the middle of the sea border between Slovenia and Croatia, the Sea Station - a durational participatory performance in public sea-space will explore the social and personal paradoxes revealed by the COVID-19 era. The station, to be understood as a social sculpture, will be at the same time a research facility and a space for common dialogue. Apart from more than 300 projects already envisioned in the cultural programme, we will propose open calls to be managed and curated by young people and citizen groups in order for them to shape the future projects on their behalf.

Wave of Change is all about people (as different stakeholders and target groups are firstly humans and citizens) - change in their hearts & minds resulting in change of behaviour and attitude towards OUR PLANET with art & culture as a main vehicle for it.

OUTREACH

Our whole artistic programme can be looked at and decoded from an audience perspective - and how and why they should get engaged and what they can get out of the experience. Our RE:CONCEPT outlined below has been elaborated to encourage audiences to travel between the six RE’s, for those who may consider themselves to be “ beginners” to those “advanced users”. We see audience development as a long-term and multilayered process which will be supported and completed by an Audience Development Plan for PI2025. Building this process and plan has already started in 2020 as an integral part of Tlakovec capacity building programme. Audience development principles;

· will be embedded into the design and implementation of the Tlakovec capacity building programme between 2021 to 2026.

· will involve various mapping exercises (of

· will be transferred into strategies and daily practice of the cultural sector (to each organisation/institution) by supporting professional development and processes on the organisational level through Tlakovec capacity building programme;

· Include networks and ecosystems of exchange

& collaboration within culture sector towards better audience engagement (and audience development);

· Means “knowing our audiences”: audience

research designed and integrated within overall monitoring process in connection with: · co-created and common audience development guidelines (for all projects and events), · audience development plan and principles in line with and translated into all communication and marketing strategies and actions.

audiences and audience development practices from the perspective of organisers).

RE:VIEW We may think we know everything about salt by the way it tastes. The platform Salt and Sea will encourage audiences to listen to salt (The Sea Cannot be a Border - Adriatic & Artic Crystal Soundscape), see salt move and shift (The Wave@Monfort), understand the healing qualities of salt (Symphony of Salt) and consider how underwater life is dependant upon salt (Life Aquatic). Showing something to audiences in a different way can often be enough – in all its splendour or horror. This kind of engagement is an invitation to look, listen or feel from a different angle.

RE:FORM An audience of gallery and exhibition attendees from Ljubljana or Vienna or Koper or young people from Piran could take advantage of a guided visit by a young curator from our project Curatorial Ports (Cluster: Safe Harbour) to experience the retrospective of Slovenian OHO Group + International Perspective on Land Art Movement at Monfort. We may question the ecological ethics of the kind of art which used heavy earth-moving machinery to displace tons of natural materials and scar the face of the Earth… but such grand interventions did enable audiences to see patterns and connections with nature otherwise un-noticed. Some of our exhibitions and projects invite audiences to consider the historical development of ethics, artistic practice and the natural environment.

RE:SEARCH Audiences could be curious to see how art is embedded in ideas and rarely comes out of nowhere and could be led to engage with Sea Station - a durational participatory performance in public sea-space (Platform: Salt and Sea) and Grounding Ecologies (Platform: Cultural Embassy for Climate Crisis) which takes a close up look at our interdependence with soil and the critters who live in it. Artists who wish to go deeper in understanding elements of nature. Artists take a queue from science – often taking a research, questions based, approach to their work, looking for interdisciplinary ways to share or co-create work with audiences.

RE:USE AirAnimations will act as a meeting point between participants and audiences of young people and communities with three artistic residencies using recycled materials to design and make space rockets, musical instruments and costumes. Community Resource Lab – Trajna will create an innovation bridge between citizens in Piran and Ljubljana with a regenerative cultural programme, learning by doing, with communities, expert practitioners and theoreticians. Artists who are concerned with the way we use and abuse the Earth’s resources often also look for innovation in the way they interact with communities and audiences. From participatory projects to analysis of soil we will invite and encourage audiences to see creative potential in waste and reducing waste.

RE:CREATE Change-dvocacy is particularly focused towards audiences of young people and students across Slovenia voting for the first time in the next 5 years this project will encourage participation in political and social processes through art and cultural activities. HeartHealing / Cluster: Uprooted will offer a set of creative-meditative workshops in the landscape of Istria to identify places that need healing through different forms of art. The search for solutions to environmental problems involves seeing audiences as stakeholders, co-designers and fellow designers of spaces and processes. Where audiences want to co-create, codesign, co-generate we will have an offer ready.

RE:ACT The Bad Bank Legacy (Urban Acupuncture) for audiences wishing to examine the socio-spatial effects of the global financial crisis in four coastal municipalities as well as CineIstra’s Films For Change – International Documentary Film Festival and InSight Forum are examples of how audiences could be invited to engage with direct action. Art and culture as direct political environmental action. Audiences and participants are invited to engage in the work as engaged citizens and active agents for change as our land, sea and air need us to reflect in order to act in their lives, environments, families and communities.

The Three Cornered Hat - Programming, Thematics and Audience Development Our philosophy towards audience development is based on the image of a three-cornered hat or tricorne. With its three distinct corners this hat is used as a metaphor for the encounter between artist, audience and subject matter. The artist or creator is at one corner of the hat, a theme or subject another corner and the audience, onlooker, co-creator, listener, reader, spectator occupies the third corner of that same hat. Without the three corners being represented there is no stable form from which to design the hat.

The story we wish to tell is about our need to address, on a local and global level, our relationship with our environment and the way this needs to change. In this way we, our cultural operators and artists which constitute our cultural programme, will be continually aware of the needs and potential of audiences to be co-creators of the Wave of Change.

With this three-cornered hat in mind our strategy for audience development is based on two further tenants: understanding clearly the story artists and communities wish to tell and share and secondly to identify and engage with those with whom the story is relevant in all its multiplicity and interest.

Our cultural activities are described using our Re:Concept which acts as both an initial orientation for audiences choosing how to engage with the programme and a way to move around the programme too.

OUTREACH

As these examples from our cultural programme demonstrate none really make sense unless we remain continually aware of the way our audience forms a crucial part to the structure of the threecornered hat.

Audience Development has also been raised as a key subject for our Tlakovec six-year capacity building strategy (which began in 2020). In the preparations for the 2020 edition of Tlakovec all cultural partners were asked to identify their own priorities for inclusion. Audience development, alongside project management, developing a deeper understanding of the climate crisis and culture, project management and budgeting were stated as important. A series of online seminars and workshops, led by Polish audience development expert Agata Etmanowicz, took place over July and August followed by each prospective cultural project beginning to form their own audience development SWOT analysis and embryonic strategy. Over the coming years PI2025 will support cultural partners develop their own audience development strategies as well as embed its own overarching strategy supported by Tlakovec.

Our Pledge to Young Citizens The repercussions of the COVID-19 pandemic are likely to have enormous consequences for children and young people.

Yet children need teachers. And so we have made an explicit commitment to offer training and learning opportunities for teachers across the whole of Slovenia in collaboration with practitioners with specialist knowledge and experience from other countries across Europe. The young activist needs to rehearse their social interventions. The design of Community Resource Lab – Trajna is predicated on the document of obligatory climate actions written by the Youth for Climate Justice and we will support this project to create a rich program of residencies, international camps to promote a new generation of transformationally engaged actors working/ creating in Istria. Change-dvocacy is focused towards young people and students across Slovenia and Europe voting for the first time in the next five years. This project will encourage participation in political and social processes through art and cultural activities and will innovate, adapt and refine tools such as citizen assemblies, digital deliberation, participatory budgeting, and the tempering of representative democracy. Welcome Home examines the local housing crisis. Like much of Europe, Istria has witnessed the rise of critical shortage of housing as the result of decades of “zero-to-none” investments for housing for young people and thus examines what a Wave of Change in this sector may mean for young people. The Wave@Monfort will be an immersive new media centre acting as both production centre and facilitating exhibitions, screenings and performances, and as technological hub for various outside art activities particularly focused towards young people. It will use art, in tight collaboration with scientists and research institutions, and with the sport, entertainment and industrial sector, for dissolving ideological borders working together on raising sea related ecological awareness.

Employment opportunities, learning formats, housing and travel opportunities are already being altered, even diminished for a sizable group of young citizens. Our audience development strategy takes this new reality and its consequences for young people seriously and responds by placing particular focus on processes, art forms and modes of expression particularly attractive to young people and children. 68

Three big site-specific participatory performances by ErosAntEros in three different industrial heritage settings of the Slovenian coast will give children and young people the chance to get in contact with each other through the collective exercise of artistic creation. Misterija buff by Vladimir Majakovskij turned into a piece about climate change and the rising seas. Die heilige Johanna der Schlachthöfe by Bertolt Brecht turned into a piece about the history of the huge fish canning industry that strongly marked this region and its inhabitants’ lives from the late 19th century until today. And in 2025 a completely new piece of theatre, created by five dramaturgs from different countries with the precise intention of confronting in depth the traumas that over the centuries have shocked the cultural identities of this territory and its inhabitants. The four cornerstone projects of 2025 will be opportunities for children and young people to actively participate as makers, performers and audiences. Wave of Change the co-created Opening Weekend and Ceremony, The Sea Contains, the Sea Divides, a summer celebrational weekend dedicated to our relationship with the sea. Large scale performance, configured for their (post) COVID-19 times, both in the sea and intimate, cocreated experiences in spaces usually hidden from the casual visitor. In the autumn of 2025 Mobile Borders will bring together major projects from our platforms to explore this vital European concern: Uprooted - Pan-European Art and History and its joint Slovenian-Croatian-Italian history book for Istria created by artists coworking with children and young people from all three countries; ErosAntEros - Large Scale Site Specific Performance Programme will present a new work. Svetilnik/Faro will be led by children in conversation with children from up and coming ECoCs about the world they envision.

the special needs sector with a strategic inclusive approach, ArtDOWNUP, which finds its main motivation in creating a large inclusive community of persons with special needs and others who want to express their creativity through painting and working with clay, The Inclusive Theatre, which finds its main motivation in presenting well-developed practice from other EU states thus encouraging further integration and advocacy in the educational reality of Slovenia. And Especially Art · SYMPOSIUM and REPORT will create a ‘closure’ and a new era for all developed activities led by CKSG Portorož. While structured film education for children and youngsters is at its beginning in the region, we will initiate a film education programme consisting of a selected programme for various age groups as part of CineIstra. As Film Education has entered elementary schools as an optional subject in Slovenia in 2019 there is a demand, especially amongst trained teachers, to develop such an initiative. A Film Festival for Children will place young people as main protagonists included in the presentation of the film with film directors and all other accompanying activities. Ship of Tales - Immersive Performance Practice for Children will be a community building project through intergenerational, intercultural storytelling and theatre activities for children and their families. Within the Slovenian municipalities of Ankaran, Izola, Koper and Piran, and across Croatian and Italian Istria, this unique four year project will touch the life of every child between the ages of 3 and 10, placing their voices, imaginations and creativity at its heart.

Our Pledge to Children and Teachers

Singing Lullabies for Our Lives is an ‘umbrella’ for activities bringing together global, European and local, artistic, scientific and other communities about and for adults and children aimed at pedagogues, teachers, therapists, psychologists, librarians and other community workers.

We will work to ensure that every single child and young person across our four municipalities has the opportunity to participate in our programme in more than one way as makers, audiences and or co-creators of the programme.

The three cornered hat is about defining the place, the space where artists, audiences and the theme of our time can come together through creativity and empathy. Audiences and audience development is why we are writing this bidbook.

We will guarantee that a national programme dedicated to creativity and special needs education and teacher professional development, Animate! will be at the centre of our work with schools. Divided into four sections Animate! consists of The School in Culture, the first Slovenian wide research programme into creative arts education within 69

Management

Finances

Q17 Please confirm or update the budget figures using the tables below. Explain any differences with regards to pre-selection.

The total operating budget has been increased from 23.216.500 EUR to 26.690.000 EUR (+14,96%). Income from the Government and PIKA municipalities has remained the same as during pre-selection. In spite of the COVID-19 pandemic, the municipalities have confirmed their financial commitment as laid out in the first bidbook and contributed actively to the project’s planning process. The increase in the operating budget results first of all from agreements on co-financing with the municipalities of Venice, Muggia and Trieste, as well as the Istrian Region in Croatia and the Veneto Region in Italy (in total 1.150.000 EUR). Written partnership agreements have been signed with all of them.

Second, financial support from various EU Programmes, which had been excluded at the preselection stage due to the precautionary principle, could now be included (in total 1.825.000 EUR). It is now clear that funding allocation will be akin to that in the previous Perspective, therefore, we included potential proposals. Finally, an additional source of income to cover operating expenditure comes from a more ambitious planning of revenue from the private sector (+500.000 EUR). Based on signed letters of intent and joint talks with representatives from the private sector, we believe this figure to be realistic and achievable.

Total operating budget (in €) (i.e. funds that are specifically set aside to cover operational expenditure ) Total income to cover operating expenditure

26.690.000

From the public sector

24.990.000

92,59%

1.700.000

7,41%

From the private sector

Q18 Income from the public sector to cover operating expenditure (in €)

What is the breakdown of the income to be received from the public sector to cover operating expenditure? Please fill in the table below.

National government

10.000.000

40,02 %

PIKA Cities

12.015.000

48,08 %

Cross-border Regional Partners

1.150.000

4,60%

EU (with exception of the Melina Mercouri Prize)

1.825.000

7,30%

Other

Total

24.990.000

100%

Cross-border Regional Partners

Confirmed financial contribution (in €)

Region of Veneto (IT)

500.000 for the participation of organisations

City of Trieste (IT)

200.000 for the participation of organisations

City of Venice (IT)

200.000 for the agreed joint projects

Istria Region (HR) (including 10 municipalities)

200.000 for the agreed cooperation and partnership

City of Muggia (IT)

50.000 for the Opening Ceremony 71

MANAGEMENT

Q19 Have the public finance authorities (City, Region, State) already voted on or made financial commitments to cover operating expenditure? If not, when will they do so?

During the pre-selection phase, the City councils of PIKA municipalities unanimously confirmed the financial plan that covered their share of operating expenditure (12.015.000 EUR). This commitment has remained unchanged; the corresponding funds are included in the budgets and development plans of PIKA municipalities. Similarly, the Government has maintained its contribution of 10.000.000 EUR to cover operating expenditure costs.

Sub-programme

Support

Project

Creative Europe

Culture

Cooperation projects, national minorities, multilingual initiatives

The Wave@Monfort Forum Babylon Tartini Festival IICPAC - Istrian International Contemporary Performing Arts Centre

Media

Training, production, distribution, exhibitions

IstriCine

Erasmus+

Interregional cooperation, exchanges, hosting

Singing Lullabies for Our Lives Animate! Ship of Tales European Solidarity Corps

Europe for Citizens

Promotion of an active citizenship

Twinning with other cities Change-advocacy

The Council of the Istrian Region, as well as the City councils of the partnering municipalities in Croatia have also confirmed their financial commitments. As per Italian Law, financial support from the municipalities of Venice, Muggia and Trieste has been signed by the respective Mayors.

5 signed cross-border agreements

Q20

Programme

LIFE

Climate action

Managing climate change – information and awarenes

Community Resource Lab

Horizon

Cultural heritage

Conservation and enrichment of cultural heritage

The Wave@Monfort Grounding Ecologies Sea Station – A durational participatory performance in public space Life Aquatic – A durational opera of togetherness from under/above waves

Signing MoU in Pula by four Mayors and the Istrian Region President - photo: Aleš Rosa.

What is your fund raising strategy to seek financial support from

CBC Slovenia – Croatia

Priority Axis 2

Conservation and sustainable use of natural and cultural resources

IstriYards The Sea Cannot be a Border – Adriatic & Arctic Crystal Soundscape

CBC Slovenia – Italy

Priority Axis 3

Protecting and promoting natural and cultural resource

Dance and Performance (Sečovlje / Strunjan Saltpans) Residencies

Interreg Adrion

Pillar 4

Sustainable and responsible tourist management

Back & Forth

Interreg Central Europe

Culture and environment

Protecting tangible and intangible cultural heritage

Beyond Borders Microfestivals Welcome Home

Union programmes/funds to cover operating expenditure?

So far, PIKA municipalities have been very successful at attracting and competing for EU programmes and funds. The Piran Municipality and the City Municipality of Koper already operate offices whose staff have accrued extensive experience applying to and running EU-funded projects. The Izola Municipality has set up a public enterprise, JZP ltd, aimed at attracting EU funds to support municipal programmes, economic development, NGOs and the wider community. As part of the EUSAIR initiative, JZP ltd acts as a national EU reference point and informs the public about possible funding opportunities. Both EU project offices in Piran and Koper collaborate also with external advisors. JZP ltd will organize free workshops for ECoC stakeholders, instructing them on how to search for and obtain EU funds. It will also assist interested parties in the planning, applying, managing and reporting of EU projects. 72

The following EU Programmes have been identified as pertinent to the ECoC goals, and we intend to apply to them with proposals from the present bidbook: a) centralized Programmes: Creative Europe, LIFE, Horizon, Erasmus+, Europe for Citizens, European Social Fund; b) cross-border Cooperation Programmes: CBC Slovenia - Italy, CBC Slovenia - Croatia, Interreg Central Europe, Interreg Adrion; c) national cohesion programmes, regional development funds and structural funds (through the Ministry of Culture; Government Office for Development and European Cohesion Policy; Ministry of Economic Development and Technology; Ministry of Labour, Family and Social Affairs; and Slovenian Film Centre).

Our financial plan expects 1.825.000 EUR in grants from the above sources. Based on previous experience with applying for EU funds, we foresee this amount to be actually even higher.

The following is a detailed list of potential EU Programmes through which to co-finance specific projects within the ECoC candidacy: 73

MANAGEMENT

Q21

Correspondence of the bidbook with European, national, regional and local development strategies and policies

received by the city and/or the body responsible for preparing and implementing

Coherence with cultural development strategies in the European Union:

Implementation of ECoC programmes and projects meets each of the above strategic goals.

· cooperation with organizations that play a key role in managing and investing financial resources in cultural activities, particularly cities, the art and creative sector, as well as third-party countries wishing to develop their cultural and creative sectors in a post-industrial economy;

Operational Programme for the implementation of the European cohesion policy in the period 2014–2020. The document includes twelve Priority Axes. The present ECoC proposal covers three of them, particularly Priority Axis 6 (Improving environmental protection and protecting biodiversity, supporting actions aimed at adapting to climate change; priority investment: actions aimed at improving the urban environment). In addition it is consistent with different social goals, such as increasing employment, especially of the long-term unemployed, the young, the elderly and those with a low education level; reducing the proportion of marginalized people and those on the brink of poverty; improving access to community-based services; and promoting social entrepreneurship.

· initiatives aimed at protecting and promoting the multilingual European landscape, its dialects, traditions and narratives, thus preserving the identity, as well as tangible and intangible European heritage; · acknowledging the importance of cultural operators and supporting their efforts towards the generation of an environment that can attract talent, investment, creativity and entrepreneurship, which in turn will foster sustainability, integration and cohesion among citizens; · empowering artists and cultural operators so they can apply a multidisciplinary approach to address questions related to technology and innovation. Coherence with the Slovenian Development Strategy 2030: On 7 December 2017, the Government of the Republic of Slovenia approved the Slovenian Development Strategy 2030. This document describes the overall development framework for the country, with a focus on improving the quality of life for all its citizens. It envisions five strategic axes and twelve interconnected development objectives. The Strategy sets a new, long-term, sustainable foundation for the country’s development and has been praised by the UN for recognizing the importance of a global commitment towards society and the environment. The strategic axes set by the country to achieve a better quality of life include: · an inclusive, safe and responsible society; · life-long learning; · a highly productive economy capable of creating added value for everyone; · preservation of a clean natural environment; · a high degree of cooperation, training and effective management.

According to what timetable should the income to cover operating expenditure be

Regional Development Programme for the Southern Primorska Region 2014–2020. The ECoC programme is in line with Priority 2: Improving the quality of life and an inclusive society. Given the widespread positive impact of culture on society, including on employment opportunities (e.g. of people in the creative sector), this Priority involves various actions and activities aimed at a more sustainable fulfilment of cultural needs and better access to culture in general. The ECoC programme conforms also with the Cultural Strategy of PIKA municipalities, namely Kultura.PIKA. The latter represents a cultural strategy shared by all four municipalities (Piran, Izola, Koper and Ankaran) for the period 2020– 2030. As can be seen above, the investment project is in accordance with local, regional, national and EU development goals, strategies, policies and programmes. It also acts in the public interest at all these levels of governance.

the ECoC project if the city receives the title of European Capital of Culture?

Source of income for operating expenditure (in €) 2020

2021

2022

2023

2024

2025

225.000

500.000

800.000

National government

500.000

700.000

1.300.000

4.000.000

3.000.000

City

607.500

900.000

1.800.000

4.500.000

2.700.000

200.000

500.000

450.000

200.000

1.500.000

Region* Sponsors Other

*Slovenia has no Regional assessment. With Region is meant Italian and Croatian Regions and Municipalities. Overall, operating expenditure until the end of 2025 is forecast at 24.382.500 EUR, while an additional 2.307.500 EUR are earmarked to cover operating expenditure after the ECoC year. The table does not include previous expenditures related to the preparation of the first (~250.000 EUR in 2019) and second bidbooks (~500.000 EUR in 2020).

Q22 What is the fund-raising strategy to seek support from private sponsors? What is the plan for involving sponsors in the event?

While preparing the second bidbook, we are in the midst of an epidemic Europe has not seen in modern times. We are following the ongoing developments with great apprehension because PIKA municipalities are strongly reliant on tourism. The Government’s decision to give people “tourist vouchers” has proven very successful in our region, as it contributed to a large influx of visitors and demonstrated that we could adapt and turn around what looked initially like a disastrous tourist season. The Mayors of PIKA municipalities presented the Piran-Pirano 4 Istria 2025 candidacy to representatives of local businesses. The tourist sector views the ECoC candidacy as a way of boosting the tourist offer with additional cultural content throughout the year, thus giving visitors a reason to come also outside of the main summer season. Often, ECoC projects serve as catalysts of new means of communication between the cultural and business spheres, going beyond traditional sponsorships and committing instead at a deeper level. Examples of good practices from other countries show that culture and businesses can engage in mutually beneficial synergies. We have successfully triggered such a process with some of the largest local businesses.

Letters of intent have been signed by: Arriva Dolenjska in Primorska ltd, Eurotas hoteli ltd, Generali Group, Grafist ltd, Public company Okolje Piran ltd, Palace Portorož ltd, Istrabenz plini ltd, Istrabenz Group, Luka Koper Public limited company and Luka Koper INPO ltd, Mate Matjaž ltd, Sava turizem Group, SURF ltd, Vinakoper ltd The prospects for cooperation with the private sector are very good, as the project was supported by the largest companies in Slovenian Istria and beyond (insurance company and Luka Koper), and the vast majority of the largest tourism companies in the region covering more than 85% of hotel tourism. To improve the coordination of cultural activities and find new synergies with businesses, we will create the cultural-business club PI2025 Business, whose membership will include all contributing sponsors. In addition, the main sponsor and both gold sponsors will have a seat in the Steering Board of the ECoC Foundation. Through marketing and promotional activities as well as personal ties, the club will provide support to PI2025 and cultural initiatives in general, which will be viewed as a way of giving back to the community. The club will be headed by the Mayor of Piran Municipality, and will

MANAGEMENT

include leading regional businessmen/women, as well as recognized personalities from the cultural and sports scene. Club membership will bring not only prestige, but also discounts for various ECoC events (tickets, seminars, training, partnership in EU projects) and access to invitation-only events. Any donations will be disclosed to the public and sponsors will be presented as socially responsible contributors.

allows them to be viewed by potential customers as socially responsible, while also truly contributing to a sustainable development.

We will nudge businesses towards thinking about environmentally-friendly solutions and in particular sustainable tourism. We believe in the joint development of novel cultural content, whereby the business partner is an active participant and not just a mere sponsor. When choosing sponsorship proposals, we plan to apply an approach of common good, whereby businesses can find economic opportunities in social, environmental and cultural contexts. This

Our most important objective is to promote a different way of thinking among leading businesspeople in the region. We would like them to view an investment in culture not as something that dents their profits but as a well of new ideas, which allows them to become part of an innovative, supportive, creative and sustainable ecosystem.

When looking for private sources of funding, a key role is played nowadays by innovative ways of financing cultural projects, such as crowdsourcing and crowdfunding. Both of these will be employed here, particularly via social networks.

programme expenditure (in €) Cultural embassy for climate crises

1.019.900

Lost and found

1.880.000

Connect and care

4.120.000

Salt and sea

3.335.000

Cornerstone projects

3.300.000

Ecoc collaborations

250.000

Capacity building

2.000.000

Open calls

45.000

Tourism & gender projects

What is the breakdown of the income to be received from the public sector to cover capital expenditure in connection with the title year? Please fill in the table below:

Income from the public sector to cover capital expenditure (in €) 4.585.463

27,61 %

10.809.208

65,09 %

1.212.950

7,30%

Other

Total

16.607.621

100%

National government

Please provide a breakdown of the operating expenditure,

City

by filling in the table below.

Region*

operating expenditure (in €) Programme expenditure

16.749.900

62,93%

Promotion and marketing

4.005.000

15,01%

Wages overheads and administration

5.623.200

21,07%

266.900

Monitoring and evaluation Total of the operating expenditure

Q25

16.749.900

Total of the programme expenditure

We expect sponsorships and donations from the private sector to amount to at least 1.700.000 EUR.

Q23

EU (with exception of the Melina Mercouri Prize)

*Slovenia has no Regional assessment.

26.690.000

The table does not include previous expenditures related to the preparation of the first (~250.000 EUR in 2019) and second bidbooks (~500.000 EUR in 2020).

Q24

The budget for capital expenditure is 2.4% lower than in the first bidbook. This comes from a reduction of nearly 1.000.000 EUR on the side of local public entities. The value of investments has changed due to a more detailed overview of

Planned timetable for spending operating expenditure:

the costs related to the different infrastructural projects. Investment studies (Identification of investment projects), which are a prerequisite for the inclusion of any investment in the budget and development plans of the different municipalities, have been already approved.

Q26

Have the public finance authorities (city, region, State) already voted on or made financial commitments to cover capital

timetable for spending operating expenditure (in €)

800.000

Programme expenditure

Promotion and marketing

2020

2021

474.225

42,82%

100.000

9,03%

2022

900.400

56,28%

165.000

2023

2.266.550

64,30%

350.000

2024

6.693.400

69,00%

2025

5.030.900

59,54%

2026

1.429.425

61,95%

235.000

10,18%

Total

16.794.900

62,93%

4.005.000

15,01%

expenditure? If not, when will they do so?

Wages overheads and administration -

Monitoring and evaluation -

497.200 44,89%

36.075

3,26%

10,31%

523.600

32,73%

11.000

0,69%

9,93%

893.200

25,34%

15.250

0,43%

1.400.000 14,43%

1.579.600 16,28%

27.000

0,28%

1.755.000 20,77%

1.579.600

18,69%

84.500

550.000 23,84%

93.075

4,03%

266.900

5.623.200

21,07%

City councils of the four PIKA municipalities have approved funding of relevant capital expenditure and confirmed them already in the first bidbook. Most ECoC project have now secured approval of their Investment studies (Identification of investment projects), which are a prerequisite for the inclusion of any investment in the budget and development plans of the different municipalities. Capital expenditure is covered by the budgets of the single municipalities and is included in their development plans. Any missing investment details will be finalized and the entire project documentation will be ready in 2021.

The Government has made binding declarations in favour of financing ECoC projects through the Ministry of Culture, Ministry of Economic Development and Technology, and the Government Office for Development and European Cohesion Policy. It is important to note that the municipalities will carry out some capital expenditure irrespective of whether the PI2025 candidacy is successful or not. Accordingly, some investments are planned already for 2021 (e.g. purchase of the Trevisini Palace in Piran for the International Music Centre or the renovation of Forum Babylon in Koper). The planned investments include new buildings, as well as renovation and purchase of existing cultural infrastructure.

MANAGEMENT

Organisational structure

Q27

Q30

What is your fund raising strategy to seek financial support from Union programmes/funds to cover capital expenditure?

Q28

Grants are expected to come mainly from the ESI mechanisms, such as the European Regional Development Fund (ERDF) and the Cohesion Fund. Decisions on financial support from these two funds are taken by national institutions in accordance with the European strategy. Aided by expert external advisors, the EU project offices of Piran and Koper municipalities, as well as JZP ltd have already submitted successful capital expenditure bids including in relation to cultural activities. Operational Programmes for the period 2021–2027 are still being drawn and have not been finalized yet; however, based upon the information provided by the relevant ministries, they envision funding of cultural infrastructure. The EU project offices are constantly on the lookout for opportunities to obtain grants, reading through Operational Programmes as soon as they are published and

participating in their preparation through the Association of Municipalities, the Association of City Municipalities and Regional Development Agencies. The planned capital expenditure reflects the drive for sustainability inherent in our ECoC programme and, thus, is itself sustainable and in accordance with local, regional, national and European development strategies. All public bids will follow the principles of green public tenders. An additional source of financing for capital expenditure will come from Interreg projects, which offer numerous opportunities to our crossborder area. To provide for small investments and the purchase of equipment, we plan to apply to the following cross-border Programmes: Interreg SI-IT, SI-HR and CE.

According to what timetable should the income to cover capital expenditure be received by the city and/or the body responsible for preparing and implementing the ECoC project if the city receives the title of European Capital of Culture?

Source of income for capital expenditure (in €) 2020

2021

2022

2023

2024

2025

103.700

356.750

402.500

350.000

National government

892.669

1.462.37

1.030.415

1.200.000

11.892

4.054.233

2.336.254

2.221.246

2.185.583

Region

Sponsors

Other

City

Q29

be used in the framework of the title year.

Culture year?

The PI2025 candidacy preparation team examined various management forms of previous European Capitals of Culture. We looked in detail at the theory and practice from countries whose legislation is similar to ours, such as Rijeka 2020, Novi Sad 2021, Matera 2019, Plovdiv 2019 and of course the previous Slovenian experience in Maribor 2012. Based on this analysis we decided on the legal form Foundation, which in Slovenian legislation is an organization that is established with a clear purpose and ensures a high degree of transparency. In 2020 the four Istrian municipalities started preparing the necessary documentation for the establishment of the PI20205 Foundation and in November 2020 the Foundation was established. Basic information about the Piran – Pirano 4 Istria 2025 European Capital of Culture Foundation PI2025 Foundation Savudrijska ulica 9, 6330 Piran - Pirano.

Founders: · Municipality of Piran · Municipality of Izola · City Municipality of Koper · Municipality of Ankaran

Members of the Management board (4 years term of office):

If appropriate, please insert a table here that specifies which amounts will be spent for new cultural infrastructure to

Cultural infrastructure - investment

Investor

Monfort

Piran

1.447.802

Forma Viva

Piran

2.089.507

Trevisini Palace

Piran

3.236.809

Cross-generational centre

Izola

7.083.503

Libertas – creative start-up hub

Koper

2.000.000

Forum Babylon – translation centre

Koper

200.000

Floating stage

Ankaran

550.000

We have decided to remove the planned investment in Krog, from the present bidbook. However, as the residential complex in Krog is already completed

What kind of governance and delivery structure is envisaged for the implementation of the European Capital of

Value of the investment (in €)

and does not require further investment, the facility will still offer accommodation to guest artists and ensure the hosting programme runs smoothly.

Mayors of the Municipalities of Piran, Izola, Koper and Ankaran, one representative by the Italian partners, one representative from the Croatioan partners, representative of the general sponsor. After the first 4 years the new members of the Management Board will be proposed to the founders by the Management Board in coordination with the Procurator and the Artistic Director.

The PI2025 Foundation legal representatives will be the Mayor of the Municipality of Piran and the CEO - Procurator (to be confirmed via public call)

Other bodies of the Foundation: · Artistic Director In the selection phase: Chris Baldwin - coordinates creative content, directs creative team (creative team takes the lead of program content) In the implementation phase: to be appointed by the management board via international tender · Administration, Finances and Legal department · Communication, PR and Marketing Department

Consultative bodies of the Foundation: · Artistic consultancy board · Strategic consultancy board · Regional Advisory Board

The mission, purpose and objectives of the Foundation: The main purpose of the Foundation is the implementation of the project Piran - Pirano 4 Istria 2025. To achieve its purpose, the institution will carry out the following activities:

· Administrative and financial management of the Capital of Culture project · Implementation of programs and projects in accordance with the application bidbook including the capacity building programme Tlakovec · Coordination of cultural stakeholders in the implementation of joint projects · Promoting the contents the contents of the Capital of culture · Selection and coordination of external contractors in accordance with the application bidbook · International cooperation · Preparation, application and implementation of international projects · Other, according to the needs of the PI2025 project at the time of implementation (volunteering programme, management of the Evaluation Task Force)

MANAGEMENT

Q31

foundations governance

How will this structure be organised at management level? Please make clear who will be

Management board

the person(s) having the final responsibility for global leadership of the project?

Artistic consultancy board

The structure of management levels The responsibility for overall leadership and overall governance of the project will be executed jointly by the legal representatives of the PI2025 Foundation, the Mayor of the Municipality of Piran (president of the management board), and the Foundation’s CEO.

Supervisory level The Supervisory Boards of the four Municipalities (elected by the City Councils) will supervise the financial planning and implementation including the proper use of public money.

Senior management level

· The CEO is the top executive decision maker

mediating the Management Board and the rest of the PI2025 Foundation as described in Q30 and according to his/her profile and obligations described in Q34. · The Artistic Director is the top artistic decision maker and leader of the artistic programming and implementation (platforms and events management), as well as volunteering, capacity building and audience development issues. He/ she has to fulfil the profile and tasks described in Q34. · The Directors for Production, International Relations, Administration, Finance and Legal, as well as for Outreach, Communication and Marketing are key players of the ECoC organisation structure and must not only be skilled in their respective fields but also in international cooperation practice. Directors report to the CEO and are appointed by the CEO; the CEO reports to and is appointed by the Management Board of the Foundation.

Division management level

· The

artistic programming includes four Programme Platform Managers who are professionals from different fields of culture curating the development and implementation of our four proposed programme platforms and an Events Manager. They coordinate the Artistic Programme project coordinators. In addition, a Manager for Audience Development and Participation, one for Capacity Building and one for Volunteering are linked to this division.

Strategic consultancy board

CEO - Procurator

Regional advisory board

Monitor and evaluation task force

Artistic director

Production director

International partnership director

Administration, Finances and Legal director

Outreach, Communication, and Marketing director

Platform managers

Sustainability manager

· The Division for International Relations will be

set up with a small team to manage strategic international relations, ECoC partnerships and all requests and issues related to cultural diplomacy. · The Division for Production (production team) including a special Sustainability Manager who is in charge to liaise between legal frameworks, green/sustainable policies and production/ programme implementation. · The Division for Administration, Finance and Legal Issues includes a manager team covering the fields accounting, HR and legal support, tendering, fundraising, sponsorship and partnership, as well as general administrative issues. · The Division for Outreach, Communication and Marketing includes a manager team for PR, marketing and advertising, classic and social media, media content production, as well as hospitality. At a later stage, this division can cooperate with (international) PR agencies for more effective and targeted regional and European communication. As internal communication is pivotal for the success of the project, this will be coordinated and adjusted by a special Internal Communication Manager. Division managers report to the directors and are appointed by the CEO.

Project/event level

· From the very beginning of the ECoC process, the

community of our project coordinators is placed at the heart of our efforts. In the implementation phase, they will become Artistic Programme coordinators, so in most cases cultural players (independent artists or representatives of partner organisations) will be coordinating the projects. In order to become programme coordinators, the Foundation will contract them as producers/ coordinators. In some other cases, staff members of the Foundation will be leading the projects.

Programme coordinators report to the Programme Platform Managers and are appointed mostly by the Artistic Director according to the programme.

Financial manager

Classic manager

Volunteers manager

Fundraising manager

Online manager

Audience developement / participation manager

Legal manager

Internal communication manager

Capacity building manager

Administration manager

Events manager

Q32 How will you ensure that this structure has the staff with the appropriate skills and experience to plan, manage and deliver the cultural programme for the European Capital of Culture project? These two questions above could be answered by enclosing in particular diagrams, the statutes of the organisation, its staff numbers and the curricula vitae of those primarily responsible.

An early task of the PI2025 Foundation board will be to agree upon the key skills necessary to prepare the job descriptions and competency profiles that will be employed in the PI2025 Foundation. All the positions will be announced nationally and some internationally via Open Calls. The board will use internationally acknowledged tools to map the candidates’ profiles and to find the right people. When recruiting for the PI2025, it is vital that potential employees have knowledge on the background of the European Capital of Culture, while also understanding the PI2025 programme and partner’s network organisations. Finally, they must be able to work within a project organisation which is constantly changing and developing. Piran and the PIKA cities are a small and livable area. Since the first bidbook the bidding team announced the will to bring back young cultural

operators in the coastal area. The programme built in strong connection with the cultural scene already found individuals that demonstrated this interest, like the visual artist Tadej Droljc or Agata Tomšič and Davide Sacco. All three young artists are taking responsibilities for the development of the programmes in the ex-warehouse Monfort. The legacy of PI2025 is closely connected to the use of the competence which will be built among the staff, in the years beyond the Capital of Culture year. It is a waste of knowledge to not take care of the human resources and networks which have been built over the ECoC years. Many foundations close down their offices when the cultural year is finished, and unique experiences are lost. In our case the Foundation’s legacy will be the Common Cultural Development Body (CCDB) described in Q3. 81

MANAGEMENT

We are convinced that a European Capital of Culture should be built on a strong collaboration between the PI2025 organisation and the municipalities. Knowing how important success is in these field, we did one year testing of co-staffing working models and we structured the collaborators in teams:

· Core bidding team as the group responsible for project implementation.

· Support group divided in middle management and operational support.

· Sector consultants. · Artistic board. · Artistic leaders.

We initiated co-staffing of the core bidding team with the municipalities’ employees. This formula was successful. One person from Piran’s Municipality (Vesna Zorko) and Koper (Vesna Pajić) were working with the bidding team on a weekly basis at the headquarters. The Koper Municipality also dedicated to the project one high profiled administrator from the public body for culture (dr. Emilja Kastelic). The Tourism organization of Piran dedicated to PI2025 bidding process one expert (Fredi Fontanot), that brought in the work the point of view of tourism. 30 professional profiles shared the tasks with the core bidding team. Co-staffing demonstrated how efficient is collaboration while always maintaining a clear division of tasks. Co-staffing functioned also on a middle management level where the team of Municipals director’s for Culture of Piran, Koper, Izola, Ankaran worked together with the bidding team.

During the preparation phase the two main responsible for the delivery were Martina Gamboz, bidding team leader and Chris Baldwin, creative coordinator. Martina Gamboz is a cultural manager. She served as director of the Piran Maritime Museum (20072012), worked at Region Veneto, Department for culture (2013-2015) and Venice EEIGs (2016-2019) as European grants manager. Dr. Chris Baldwin is a performance director. He was curator of Interdisciplinary Performance for Wroclaw 2016 and Creative Director of Galway 2020 (2017-18). The core team was composed by Borut Jerman, responsible for the participatory processes and dr. Márton Méhes, responsible for international partnerships. The cultural programme has been established with 46 project leaders involved, feeling a sense of ownership of the content, that are stimulated to continue the projects. In the PI2025 Foundation minimum nine employees will have tasks dedicated to evaluation, reporting, research, promotions, closing of accounts, archiving, etc., with contracts lasting up to one year after the ECoC year is over.

Salt of Europe - Mobile Embassy for Gender Equality Istrian women have a reputation for being strong and outspoken. Many autochthonous female cults discovered on the Peninsula, dating back to Illyrian and Roman times, indicate that the population of Istria might have been ruled by a matriarchy. A keen observer could even find the vestiges of such a past in the strong and opinionated contemporary women of Istria. However, in the passage of time the scales have been tipped heavily at women’s disadvantage. The progress achieved to guarantee gender equality has moved forward positively over the last few years in the EU, although true gender equity has yet to be achieved. Finally, there are some recent examples of setbacks and even regression in terms of the women’s cause in certain Member States. In order to address issues related to gender discrimination, and create the space for girls, and women to fully express their potential, the PI2025 team will create a Salt of Europe - Mobile Embassy for Gender Equality comprising researchers, practitioners, and activists working in field of gender equality. The Salt of Europe Embassy will work with PI2025 project managers and team members to implement tools and approaches that will bridge the gender divide within the cultural sector.

Salt of Europe – Mobile Embassy for Gender Equality main activities:

· Conduct in-depth analysis of gender-related issues within different cultural sectors. The problem will be assessed on various levels: access to resources, upward workplace mobilty, gender sterotypes, gender pay gap, sexual violence. The results of the study will illuminate the overall situation of the Istrian cultural sector in terms of gender equality and help to tailor an appropriate, targeted response.

· Designing a Gender Mainstreaming Agenda

(GMA) and raising awareness about genderbased discrimination among all PI2025 projects. The GMA will produce guidelines for research (i.e. collection of sex-disaggregated indicators, gender-balanced composition of teams, stakeholders, and beneficiaries) and for projects’ outcomes (e.g. project reports, impact indicators and dissemination campaigns). Gender-responsive content will be promoted on all platforms.

· Elaborate Gender Policy recommendations.

The results of all the actions listed above will support the elaboration of Gender Policy recommendations.

Lead: PI2025, OUTLOUD (MY)

Pika strategy meeting – photo: Aleš Rosa.

2021

2022

2023

2024

2025

2026

Artistic team

Production

International partnerships

Administration, finances and legal

Outreach, communication and marketing

Total

MANAGEMENT

Contingency planning

Q33

Q35/ Q36

How will you make sure that there is an appropriate cooperation between the local authorities and this structure including the artistic team?

As we described in Q32, we have more than one year of positive experience with strong collaboration between the PI2025 core team, the Artistic Board (with representatives of the cultural sector from the four municipalities) and the municipalities’ officials for culture. Regular exchange with the administrations of Croatian Istria and the Italian municipalities of Trieste and Muggia enforced the cross-over cohesion of our bid. Therefore, we propose three consultancy boards to be included into the managerial structure:

· Artistic Consultancy Board: Emerging from the

Q34

Artistic Board during the selection period, we will establish a board of cultural professionals representing wide collective knowledge from all four municipalities and the cross-border region. On the advisory level, they will have an impact on the development of the artistic programme supporting the Artistic Director/

Artistic Programming. They will have the task to evaluate open calls during the preparatory years and will function as consultants for the strategic development of the artistic programme.

· Strategic Consultancy Board: This is the idea to

have a regular consultative forum for stakeholders in a wider sense and representatives of involved communities from the cross-border region. We will invite the representatives of the business sector - especially our sponsors, as well as NGOs and civil sector representatives, to join this board.

· Regional Advisory Board: We will establish a

formal cross-border cooperation forum between the management of PI2025 and the administrative representatives of the participating and supporting regional administrative entities from the Slovenian, Croatian and Italian Istria, as well as from Venice and the Veneto Region.

According to which criteria and under which arrangements have the general director and the artistic director been chosen – or will be chosen? What are – or will be – their respective profiles? When will they take up the appointment? What will be their respective fields of action?

To provide continuity from the PI2025 bidding team to the PI2025 Foundation, the leader of the bidding team, Martina Gamboz will take the position of the PI2025 Foundation’s CEO. Nevertheless, her position will be confirmed by the Management Board via public call until 31 March 2021 to ensure the legal conditions in accordance with Slovenian legislation. For the four municipalities, it is of highest relevance to guarantee a fluent passage from the application to the implementation phase. (Many ECoCs had bad experiences with the opposite.) The current CEO will carry on the mission and the vision of PI2025. She fulfils essential local and international profile prerequisites (organisation management, international collaborations, local and national policy network building), and is, by the way, a bilingual Slovenian-Italian with business-fluency English.

· Executive decision making; planning and

Beyond this, the CEO has already acquired two years of experience in running such a complex project, is familiar with the internal working mechanisms and has been acting as the liaison to city officials (in four municipalities plus the cross-border partner municipalities). Her duties during implementation will include:

· Artistic decision making; planning of the artistic

governance including: HR development, legal issues and contracting, budgeting, financial planning and controlling, tendering, fund-raising.

The Artistic Director will be appointed in the implementation phase, after an international open tender procedure by the Management Board by 30 June 2021. In addition to a CV, candidates for the position of the Artistic Director will be asked to present an implementation plan for the programme ‘Wave of Change’ in relation to new audiences, youth participation, as well as social and environmental resilience aspects. We are seeking for an artistic director with a wide international network, being able to manage large scale or complex international artistic productions. Her/his duties during implementation will include: programme; moderation of the producers, curators and the Artistic Consultancy Board; leading the Programming Team (platform managers, events manager, etc.); planning of the artistic programme budget.

Have you carried out/planned a risk assessment exercise? What are your planned mitigating measures?

The process of preparing the first and second bidbook was marked by two major events that inevitably impacted upon the subsequent process - the sea flooded the region and we experienced the COVID-19 epidemic. Both events fundamentally changed the way we worked. This applies not only to the cultural and creative sector, but to almost the whole world. To some extent these two phenomena - environmental change and the COVID-19 epidemic - are deeply connected. During the first full quarantine in March 2020, human activity decreased to such an extent that the positive effects of this on the environment were clearly visible. Precisely because of this, we have created the entire cultural program with the thought that “normality” from 2020 will no longer be what we have known until now. At the same time, this fearful awareness awakened the belief that a Wave of Change is not only possible, but necessary. The advantage of creating projects during an epidemic is that all projects are designed to be almost entirely feasible even if the epidemic and the associated restrictions continue for several years. This was, among other things, a condition for the inclusion of the project in the cultural programme. Remote project meetings, exhibitions and events, which are also possible with the use of online tools, investments that arrange the premises in such a way as to enable the implementation of current, strictest measures even when we reinvent the new reality. The crisis year 2020 has also brought the awareness that it is necessary to act differently so that the present crises do not recur. And it is up to us to point the way forward – through creativity and art. Therefore, in addition to the cultural programme, which is the basis of our project, we decided to add some key documents - manifestos - which deal with key areas for culture: sustainable tourism and environmental awareness. Namely, we start from the assumption that things can only go wrong if we insist on models and structures that are outdated and unsuitable for the times in which we live.

Political instability We are aware of the fact that the project is proposed jointly by four municipalities that have their own differences may indicate potential dangers. The projects are therefore designed from the bottom up and the whole candidacy process is supported by a broad consensus, not only among cultural stakeholders, but also in the general public. This is also reflected in the unanimous support for the candidacy and the programme, not only in the four municipalities in Slovenia, but also in Italy and Croatia. Certainly, this consensus is a foundation that is hard to deny by any possible political change in the near future.

Financial instability Given the small size of our towns, the Slovenian European Capital of Culture will be among the financially smaller in the history of awarding the title. Crisis times combined with unknowns and insecurity are not exactly a good guide for stable financial planning. The projects are planned extremely modularly, which enables organic adaptation to the financial realities that we will face during implementation. The vast majority of projects were also allocated a year to a year and a half for preparing a detailed fundraising plan to obtain additional funds and risk management plans.

Tourist unsustainability Based on the study of good and bad practices of past European Capitals of Culture we found that the pressure on tourist facilities is at times unbearable, especially in the year of the title. At the peak of the tourist season, our region is already facing the issue of sustainability, not only through the impacts on the environment and infrastructure, but also regarding the well-being of people, locals and visitors. Through carefully timed projects outside the highlights of the season, we will seek to expand the positive economic effects of tourism throughout the year, at least in the period 2023-2025. Above all, in cooperation with tourist providers, change the structure of tourists in the summer months by offering quality cultural content. 85

MANAGEMENT

Q37

Marketing and communication

Could your artistic programme be summed up by a slogan?

Our marketing and communication strategy reinforces the key messages of the PI2025 programme – that Wave of Change conveys a universal message of responsibility for our planet while emphasising the interdependence between individuals and their environment expressed through all our activities. Although we are facing universal problems every individual and community response contributes to a better future in its own unique ways. Wave of Change implies that our future is safeguarded by transformation: all of us are the result of on-going change. In this context culture is understood as a vehicle to reflect European values and a strong tool for addressing our present climate emergency. We will highlight the importance of working together – as European citizens. Our communication is aimed at building connections and encouraging the awareness, involvement and participation of both local citizens and international visitors. Local, European and international audiences alike will not be mere consumers of the cultural programme offered but will be invited to join forces, to co-create, to experience and later implement them in their homes - this would be the message of our Wave of Change.

The cultural programme and the other related activities are planned to be managed and promoted as both addressing the most pressing global issues and providing answers through the local and European levels: whereas it is true that all individuals can respond to challenges faced by humanity, we are also grounded in the awareness that only joint action can save the planet. The ongoing pandemic has taught us a lot; it has also demonstrated, perhaps now more than ever, that as individuals we do contribute to the benefit of the society at large. We are trying to extend this understanding to our artistic projects, which are thus participatory in nature and grounded on bedrock European values: solidarity, co-existence, and equality and this will be the shining threat through our whole communication of the project and the hosting of the ECoC title. Our slogan is also the basis for the visual identity of the project, serving as a guideline both in terms of envisioning the programme and communicating with the public.

Q38 What is the city’s intended marketing and communication strategy for the European Capital of Culture year, in particular with regard to the media strategy and the mobilisation of large audiences? This includes the use of digital communication channels.

We will formulate specific messages for different target groups, which will raise awareness of the project and promote alignment with its goals and values. Direct communication with

One of the key challenges of the campaign relates to the nature of European space: how can realities that are multicultural, multilingual, and multilayered connect and create together? How can we reach and involve people across linguistic, national, ideological, generational, and physical divides? How can we build vessels that will allow people to join us on this journey of transformation? Our communication and marketing campaign already reflects the complexities of the Istrian region and its place within the larger, multilayered, European area. All our communication has been carried out in three languages (Slovenian and Italian - the official languages of the four municipalities, and in English) inclusively addressing a wide, international audience, bridging national divides. This move, we believe, has helped us dialogue with a diverse group of stakeholders and audiences: from local artists and collectives, to international NGOs and political bodies across the wider Northern Adriatic region, and garner a consistent media coverage within the area. ECoC projects, such as the international translator’s centre Forum Babylon, will give us the ability to include several other languages within our communication activities, driving this inclusivity-focused communication even further. 86

stakeholders will involve comprehensive use of digital platforms. We will also continue to weave together NETWORKS, creating new ones (such as the one established during the Big Picture Open Call, involving European organisations and NGOs), while also tapping into existing ones – such as the LoStatodeiLuoghi.com. This varied approach will allow us to reach different target groups in the city, region, country and abroad. More traditional means will be employed to connect with the local population, whereas digital platforms will serve to build a relationship with individuals and groups in the general environment. A weekly and eventually a daily newsletter will enable us to provide timely information about current events.

MANAGEMENT

Project communication goals:

How will we reach-out the local audience?

· establishing project visibility and support (recognition of and support for

A large part of the programme was envisioned to include the participation of the local media in Istria. Three examples would be the four 2025 Cornerstone Events but also Strand Beests, Uprooted, IstriYards in the years up to and including 2025.

vision, using the ‘Re’-Words, and overall objectives, and goals) on the level of Slovenia; · creating a positive attitude towards the project on local, regional and national levels – identification, sense of belonging, recognising the benefits for each member of community and citizen; · establishing visibility of the project brand based on logo and message; · increasing the visibility of Piran and partner cities on a European scale; · creating a long-term communication platforms for disseminating information about cultural events in Piran and partner cities; · programme relevancy and elaboration; · promoting Piran and partner cities as open, creative cities; · promotion of the ECoC initiative and contributing to its long and extremely rich history and potential.

How do we plan to reach the national audience?

Communication phases 2020 creating awareness 2021

· to present the goals and values of the project to different publics. · mobilising regional stakeholders who will take on the role of project representatives:

· each of the participants to contribute their ideas and enrich the

project in the coming years. · identify the needs and capacities of everyone joining the project.

2022

2023

deepen a relationship with the local residents and visitors

· work together with partner organisations and jointly create activities in the fields of culture, tourism, ecology and education

· establishing a relationship with various publics, with the intention of building interest for the central period of the project

2024

2025

intensive communication with all our publics and promotion of content

· to recognise PI2025 European Capital of Culture as a space for

change, as an attractive environment for experiencing high-quality art, and as a place of inspiration and discovery

Specialized audiences

workers in the creative sector and mediators

Press

journalists in the role of mediators between the project and particular audiences (separate activities will be organised for local and international journalists and also with regard to different fields covered)

Potential visitors local and foreign

General audiences

2026

communication about the legacy of project PI2025

· examining the long-term effects of ECoC on the local environment · aim to build on co-operation agreements with major national and

local media outlets, already established during our candidacy, and extend our long-term co-operation with media institutions

target audiences

audiences following the ECoC project and the events happening in ECoC partner cities

We intend to establish an important partnership with the main national public broadcasting service, RTV Slovenia, and its regional headquarters in Koper. In 2025, we will maintain continuous cooperation with its culture and arts section; during the pre-event preparation we will create content to be presented in various programmes of the national broadcaster. Our candidacy is centred on sustainable development and environment, which will result in numerous activities presented in the news. The public broadcasting service RTV Slovenia will distribute the news in all their major programmes and programmes aimed at minorities and vulnerable groups. Close cooperation with national media will introduce the activities of project PI2025 European Capital of Culture to the general public in Slovenia.

How will we address the International audience? Despite the varied media landscape, we believe that a combination of an interesting programme, current topics and an attractive location will ensure international media coverage on a level with previous European capitals of culture. For 2024 we plan one international media tour, and two media tours will happen in 2025. We are ready in case of still ongoing COVID-19 restrictions to implement them in safe-mode and combination with digital touring. Significant media attention is expected at the opening of PI2025 European Capital of Culture, which will take place on the weekend of 10-11 January 2025. Our flagship projects will be accompanied with media campaigns and will attract the attention of a wider European public. Following the final confirmation of the programme, our efforts will be geared towards the promotion of programme segments and content; our media campaign will be based on select highlights from individual projects. At the same time, we intend to attract the interest of media in nearby Italy and Croatia, since our geographic and cultural closeness have given rise to intense cooperation with the neighbouring regions already during our candidacy. Apart from building ties with our local

Q39 and national public, we are also aware of our close connection with our neighbouring countries and their public. Diversity and co-existence have marked the life and experience of Istrian cities and therefore feature strongly in our ECoC programme as well as in the communication with the various types of public we are addressing. We will reach out to individuals and groups with the aid of digital tools provided by our newly established foundation, as well as the digital tools and mechanisms on offer in other, local and national, institutions in the field of culture and tourism. To a large extent, educational institutions and tourist organizations, with significant digital tools already, including CKSG Portorož and the University of Primorska, have already embraced the principles and values of the project PI2025 European. The bulk of the communication related to the project PI2025 European Capital of Culture will undoubtedly take place in the digital environment. An enthusiastic digital team will create content that will support the artistic programme and build a strong community focusing on The Wave, creative hub for new media and environmental activism, Libertas and Radical Impro Summit.... We will disseminate information through our newsletter and with the aid of other tools, which will enable us to reach and inform all levels of the public about the project and its programme. Because our programme is built on an interaction between real and digital environments, we will create interactivity. Social media will be used as one of the means to establish and build our audiences and to create dialogue, which is one of the project priorities. One of the key points in our communication strategy is also to hold the space for marginalised and overlooked groups to express their ideas and potential in a safe environment this is why we plan to collaborate with initiatives like Parole Ostili - Social awareness project against the use of hostile language on the web. Apart from providing information and active communication and by offering also real-time streaming of some of the content of the programme in our social channels, our trilingual website will also encompass marketing, a web store and ticket sales based on a ticketing system. Because of its immense capacity to reach target groups, flexibility in publishing information, interactivity, accessibility, and general usefulness, our strongest focus is on digital media: we expect a high volume of communication in the digital environment. 89

MANAGEMENT

Q41

Our priority communicative tasks in the digital environment include:

How does the city plan to highlight that the European Capital of Culture

engaging websites with the highest web traffic in Slovenia

social media

Facebook, Twitter, Instagram, TikTok…

mobile marketing web pages, forums & blogs

aimed at cultural audiences and such interested in science, ecology and Nature

An important aspect of communication is internal promotion, whereby individual participants (authors, performers, producers) become spokespeople for their own brand as well as the joint brand PI2025 European Capital of Culture. We also plan a good partnership with the

with targeted messages for specific events

direct marketing

aimed at specific target groups (e.g. cultural societies and associations, universities, students, etc.)

communication channels of our business partners and sponsors, as well as through the network of the municipalities and the project partners and the media of our EUNIC partners plus the joint initiatives which will be initiated together with Chemnitz - ECoC 2025 for Germany.

Q40 media with a view to ensuring wide coverage of the event

The European Union is going through turbulent times which is why projects such as PI2025 European Capital of Culture strengthen awareness of the significance of European values upheld by its member states. Because of this we wish to present our key ideas, i.e. responsibility towards the environment and the nature of change, which are the pressing issues of our time, as universal ideas. We want the project PI2025 European Capital of Culture to address problems and find answers which will better equip us for the future and build awareness of the importance of co-operation.

Apart from ideas which serve as guidelines for our project and are aimed at strengthening a common European identity, all of our platforms and activities will also strengthen the visibility of European Union through branding. The internal, external and media branding of EU symbols will be enhanced by the establishment of an information centre which will disseminate information about the project PI2025 European Capital of Culture. This year marks the 100th anniversary of the birth of Melina Mercouri, the initiator of the ECoC, and as part of our effort we pledge to strengthen and further her ideas and mission. We also expect to host the representatives of the European Commission and the European Parliament throughout the year 2025 and especially at key project events, such as opening and closing events. The entirety of the year 2025 and the preparation period will be devoted to strengthening European awareness. PI2025 European Capital of Culture will address European audiences with European ideas and will thus contribute to consolidate a common perception of European identity. This, also, is part of the intended legacy of our ECoC.

Resilient Culture Needs Resilient Tourism - Istria Green

Please describe the partnerships planned or established with

We believe that only residents who take pride in our project can act as authentic communicators of our candidacy. In the years leading up to ECoC, we will continue to mobilise the local population and encourage it to join the creation of project PI2025 European Capital of Culture. Numerous activities will engage citizens, creative artists, civil initiatives, business people and athletes; they will establish a network which will serve as the foundation of the project. The idea and project »Wave of change« wishes to attract cultural and educational institutions, sports organisations and businesspeople who recognise ECoC as a project capable of opening new horizons and improving our environment. We see the local residents as proud torchbearers of a brand, who will bring its message to the outside world. In order to achieve this, our project-related communication will employ various tools and mechanisms.

The candidacy PI2025 European Capital of Culture is built on the fundamental values of the European Union, which will be communicated through a plethora of activities pursued by our growing foundation and through the artistic programme itself. The various platforms and the artistic events, which will be intensely promoted, will highlight values such as diversity, responsibility and co-existence. Our various projects will strive to focus the attention of our audiences on values fundamental to the European Union; they will simultaneously highlight the importance of working together and the responsibility of all residents and citizens to maintain co-operation in the future.

During our pre-selection process we established mutual co-operation with organisations and eminent individuals willing to take on the role of project ambassadors for PI2025 European Capital of Culture. Among these, special mention should go to the sailing. environmentally friendly competitive yacht Way of life (Ewol project), winner of the Barcolana 2019, the biggest sailing event in the world. We also plan on establishing a business club, which will connect business people and companies willing to support our project with financial and intellectual resources. Business project ambassadors will strengthen the role of ECoC 20205 in its environment. We have also set the foundations for co-operation with educational institutions: primary and secondary schools and faculties and universities – and we will continue to do so in the next years. Pupils and students will help us create awareness of the ECoC among the younger generations, which will aid in maintaining its legacy.

Climate crisis, single use plastics, use of natural resources, COVID-19, overtourism … All of these issues have recently had a significant impact on tourism. The Slovenian National Tourism Board has taken a lead in developing the Slovenia Green programme and integrating sustainability into all levels of its tourism offering. Istrian Destination Management Organisations (DMOs) and tourism businesses will follow this lead by embarking on the Slovenia Green journey. Through promotional, educational and awarenessraising activities, the Sustainable Tourism in Istria programme will increase interest of private and public stakeholders in the Slovenia Green programme which will result not only in a significant increase of sustainable tourism certificates in the region but also in a deeper understanding of the sustainable tourism development principles. The

programme will strengthen cooperation between destination managers, tourism industry, civil sector and local residents. Our PI2025 cultural programme will be promoted in coordination within the Slovenia Green programme and will work closely to look for synergies between our aims and objectives, and those of the Sustainable Tourism in Istria programme. Partners: PI2025; GoodPlace, Factory of Sustainable Tourism, Ljubljana (SI); Slovenian tourism board (SI); Tourist Board Portorož (SI); Koper Public Institute for Youth, Culture and Tourism (SI); Tourist Board Izola (SI), Municipality Ankaran (SI), Vegal (IT).

Capacity to deliver

“This is a shared candidacy of redemption”

Q42

- Fabrizio Radin, the president of the Istrian Region

Please supply evidence of the continuous political support and commitment from the relevant authorities.

20th August Concert of ECoC pilot action Tartini 250

Photo: Aleš Rosa, David Lotrič Banović.

Presenting the 1st bidbook in front of the panel with 2 Mayors in our team Achieving the ECoC Seat in Piran (Savudrijska 9)

18th June Signing of the Memorandum in Trieste 15th September Signing the Memorandum in Muggia

From March on monthly meetings of the PIKA council with the ECoC team participating and briefing the Mayors

jan 2020

23rd July Meeting the representative of City of Venice in Piran

15th September Presentation of the PI2025 Cultural programme

7th January Partners endorsed the first bidbook

16th October Signing of the Memorandum in Pula Istrian Region

30th March to 30th april rigid Corona restriction- forbidden crossing municipality borders

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CAPACITY TO DELIVER

From the very beginning, PI2025’s candidacy bid has been a shared learning process, involving a diverse group of professionals and stakeholders – from cultural operators to mayors, who shared the same aspiration for change in our territory. The four municipality councils voted for the bidbook including the programme and the budget in November 2020. This bidbook is the result of teamwork; its polyphony is reflected in our writing, and in our bottom-up creation process of the PI2025 cultural programme. True to our Mediterranean temperament, we debated, argued, questioned, doubted, dreamed, imagined together, and were changed as a result. And these changes regard all of us: artists, cultural operators, and politicians, many of them collaborating together for the first time. We started in 2019 by building relationships through study-visits to Elefsina (GR), Novi Sad (RS), Rijeka (HR) and Matera (IT). ECoCs from which we learned, and drew inspiration, while weaving together a number of collaborations. The representatives of the four municipalities, even the mayors themselves, took part in these visits, proving their strong support from the getgo. We went on to create our vision for the PI2025 candidacy bid. Together with our political leaders, we assessed the situation on the ground: costbenefit and development potential analyses of local cultural and creative sectors were carried out; cultural infrastructure needs and projects’ sustainability levels (regardless of the success of the candidacy) were weighted. As the four municipalities have assigned considerable funding to our candidacy process (see Q26), requested for it to be organic, and its effects long-lasting. Following these guidelines, the core team devised a plan to facilitate a participatory, bottom-up approach. As a result, 80% of our local cultural sector has been involved in the creation of this candidacy bid. We also reached over the borders of the four municipalities to establish important partnerships and garner political support outside with our neighbours: the City of Trieste (IT), and the Istrian Region (HR) soon accepted our invitation to join the bid in the preselection phase. These moves proved successful. The political support expressed to our first bidbook, which received the unanimous vote of all 250 municipal councillors across the four Slovenian coastal 94

municipalities, was undeniable. However, it was also a moment of reckoning, the signal that the region had had enough of its modest cultural landscape – and was now pushing for change.

A change that was exemplified in another event in late 2019, at the presentation of the first bidbook in Koper, where the Mayor of Trieste addressed the public in Slovenian: Dober dan! In this multicultural Northern Adriatic area – where no one easily speaks the language of the “other”, where the stories are divided between “mine and thine”, where the profound acceptance of the other is found only in the intimacy of the family, while its absence in the public space is reinforced daily – this small gesture was momentous. During the second selection round we gained several other important partners. The support of the Veneto Region and the City of Venice (IT) came around organically: it was based on the shared history of the two regions connected by the sea; a sisterhood which is clearly reflected in the streets and sounds of both Piran and the Serenissima. Setting forth thematic areas, locations, projects, and funding, the Memorandum of Understanding (MoU) with the City of Venice was one of the most timely. And, for this marginalised area, oftentimes left out of cultural investment streams, it represents a substantial symbol of resilience against an arid cultural provinciality. A sentiment that echoes the words the president of the Istrian Region, Fabrizio Radin, spoke in Pula (HR) in October 2020: “This is a shared candidacy of redemption”. Our path has brought us here, to this bidbook, which has been reconfirmed by our four municipal councils, and today comprises 300 signed MuOs with partners across Europe. On national level, the support of the Slovenian government has been expressed in its commitment to allocate EUR 10 million to the winning bid. The Ministry of Culture was a correct information point with which we worked on a weekly, and sometimes daily basis. PI2025 reached out to other candidates, contacted, mediated to find terms that worked better for all. We hosted teams from other Slovenian candidates cities, played

fair and inclusive. PI2025 is convinced that it can implement the project with any government regardless of its political affiliation, thanks to a project of change with a potential that waits to be imagined, dreamed and brought to life. PI2025 is not an individual person, a single municipality, a single area; its complexities are deeply European and multifaceted, like the land and sea from which it derives. This is a path that we do not want to end. We want to continue to move forward to bring Europe with us on a journey of growth - and change.

Q43a Please detail the state of play of the foreseen infrastructure projects detailed at pre-selection stage, including the

Infrastructure projects The four Municipalities after the preselection phase started a process about clarification of infrastructural needs. They prepared a detailed Action plan for infrastructure linked to PI2025 programme. The action plan supports the management of planned investments. A detailed plan is provided for each investment, listing all the items that need to be verified and executed for the investment in order to be completed by 2024. All investments can be realised in accordance with existing strategic and operational spatial use plans. The only exception is the Intergenerational Centre in Isola, which will necessitate a new municipal spatial plan. It is also noteworthy that all of the investments are feasible in terms of property law. Land parcels, immovables, access and rights have all been provided for. Most investments have already been equipped with the necessary investment documentation – Investment Project Identification Document or IPID, which clearly states the existing situation, reasons for investment intention, needs to be met by the investment, compliance of the investment with European, national and regional and local strategies, responsible persons, preparation costs and implementation of the investment by cost sets, further necessary investment, project and technical documentation, time plan for the preparation and implementation of the investment, necessary administrative permits and financial construction with sources of financing at constant and current prices.

planned timetable for the works.

Monfort Salt Warehouses - Piran Two storage halls in the former salt warehouse, Monfort, will be refurbished to cater for the needs of proposed programmes. One of the spaces will house the Istrian International Centre of Performing Arts (IICPAC); the other will be turned into a Centre of Contemporary Digital Art – THE WAVE. The following documentation has been secured: architectural programme, architectural plans, assessment of existing condition, investment project identification document, items of work, equipment, programme equipment, value estimate by items. In order to complete the investment, we need to choose an architect, draw up the conceptual design, obtain building permit documentation and construction execution project, commission the interior design project, obtain a building permit, and organise an open call for a contractor and for equipment supply. The construction needs to be supervised by a project supervisor and a health and safety engineer. Once the works are complete, a project of works executed will be commissioned and an operating license obtained. Timetable (a detailed timetable is presented in the IPID and the action plan): 2021: Project documentation, preparing and confirming the investment programme, obtaining a building permit. Public procurement process in order to select contractor, equipment supplier, construction supervisor and health and safety coordinator; construction and supervision. 2022: Completing construction, supplying and installing equipment, supervision, project of works executed, obtaining an operating licence; object will be handed over for use in July 2022. 95

CAPACITY TO DELIVER

In the meanwhile, before July 2022 all the activities of the Cultural Embassy for Climate Crisis will be performed in the Tartini theatre and Tartini birth house.

Forma Viva The investment project involves the renovation, expansion and modernisation of an open air sculpture park on the Seča peninsula; it will also entail reconstructing an access road with a sidewalk and public lighting, reconstructing a walkway, establishing a traffic regime and a regime for stationary traffic. The investment is separated into three segments: reconstruction and road widening (reconstructing 630 metres of road, constructing a sidewalk and installing public lighting, reconstructing or upgrading the meteoric and faecal sewage system and water supply); reconstruction of a walkway (approximately 260 metres of pavement and public lighting); park refurbishment, including the clean-up of existing sculptures (parking spaces, entry portal, controlled traffic regime and vehicle access, drinking fountains with potable water, sanitation, waste bins, shaded rest areas, bike parking, exhibition path, cleaning the sculptures). All the necessary investment and project documentation and a final building permit have been obtained for the reconstruction of the road, together with the sidewalk and the adjoining communal infrastructure. Timetable (a detailed timetable is presented in the IPID and the action plan): 2021: Open call to select the contractor for the road and adjoining communal infrastructure, car park, and completion of the “road phase”. Obtaining the rest of the project documentation (park refurbishment). 2022: Open call to select the contractor for park refurbishment. Park refurbishment. Expected to be completed in June 2022. Completion of work, installation of park equipment, including sculpture clean-up. 2023: In the beginning of 2023 investment maintenance work will be completed for the paving and lighting of walkway.

Trevisini Palace A fully renovated classical palace constructed in 1826 will become a regional hub for music called TARTINI music HUB; it will house the administrative and programme Headquarter for ECoC, rehearsal rooms, and a small concert hall. The Palace will be 96

run by the PI2025 Foundation. A coffeehouse will double as a meeting point. The Palace will include a specialised music library. It will also function as a support centre for an international music festival, the Tartini Festival, and projects Sozvočja and EtnoHist(e)ria. The Piran Municipality is planning on purchasing the building and carrying out smaller works to improve the acoustics of the rooms. The proposed investment has a full Investment Project Identification Document, which has already been confirmed; an existing condition assessment and an energy certificate have been obtained. 2020: Drawing up and confirming the investment plan. Incorporating the building into the municipal asset management plan. Negotiating the building price with Generali Insurance (according to the law, the Piran Municipality has the right of first offer). Allocation of necessary resources in the 2021 budget and the development programme plans. 2021: Purchasing the building. Securing project documentation for planned works. Establishing the PI2025 Headquarters. 2022: Improving the acoustics of the grand hall. 2023: Completing the specialised library and Musical residences section (No Borders Orchestra) Until the purchase in 2021, the PI2025 Foundation will operate in the Baroque palace at Savudrijska 9 in Piran where business premises were arranged for this purpose in 2020, and concerts will be held at the Tartini Theater and Tartini’s birthplace.

Intergenerational Culture Centre The Intergenerational culture centre will be located in close vicinity of the sea. The facility with four levels (basement+ground floor+2) will have approximately 2,900 m2 of usable area. Sea access will be possible via a new outside square, which will also serve as a space for outside events and local everyday activities. The Izola Municipality has completed the IPID and bought the majority of necessary land parcels. Steps needed to complete the investment: 2021: Drawing up an adequate detailed municipal spatial plan. Purchasing the rest of land parcels. Open call for architectural plan, choice of project. 2022: Drawing up and confirming the investment plan. Obtaining project documentation (building

permit documentation and construction execution project); obtaining the building permit. Open call to select the contractor and construction supervision. 2023: Beginning of construction work. Construction.

2020: The Investment Project Identification Document will be completed. 2021: The renovation of the premises at Kidričeva 43 is planned.

2024: Continuing and completing construction, purchasing and installing equipment, completing the outdoor design. Commissioning project of works executed, obtaining an operating license. Opening ceremony.

2022: The renovation of the premises and the establishment of the Residence Center are planned. Funds are provided in the draft city budget.

Warehouse Libertas – Creative Industries Hub

The Ankaran Municipality have determined the basic technical requirements for the floating stage. In 2021, the municipality will determine whether there is a ready-made product available for sale or whether the stage should be produced according to specification. In case there are no ready-made products available for sale, the project and investment documentation (IPID and investment programme) will need to be prepared and an open call organised to select the contractor–supplier in 2023. The vessel will need to be certified for near coastal voyage and an operating licence obtained. The stage is to be supplied in 2024.

The City of Koper bought the former salt warehouse Libertas (cca 1,200 m2) which will house the center of Creative Industries, a museum space and an event space. They plan to transform the warehouse into an event space with accompanying (auxiliary) spaces, arrange a museum collection related to the industrial heritage of the region and arrange spaces for the development of creative industries. The following activities will lead to investment completion: 2020: Formalize the ownership. Prepare the Investment Project Identification Document and the architectural project in accordance with the Institute for the Protection of Cultural Heritage (November 2020).

Floating Stage

Alternative spaces for the culture programme

2021: Registering the building in the Record of public infrastructure in the field of culture. Obtaining building permit documentation and project of construction execution, obtaining a building permit. Open call to select the building contractor, artisanal and installation contractors, equipment supplier, and construction supervisor. Construction begins. 2022: Construction completed, installation of equipment, obtaining an operating licence. Handover of the facility to the investor.

Forum Babylon and Residential Centre This investment will provide the infrastructure for an international residence and working centre for translators, poets and writers. The residential part will be housed in the former residence of the consul general of the Republic of Italy in Koper; the translation office will be located at Kidričeva street 43, in Koper. Both spaces are owned by the City of Koper. Plans and items of work for the reconstruction of spaces have been finalised. Theatre Tartini and Auditorium Portorož – photo: Aleš Rosa.

CAPACITY TO DELIVER

Q43b Please clarify the links with the European Capital of Culture project.

Integration of infrastructure ambitions and PI2025’s cultural programme Monfort Salt Warehouses – Piran (1)

Intergenerational Culture Centre – Izola (4)

Two significant projects from our cultural programme, Istrian International Centre of Performing Arts (IICPAC) (page 40) and Centre of Contemporary Digital Art – THE WAVE (page 34) will be housed in these spaces made available as a result of the refurbishment plans detailed above. We deem the risk of this investment to be LOW. Infrastructure plans are moderate and attainable and risk to the roll out of our cultural programme ambitions is not considered to be high.

This infrastructure initiative is owned and managed by Izola Municipality with their own programming decisions and priorities built into their strategy. PI2025 will supplement cultural programming with the inclusion of Ship of Tales (page 39), Beyond Vocals (page 36) and Singing Lullabies for our Lives (page 25). While infrastructure plans are ambitious the risk to the roll out of our cultural programme ambitions is not high and alternative spaces have been identified.

Forma Viva – Piran (2)

Warehouse Libertas – Creative Industries Hub – Koper (5)

Alongside the infrastructural investments envisaged and led by the Municipality of Piran our cultural programme includes reinforces these developments through supporting Nature & Art celebrating sixty years of sculpture at Forma Viva; Hortus Conclusus – Forma Viva on Piran Terraces focusing on the question of contemporary visual arts; Medusa vs Medusa a renewed concept of the sculpture park Forma Viva Meduse Mirabilia, a programme for children. We deem the risk of this investment to be LOW. While infrastructure plans are medium they remain wholly attainable and the risk to the roll out of our cultural programme ambitions is not high.

Trevisini Palace – Piran (3) As a result of this purchase PI2025 will oversee the installation of TARTINI music HUB. It will also house the administrative and programme Headquarter for ECoC, rehearsal rooms and a small concert hall. A coffeehouse will double as a meeting point. The Palace will include a specialised music library. It will also function as a support centre for an international music festival, the Tartini International Festival (page 27), and projects Sozvočja (page 26) and EtnoHist(e)ria (page 27). While infrastructure plans are ambitious the risk to the roll out of our cultural programme ambitions is not high as alternative spaces have been identified.

ankaran izola koper piran

This project is an initiative owned and promoted by Koper Municipality. PI2025 will offer consultation and advice to the development of the creative industries hub and potentially use the facilities for exhibitions (OHO retrospective and The Wave), rehearsals, storage etc. Risk to PI2025 cultural programme ambitions are very low. Forum Babylon and Residential Centre: This infrastructure ambition is an initiative owned and promoted by Koper Municipality. Five years of creative activity associated with the project is primarily supported by PI2025 under our Lost and Found platform. As facilities are already owned by Koper Municipality we consider risk associated to our cultural programme to be low.

Floating Stage – Ankaran (6)

This project ambition is an initiative owned and promoted by Ankaran Municipality. PI2025 will support and facilitate programmes of cultural activity appropriate to outdoor, summer-time cultural programmes where appropriate including Beyond Vocals, Radical Impro Summit (page 36), Etno Hist(e)ria site-specific and more. The risk of this investment not happening to our programme is zero.

Monfort Portorož, Forma Viva, Ankaran concerts, and Palace Trevisini – photo: Aleš Rosa. Argo by Igor Opassi, Izis exhibition – photo: David Lotrič Banović.

Wave of Change

Piran-Pirano 4 Istria 2025 final selection bidbook 2020 Published by Municipality of Piran-Pirano In Partnership with Municipality of Ankaran-Ancarano, Municipality of Izola-Isola, Municipality of Koper-Capodistria Application Team Martina Gamboz, Borut Jerman, Chris Baldwin and Márton Méhes as core bidbook team in association with 57 local artistic and cultural collectives and experts Andraž Eller, Lučka Kajfež Bogataj, András Süli Editor Martina Gamboz Translation Gašper Malej, Nika Erjavec Proofreading Chris Baldwin, Corinne Brenko The copyright lies with the publisher. Reprinting or the use of extracts require the explicit permission of the Municipality of Piran-Pirano. The publisher assumes no liability for quoted contents and their sources. Graphic Design Mateja Tomažinčič Photo credits Romana Kačič, FotoExTempore Novigrad-Cittanova, Aleš Rosa, Janez Klenovšek, Animaris Ader, Joe Lee, Archive of the Museum of Modern Art Ljubljana, Peter Litavsky, Peter Uhan, Archive of the Italian Community Association Santorio Santorio Koper, Marco Citron, Alma Glumac, Tadej Droljc, Marko Sterle, Ubald Trnkoczy, Primož Korošec for Schirn Kunsthalle Frankfurt, Gorazd Mauri, Saša Spačal archive, David Lotrič Banović, Igor Opassi Printed by Cicero, Ljubljana Printed on Pergraphica paper, hand made carton cover, FF Meta font Piran-Pirano, November 2020 www.piran2025.eu www.facebook.com/Piran2025

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