Marseille- Provence 2013 - Plan Estratégico de Burgos

Transcripción

MarseilleProvence 2013
European and
Mediterranean
Application to become
the European Capital of Culture
Under the tutelage of
Albert Camus, who would have
been 100 years old in 2013
“Even today, we can still find a clear-eyed understanding
in France and a consideration with regard to those rare
and rarely satisfied men who are too great to be fulfilled
by any form of patriotism and who, as Northerners,
know how to love the South and in the South, love
the North – those natural Mediterraneans, those good
Europeans”.
Friedrich Nietzsche
3
Once before in its history, Marseilles was a European
Capital of Culture.
A city of refuge and a city of migrants, Marseilles took
in the best that Europe had to offer in the world
of art and thought between 1940 and 1942, sheltering
those that were persecuted by barbarians at that time.
It is while reflecting on these moments of trial and hope,
and on those who gathered around the exemplary
figure of Varian Fry, that we undertake to relate our work.
Max Ernst, Jacqueline Lamba, André Masson, André Breton and Varian Fry – Courtesy of the Varian Fry Institute
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Prologue
Prologue
Prologue
From the very beginning, the Marseille-Provence 2013 bid project has been founded on a
dual analysis of the role of culture in the construction of Europe and of the place of the arts
in the regeneration of the city. This dual analysis has led us to four observations that can
be confirmed on both the European and local levels.
A political observation
The rejection of the European Constitution project is indicative of a consciousness and a motivation that is not fully shared by the general public. The results of the constitutional referendum
across the area implicated in the bid were even less convincing than those of the French national
average and may have conferred a reputation of “bad Europeans” on the people of Marseilles.
An economic observation
Two recent developments make it more necessary than ever for culture and the economy
to come together.
The weight of cultural activities keeps growing in terms of jobs and productive activity.
The economies of knowledge, innovation and creation are becoming key factors of development. The cultural element is a priority for Europe in the context of the Lisbon Treaty
and Marseilles-Provence has also made it a pillar of its Territorial Development Plan (Schéma
de Cohérence Territorial) for the 2006-2016 period. The main figures in the local economy
have united as the “Ambition Top 20” club following the Lisbon Treaty, with the aim of
propelling Marseilles into the list of Europe’s top 20 cities. Convinced of the role of culture
in the influence and appeal of the area, they initiated a range of key measures as early as
2007 in support of our application for the title of European Capital of Culture.
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Prologue
Prologue
A demographic observation
This choice has led us to define a bid concept that runs through and unites the different
themes and programmes of the project, giving it strength and originality. It is a concept
that ensures that our project will last long after 2013 and that brings together both
opinion leaders and the general public in its implementation: the “Ateliers de l’Euroméditerranée” (Euro-Mediterranean Workshops). Putting this concept into action on
the ground will be both an unprecedented experience and an example for Europe.
Europe has long been the world’s most important territory in terms of immigration.
The challenges presented by immigration and by the dialogue between cultures are becoming
increasingly important, given the dangerous growth of problems linked to community identity
and the aggravation of disparities between the European Union and many of its neighbouring
countries. In this respect, Marseilles-Provence, a region that has always welcomed immigrants
and a city built on diversity, represents a unique European testing ground for integration and
intercultural exchange.
An international observation
Over recent years, culture has become an essential component in Europe’s international
relations, as shown clearly in the recent UNESCO Convention on cultural diversity and
by the European Union’s own negotiating positions within the World Trade Organisation.
In the same way, Marseilles-Provence has seized the opportunity presented by our bid to
make an unprecedented effort in terms of international outreach and cooperation through
culture. This effort is described in Chapter 1 of our first report.
Combining these dual international and local aspects of the cultural element of development, we have put together a project that is driven by five aspirations:
1. The aspiration of playing a significant role in the cultural geopolitics of Europe with
an emphasis on those EU strategies and programmes to which Marseilles-Provence can
make the most effective contribution. Consequently, in this second stage, we have sought
to conform to the new cultural agenda of Europe as defined for the 2007-2013 period.
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2. The aspiration of building a programme based on themes that meet the challenges of
our commitment to Europe’s cultural engagement and which are designed to develop experiences, discussions and exchanges of knowledge and skills around these themes.
3. The aspiration of mobilising the greatest possible number of local and European figures
in the fields of art, science and business around these experiences and to offer all citizens
the possibility of playing a part in them.
4. The aspiration of producing work and events which support contemporary creation in
Europe, which promote both the diversity and the shared character of this creation, and
which will endow our city with a new kind of heritage. This is why we are making an exceptional effort to promote the public and private commissioning of various pieces of work.
5. The aspiration of permanently transforming the city, of building a real territory project
and of preparing immediately for the “after 2013” period.
The work accomplished during the initial selection phase has allowed us to develop the
direction and overall content of the bid in association with the leading figures of Marseilles9
Prologue
Prologue
Provence: we chose our objectives, selected themes, designed the programmes, assessed
the resources required, appointed the Board and undertook negotiations for local, national
and international partnerships. All of this has helped us to define “What MarseillesProvence wants to do in order to move forward.”
– The public promotion and advertising plan drawn up in the first phase of bid (see Chap. 6
of report 1) has also been put into action.
– The development work of structural projects has been pursued, in particular by setting up
scientific and artistic councils on various themes, by appointing of curators (for exhibitions)
and project managers, who took up their posts in January 2008, by drawing up European
and Mediterranean partnership agreements and by fixing the relevant budgets.
– An overall project schedule has been established.
Since then, we have been working to prepare the final project:
– The evaluation process described in Chapter 8 of the first report is under way. Critical
analyses of the pre-selection file have been sought from different outside experts in France
and abroad.
– We have carried out missions in 9 European Capitals of Culture, whose events are either
finished, in progress, or in preparation.
– Trips and meetings have been organised with the partners of Marseilles-Provence across
Europe, especially in Slovakia and in 7 countries of the Southern and Eastern
Mediterranean.
– The activities of the Marseille-Provence 2013 Association have been developed to unite
the elected officials of the area and representative figures from the worlds of business,
culture, education and science. The Association’s Board has met every two months since
the beginning of 2007.
– We have embarked on some of the bid’s structural programmes without waiting for the final
selection result, and a number of events have already been organised with success. This is
notably the case for the launch of the “Ateliers de l’Euroméditerranée” (Euro-Mediterranean
Workshops) and the “Nouveaux Commanditaires” (New Commissioners) programme.
– The Association has allocated €1 million specifically to these activities in its 2008 budget,
excluding operating costs and in addition to funds raised by various project leaders and
partners of the programmes concerned.
10
Informed by this work, we will be seeking to reply to the following 6 questions in this second
volume of the bid file:
Chapter 1: How has the project been specified and structured since the pre-selection
phase?
Chapter 2: How does the project serve a Europe of Culture?
Chapter 3: What lasting changes will the project bring about for Marseille-Provence?
How is it preparing for the post-2013 period?
Chapter 4: How is the project mobilising citizens? How are citizens participating in the
development of the project?
Chapter 5: How is the project’s implementation being prepared?
Conclusion: How would its selection as ‘Capital’ help Marseille-Provence become a true
European cultural metropolis?
In the appendices, we provide a more detailed description of the state of progress on a
theme-by-theme basis for all of the programmes currently being developed.
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Contents
6 14
Prologue
Chapter 1: How has the
project been specified
and structured since
the pre-selection phase?
16 1.1 Work on the main concept of the project:
the “Ateliers de l’Euroméditerranée”
(Euro-Mediterranean Workshops)
20 1.2 Work on the priority themes of the project
76
Chapter 2: How does
the project serve a Europe
of Culture?
27 1.3.A Two new permanent European festivals:
30
35
41
47
InterMed (and its InterMed Youth section)
and Via Marseilles
1.3.B Existing international events will
develop Euro-Mediterranean programmes
from 2009 to 2013
1.3.C The exhibitions of 2013
1.3.D The major popular events of 2013
1.3.E Other framework programmes
of the bid from 2009 to 2013
62 1.4 Work on the 2013 calendar
116 3.2 The bid is a regional cultural project
and Mediterranean vocation and represent
118 3.3 The project creates lasting pieces of work
and Mediterranean Union policy
Barcelona Process
81 2.1.B The project is in line with the priorities
of the EU’s “Culture Programme 2007-2013”
81 2.1.C The Project endorses certain specific
European programmes and has attracted
the necessary funding
122 3.4 The project is building sustainable
98 2.5 The European agenda of Marseilles-
cultural activities
100 2.5.B European cultural projects initiated
or supported by the bid as preview events of
the European Capital of Culture in 2008
101 2.5.C Cultural projects initiated or supported by
the bid in 2008 as part of the European cultural
season during the French Presidency of the EU
134 Chapter
4: How is the project
mobilising citizens? How are
citizens participating in the
development of the project?
136 4.1 Implementing the strategy
for mobilising citizens
increase the bid’s relays of information
territory implicated in the bid
in Europe and the Mediterranean
86 2.3 The project develops EuroMediterranean partnerships and integrates
102 Chapter
3: What lasting
changes will the project bring
about for Marseille-Provence?
How is it preparing for the
post-2013 period?
existing exchange networks
87 2.3.A With Slovakia
promotion, communications and tourism
development from 2009 to 2013
192 5.5.B The strategy’s key points
194 5.5.C A tourism development policy linked to
168 Chapter
5: How is the
project’s implementation
being prepared?
138 4.2 Working with associations
172 5.1 Future governance of the project
140 4.2.A Participative projects undertaken
173 5.1.A Legal review
by associations
190 5.5 Strategy concerning citizen mobilisation,
191 5.5.A Belief confirmed
158 4.6 Citizen participation after 2008
84 2.2 The project mobilises stakeholders
and citizens around issues and partnerships
monitoring tools
153 4.5.A Publicise the stakes, increase visibility,
156 4.5.B Popular events to rally residents from the
Provence in 2008
99 2.5.A General Agenda
182 5.3 The budget
188 5.4 Evaluation and management-
152 4.5 Informing and rallying residents in 2008
major long-term investments
80 2.1.A The project endorses the 1995
148 4.4 Working with schools
149 4.4.A Participative projects involving schools
and certain new facilities have a European
78 2.1 The project is in line with European
26 1.3 Work on the high points and framework
programmes of the project
96 2.4 The high points, framework programmes
175 5.1.B The selected mode of governance
176 5.1.C The Marseilles-Provence area
communications
196 Chapter
6: How would its
selection as ‘Capital’ help
Marseille-Provence become
a true European cultural
metropolis?
177 5.1.D The Charter of the Association
200 6.1 Handicaps and weaknesses
145 4.3.A The “Ateliers de l’Euro-
178 5.2 Organisation
202 6.2 Weaknesses with promising potential
méditerranée” (Euro-Mediterranean
Workshops) in businesses
147 4.3.B The “Ateliers de l’Euroméditerranée” project in laboratories
179 5.2.A The Administrative Board
144 4.3 Working with businesses
and laboratories
104 3.1 The project is part of an overall
89 2.3.B With European and Mediterranean
development and redevelopment
networks
92 2.3.C With the cities of Europe
93 2.3.D With cities and stakeholders
on the Southern and Eastern shores
of the Mediterranean
strategy for Marseilles-Provence
106 3.1.A The Cité de la Méditerranée
112 3.1.B A cultural Cloister in Aix-en-Provence
113 3.1.C The Regeneration of Industrial Wasteland
115 3.1.D Places of Memory
180 5.2.B The Steering Committee
180 5.2.C The Operations Team
181 5.2.D The Evaluation
and Supervisory Committee
206 6.3 How the European Capital of Culture will
help correct Marseilles’ weaknesses
Chapter 1
16
1.1
Work on the main concept
of the project: the “Ateliers
de l’Euroméditerranée”
20
1.2
Work on the priority themes
of the project
26
1.3
Work on the high points
and framework programmes
of the project
62
1.4
Work on the 2013 calendar
How has the project
been specified and
structured since the
pre-selection phase?
Chapter 1
How has the project been
specified and structured since
Chapter 1 How has the project been specified
and structured since the pre-selection phase?
1.1
Work on the main
concept of the project:
the “Ateliers
(Euro-Mediterranean
Workshops)
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The choice of concept presented during the preselection process has been confirmed.
Its title has been modified: to the “Ateliers de l’Euroméditerranée” instead of the “Ateliers de la Méditerranée” in order to emphasise and affirm the NorthSouth dimension of the exchanges and meetings
between creators, their projects and their work.
The strength of the concept lies in the combination
of:
––the historical Euro-Mediterranean vocation of
Marseilles;
––our desire to make a durable contribution to the
implementation of the recently updated 1995
Barcelona Process and to the priorities of the
European Union’s “Culture 2007-2013” programme: intercultural dialogue, aid for artistic
creation, and transnational circulation of cultural
and artistic output.
The originality of the concept lies in the gradual and
sustainable creation of 200 to 250 workshops within
community associations, businesses, laboratories,
schools and the cultural institutions in the MarseillesProvence area. Some participative projects (see
chap. 4) of a sufficiently high professional level could
also be integrated in the “Ateliers de l’Euroméditerranée”, and be the subject of a public presentation in
the framework of the InterMed festival (see p. 27).
The “Ateliers de l’Euroméditerranée” concept guarantees that the productions engaged in 2008 will
endure beyond 2013. The concept brings together a
large number of the area’s cultural, educational,
scientific and business figures and, through them, a
large population of students, researchers, and
employees.
The realisation of this concept will constitute an
unparalleled experiment in Europe, capable of
inspiring other comparable initiatives.
Its general vocation and its five aims have been
maintained:
The “Ateliers de l’Euroméditerranée” concept covers
all the events that aim to make Marseilles-Provence
a European hub of cultural cooperation, involving
major figures from European and Mediterranean
countries in all disciplines of the arts and culture. This
hub will be built to last.
Its missions and activities will continue beyond 2013.
It will give priority to actions towards young creators
and researchers. It will be constructed by federating
the existing or future institutions and events of
Marseilles-Provence in the perspective of 2013. Its
spearhead will be the high points of the InterMed
festival and its InterMed Youth section.
Hosting
Artists, scholars and creators of cities and landscapes
from the South and North will be invited to MarseillesProvence each year and throughout the year, to work,
communicate and discuss. Facilities for their accommodation and work will be arranged within the cultural
institutions and businesses in the area. In this regard,
the business world in particular has mobilised its resources to propose an exemplary programme that is
being put into operation as of 2008 (see p. 4).
With the help of their employees, businesses are
proposing locations for artists’ residencies and are
making room for the requisite work and rehearsal
studios on their premises.
Certain institutions are ideal for installing special
centres. For example, the former SNCF workshops in
Arles; the European Académie of Musique in the
context of the Aix-en-Provence International Opera
Festival and the Grand Saint Jean project; the Centre
National de Création et de Diffusion Culturelles in
Châteauvallon (in the Toulon urban district); in
Marseilles, The La Friche La Belle de Mai Arts Centre,
the Street Arts Academy, the Docks des Suds, the
International Documentary Festival (with its FIDLab
for producer/director pairings based on the successful
Rotterdam model), the IMéRA (Institut Méditerranéen de Recherches Avancées – Mediterranean Institute for Advanced Research) will welcome academics.
In 2009, research laboratories and competitiveness
clusters will join the movement with the aim of mitigating the relative isolation of scientific culture.
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Transmitting
The Marseilles-Provence project is a project for the young.
Transmission may not be the most spectacular aspect
of the project, or the most popular; it is however
considered to be central by leading cultural figures.
Marseilles cannot pretend in the long term to be a
metropolis of Euro-Mediterranean culture without
offering a powerful response to the challenge of
transmission and young people.
They are the future. The progress of thought, the
renewal of forms, the exploration of new arenas of
expression all come about by the questioning and
testing of sources, knowledge and skills.
We will invite masters from the South and from the
North in all disciplines (the arts of the written word and
public discourse, the arts of music, the arts of the fixed
and animated images, the art of garden design, of landscaping, of architecture, the arts of fashion and food),
without forgetting the fields of knowledge and crafts and
scientific culture in general. We will invite young creators
to meet with these masters, to work in contact with
them in master classes and courses. We will thus develop
exchanges among the Southern countries themselves
as much as between the South and the North.
Specific projects, which will be introduced between
now and 2013, will allow us to develop and consolidate
this ambition. This is the case, for example, of the
Centre Européen de la Photographie (European
Photography Centre) which is to be located in Arles
and which will provide continuous training for young
photographers.
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The “Ateliers de l’Euroméditerranée”
to emphasise and affirm the NorthSouth dimension of the exchanges
and meetings between creators,
their projects and their work.
In 2008, the “Ateliers de l’Euroméditerranée” were launched (see
Chap. 4 and 5 below):
10 volunteer businesses have been selected to create work and production
facilities in their premises in order to welcome an initial group of artists;
cultural institutions and events in the area implicated in the bid have been
mobilised and have begun to coordinate programmes of residencies,
commissions and master classes;
Articulating transmission and creation
Combining artistic works with intellectual and
The “Ateliers de l’Euroméditerranée” will be associated
with courses and encounters to provide support for the
creative projects that will be produced and presented
alongside the events – exhibitions, shows, festivals – in
the years to come. A specific policy of commissions
will be implemented. Special attention will be given
to new artistic writing, to music, to popular urban
forms of expression and to creative documentaries.
scientific works
Contributing to the renewal of the city
––Publishing in the Mediterranean Forum;
––Television around the Mediterranean Forum;
––Meetings between art schools and theatre schools
in Europe and the Mediterranean;
––The Anna Lindh Foundation’s Forum for Young
Creators;
––Forum of European and Mediterranean cultural
networks;
––International Conference on the Mediterranean
Architectural Heritage (R.I.P.A.M.);
––European seminars on educational and cultural
multimedia;
––“Sciences Frictions” Conference.
The “Ateliers de l’Euroméditerranée” will be open to
the city. They will deal with such issues as the redevelopment of public spaces and the place of art in
these spaces. They will associate artists, architects and
planners. They will look at nomadism, the circulation
of works of art and the cultural irrigation of the area.
They will organise public meetings. Residents will
participate in cultural projects designed to develop
amateur activities, especially in schools.
Contemporary creation – and especially young creation
– fosters openness and social links. Artistic activities
in the South as in the North are today increasingly
linked to local areas and issues, and combine artistic,
educational and social dimensions. In this new relationship with people and audiences, young creators
can structure and animate vital spaces of freedom.
The “Ateliers de l’Euroméditerranée” will support
exchanges and debates between masters and students,
academics and artists, in liaison with universities and
research institutes, around some of the main themes
of the European Capital of Culture project. Seminars
and conferences will be organised on these themes,
notably:
European and Mediterranean artists have been associated with building
the concept of the “Ateliers” and will assist in putting them into action
over the coming years:
Gloria Friedmann Visual artist Federal Republic of Germany, Gabriele Basilico
Photographer Italy, Assia Djebar Writer and film-maker Algeria,
Dominique Edde Writer Lebanon, École P.A.R.T.S. Choreographers
Belgium, Yousry Nasrallah Film-maker Egypt, Franck II Louise Choreographer & musician France, Jani Nuutinen/Circo Aero Circus artists
Finland, Armand Arnal Chef France, Zad Multaka Musician Lebanon,
Ahmed Essyad Composer France.
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Chapter 1
1.2
Work on
the priority themes
of the project
In order to improve the coherency and the clarity of
the project and in order to reinforce its links with the
aims of the EU’s cultural policies, especially as they
are set out in:
––the 3rd element of the Barcelona Process;
–– the Commission’s cultural programme for 2007-2013;
––the Communication of May 2007 on a “European
agenda for culture in a globalizing world”;
––in order to enhance the territorial dimension;
––in order to take the fullest possible advantage of the
special local and international features of MarseillesProvence;
––the number of themes has been reduced, priorities
have been affirmed more clearly, their content
specified and, in certain cases, modified in relation
to the first report.
Emphases have thus been placed and work focussed
on the following areas:
––Marseilles-Provence, a city of intercultural dialogue
and transmission;
––Marseilles-Provence, an area that expresses Europe’s
shared values and diverse beliefs;
––Marseilles-Provence, a public arena undergoing regeneration thanks to the creativity of artists, scholars
and architects from Europe and the Mediterranean;
––Marseilles-Provence, a testing ground for cultural
democracy and citizen participation.
20
The number of themes has been
reduced, priorities have been affirmed
more clearly, their content specified
and, in certain cases, modified in
relation to the first report.
Reminder:
On the basis of the “Ateliers de l’Euroméditerranée”
concept, the project is constructed around two main
strategies:
–– an international strategy entitled “Le Partage des
Midis” (Sharing the South) that corresponds to goal
nº1 (“to enrich the cultural element of the Barcelona
Process by creating a permanent hub for intercultural,
Euro-Mediterranean dialogue in Marseilles”),
––a local strategy designated “La Cité Radieuse” (The
Radiant City) that corresponds to goal nº2 (“to
develop artistic and cultural activity as a force for
the renewal of the city by conjugating four issues:
the quality of public space, cultural irrigation of the
area, the appeal of the metropolis and widespread
public participation”).
Each of these two strategies comprises four themes
that, in the first case, express the cultural dimension
of the issues surrounding Euro-Mediterranean cooperation, and, in the second case, examine the
cultural aspects of urban regeneration.
The four themes of Strategy 1, “Le Partage des Midis” are:
––Migrations and Memories
––Values and Beliefs
––Genders or Genres
––The Sharing of Water
The four themes of Strategy 2, “La Cité Radieuse” are:
––Art in the Public Arena
––Walkers – Nomads – Territories
––One Thousand and One Nights
––Everyone is Involved
This structure guarantees the coherency of the project
and gives direction to its content.The two new international festivals proposed, the popular events, the
exhibitions, the artistic commissions, the involvement
of stakeholders and citizens, the cultural facilities
under construction for 2013 and indeed the entire
project is designed and programmed in accordance
with the goals, the concept, the two strategies and
the eight themes shown in the diagram opposite:
21
The table displaying the structure of the project
included in the pre-selection report has been modified
and is now presented as follows:
Scientific and Artistic Advisors
The goals to be attained
THEMES
STRATEGY 1, Le Partage des Midis
THEMES
STRATEGY 2, La Cité Radieuse
1 Migrations
and Memories
Management of the MuCEM (Museum of European
and Mediterranean Civilisations)
Management of the Cité Nationale de l’Histoire de l’Immigration
(National Centre for History and Immigration)
Patrice Pomey, Historian
Marilyne Crivello, Historian
Jocelyne Dakhlia, Ethnologist
Jean-Jacques Jordi, Director of the Memorial d’Outre-Mer
(Overseas Memorial) project
Michèle Beaussant, Ethnologist and Sociologist
1 Art in the
Public Arena
Laurent Le Bon, Curator of the Centre Georges Pompidou, Art
Historian
Patrick Bouchain, Architect
Patrick Degroote, Director of the Festival of Anvers
Nevenka Koprivsek, Director of the Festival of Lubjana
Ali Hajji, Director of the Festival of Casablanca
2 Values and
Beliefs
Dioniggi Albera, Ethnologist
Thierry Fabre, Essayist
Alain de Libera, Philosopher
Benjamin Stora, Historian
Pierre-Alain Rey, Professor of literature
Catherine Camus
2 Walkers –
Nomads –
Territories
Jean-Pierre Blanc, Director of the Villa Noailles
Michel Jean, Société du Canal de Provence
Philippe Deliau, Landscape Artist
Félix Lefebvre, Engineer
Bruno Schnebelin, Artist/Director of the Compagnie Ilotopie
Christophe Berthonneau, Artist/Director of Groupe F
3 Genders
or Genres
Nadine Descendre, Programmer
Michelle Zancarini-Fournel, Historian
Arlette Farge, Historian
Catherine David, Curator
Rasha Salti, Sociologist
Michel Peraldi, Anthropologist
Pierre Chevalier, Cinema/radio/television producer
3 One
Thousand
and One Nights
Pierre Sauvageot, Director of Lieux Publics
Serge Hureau, Director of the Hall de la Chanson
Bernard Aubert, Director of the Fiesta des Suds
4 The Sharing
of Water
Pierre-Alain Roche, Académie de l’Eau
Loïc Fauchon, World Water Council (WWC)
Jean-François Donzier, International Water Bureau
Jacques Plantey, Société du Canal de Provence
Raymond Jost, International Water Secretariat
Pierre Chevallier, Institute of Research for Development
Jean-Marc Providence, Curator of Exhibitions
4 Everyone
is Involved
Chantal Ohanessian, Director of the Délégation aux enseignements artistiques et pratiques culturelles (Delegation to Arts
Teaching and Cultural Activity)
Georges Sylvestre, Directeur Régional de la Jeunesse et des
Sports (Regional Director for Young People and Sport)
Eric Michel, Director of the Cité de la Musique de Marseilles
François Hers, Director of the Hartung Foundation
Constance Hammond, Institut National de la Santé et de la
Recherche Médicale (National Institute of Health and Medical
Research)
Sylvie Amar, Directrice du Bureau des Compétences et Désirs
(Director of the Office of Skills and Aspirations)
Michel Deneux, Délégué Départemental de l’Union des Centres
Sociaux et Culturels des Bouches du Rhône (Departmental
Delegate for the Union of Social and Cultural Centres of the
Bouches du Rhône)
Goal No. 1
Goal No. 2
To enrich the cultural element of the Barcelona Process
by creating a permanent hub for intercultural, EuroMediterranean dialogue in Marseilles.
To develop artistic and cultural activity as a force for
renewal in the city by conjugating four issues: quality of
public space, cultural irrigation of the area, widespread
citizen participation and the appeal of the metropolis.
The concept
The “Ateliers de l’Euroméditerranée”
The project
Strategy 1
Strategy 2
European dimension
Local dimension
A cultural project
for a Euro-Mediterranean project
Hosting
Testing ground for cultural dialogue
Sharing
& transmitting
“Le Partage des Midis”
(Sharing the South)
Experimenting
& creating
“La Cité Radieuse”
(The Radiant City)
Themes :
Renewing
Themes :
1. Migrations and Memories
2. Values and Beliefs
Participating
Testing ground for urban
renewal through culture
1. Art in the Public Arena
2. Walkers – Nomads – Territories
3. Genders or Genres
3. One Thousand and One Nights
4. The Sharing of Water
4. Everyone is Involved
Programmes
2009-2010-2011-2012-2013
22
A cultural project
for an urban project
23
“Le Partage des Midis” (Sharing the South) as interpreted by Stephan Muntaner
24
– Image c-ktre
“La Cité Radieuse” (The Radiant City) as interpreted by Stephan Muntaner
– Image c-ktre
25
Chapter 1
1.3
1.3.A
Strategy 1
Two new
permanent
European
festivals: InterMed
(and its InterMed
Youth section)
and Via Marseilles
Programme 1
InterMed
An international platform for the
“Ateliers de l’Euroméditerranée”
Work on the high
points and framework
programmes
of the project
26
Since the pre-selection phase, the project of creating
two enduring and unique new international festivals
has been specified with the help of cultural figures
from the area and outside arts consultants (see above
1.1 and 1.2). The state of progress of this collective
work is detailed in the Appendix.
The “Ateliers de l’Euroméditerranée” will allow artists
to meet up, exchange ideas and, ultimately, develop
projects together. By 2013, a large part of these dayto-day exchanges will be taking place via a powerful
Internet gateway. Each year, during the autumn halfterm school holidays, a high point will bring these
figures together physically; the event will comprise
several complementary sections to showcase the work
of the “Ateliers de l’Euroméditerranée.”
InterMed Gateway
The power of information technology tools now allows
sound, image and film files to be exchanged in real
time. The constitution of an InterMed Gateway site
comprises a professional aspect and a public aspect.
The professional site will comprise two sections; one
will be a tool providing information on projects in
progress and the production of the workshops; the
other will be linked to InterMed Youth and will be
used for exchanges around teaching resources and
materials, especially in collaboration with the ORME
(Observatoire des Ressources Multimédia en Education). The site will be mediated by ZINC/ECM (Marseilles) and Second Nature (Aix-en-Provence).
The element for the general public will also be organised
around two sections, one of which is already in the design
stage: Internum, Virtual Library of the Mediterranean.
This library, directed by the Centre de Conservation
du Livre in Arles is already well advanced. As early
as 2010 it will be providing free access to 1,500,000
images and texts. Our principal partners are the Library
of Alexandria, the Coptic Museum in Cairo, Algerian
libraries and the library of East Jerusalem.
The second section will be, above all, designed as a
Web TV site and will in particular allow viewers to
tune in to live work sessions. It will be directed by
Radio Grenouille in Marseilles.
InterMed Live
This is the visible part of the Workshops. It will be
organised as a festival and will comprise three sections:
InterMed Youth, InterMed Audiovisual and InterMed Master Class.
InterMed Master Class. This high point will allow
the general public to attend a certain number of events,
which will range from the “Atelier rendering” to the
finished production. InterMed Master Class will thus
be not only the occasion to invite certain grand masters
to hold workshops in Marseilles, but also to take advantage of their attendance to present one of their
emblematic productions.
InterMed Audiovisual will be directed by Les Instants
Vidéos (the Friche La Belle de Mai Arts Centre) for
the workshops and by the CMCA (Centre Méditerranéen de la Communication Audiovisuelle – Medi27
terranean Centre of Audiovisual Communication)
for productions. Les Instants Vidéos, who celebrated
the 20th anniversary of their festival in 2007, have
been especially active for several years on projects
with a Euro-Mediterranean theme.
InterMed Youth. With a focus on transmission and
intercultural dialogue, a particularly important place,
both quantitatively and qualitatively, will be accorded
to InterMed Youth, which will be designed for and
by young people.
The event will be built around a series of practical arts
workshops intended for a target audience aged between
3 and 15, as well as a series of shows for families.
It will take place over three weeks, from the autumn
school holidays through to the following week. This
being an international event, it will be a real goal to
interest the widest possible public. The workshops
during the holiday period will be designed to take
place throughout the day.
The workshops will be held in specially equipped
spaces with a main centre to be created at the Friche
La Belle de Mai Arts Centre in Marseilles. Other
locations throughout the area, especially in Arles,
Aix-en-Provence, Gardanne, Martigues, Istres, Aubagne and Salon-de-Provence will allow us to reach out
to “the children of cities” and “the children of the
countryside” by intentionally changing their sociocultural environments.
28
With a focus on transmission and
intercultural dialogue, a particularly
important place, both quantitatively
and qualitatively, will be accorded
to InterMed Youth, which will
be designed for and by young people.
From 2010, the festival will extend invitations to
other European Capitals of Culture and a city from
the Mediterranean Basin. In 2010, Istanbul will join
with Essen/Ruhr (Germany) and Pécs (Hungary) for
an exceptional preview event.
In addition, the Conseil Général will include the
artists and the themes (especially the invited Capital
cities) of the InterMed Youth project in its Culture/
Education programme proposed to 136 lower-secondary
schools in the Bouches-du-Rhône Département.
This collaboration, which will be put into action in
2009-2010, will be used both to extend the work
carried out during school time by the InterMed Youth
workshops and to cover the entire area of the bid by
organising workshops and special events in educational
institutions during the festival.
Implementation
The festival will be coordinated by an international
team whose professionalism is incontestable. At this
time, work has already begun with:
FEZ in Berlin and especially the Kindermuseum, P14
(the youth group of the Berlin Volksbühne), Contacting the World (Manchester), UKM-Young Culture
Meets (Sweden), the Festival della Scienza (Genova),
the European Modern Music Education Network
(Great Britain, Germany, Spain and Belgium) and
Kopergietery (Ghent).
2009 will be devoted to identifying artists, scientists
and projects developed in the three invited cities.
Exchanges with children from these cities will be
organised by educational authorities. In 2010, 2011
and 2012 we will call upon an increasingly wide range
of educators so that InterMed will be able to acquire
its true international dimension in preparation for its
first edition in 2013.
Strategy 1 | Theme 1
Programme 36
Via Marseilles
European encounters
between art and the city
Marseilles-Provence is home to major European figures
accustomed to working in the public arena (artists
and institutions). The Capital year will allow them
to develop an exceptional long-term project based
on the diversity of the sites and on our institutional
and cultural partners.
As a Europe-wide event designed to renew forms of
intervention in the public arena, Via Marseilles will
be an occasion of large popular gatherings, cultural
events and discussions involving the men and women
who design and build European cities. One question
will predominate: how does art transform the public
arena, how does the public arena transform art?
As an extraordinary tool for widening our vision, the
European dimension will be at the heart of the arts
events. Approximately ten renowned European
cultural operators will be present at different locations
throughout the area with artists from their own
countries. This solid European presence will serve as
a basis for discussions, forums, publications and
exhibitions.
Cooperation with major cultural operators and academics in the area will encourage experimentation
in all artistic and cultural disciplines (theatre, music,
dance, visual arts, photography, cinema, architecture,
environment, etc.) in terms of their relationship with
public spaces and their contact with other audiences.
The diversity of the urban and rural sites across the
area also opens up exceptional possibilities of
creativity.
Programmes and commissions from European and
local artists: plural programmes, installations or touring
shows associating local and European artists to confront
questions, formats or shared territories: a contemporary
funfair (village des Entresorts), Pixel City (the city as
a gigantic screen), the Rue de l’Europe (26 windows
open onto 26 capitals), the Contes Urbains (soaps in
the city), the Champ Harmonique (wind concert).
Major thematic strategies
The art of transforming the city: Artists have a major
role to play in urban transformation. With planners
and residents, major projects will offer a new look at
the city, its memory and its current dynamics.
The art of being together - singular/universal: exchanging and sharing, two key words to give the
project its direction, to anchor it among the public
at large, and to connect popular gatherings with demanding works; in short to enable each of us to express
our own sensibility and yet participate in major collective events.
Mythologies: memories of a port, a maritime world,
a linguistic Babel, football, taxis, petrochemicals or
ocean liners feed into our contemporary odysseys,
today’s mythological tales.
Lieux Publics, the operator of Via Marseilles, have
already approached the most important of their
future partners, including Metropolis from Copenhagen in Denmark, the Oerol Festival from Terschellings (Netherlands), Bunker from Ljubljana
(Slovenia) and the Festival of Casablanca.
Format
High points and shared moments: popular gatherings
(Port Symphony, Nuit de la Tchatche, etc.) will give
rhythm to the event, which will include a series of
rituals, participative games, artistic micro-events,
collective theatre, moments of conviviality, etc.
29
1.3.B
Existing
international
events will
develop EuroMediterranean
programmes
from 2009 to 2013
The projects for the major festivals in the area,
as presented in the pre-selection report, have been
specified.
30
Les Suds Festival in Arles
From 2009 to 2013, the “Les Ateliers du Midi” programme, in partnership with the Cité de la Musique in
Marseilles, proposes to focus on five families of instruments associated with music whose roots and development have crossed the Euro-Mediterranean space.
This programme may ultimately be completed by
workshops with the Compagnie Rassegna, entitled
“The Children of the Lute”, about the descendants
of this instrument (Spanish guitar, mandolin, saz, oud,
Greek bouzouki, Algerian mandole, Corsican cetera,
Calabrian chitarra battente, etc.).
The International Photography
Encounters in Arles
A commission for a Mediterranean Photographic
Mission by artists from Europe and the Mediterranean
will be launched in 2009.
In 2013, documentaries and exhibitions by artists from
the Mediterranean Basin will present work inspired by
the different cultures that they represent. A dimension
linked to travel and to ports will be sought, recalling
that Arles was long the highest port on the Rhone and,
like Marseilles, a land of departure and arrival, where
different cultures were obliged to discover each other.
The main Turkish, Italian and Egyptian photographic
families, as well as specific sources (Arab Image Foundation of Beirut especially), will be explored to tell the
story. The creations of contemporary artists using
photography will be shown alongside vernacular
photography to provide a rounded view of the work.
Commissioners from Europe and the Mediterranean
Basin will be invited to direct the different elements
of the programme. Discussions are under way to associate European institutes with this programme (Forma
in Milan, FotoEspana in Madrid, The Photographers’
Gallery in London, Foam in Amsterdam, Tres culturas
in Séville etc.) in order to co-curate exhibitions in
these different locations.
Exchanges will be arranged to allow Mediterranean
artists to benefit from the large number of experts who
are present in Arles for the Festivals, inviting them
to participate in courses or criticism readings. In the
park of the Ateliers SNCF (SNCF Workshops), the
huge railway yards currently undergoing renovation,
an important foundation for the Arts, exhibition
spaces, residencies, higher education and lifelong
training in photography and digital arts will be inaugurated in the run up to 2013 (see Chap. 3 p. 113).
The International Opera Festival
in Aix-en-Provence
The intercultural dimension of the programme is being
reinforced in the 2008 festival, with the spotlight on
the music of the Mediterranean. Commissions and
residences have been awarded to Mediterranean
composers (Moneim Adwan in 2008, Saad Haddad
in 2009). For 2009 a project with Musicatreize and the
poet Mahmoud Darwich has been defined, which will
go on tour across the area of the bid and internationally.
Workshops of initiation into Arab song and music will
be organised in the school. The Festival Académie
will also be involved.
The Grand Saint Jean project arranged by Patrick
Bouchain will constitute one of the strong points of
the “Ateliers de l’Euroméditerranée” in the Aix-enProvence district.
Gaspard Yurkievich, Felipe Oliveira-Baptista,
Romain Kremer and Sébastien Meunier. Finally, 2013
will also see the inauguration of an International Centre
of Research and Creation for fashion and costume,
with manufacturing workshops, a “tissutheque” (a
fabric library) and residences.
The International Piano Festival
in La Roque d’Anthéron
As the Festival’s director writes in the 2008 programme,
“The Festival of Marseilles acts as a window that opens on
to the world and, in particular, on to the Mediterranean,
and gives our Phocean City every chance of gaining the title
of Marseilles European Capital of Culture in 2013.”
On many occasions, the festival has shown its attachment
to this programming strategy, and we have outstanding
production and programming in mind for 2013.
The festival is diversifying the venues for its concerts
and activities, multiplying residencies and master
classes, developing encounters with works and artists
from North and South and preparing a range of EuroMediterranean concerts and workshops for 2013.
The International Festival
of Fashion and Photography
in Hyères
The Festival of the Villa Noailles in Hyères (built by
the architect Robert Mallet-Stevens) will celebrate
its twenty-eighth edition in 2013. The town of Hyères
and its festival, in the Toulon-Provence-Mediterranean
urban district, will open itself up to cross-Mediterranean
exchanges especially with the city of Tangier. From
2009, and until 2013, the festival will organise workshops for the general public, for professionals and for
children with artists participating in the festival:
The Festival of Marseilles
The Fiesta des Suds Festival
in Marseilles
As a highly reactive festival, the Fiesta des Suds is
always up to speed with the latest developments in
musical trends from around the planet. The 2013
festival will be the occasion for exceptional encounters
between the young generation and confirmed masters
in the Docks des Suds.
The Five Continents Jazz
Festival of Marseilles
This festival will be celebrating its fourteenth edition
in 2013. Installed in a unique open-air location in the
gardens of Marseilles’ Longchamp Palace, from 2012
it will be developing workshops to prepare a special
Euro-Mediterranean edition.
The Marsatac Festival
This festival of electronic music in Marseilles has
scheduled a number of specific projects including
13 nights, 13 venues, 13 parties, and a “musical cruise”
with a barge in the maritime confines of the area
implicated in the bid. But its main event is the “Fantasia
Electronique”: a freighter specially equipped and laden
with European artists (musicians/street artists/performers/DJs/ video jockeys), that will depart from Marseilles for Tangier via Barcelona. The key idea of the
project is to link the two shores of the Mediterranean
by stopping over en route at Europe’s biggest festival
of electronic music: Barcelona’s Sonar Festival.
This ground-breaking cruise is organised around the
resemblance between the cities of Marseilles and
Tangier. It is a project that will fascinate and attract
a huge audience and will help, yet again, to promote
the image and the reputation of the Northern part of
the Kingdom of Morocco.
The event will combine tradition and modernity, reflecting these two cities that are open to the world.
31
Les Musiques, the international
festival of modern
music in Marseilles
The Experimental Music Group of Marseilles (GMEM)
has been in existence for over twenty years and its
annual festival highlights the best in contemporary
music. The group is always mindful of the need to make
this form as accessible as possible to people who often,
in principle, feel themselves excluded. In the same
way as the Five Continents Jazz Festival, 2012 will be
an opportunity to organise workshops that will lead
to the programming of a special festival in 2013.
The International Documentary
Festival (FID) in Marseilles
A forum bringing together film festivals from around
the Mediterranean will take place in 2013 (Barcelona
FICCO, Festival of Tétouan, TunisDOC Festival,
etc.). Directors will be welcomed in residence and will
take part in the “Ateliers de l’Euroméditerranée”.
FIDLab
In the context of the International Documentary
Festival (FID) in Marseilles, Marseille-Provence 2013
will be supporting the FIDLab programme of scholarships awarded to projects and workshops for the
benefit of young film directors. This programme will
be developed from 2009 to 2013. Within FIDLab young
directors will be able to meet filmmakers and other
32
professionals, benefit from their advice and gain support
for the production and distribution of their work.
The International Science and
Cinema Forum (RISC)
This Forum, organised by the Polly Maggoo Association,
demonstrates the wealth and strength of creative documentary film by examining the work of science and the
cinema, especially with young audiences, during sessions
followed by exchanges with directors and researchers.
The aim of the Forum, in 2009, is to consolidate and
develop international partnerships with scientific film
festivals of cinema in Europe and North Africa.
The actOral Festival
Each year, the actOral Festival invites a score of
playwrights, poets, or novelists to put their texts on
stage. These authors are chosen for their exploration
of new language forms in phase with contemporary
changes. As the festival has gone on, the desire to get
these new language forms heard has widened to include
other arts and different forms of stage writing (theatre,
dance, visual arts, circus, etc.).
For 2013, the actOral Festival intends to pursue its
project by seeking a dual development: to improve
the alignment of the project with the area by setting
up new instances of cultural mediation; and to enhance
international awareness, with the creation of high
points devoted each year to new foreign entries.
Second Nature Festival & the
Ecole Supérieure d’Art of Aix-enProvence (Art College)
of the artists. At the end of a 3-year cycle, an exhibition
of multimedia works will be organised, along with
performances and discussions.
Écritures Croisées
(Hybrid Writing)
in Aix-en-Provence
City 2.0 or the E-Topie of the City
The Dansem Festival
When created at the start of the ’80s, Écritures Croisées
(Hybrid Writing) had intended to propose a cycle of
conferences around the Mediterranean. The death of
Fernand Braudel, who was so closely associated with
this project, put a halt to these plans.
The Marseille-Provence 2013 European Capital of
Culture project, the principal aim of which is to promote
Euro-Mediterranean exchanges, presents a fine opportunity to turn again towards an idea of the Mediterranean
that has too often been ignored over recent years.
To do this, Écritures Croisées will, from 2009-2010,
initiate a series of conferences, discussions and exchanges
with writers, poets, translators and other intellectuals,
and seek to intersect with all art forms linked with
writing and the literature of Southern countries.
These events, hosted by the Cité du Livre in Aix-enProvence – an appropriate location to bring together
an already very faithful audience – will open on a regular
high point, in mid-summer, in order to link up with the
International Opera Festival.
The Fête du Livre (Book Party) in 2013 will adopt an
exceptional character and importance, and will be
wholly devoted to the great figures of literary and artistic
creation from the Mediterranean rim (Palestine, Portugal, Spain, Greece, Algeria, Turkey, etc.).
This project continues the extension of a joint experiment which articulates the fields of art, research,
teaching and current forms of expression, on the basis
of the specifics of each of the two partners and their
shared commitment in the field of new technologies.
The project takes its point of departure in a primary
apprehension about the individual and his/her place
in the real world in the digital age.
The City 2.0 project will be developed from 2011, and
will be especially concerned about our relationship
with the city in a technological world subject to
constant change and where environmental issues are
increasingly central.
In “Art and Climate Change”, artists and scientists will
address one of the more emblematic crises of a globalised
society and will attempt to provide their response.
Reshumance – Transistance
Since the end of the “Année de l’Algérie” (Algerian
Year) in France, a process of creative work on both
sides of the Mediterranean has been pursued not only
with confirmed artists and graduates from the Aix-enProvence and Algiers Schools of Art, but also with
the students themselves. The process involves developing a multimedia-publishing workshop (print, audio
and DVD) and increasing the transnational mobility
Following a project in partnership with the Anna Lindh
Foundation, this festival is now developing its activities
in Beirut, Valletta, Tunis and Cairo. As of 2010, it will
organise joint workshops whose results will constitute
an important part of the programming.
Babel Med
Since 2005 this market/festival has grown to become
a key event in world music and, in particular, in
Mediterranean music. Master classes led by experts
in European and Mediterranean music will be integrated into the festival until 2013.
The Marseilles International
Poetry Centre (CIPM)
Between 2009 and 2013, the centre will develop poets’
residencies, creative writing workshops, public readings, the work of translation and publishing and
encounters with poets from Europe and the Mediterranean. In 2013, it will open the first salon to review
Mediterranean poetry.
Festival of Arab Cinema
Although today still limited in size, this festival will
be developed with the help of Marseille-Provence
2013 in partnership with the International Documentary Festival, other film festivals around the Mediterranean and the Tangier Cinema Library.
33
As well as the major festivals, cultural operators,
and the major arts institutions of the area, have
established programming projects for the 2013
season that may evolve over the coming years, but
which will bear witness to the strength of their
commitment to the priority themes of the bid.
Example of the Marseilles Opera
The projected 2013 season of the Opera is based on
the theme “Marseille, porte des peuples” (Marseilles,
gateway to the people of the world).
Marseilles and the people of the Mediterranean
Co-production of Nabucco with the Cairo Opera;
anniversary of Rossini’s The Italian Girl in Algiers in
co-production with an Italian festival; proposition to
be defined around Greece at the Théâtre Sylvain;
restaging of the production of Sampiero Corso by
Marseilles composer Tomasi; commission for a contemporary opera based on a play by Albert Camus for the
Camus Centenary in 2013.
Marseilles and Europe
With Désirée Clary, production of a Swedish opera
and projection of Abel Gance’s Napoléon with orchestra; restaging of the production of L’Aiglon at the
Schönbrun Palace; live transmission to Marseilles of
productions from the Vienna State Opera and/or La
Scala in Milan; co-production with the St. Petersburg
Opera, directed by Charles Roubaud and conducted
by Valery Gergiev.
34
1.3.C
The exhibitions
of 2013
“Migrations
and Memories”:
5 Exhibitions
The exhibition projects presented in the pre-selection
report have all been subject to the:
––appointment of curators,
––establishment of pilot projects based on the
scenario,
––search for partners and co-producers,
––identification of exhibition locations,
––firm scheduling in the calendar,
––establishment of an outline budget.
Programme 2
“Mobility and Migrations
in Europe and the Mediterranean”
The relevant information is presented in detail in
the appendix.
This inaugural exhibition of the future MuCEM,
co-produced with the Cité International de l’Histoire
et de l’Immigration (National Centre for History and
Immigration), will tell the story of Europe and of the
Mediterranean as the history of the movement and
exchange of goods, people and cultures. It will present
a view of the current situation and the challenges
posed to the Europe of Schengen.
Programme 3
“Vessels, Navigation, Navigators”
In the 5th century B.C., Pytheas, a navigator from Marseilles, sailed to Iceland and the Baltic Sea. The history
of the Mediterranean and of its civilisations is one that
is centered on travel. It has been built through boldness,
science and technology. This long history, up to the
present day, is being recounted and presented in Marseilles,
while the COMEX is prolonging the deep-sea adventures
of Pytheas. The originality of this exhibition resides in
its being organised in association with the maritime
museums of the great ports of the Mediterranean.
Programme 10
“Sharing the Roma Memory”
In partnership with the Slovakian Capital city, a
travelling exhibition will be produced by the “Arlaten”
ethnographic museum in Arles in the framework of
the multi-disciplinary “Sharing the Roma Memory
– Deltas of Europe and the Mediterranean” programme.
It will present the results of surveys, accounts, documents, objects, practices and works of the Roma culture,
showing how that culture has changed. The information will be collected between 2009 and 2013 during
a full academic cycle in lower-secondary schools by
young pupils who are both Roma and non-Roma.
Programme 4
“Art Confronts Time”
The Centre International de Conservation et de
Restauration du Patrimoine (CICRP – International
Centre of Heritage Conservation and Restoration),
recently installed in Marseilles, is one of the most
modern in the world. The exhibition that it will organise will aim to familiarise the widest possible public
– especially school audiences – with the threat that
time poses to works of art. At the same time, the
science and techniques that allow this threat to be
overcome will be presented, alongside the requirements
and new possibilities of conservation and transmission
of our cultural heritage to future generations.
35
Programme 5
“Theatres of Pestilence”
During its long history, Marseilles has undergone three
epidemics of plague and cholera which still mark the
city’s imagination and which have given birth to many
outstanding works of art and literature. On the basis
of a historical evocation of the great pandemics in
Europe and the Mediterranean, the exhibition will
seek to underline the permanence of the theme. We
will refer to the historical figures who lived through
the sickness and the terror that it inspired, and we
will examine the nature of today’s great scourges, the
figurative blindness or understanding that they cause,
and the bursts of energy and creativity that they
inspire.
“Values and Beliefs”:
4 Exhibitions
Programme 18
“Athens, Cordoba, Jerusalem”
This exhibition will recount the long history of the
transmission of cultural heritages and vill allow visitors
to discover the sources of their own history and of the
values that illuminate it by revealing the strata and
streams of knowledge – texts, tales, images and legends
– that have fashioned the visions of reason and faith
in the Mediterranean and in Europe. It will endeavour,
above all, to cast light on the current state of the
dialogue – or conflict – between the two founding
aspects of our Euro-Mediterranean civilisations: reason
and revelation. Athens, Cordoba and Jerusalem are
the symbolic capitals of this heritage.
Programme 19
“Albert Camus
and La Pensée de Midi”
An exhibition in 2013 will celebrate the one hundredth anniversary of the birth of Albert Camus. The
exhibition will honour a writer who, more than any
other in the modern period, embodies the dazzling
yet tragic nature of the Mediterranean; a writer who
pitted the passion of his humanism against all the
totalitarianisms of the 20th century, and who brought
36
the very modern idea of a “Mediterranean universe”
to that combat.
Programme 20
“Sharing the Mediterranean’s
Sacred Places”
The question of religious identity is, without doubt, one
of the more sensitive issues around the idea of “living
together” in Europe and the Mediterranean. From this
point of view, our inland sea seems increasingly to be a
space of division and conflict. The exhibition will highlight one of the more interesting and less well-known
phenomena: how religious communities share and
exchange ideas and, especially through certain places
of pilgrimage and religious celebrations, how EuroMediterranean religions communicate and interact.
Programme 21
“Le Partage des Midis.
Painters and the Mediterranean”
The requisite organisation by any European Capital
of Culture of a “major fine art exhibition” takes on a
special character in the area of Marseilles-Provence,
a land of creation that attracted Europe’s greatest
painters in their quest not only for the Southern light,
but also for the imagination and the mythologies of
the Mediterranean.
Over the past few years, Provence has proved that
great exhibitions are no longer the preserve of the
Grand Palais in Paris: “Van Gogh” in Arles, “Sous le
Soleil Exactement” (Under the Sun, Exactly) in
Marseilles, “Cézanne en Provence” in Aix-en-Provence. The number of visitors to these shows has made
them international benchmark events.
Fortified by this experience, we have set ourselves 5
aims for the 2013 exhibition before proposing a
definitive theme:
––A unifying approach: the great museums of the area
will be mobilised around a common theme and will
benefit from sharing publicity and booking systems.
––Ground-breaking exhibition set design: this means
setting out exhibitions in such a way as to provide
the public with the keys that allow a fuller appreciation of the works and better understanding of
context and the process of creation.
––A wide-ranging pedagogical approach: a partnership
will be signed with the Aix-Marseilles academic
authorities to launch a call for projects to 1,000
teachers that will enable tens of thousands of pupils
in primary and secondary education to benefit from
the exhibition as the climax of a year’s work.
––Events and projects intersecting around the exhibition: the dynamics of this project must enable other
cultural figures and other museums to be brought
together around the selected theme and allow commissions to be awarded to contemporary artists.
––Establishing the link with the artists’ studios:
Provence boasts a number of emblematic sites that
are both attractive and fascinating: The Sainte
Victoire Mountain, Cézanne’s studio in Aix-enProvence, l’Estaque and the bay of Marseilles, the
castle of Pablo and Jacqueline Picasso at Vauvenargues, and many more places open to visitors.
The Themes of the Exhibition
Since Antiquity, Provence has been a special place
of artistic exchange between the North and South of
Europe. In the 19th century, the Mediterranean became a centre of attraction, a providential place, for
painters. Everything or almost everything has been
said about the special relationship of painters with
the light of the South, about the attraction that the
light exercised on artists such as Van Gogh or Cézanne,
whose emblematic figure brought the greatest names
in modern art on a pilgrimage to the South: Picasso,
Braque, Matisse, de Staël, Masson and many others.
Provisionally entitled “Le Partage des Midis: Painters
and the Mediterranean”, we are preparing the organisation of such a project and exploring several themes
with the curators of the museums concerned and with
a number of art historians - Jean-Hubert Martin, Serge
Fauchereau, Germain Viatte, Serge Lemoine,
Guy Cogeval. Several often complementary themes
are being explored, such as:
The Cubist World
Cubism influenced a huge number of artists in the
European world. Many of them, like Cézanne himself,
came to cubism on the shores of the Mediterranean:
between 1907 and 1910 Braque was at l’Estaque, and
Picabia at Cassis and Saint-Tropez. Between 1907
and 1920, Parisian cubists lived and worked along the
coast from Menton to Barcelona: Survage in Nice
and Villefranche, La Fresnaye in Grasse, Gray in
Collioure, Gleizes in Perpignan, Lhote in Amélie-lesBains, with Picasso, Gleizes and Picabia in Barcelona,
without counting Céret “the Barbizon of Cubism” as
Apollinaire called it, where Picasso, Braque, Gray,
Herbin and Max Jacob all worked. The exhibition
will not only focus on the great cubist masters, but
will also look for the first time at the way cubism spread
around the world.
Paul Cézanne: Still Lifes and their Posterity
in the Art of the 20th Century
Even more than his landscapes, Cézanne’s “apples”,
with some other motifs and subjects, are at the heart
of his creation. They allowed him to exercise his ideas
on composition, structure and space, while exploring
volume, colour and form in the absence of any narration, any allusion, or any symbolism.
These still lifes have had a decisive influence on a
great many European artists over several generations:
from Paul Gauguin to Piet Mondrian, including
Charles Edouard Jeanneret, who as Le Corbusier
founded purism; he referred on many occasions to
Cézanne in his own pictures and was directly inspired
by him.
37
MuCEM
MMSH
CICRP
CRM
CNRS
EHESS
ONEP CEDES
IFPO
Musée des Civilisations de l’Europe et de la Méditerranée (The Museum of European and Mediterranean Civilisations)
Maison Méditerranéenne des Sciences de l’Homme (Mediterranean Institute for Human Sciences)
Centre Interrégional de Conservation et de Restauration du Patrimoine (Interregional Centre for the Conservation and Restoration of Heritage)
Centre Régional de la Méditerranée (Regional Mediterranean Centre)
Centre National de la Recherche Scientifique (National Scientific Research Centre)
Ecole des Hautes Etudes en Sciences Sociales (Higher Educational Establishment for Social Sciences)
Office National de l’Eau Potable (National Office of Drinking Water)
Centre d’Etudes sur le Développement Economique et Social (Research Centre for Economic and Social Development)
Institut Français du Proche Orient (French Institute of the Middle East).
Table of exhibitions
“Genders or Genres”:
1 Exhibition
“The Sharing of Water”:
1 Exhibition
Programme 27
“Genders, Genres
and Minorities. Images
and Representations
of Women around
the Mediterranean”
Programme 32
“The Sharing of Water”
As a cultural and geographical area, the Mediterranean
is frequently seen as an arena where social interactions
between the sexes are characterised by patriarchal
control and the male domination of women. The
violence and machismo of men and the submission
and victimisation of women have been emphasised
to the detriment of feminist resistance and struggle.
As a counter to this stereotypical vision, the exhibition
will seek especially, on the basis of contemporary
artistic production by women (literature, cinema,
visual arts, dance and theatre), to show both the rapid
changes occurring in representations of women and
the richness of the experiences that are profoundly
altering the traditional relationships between the
genders, both in the North and in the South.
On the superb promontory that constitutes the ex-J1
harbour station, a huge exhibition designed to be
spectacular, educational and fun all at once will be
devoted to “The Sharing of Water”. The exhibition
will take its inspiration from the example of the
inaugural exhibition of the millennium celebrations
in Paris: “Le Jardin Planétaire”.
The rarity and the richness of water, the tensions
generated by its sharing, the fragility of ecosystems
(rivers, wetlands, banks, shores and the deep seas),
biodiversity, the fear of floods, its depths and the
monsters that lurk beneath, the pleasures of the bath
and life-giving rain, agricultural, urban and industrial
uses…all of these themes are included in an overall
presentation of the perpetual cycle of water, between
land, sea and sky, from salt-water, to water vapour,
and freshwater.
themes
Exhibitions
1 Migrations
and Memories
MUCEM
Mobility and Migrations
in Europe & the Mediterranean
The visitor will be invited to embark on a multidisciplinary experience to discover all of the facets of
the issues surrounding water: by concentrating on the
Mediterranean Basin and by comparing these contrasting lands, we will focus on the worldwide importance
of water resource management, security and public
health, sharing and equity between neighbouring
countries, population and worldwide foodstuff markets,
adaptation to climate change and contributions to
carbon capture or energy production.
2 Values
and Beliefs
3 Genders
or Genres
4 The Sharing
of Water
38
Exhibitions
Locations
Dates
Partners
MUCEM
January –
March 2013
Cité Internationale de l’Histoire de l’Immigration ; Museum
Europaïscher Kulturen Staatliche, Berlin ; Museum of Europe,
Brussels ; Museo de Historia de la Imigracion, Barcelona ;
Immigrant Museum, Denmark ; Centre Jacques Berque, Rabat ;
Institute of Migration, Finland
Vessels, Navigation, Navigators
Maurice Pomey,
MMSH
Museums in
Marseilles
January –
March 2013
Navy Museum, Paris ; Maritime Museum, Barcelona ; Bibliotheca
Alexandrina, Alexandria ; Bardo Museum, Tunis ; Maritime Museum,
Genoa ; Roskilde Museum, Denmark - Navy Museum, Stockholm
Sharing the Roma Memory
Museon Arlaten
Travelling
Exhibition
2012 – 2013
Slovakia ; Muséon Arlaten in collaboration with the les Suds Festival
Art Confronts Time
CICRP
CICRP
January –
March 2013
Restoration Centres, Maastricht and Brussels ; Ecole Supérieure
des Arts, Liège ; Restoration Centre, Palermo ; Correspondents:
CICRP, Morocco, Algeria, Egypt
Theatres of Pestilence
F. et G. Viatte
Museums in
Marseilles
April –
June 2013
Musée du Louvre, Paris ; Bibliothèque Nationale de France,
Paris-Academia, Venice ; Ludwig Collection, Aachen ;
Staatliche Museum, Berlin
Athens, Cordoba,
Jerusalem
T. Fabre
A. de Libera
CRM
April –
June 2013
Bodmer Foundation, Geneva ;
Institut de Recherche et d’Histoire des Textes, CNRS
Albert Camus and
La Pensée De Midi
B. Stora
Granet Museum April –
June 2013
Université d’Alger, Algier ; Société des Etudes Camusiennes ;
Rencontres Méditerranéennes de Lourmarin ;
Association Mémoires de Méditerranée
Sharing the Mediterranean's
Sacred Places
D. Albera
October –
Art Gallery of
December 2013
the Conseil
Général
Aix-en-Provence
University of Durham, UK ; Université Foscari, Venice ; Université
Saint-Joseph, Bayreuth ; Bibliotheca Alexandrina, Alexandria ;
Fondation Tres Culturas del Mediterraneo, Seville
Le Partage Des Midis:
Painters and the Mediterranean
Museums
August –
across the Region November 2013
Musée d’Orsay, Paris
Genders, Genres and Minorities. N. Descendre
MuCEM
October –
December 2013
EHSS, MarseillesMMSH, Aix en Provence ; Bibliothèque
Nationale du Royaume du Maroc ; Centre Jacques Berque,
Rabat -CEDES, Cairo ; IFPO, Damascus
J1
July –
October 2013
Société des Eaux, Marseilles ; ONEP, Morocco ; Société du Canal
de Provence ; Bibliotheca Alexandrina ; IRD, Marseilles ;
Cité des Sciences et de l’Industrie, Paris ; Fondation Sigma, Tangier
Images & Representations of Women
around the Mediterranean
The Sharing of Water
P-H. Roche
J-M. Providence
39
1.3.D
Strategy 1 | Theme1
The major
popular events
of 2013
Programme 6
Opening Event
For each of the 8 great popular events that will
punctuate the 2013 season:
––project leaders or project teams promoting artists
and crews from the area have been appointed,
––draft models of the projects have been drawn up,
––the venues, dates and partners of the events have
been identified.
Special attention has been paid to the opening event:
the experience of previous European Capitals teaches
us that, in fact, the success of the year is, in large
part, dependent on the success or failure of the popular, artistic, media-relayed dynamics created during
the opening event. As the years go on, there is a real
risk of these opening events becoming hackneyed,
a process amplified by fast changing cultural expectations and activities especially among young people.
To offset this, major efforts must be made to innovate
and to design a project that will be able to evolve and
adapt to change over the coming years.
Opening Event (programme 6; see opposite page). “A boat parade. Each vessel, flying a European flag,
will be accompanied by a guest boat invited from a Mediterranean country” – Image c-ktre
40
The Opening Event illustrates some of the major
themes that will be explored during the rest of the
year. It will be comprised of a central project and
eleven “opening nights” of events that will take place
over the course of the following months.
The parade will play on the speed of movement among
the vessels and the establishment of symbolic links
between them. Overall coordination will be entrusted
to Groupe F, who notably produced the America’s
Cup display at Valencia in 2007. This parade will, in
addition, be accompanied by a sound show (commentaries, interviews, different sound effects, music, etc.)
so that everyone can also follow what’s happening on
the local media via mobile phones or podcasts.
The Central Project
The central project will take place on the sea in a bay
with the Digue du Large (the great Marseilles Sea
Wall) at its centre, forming a space that is sufficiently
open to welcome the public in a large number of
venues from the Corniche to the Ile du Frioul, including the seafront hotels and restaurants from the J4
to the J1 and as far as L’Estaque.
The event will essentially be constituted of a défilé of
“heavy” ships that will not be affected by bad weather.
These ships can generally be seen only from afar but
they are always visible at sea between Toulon and Fos;
all categories of vessel will be represented. Naval vessels
from Toulon (airship carriers and cruisers) will steam
past along with merchant vessels, container ships,
cruise liners, car-ferries, bulk methane carriers and oil
tankers, all accompanied by tugs and lightships.
Each vessel will fly a different European flag and will
be accompanied by a guest vessel from a Mediterranean
country. The entire défilé will be inspired by two of
the central themes of the bid: “Migrations and Memories” and “The Sharing of Water”.
The eleven opening nights:
“Exterior Daylight” (see p. 52)
“The Savoir-Fairs” (see p. 44)
“Revelations” (see p. 58)
“Seas Online” (see p. 53)
The “Digue du Large” (see p. 51)
“Apparitions, Mysteries and Snowballs” (see p. 58)
“Mobility and Migrations in Europe and the Mediterranean” (see p. 35)
“Art Confronts Time” (see p. 35)
“Vessels, Navigation, Navigators” (see p. 35)
“Theatres of Pestilence” (see p. 36)
“Sharing the Roma Memory - Deltas of Europe and
the Mediterranean” (see p. 35)
Programme 7
The Neighbours’ Party
The Neighbours’ Party will open season 2 of the Capital
year and the Via Marseilles European festival. MarseillesProvence is all about cultural diversity and getting on to41
gether. The Neighbours’ Party is not so much a multicultural vision, but seeks rather to put the accent on the
singularity of each of us, and on the force of union.
Disguise is the entrance ticket: it allows us to abolish
age, origin or gender. The work of organising this
contemporary costume ball will be supported by writers,
directors and professional costume designers.
The centrepiece is a grand banquet/parade. A huge
table set up over 2 km through the city centre will also
serve as a catwalk for a parade of outrageous confections
by artists and residents, stand-up acts, singers, dancers,
acrobats and mimes. Make-up artists, costume designers, visual artists and choreographers from all over
Europe will help the participants get their minute of
celebrity just right. A hundred chefs will prepare soups
and salads, sweets and savouries on the spot using
ingredients provided by the participants themselves.
A series of “snap” participative arts events will be
organised:
––a grand popular concert led by 8 European and
Mediterranean conductors using basic objects and
the vocal and corporeal sounds of the participants.
The raw sound will be processed live by DJs and
other electro-sound engineers;
––living tableaux posing for the lenses of great photographers - body banners, letters, anagrams, multicoloured clothing;
––light shows made up of camera flashes, with each
participant as a pixel in a composition;
––a giant karaoke.
42
The evening will end with a Grand Neighbours’ Ball
where the steps of the dancers will be led by European
choreographers, with the music being provided by
European dance bands from the Dancing Europe
project and by the inhabitants of the city.
Programme 8
Fashion Sails
The fashion-textile-clothing sector is an asset not
only because of major operators such as the Cité
Euroméditerranéenne de la Mode in Marseilles, the
Villa Noailles in Hyères, the Musée de la Mode and
l’Institut Mode Méditerranée in Marseilles, but also
because a certain number of businesses in the sector
are making considerable efforts, in a difficult market,
to avoid having to relocate their activities. The aim
of the Fashion Sails project is to honour the great
fashion designers by getting both children and adults
involved in a unifying project.
A project involving sails was preferred to the classic
catwalk show, suitable for a large capacity venue and
the great names of Haute Couture.
The sails in question will be not only those of traditional
vessels or the highly sophisticated sails of modern racing
boats, but also the more modest sails of windsurfing
boards or kite surfers. Ultimately, nothing would prevent
us from looking at sails as what they can also be from
both the religious and poetic standpoints (knowing
that the French for sail can also mean veil).
Using sails as a support means that we can plan important sponsorship events in the form of signed
mainsails from famous yachts; but it also allows us to
involve the general public and the manufacturers of
a complex product that calls on different skills. The
workshops will take place in 2011 and 2012 and will
function by pairing a fashion designer’s signature (haute
couture or ready-to-wear) with that of a sail designer
or manufacturer. In this way, we will create for example
a Jil Sander sail with the Jean Perrin upper-secondary
school in Marseilles (BTS Design), but also a Sakina
M’its sail with an association of women from a particular district, or a Christian Lacroix sail with the
Camargue upper-secondary school.
All of these pieces will correspond to the “Migrations”
theme. In 2013, five events will present the production
of the workshops: “Vire-Vire” in the port of Marseilles
(mixed class regatta), a regatta of yachts from Hyères
at Martigues, a competition of windsurfers and kite
surfers at the Salins de Giraud, a regatta of model
boats at l’Etang des Aulnes and the new French
Olympic yacht at Hyères.
The personalities involved include Christian Lacroix,
Dries Van Noten, John Galliano, Alber Elbaz,
Agatha Ruiz of Prada, Yohji Yamamoto, Vivienne
Westwood, Elie Saab, Jil Sander, Sakina M’its, Giorgio
Armani and the younger artists, Gaspard Yurkievich,
Romain Kremer, Julien Dossena, Sandra Backlund,
Henrik Viskov and Didier Parakian, among others.
Programme 22
Camus Centenary
Programme 33
Water Courses
We will be looking to celebrate the one hundredth anniversary of the birth of Albert Camus with the widest
popular public. A special football match will be organised
for the Albert Camus 2013 cup, unique in the history of
the sport and in the relation between sport and culture.
In 1930, Albert Camus started playing football with the
Racing Universitaire team in Algiers. This passion for
team games and his position of goalkeeper, solitary yet
allied with others, suited him so well that it never completely left him. He himself thought it one of the strong
points of his upbringing and one of the traits of his character: “I learnt right away that a ball never comes at you from
where you’re expecting it. I found that useful in life…”.
The image of the “Zidane generation” articulates the
symbol of integration. But could Camus, alert to this form
of communion as he was, ever have imagined that football,
at the start of this 3rd millennium, would be such a
phenomenon, exacerbating social fractures and the object
of such vast financial wheeling and dealing? Would Camus
recognise his vision of football as salvation?
The event will be prepared from 2011 by a programme
of courses and creative workshops in community associations and schools in the inner-city districts of
Marseilles-Provence and Algiers.
The matches will take place in Marseilles’ Vélodrome
stadium and in Algiers. The match in the Vélodrome will
also be an occasion to celebrate the 20th anniversary of
Olympique de Marseilles’ victory in the European Cup
In 2013, in particular with the “The Sharing of
Water” exhibition, the theme of water will be examined in all its political, historical, scientific, social
and artistic dimensions. However, it would be a pity
not to take advantage of the exceptional spaces of
the area to offer spectators the opportunity to find
out more about these issues, through poetry and
writing played out on the bodies of water
themselves.
We have thus asked Ilotopie to develop this project.
Ilotopie is a unique theatre company (directed by
Bruno Schnebelin) installed for many years (since
1979) at the heart of an area of salt- and freshwater creeks in Port Saint Louis du Rhône.
Intrigued by the new forms of expression that flourish
on urban shores, Ilotopie has been working over
the last six years on “plays with water”, on liquid
stages that are ultimately left blank, on the crossroads
of our cities.
After several years of aquatic experimentation,
between lake habitats, floating isles and seafarers’
myths, the company has shown that astonishing
presences can emanate from individuals isolated
on water and that new fields of representation can
be opened up by choosing aquatic space as a gigantic theatre. With the theatre as their work tool
and a little technology, Ilotopie’s actors have found
freedom on their liquid stage. They are walkers
on water and players of fantasy games, guiding our
dreams or nightmares. Thus, with “Les Oxymorons
d’Eau” (The Oxymorons of Water, created in 2009),
“Narcisse Guette” and “Fous de Bassin” (currently
on tour) they have become accustomed to staging
the most extraordinary aquatic events for very
wide audiences. But these water courses, these
streams of thought, need to be written before we
can learn to discover the historical and scientific
wealth of the area. This is why the project will be
developed in collaboration with Michel Jean, just
retired from his position as Director of the Société
du Canal de Provence, which allowed him to spend
nearly forty years experiencing the aquatic and
hydrological wealth of the area.
The project will take place in two phases. Several
groups of spectators will be invited at the end of the
day in several locations of the area to travel, in the
company of Ilotopie, on foot or by bicycle along a
spectacular path that will allow them to discover a
piece of their history. Then, later in the evening,
all the spectators will gather to attend the final show,
which will take place on a section of l’Etang de Berre.
This show will be produced in association with other
neighbours of Ilotopie and the world famous pyrotechnical company Groupe F, installed close to Mas
Thibert in the Camargue. The project could run for
a full week at the start of September 2013.
43
Strategy 2 | Theme1
In 2009, Ilotopie will start the complex installation
of its set on l’Etang de Berre. It will be a mysterious
construction, to be completed gradually year on
year, and which will only take on its full meaning
in 2013. Visible from the banks (300,000 people
live on the shores of l’Etang) it will also be designed
to be viewed by passengers in aircraft taking off
or landing from the runways of Marignane
airport.
Programme 37
The “Savoir-Fairs”
The enthusiasm shown for popular festivals is undeniable.
However, such forms of celebration are generally sparser
than they used to be these days, due to the fading of the
symbolic sources that gave rise to them, and their inability
to resist the logic of cost-effectiveness. The modern
world has little room for their original modes of production (based on donations and religious beliefs).
On the one hand, this has led to the burgeoning ordinariness, or even “dumbing down”, of festivals and
of the techniques used to put them together. On the
other, we are seeing the gradual decay, or even loss,
of the skills of the craftsmen and artists who, by
transmission from generation to generation, have
written one of the major chapters of the intangible
European cultural heritage over the years.
That’s why we are interested in the creative techniques
used in:
–– papier-mâché or cardboard sculpture: as seen for example,
in the fallas in Valencia, or the géants and dragons in
the North and in Wallonia, in the corsos de carnaval in
Nice, Viareggio or Putignano, and in the scénographies
festives used in open-air celebrations in Portugal.
––light: making ephemeral architectures and stage
designs as seen around the Mediterranean rim but
also in Lyons, Toulouse, Helsinki, Basel, etc.
––fire and fireworks.
44
The project consists in organising three workshops:
in Valencia (Spain) for paper and card, in Putignano
(Italy) for lightworks and in Arles (France) for fire,
that will bring craftsmen together with schools of art
and engineering. The workshops will start in 2010
with their first results being presented, as of 2011, in
their cities of residence. In 2012, a workshop will be
installed in Marseilles bringing together the participants of the three European workshops. The creations
produced by these three workshops will provide matter
for the production of a festive parade combining light,
fire and paper, concluding with a fireworks display
and musical show.
Programme 54
A Breath of Fresh Air for Art
Following the example of the open-air concert given
by the Berlin Philharmonic Orchestra at the foot of
the Sainte-Victoire Mountain as part of the 2006
Cézanne season and the Aix-en-Provence Opera
Festival, a dual programme of travelling promenade
concerts and open-air film shows is being developed
for the major sites in the area. Four exceptional sites
have already undergone feasibility studies.
Among the more outstanding projects are:
Twenty Places by the Sea
The “Twenty Places by the Sea” project was put together by the Musicatreize ensemble. It was accepted
in September 2007 and will be developed biennially
until 2013. Every two years, Musicatreize will invite
a French and foreign ensemble to give concerts in
20 different locales around Marseilles and the associated cities. The project will be expanded over the
years to include several ensembles, residencies and
European and Mediterranean artists. Although essentially musical, the project will also be open to works
of literature and poetry.
100 Guitars
A major work by Rhys Chatham directed by JeanMarc Montera (director of the GRIM), “100 Guitars”
combines teaching, creative and human functions
with exemplary lucidity in a joyful musical piece that
is complex but yet within the reach of almost all levels.
The recruitment of the musicians, though principally
from the Provence-Alpes-Côte d’Azur region, will
nevertheless leave room for Euro-Mediterranean
guitarists. The concerts will take place in different,
atypical locations, bringing a plus to the musical event
itself. For example: Saint Pons, the Château d’Avignon, the J1 or other areas that are not normally used
for concerts, including quarries, supermarket car parks,
or rural areas.
Commission to Sonic Youth
In collaboration with the Musical Research and
Improvisation Group directed by Jean-Marc Montera,
a commission is planned for one of the defining
New York groups in the history of contemporary rock
music: Sonic Youth.
The Mediterranean Youth Orchestra (OJM)
Programme 60
The Amateurs’ Night:
Closing Event
As we indicated in the pre-selection report, we are
concerned both to promote the exceptional quality
and range of amateur arts practice across the Marseilles-Provence area and to present the work accomplished in the framework of the participative projects
to the widest possible public (“Everyone is
Involved”).
The closing event of the 2013 year, across the entire
area and in all our cultural institutions, including
venues for exhibitions, concerts, movies, lectures and
shows, will show the work carried out between 2009
and 2013 by community workshops and by the amateur
companies and groups that have received commissions
or that have proposed projects around the themes of
the bid.
In the service of intercultural dialogue around the
Mediterranean for over nearly 25 years, the OJM has
developed relations with more than 1,900 musicians
in training. For the European Capital project, amateur
choral workshops will give performances of original
works by composers who are especially representative
of both shores (Maurice Ohana and the Lebanese
composer Zad Moultaka). Moreover, a joint project
involving a concert and tour with Daniel Barenboïm
and his West-Eastern Diwan Orchestra is currently
being studied.
45
1.3.E
Other framework
programmes of
the bid from 2009
to 2013
Migrations
and Memories
In addition to the permanent and multi-disciplinary
“Ateliers de l’Euroméditerranée” concept, and as
well as the festivals, exhibitions and popular gatherings, some other programmes illustrate the themes
selected for 2013 in a truly exemplary manner and
will contribute to the structure of the Capital year
calendar by enhancing its clarity and appeal.
Programme 9
Central Market:
Cooking takes to the Stage
The work completed since our first report on the
theme entitled “North-South Gastronomy” (p. 130,
2007 file), especially concerning the “Pass the Dishes”
and “Tasting Caravans” projects and workshops, has
led us to make changes to the “Night Markets” programme and to transform it into a framework project
of the bid. The title of this theme itself proved to be
inappropriate, insofar as it highlighted the importance
of gastronomy at the expense of the other aspects
(especially those of diversity or public health) and
did not enable us to give a proper account of the dimensions of the project.
Henceforth, the project will consist of the creation
of four imaginary markets functioning around the
clock over four long weekends corresponding to the
start of the different seasons. These four spaces will
be installed in different areas of the bid corresponding
to a city market, a quayside market, a village market
and an industrial market. Competitions among architects/set designers will allow the sets and the lighting to be redesigned at each new edition.
The specifications for these spaces will take the following project data into consideration:
––in each of the four events and in accordance with
the season, the accent will be placed on the guest
market. For example, London and Riga will rub
shoulders with Tangier and Alexandria to trace the
Euro-Mediterranean trade routes of certain foodstuffs. A dozen guest markets will be invited so that,
by the end of the last event, the entire EuroMediterranean area will have been covered;
––the products on sale will be put on display taking
account only of their visual appeal; this work will
be performed by visual artists;
––two other spaces will be added to the sales space,
one for the purchase and consumption of “street
food”, the other intended to host conferences/debates
and shows;
––take-away food will be the result of original recipes,
designed and created in workshops with chefs invited
from corresponding countries.
A steering committee for the project will be organised
around chefs working in the area implicated in the
bid (Lionel Lévy, Christian Ernst, Arnaud Carton de
Grammont, Reine Sammut or Jean-Luc Rabanel),
the Conservatoire des Cuisines Méditerranéennes
and the combined “Human Nutrition and Lipids”
Research Unit based in the Timone Hospital.
Central Market: Cooking Takes to the Stage (programme 9; see opposite page) – Image c-ktre
46
47
Programme 10
Sharing the Roma
Memory – Deltas of Europe
and the Mediterranean
This project comprises two aspects: the first aims to
ensure transmission of the Roma culture to younger
generations throughout the area of the bid, while the
second, complementary aspect extends the project so
that it covers a Euro-Mediterranean context by examining of the culture of river deltas (the Rhône delta
of course, but also, for example, the Nile, the Danube
or the Guadalquivir). The whole project will be the
fruit of collaboration between the Museon Arlaten,
the Musée d’Ethnographie, the Les Suds Festival in
Arles and different partners in Slovakia.
Programme 11
The Cantata
of Neighbouring Shores
Supported by the Provence-Alpes-Côte d’Azur Region
and the Euro-Mediterranean Anna Lindh Foundation,
this project brings together the Centre for Traditional
Mediterranean Music, the Ensemble En Chordais
from Salonica in Greece, the Timitar d’Agadir Festival
in Morocco, the Centre for Arab and Mediterranean
Music at Sidi Bou Said in Tunisia and the Cité de la
Musique in Marseilles. The project will seek to develop
compositions and original projects on the basis of
programmes of residencies and tours involving both
amateurs and professionals.
48
Programme 12
Forbidden Music
Programme 13
Traffic (Urban Culture)
The Forbidden Music Festival is the result of cultural
action carried out by the Association for the Austrian
Cultural Forum within the Austrian ConsulateGeneral in Marseilles. It enjoys a special partnership
with the Austrian Cultural Forum in Paris and the
Marseilles City Opera. Since 2004, this operation has
rehabilitated major musical works forbidden by the
3rd Reich. The Forbidden Music Festival has thus set
itself the goal of making this action a long-term event
and of extending it to the entire field of repressive
totalitarianisms, including an important teaching and
civic mission. Through its partnership with the Terezin
Festival in the Czech Republic, Forbidden Music 2008
has been selected by the European Commission in
the framework of its “Active European Remembrance”
initiative.
On the basis of this network and of the dynamic that
has been created around the themes raised by this
project, Forbidden Music will continue to develop
until 2013 and will produce a major festival on the
occasion of the Capital year.
What cultural, aesthetic or social echoes will hip-hop,
slam, rap, beat box, BMX or graffiti have by 2013?
Obviously, nobody can predict how things will change
or even if they’ll survive.
Yet the socio-economic conditions that, for more than
twenty years now, have made Marseilles the capital
of a particular form of Rap - less centred on the special
issues of the “banlieue” than Parisian Rap (which does
not exist as such in Marseilles) - will certainly still be
around. The pioneers of IAM, realising that passing
the flame to a new generation was part of their mission,
have managed to transmit the idea of a Rap that,
though still highly politicised, conveys more universal
messages; a Rap that exports better and lasts longer.
Keny Arkana, for example, was eight years old when
IAM released their first album. She created her first
pieces when she was 13, before the sociologist Philippe
Corcuff found similarities between her antiglobalisation texts and the neo-Zapataist language of
Subcomandante Marcos in Mexico.
In addition to this concern for transmission on the part
of recognised, but continually evolving artists, Marseilles
can also be proud of a certain number of other initiatives
along the same lines, through the organisation of work
shops in the inner city where Rap is an essential element,
particularly for young women and girls. In this respect,
the Jean-Claude Izzo and Edmond Rostand lowersecondary schools figure as pioneers in the subject.
On this basis, we are prepared to bet on a future for
these art forms and each year Marseilles will host
“Traffic”, a new festival devoted to urban culture.
Given the volatility of this music, it would hardly be
prudent to imagine the details of a programme for
2013 today. This is why, for the 2010 preview festivals, we are linking up with two important festivals
to be held in two present and future European
Capitals of Culture: the Hub Festival in Liverpool
and the Melez Festival in Essen.
These two events, which are very different from each
other, present a fascinating complement to Marseilles’
own contribution in terms of music. While Liverpool
develops the dimensions of sport and street culture
with Skate, BMX and hip-hop dance “Battles”, Essen
with Melez (meaning “mix” in Turkish) adopts a more
sociological approach by looking closely at the issue
of migration which feeds these inner-city cultures.
In co-production with the well known model of Les
Rencontres de La Villette in Paris, we will be developing the “Traffic” concept between 2010 and 2012
to become an annual and enduring event from 2013
onwards.
Values and Beliefs
Programme 23
Marseille-Fes-Kosice
Festival of Sacred Music
The Marseilles Festival of Sacred Music will be developed as a long-term partnership of co-productions
with the Festival of Fes in Morocco and the Kosice
Festival in Slovakia. This dual collaboration will be
an expression of Marseilles’ desire to act as a link
between Northern Europe and the Mediterranean.
Musicatreize, one of the finest international musical
ensembles in Marseilles, will participate in the next
Kosice Festival at the end of 2008.
A joint project with the Festival of Fes is in development for the 2010 event.
Programme 24
Performances in Tribute
to Albert Camus
Marseilles City Opera and the Grand Théâtre de
Provence will join forces to commemorate the centenary of the birth of Albert Camus in 2013. A
commission to a European composer based on one of
Camus’ dramatic works is currently being developed
by the Opera.
A “Camus trilogy” will be performed in three major
theatres in the area (Centre Dramatique National de
la Criée, the Grand Théâtre de Provence, the Théâtre
du Gymnase).
Programme 25a
The Mediterranean
Cultural Forum
The Mediterranean Cultural Forum is organised jointly
by a mission of the French Ministry of Foreign Affairs
and local authorities and institutions (the City of
Marseilles, the Provence-Alpes-Côte d’Azur Region,
the Bouches-du-Rhône Département and the Chamber
of Commerce and Industry). It is supported by the
Anna Lindh Foundation. The Forum represents an
extension of the process of the Mediterranean Cultural
Workshops initiated by France in 2005, which was
concretised by three meetings in Paris (September
2006), Seville (June 2007) and Alexandria
(January 2008).
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The Mediterranean Cultural Forum runs 8 workshops
and brings together 200 participants from societies
in all Mediterranean and European countries.
The 8 workshops are as follows:
––history, memory, heritage;
––images, audiovisual, cinema;
––writing, translation, books, libraries, print media;
––creators, artistic and cultural creation, circulation
of artists and cultural products;
––religion and society;
––modernising societies;
––knowledge economy: basic schooling, educational
systems, professional training, universities;
––values, identities, cultures.
The leading figures in the workshops are historians,
philosophers, artists, directors of cultural institutions
and NGOs and representatives of international institutions active in the field of culture.
The Forum will meet in Marseilles in November 2008.
After that, it will be held every two years in Marseilles,
alternating with a Mediterranean metropolis.
50
Genders or Genres
Programme 28
Six Films for a Great
Cinematographic Project
On the general theme of the place of women around
the Mediterranean, we will address six subjects in the
form of commissions awarded to film-makers: peace,
work, violence, secrets, femininity, and no man’s land.
The aim of the cinema project is to fictionalise and
highlight, with strength and sensitivity, the current
challenges facing women in the Mediterranean as well
as contemporary figures of women, etc. We will adopt
a special perspective on environmental issues and the
sociocultural context, and their impact on human
questions (with one instruction: to avoid all the clichés
that are almost always associated with women’s issues).
The underlying themes and the director’s treatment
of the grey zones between fiction and documentary
will be accorded special importance.
Two producers, who are ready to commit to the implementation of the project, have joined forces with
Marseille-Provence 2013 to determine the specifications, budget, financial partners and distribution of
the project.
Programme 29
“Je est un(e) autre”
From Pedro Almodovar to Olivier Py and Ron Athey,
from the gallery of living sculpture in the glorious
“Féminin/Masculin, le Sexe de l’Art” exhibition at
the Centre Georges Pompidou, to the Queer Festival
in Berlin, many artists and events have chosen to deal
with gender issues through transvestism and
transsexualism.
These shows are based, above all, on individual artists,
who rarely work jointly on one single project.
We propose to offer commissions to European and
Mediterranean artists for the creation of a show
consisting of different acts, under the title “Je est un(e)
autre.” Music hall, dance, song, theatre and stand-up
will be the principal disciplines concerned. The show
will be coordinated by a single director but the choice
of artists will be made collectively, especially including
certain curators of the “Genders, Genres and Minorities: Images and Representations of Women around
the Mediterranean” exhibition.
-
In the context of programme 2 in this Theme, which
aims to “develop the culture of water” through cultural
events (cinema, live shows, music), Marseilles-Provence
is teaming up with Berlin and Kosice to present a musical
programme in 2013 and will promote the setting up of
a film festival devoted to the theme of water.
Programme 34a
Water Music
The first edition of the new Wassermusik Festival,
which combines concerts and discussions around
water, took place in Berlin in July 2008, under the
aegis of Haus der Kulturen der Welt. With a notable
concert on the Spree and with special themes devoted
to seafarers’ music and song, film projections and
debates, this festival has similarities with Music on
Water planned for 2010 at Kosice in Slovakia.
In 2013, Marseilles-Provence will present a musical
programme devoted to this theme with these two
partners, alongside the “The Sharing of Water”
exhibition.
Programme 34b
When Water meets Cinema:
A Festival
As an extension of the work carried out since 2006
in the context of the Rencontres Internationales Eau
et Cinéma (International Conferences on Water and
Cinema) associated with the World Water Forums
(next forum in Istanbul in 2009), a “Mediterranean
Water and Cinema” Festival will be organised in
Marseilles in 2010. It will constitute one of the relay
operations in preparation for the 3rd Rencontres
Internationales Eau et Cinéma, which will be held
alongside the 2012 World Water Forum.
Art in the Public Arena
Programme 38
The “Digue du Large”
A Great Artistic Commission at
the Heart of the Future Capital
From the gate of the Vieux Port as far as L’Estaque,
this 7 kilometre long strip of concrete and boulders
so close to the principal sites of the bid, is a unique
installation in France. The Digue du Large (the
Marseilles Sea Wall) is already an exceptional piece
of work in itself, a piece of home-grown Land Art,
half architecture and half sculpture. It represents
an element of the identity of the city but, for different
reasons, it is a forgotten area and is, in fact, currently
inaccessible. The project consists, first and foremost,
in opening up the wall for strolls and promenades.
Offering exceptional vantage points, towards the
port and the city on one side, towards the open sea
on other, the wall will become an important space,
capable of hosting large numbers of works. This is
the second aim of the project: to set in motion from
2010 a programme of commissions for long-term
or short-term installations that will constitute the
principal visible cultural brand of the Capital. As
supports for these commissions, we will use not only
the wall itself, but also boats that will be moored
wherever the activity of the port will allow.
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Programme 39
Mountains and Wonders
In 2009, Marseille-Provence 2013 plans to launch a
multi-annual programme of arts commissions for
5 major sites across the area of Bouches-du-Rhône
Departement:
––La Saint Victoire – Roque Haute
––La Sainte Baume – Saint Pons
––Le Garlaban – Pichaury
––Les Aulnes (Camargue)
––Le Château d’Avignon (Camargue)
Each year, until 2013, one of these five sites will be
the subject of an enduring piece of creative work.
Programme 40
Exterior Daylight
The duo N+N Corsino are well-known for having
produced a number of monumental installations mainly
involving video compositions. Thanks to a new technology of metal mesh sheeting, which can be fixed onto
buildings or façades and which will be readily available
by 2013, they are no longer content merely to project
images onto screens, but are looking to cover vast
surfaces with webbing comprised of fibre optics and
LED video-transmitters. They will be able to install a
gigantic outdoor screen that will wrap around the
contours of buildings or any other structure.
The 2013 project will consist in wrapping the ramparts
of the Fort Saint Nicolas and producing huge pieces of
52
digital artwork that will be visible 24 hours a day, both
from the sea and from the Vieux Port or the J4.
N+N Corsino will produce the inaugural installation
and will then organise master classes, pairing invited
artists with schools of digital art.
Following N+N Corsino, five other major European
artists will be commissioned to produce works. Every
two months, the inauguration of their work will be
the occasion for a spectacular opening party on the
J4 to music by Marsatac. The specifications given to
these six artists will also include invitations to six
European schools, with which they will organise
master classes. These classes will also be an opportunity
to train artists from Mediterranean countries that are
still under-resourced in this area, with the notable
exceptions of Beirut and Tel Aviv. The students’ work
will be shown for a full month, in the same way as
that of the artists.
As examples of pairings, we could invite digital artists
Olafur Eliasson or Ann Veronica Janssens and the
Supinfocom (Arles) and ZKM (Germany) or Polytechnika (Gdansk) digital art schools.
Ultimately, this installation could become a regular
feature after 2013 or even tour the area (see, for
example, the project of the City of Martigues on the
Chenal de Caronte).
Programme 41
A European Artists’ Funfair
Programme 42
Seas Online
Today, very many young European artists with roots
in the theatre or the visual, digital or plastic arts are
inventing small intimate installations that offer visitors
special experiences. Renowned artists such as
Bruce Nauman, Cindy Sherman or Rolf Kasteleiner
have all developed work on the figure of the clown,
deformity and the burlesque and have succeeded in
creating a contemporary face for these archetypes.
We are thus intending to set up a “contemporary
funfair”, bringing together some fifteen commissions
by artists chosen by 10 directors of European cultural
institutions and festivals. Blind trails, a sound installation with 1,001 adaptations of the Marseillaise
(national anthem), a sensorial tank, a dialogue around
a two-way mirror, magic roundabouts… there is no
shortage of ideas. A director and a set designer will
define the space and the rules of the game in this
“contemporary Coney Island”, with its costumed
extras and treasure hunts. Our village of sideshows
and rides will be on view 24 hours a day throughout
the entire event, and will thus be seen by a very large
number of people. In following years, it will return
enriched with two additional sections, and may go
on tour to major European cities.
If a true Mediterranean identity, forged over millennia,
really exists, it has been wrought in an eccentric
manner around the rim of a vast blue desert. There is
no human, historical or cultural centre to the Mediterranean Sea in the real world, which is why it is so
difficult to bring its representatives together elsewhere
than on one of its shores. The idea is therefore to
invent this centre and to bring it to life in the virtual
world, via the technology of broadband multimedia
networks. Thus, the cultural Mediterranean can be
centred simultaneously in Marseilles, Beirut, Tangier
or Alexandria, but also, for a time, in Paris, Berlin,
Montreal, Bratislava, Beijing or Sydney. This is the
challenge of the project developed by Luc Martinez,
a pioneer in the production of networked projects
and himself a multimedia artist.
This project proposes to recreate the Mediterranean
rim thanks to the multimedia technologies of highspeed networks. This reconstitution will be produced
initially on the scale of our region of the world, then
extended from the Mediterranean to, say, the Black Sea
and the Baltic, two other enclosed seas.
Designed for a large audience, this audiovisual installation will become a crossroads of communication on
the occasion of regular events in the arts, educational
and scientific fields, etc.
A Networked Multimedia Installation
A Symbolic Island in the Middle of the Mediterranean
Marseilles will host a crown of 12 to 16 large, juxtaposed, back-projected screens surrounding a set of
video projectors. These projectors will be connected
to the historic ports of the Mediterranean rim by a
high-speed geostationary satellite uplink. The visual
link between all these video images will be obtained
from one screen to the next by the continuity of the
horizon line, captured in each port by a secure multimedia station. From time to time, these screens could
relay other events before resuming their primary
function of showing a permanent, circular
landscape.
The Mediterranean will be symbolically recreated by
a coherent set of images and sounds, captured and
transmitted in real time. In Marseilles, people will be
able to stroll around the edge of the deep blue sea,
looking at it and listening to it from any one of the
12 countries online. It will show us the sea’s changing
light and moods as the weather, the winds and the
currents turn.
People would also be able to enter the circle of screens,
and contemplate the sea from its centre. A décor
recreating an imaginary island (sand, rocks, sea grass,
driftwood, etc.) will surround the public while disguising the technology. This central position will be ideal
for listening to a permanent musical creation that will
float around the audience.
This island – a real middle earth – will also serve as a
stage for special events, concerts, conferences, TV
broadcasts etc. Importantly, the screens will have no
frames, inserting themselves into this uninterrupted
landscape to resemble the grand panoramas of the
19th century.
This outstanding tool can be extended to cover other
seas and oceans, and could be made available to many
of the projects selected by Marseille-Provence 2013
for the organisation of symposiums, conferences or
other events in the scientific, educational, economic,
environmental or social fields, etc. The main themes
presented in Programmeme 1 of the bid project “Le
Partage des Midis” would find their place naturally as
part of this project.
53
Seas Online (programme 42; see p. 53). “A spectacular networked, multimedia device that is accessible 24 hours a day.
A symbolic Mediterranean island” – Image courtesy of Luc Martinez / Medialoft
54
55
Programme 43
The Euro-Mediterranean
Honey Bank
As a visual artist and urban bee-keeper, Olivier Darné
has found in bees both a medium and a means of
exploration that blends different areas of the language
of contemporary creation.
Combining his role as a creator of images with that
of a bee-keeper in the urban public arena, he is working
in the city in a new way today, by positioning his bees,
his installations and his questions on the pavements,
and by questioning the relation between wildlife and
urban living, between the “cultural bio-diversity” of
human beings and their surroundings.
In residence in Marseilles with the Théâtre du Merlan
in 2008 and 2009, Olivier Darné has installed a
“Swarming Centre” on the roof of this urban institution
in Northern Marseilles to act as a point of departure
and homing for his residence in the city. A kind of
sensitive mapping centre from where, over a two-year
period, bees and questions will be set loose to see
where they end up.
His project is to develop a Euro-Mediterranean swarm;
a honey bank located here that allows bees to land
and support a bee-keeper and his hives in his “exploitation of the skies.”
The artistic form of the project will be that of an urban
pollinator installed in the public arena, telling his
audience tales about the life of bees from elsewhere
and about the honey that they produce. These per56
manent “other tastes” will be the subject of multiple
workshops open to all and will seek to encourage a
“taste for the other”.
The project will be developed internationally in
partnership with Terra Madre, a planetary project
imagined by Slow Food with the goal of forming
networks between food professionals centred on the
formation of a new logic to redefine food and agriculture
that is more respectful of humanity and the earth.
The project will be developed over a four-year period;
the following cities have been chosen to host a Honey
Bank, essentially because of the interest and diversity
of their ecosystems: Istanbul, Berlin, Barcelona, Luxembourg, Geneva, Turin, Belfast, Amsterdam, Tangier,
Rotterdam, Jerusalem, Kiev and St. Petersburg.
Programme 44
Fleeting Gardens
Between June and September 2009, the first edition of
this festival organised by the City of Marseilles will see
the creation of ephemeral gardens from 25 Mediterranean cities, installed all around the Vieux Port (from
the gardens of the Pharo as far as the J4). The aim is to
bring together gardens that express the nuances and
complexity of the cultures that make up the Mediterranean rim. A call for participants and a specification
will be addressed by the management of the Marseilles
Parks and Gardens Department to Mediterranean
countries through different channels (consulates, foreign
relations, overseas cooperation, etc.).
Programme 45
Shopwindowing Art
This is one of the flagship projects of Linz, the 2009
European Capital of Culture. We will pick up the
concept in collaboration with Linz ’09 and OK (Offenes Kulturhaus).
Presented as a preview in 2008 under the original title
“Schau Rausch”, the project was based on 50 commissions to 50 artists for 50 works of art in 50 shopwindow displays.
The final result was an enormous success in the city,
but it was, above all, the method of production that
gave the project its full meaning and dimensions. First
of all, in the choice of the artist/shop manager pairing,
which led to a real dialogue on contemporary art,
completed by proper professional training in contemporary art for the staff of the shops involved. Sales
assistants were thus transformed into real mediators,
which in turn led to a completely different relationship
with the public. A full catalogue was published, including portraits of the shop staff along with texts
written by them and accounts of how the shops were
transformed. In the end, entire streets were taken over
by the project, with certain window displays becoming
live shows, while other more sculptural works spilled
out onto the pavements.
For Marseilles-Provence, in collaboration with “Marseille Centre” in particular – an association of Marseilles city-centre shopkeepers – and with the association of shopkeepers in the centre of Aix-en-Provence,
a total of some 200 shops and boutiques will be involved. A certain number of the “Schau Rausch” installations in Linz will be entirely reused in order to retain
continuity across European Capitals of Culture.
Programme 46
Architectures
In Chapter 3 below, we present the major development
projects involving new cultural facilities for 2013. These
projects have been entrusted to internationally famous
French and foreign architects. Three further projects
are planned in addition to this remarkable effort:
An architectural competition will be organised in 2009
for the design of two models of fair structures to be
installed across the entire area. The first group of
structures should fulfil utility functions (ticket sales,
public information booths, mobile offices, etc.); the
second will be a temporary café designed to host public
events, especially concerts. Both of these projects will
specify energy self-sufficiency and require other environmental criteria to be met.
An exhibition on the work of Le Corbusier is being
developed in association with the Le Corbusier
Foundation and the MoMA (Museum of Modern
Art) in New York. We particularly appreciated the
exhibition co-produced by Liverpool, Capital 2008
in Lisbon. The MoMA is planning a new retrospective
in 2012. Marseilles-Provence may partner this exhibition and could host it in 2013.
With the “Images de Ville” festival in Aix-en-Provence,
with the new Via Marseilles festival and with its
partners – especially Metropolis in Copenhagen – a
series of discussions and debates between architects,
town planners and artists will be organised on the
following theme: “How does art transform the public
arena; how does the public arena transform art?”
Programme 47
1st International Biennial
of Circus Arts
In collaboration with the Centre National des Arts
du Cirque in Châlons-en-Champagne (National Centre
of Circus Arts) and the Young Circus Talents Europe
programme, this event will explore the relationship
between contemporary circus and the visual arts, design,
theatre, music, dance and multimedia, without forgetting science or gastronomy. The project will be directed
by the European Circus Arts Research Centre (CREAC)
based in Marseilles in the spirit of international experimentation described in Report 1 (p. 99).
Walkers – Nomads –
Territories
Programme 55a
Trails for the Curious Wanderer
The leading figures of the bid, in association with
landscape artist Philippe Deliau, have organised a
mission to identify sites around Marseilles-Provence
that are redolent of ten characteristic themes of the
area’s history and geography. The variety of forms
creates the diversity of the sites: mountains plunging
into water, thrusting massifs, narrow gorges, fertile
valleys, chalky plateaux, rushing streams, rocky outcrops, hilltop pine groves, green oaks in the dales, etc.
The occupation of sites by engineers, industrialists,
the military and farmers has resulted in architectural
structures adapted to the mountain slopes: homes cut
into or built onto the bare rock, shacks backing onto
the rock face itself, clifftop forts and hillside terraces.
The nature of the soil, the maritime climate and forest
fires have all combined to make up a system where
adaptation to the environment is everything: desert
or develop. Wild areas – 4,000 hectares along the Côte
Bleue – contrast with the heavily built-up urban zone
between Marseilles, Aubagne and Aix-enProvence. The great Crau plain, the vast Camargue
rice fields and the unending ponds of the salterns are
the exceptions that prove the rule: where land can be
used, it is exploited right up to the edge of the sea.
57
The different themed trails translate this diversity of
landscape, by associating elements of identity that
testify to the past – “from soda to soap” – with aspects
of modern life – “industrial façades”. Certain guided
trails will lead the curious wanderer towards science
and knowledge, discovering unexpected biodiversity
in the cities, for example, or revealing unsuspected
archaeological treasures. From this huge area on the
edge of the sea – the sea and its islands could be classed
as a territory alone – we have chosen the most astonishing sites, most of which are at this time inaccessible
to the public. Many have undergone transformation
because difficulties of operation and access have forced
change upon them (The Friche La Belle de Mai is an
emblematic example). The selected sites are often on
high ground that used to be outside the city. Converted
into belvederes looking out over the sea, they are sure
to be visited by a curious public, especially in the
context of specific workshops intended for families.
Programme 55b
Revelations
On the 1st of every month at nightfall, this project
will enable an audience to (re)discover a building
used for industrial or scientific purposes (e.g. ITER).
We will plot a trail leading to industrial or commercial
buildings of architectural significance, often only
glimpsed in passing, inaccessible, from the car, and
whose activities are only known to the personnel,
customers or suppliers.
58
These “Revelations” will be staged by Groupe F and
other artists, especially musicians. Thanks to the skills
of their employees, the businesses themselves will
contribute not only to producing the show, but also
to designing a narrative telling the story of the business
and the products that it manufactures.
On the occasion of the opening event, a major building
with a large audience capacity will be chosen to
inaugurate the cycle. Ultimately, each “Revelation”
will be recorded by a photographer and a book giving
an account of the twelve events will be published in
time for Christmas 2013.
on the objects to be found can also be obtained via
GPS and mobile phones. The gaming aspect of the
project will thus be based on combining a real and
virtual trail. The project is developing constantly, and
could be transformed into a real treasure hunt, involving imaginary narratives, or fictional legends, with
the last apparition of the 2013 year being especially
difficult to find and as well as being the key to all the
other enigmas.
Programme 55c
Apparitions
The Centre International de Recherche sur le Verre
et les Arts Plastiques - CIRVA (International Centre
for Research into Glass and the Visual Arts) is an
original European institution. With Javier Perez (Spain),
Giuseppe Penone (Italy), as well as Bill Woodrow
(Great Britain) and Gilles Barbier (Marseilles), the
CIRVA is already a Euro-Mediterranean workshop.
Reaching out to wider audiences, including amateur
enthusiasts, by setting up in one of the beacon communities on the edge of Euromed, the CIRVA will be
re-energised as a test bed of contemporary creation
and will reveal the exceptional collection that is has
accumulated since 1986.
Mysteries and Snowballs
Developed by the visual artists N+N Corsino from
Marseilles, this project is based on a fascinating and
rapidly developing technology that will be used to
produce the event itself in 2013. The technique
combines laser and hologram technologies in a 360°
panorama to give the illusion that an object is enclosed
in a glass bubble, just like the dome-shaped snowballs
sold in souvenir shops. By 2013, this technology will
have evolved in terms of the scale of its applications
and will allow a series of holographic figures to be
installed across the cities.
Playing on new contemporary icons, these apparitions
will be relayed live on Google Earth, where they will
not only be very clearly visible, but where information
Programme 56
Joliette: Glass in Transit
Programme 57
FRAC-Euro-Region
In partnership with the Association Art’ccessible, the
Provence Alpes-Côtes d’Azur Regional Contemporary
Art Fund is developing a number of teaching programmes including the “Galerie Ambulante”, a mobile
gallery in the form of a van loaded with works of art
from its collection, which will travel out to meet the
public, especially in villages. This project will become
truly European and it will outline a new path in contemporary art with the implementation of two exhibitions
presented in Caraglio and Marseilles: Italian curators
will be invited to France and French curators to Italy.
The curatorial project could be accompanied by a book
to promote the institutions and artists based in this
cross-border area. The project has been chosen to be
a part of the European “Integrated Territorial Project”
in the cross-border areas of the French Alpes de HauteProvence and Bouches-du-Rhône Départements and
the Province of Cuneo in Italy.
One Thousand
and One Nights
Everyone is Involved
Programme 59
One Thousand and one artistic
Nights (Call for projects)
This programme is designed to liven up the night-life
in public places in certain city centres in the bid area
(artistic operations focusing on the decoration and
cultural activities of historical cafés, coloured by
the great traditions of Europe and the Mediterranean
in particular).
These aims were set out in the first bid Report
(p. 157), where we announced that we would be
launching a call for projects and preparing specifications. The specifications are summarised in the
Appendix below. The selection criteria intersect
with the themes of the bid.
Programmeme 61
New Commissioners
In accordance with the principles set out in the first
Report (p. 165) – to enable each individual, solely
or in association with others, to take the initiative
of commissioning a work of art in response to a
defined specification – we have established, in this
second phase of selection:
––the text of the call for projects;
––the form to be completed by participants;
––the method of issuing the call, of selecting propositions and of putting them into production.
These texts are shown in the Appendix.
Experimentally, an initial series of commissions was
launched in 2007, notably at the Jean Jaurès lowersecondary school in La Ciotat, for the Place François
Moisson in Marseilles, for the Saint Joseph Hospital
Foundation in Marseilles and for the Valvert Hospital
in Marseilles.
59
In addition to the projects outlined above, which structure each of
the themes of the bid, the following three European programmes,
which are transversal in nature in relation to these themes, are either
Programme 67
Euro-Mediterranean Cooking
In addition to the projects mentioned in Report 1
(p. 131) and the major project “Central Market: Cooking Takes to the Stage” (see p. 47), a group of chefs
who are particularly interested in the problems of the
food industry and public health will organise EuroMediterranean Workshops in secondary-school
canteens across the Region, as is already the case at the
l’Empéri upper-secondary school in Salon-de-Provence.
In addition, the Bonneveine Hotel and Catering College
in Marseilles, which is part of the Association Européenne des Écoles d’Hôtellerie et de Tourisme - AEHT
(European Association of Hotel and Catering Schools)
is developing two projects with similar configurations:
“Christmas in Europe” and “Europe”.
Finally, the Piknik-Kit project developed by
Stephan Muntaner will complete this range of events
destined for the general public.
Other Programmes
Programme 60
“The Amateurs’ Night”
Programme 62
“Artistic Projects in Primary
and Secondary Schools”
Programme 63
“Youth in Action”
Programme 64
“Beacon Communities” - Projects
in Community Associations
Programme 65
“Everyone is a Researcher”
Programme 66
“Football-Calcio-FutbolKourat Qadam”
In order to start the work of encouraging public
participation in the themes and events of the bid
project, these projects have been launched as they
are presented in the first Report without waiting for
the final selection. The educational establishments,
associations and projects that we have selected in
2008 are presented in Chapter 4 below (“How is
the project mobilising citizens? How are citizens
participating in the development of the project?”)
ongoing or are due to start in 2008, and will continue to be developed
through to 2013:
Annual collaboration with Slovakia and production of a “Slovak Season”
during the first quarter of 2013 (see Chap. 2 below and Appendix,
programme 70).
“Cities on the Edge”, a European programme initiated by Liverpool,
European Capital of Culture in 2008; Marseilles will head up this network
in 2009 (see Appendix, programme 71a).
“SEAS”, extension to the Mediterranean and Marseilles of the European
cooperation programme between the North Sea and the Black Sea through
port cities (see Chap. 2 below and Appendix, programme 71b).
Programme 68
“What's Your Game?”
Programme 69
“Encounters and Symposiums”
60
61
Chapter 1
1.4
Work on the
2013 calendar
62
SEASON 1
SEASON 2
SEASON 3
SEASON 4
The “Ateliers de l’Euroméditerranée” (Euromediterranean Workshops)
High
Point 1
High
Point 2
High
Point 3
High
Point 4
Opening Event
The Neighbours’ Party
Water Courses
Mobility and Migrations in Europe and the Mediterranean
Athens, Cordoba, Jerusalem
Sharing the Roma Memory
Sharing the Mediterranean’s Sacred Places
Vessels, Navigation, Navigators
Albert Camus and La Pensée de Midi
The
Amateurs’
Night:
Closing
Event
Fashion
Sails
Le partage des midis. Painters and the Mediterranean
Art Confronts Time
Genders, Genres and Minorities. Images and Representations
of Women around the Mediterranean
Theatres of Pestilence
The Slovak Season
Sharing the Roma
Memory. Deltas
of Europe and the
Mediterranean
Traffic
Babel Med
Central Market 1
International
Biennial
of Circus Arts
Sacred Music
Festival
Via Marseilles
Fid Lab
European
Artists’
Funfair
Central Market 2
The
“SavoirFairs”
Marsatac
Central Market 3
EXISTING SUMMER FESTIVALS
Festival of Marseilles
International Photography Encounters in Arles
Opera Festival in Aix
Piano Festival of La Roque d’Anthéron
Five Continents Jazz Festival (Marseille)
International Documentary Festival (Marseille)
A Breath of Fresh Air for Art: Twenty Places by the Sea 100 Guitars - Sonic Youth Commission Mediterranean Youth Orchestra
Pathways: Trails for the Curious Wanderer - Revelations - Apparitions
The “Digue du Large” - Mountains and Wonders - Exterior Daylight - Shopwindowing Art
Seas Online
One Thousand and One Nights
New Commissioners
Conferences and Debates
Participative Projects in Associations, Schools, Cultural Institutions, Businesses
63
Camus
Anniversary
The Fiesta
des Suds
Festival
InterMed
Youth
InterMed
Central Market 4
The calendar of the 2013 year has been
constructed over all four seasons.
Each season is opened by a series of events
that are coordinated to create strong national and international interest:
– a popular and festive cultural event;
– simultaneous opening of 2 or
3 new exhibitions;
– beginning of one or more major festivals.
Seasonal opening events
Exhibitions
Other framework programmes
Existing summer festivals
64
Fashion Sails (programme 8; see pages 42/43). “The sails of windsurfs, kite surfs
or old vessels redesigned by Haute-Couture designers for a regatta on the open sea” – Image c-ktre
65
Sharing the Roma Memory: the Deltas of Europe and the Mediterranean (programme 10; see p. 48) – Photos courtesy of Olivier Dubuquoy
66
67
The “Savoir-Fairs” (programme 37; see p. 44). “Light, fire, fireworks and papier mâché or cardboard sculptures will be
the subjects of workshops for the production of a festive parade” – Photos courtesy of Fratelli Faniulo Illuminazioni, circa. 1946
68
69
Exterior Daylight (programme 40; see p. 52). “A new technique combining metal mesh sheeting and LED video-transmitters used to create
a gigantic screen that is visible in daylight. New technology made available to European and Mediterranean artists” – Image courtesy of N+N Corsino
70
71
A Breath of Fresh Air for Art (programme 54; see p. 45). “A dual programme of travelling “Proms”
(promenade concerts) and open-air film shows for the area’s principal sites” – Images courtesy of Félix Lefebvre
72
73
Revelations (programme 55b; see p. 58). “Highlighting the area’s legendary industrial landscapes” – Photo courtesy of Jean-Claude Carbonne
74
Apparitions. Mysteries and Snowballs (programme 55c; see p. 58). “A combination of laser and hologram technologies to give
the illusion that an object is enclosed in a glass bubble, just like the dome-shaped snowballs sold in souvenir shops” – Image courtesy of N+N Corsino
75
Chapter 2
78
2.1
The project is in line with
European and Mediterranean
Union policy
84
2.2
The project mobilises
stakeholders and citizens
around issues and partnerships
in Europe and the Mediterranean
86
2.3
The project develops EuroMediterranean partnerships and
integrates existing exchange
networks
96
2.4
The high points, framework
programmes and certain new
facilities have a European and
Mediterranean vocation and
represent major long-term
investments
98
2.5
The European Agenda of
Marseilles-Provence in 2008
How does
the project serve
a Europe
of Culture?
Chapter 2
How does
the project serve
a Europe
of Culture?
Chapter 2 How does the project serve
a Europe of Culture?
2.1
The project is in line
with European
and Mediterranean
Union policy
78
Three successive delegations composed of the executive directors of the bid, local business
leaders, and elected officials and representatives from the bid area visited Brussels, where
they met with members of the Commission and Parliament responsible for the cultural
and Euro-Mediterranean policies of the European Union. Their aim was to gather information and seek guidance relative to the priorities and measures that have been decided
upon for the 2007-2013 period.
Members from the External Relations Directorate General have since visited Marseilles
in order to present the policies and programmes to be implemented during this period.
The Marseille-Provence 2013 project has been developed within the framework of these
policies and measures.
The concept of project, the five aims that this concept is designed to fulfil and the tangible
productions that are already being implemented for its application are all designed to
support long-term cooperation between the EU, the countries and the cultural stakeholders
of the Mediterranean basin. The “Ateliers de l’Euroméditerranée” (Euro-Mediterranean
Workshops) are being created progressively and in a sustainable manner from this year,
2008. They will serve to support and unify all of the programmes of the bid (see Chap. 1
above).
79
2.1.A
2.1.B
2.1.C
The project
is in line
with the priorities
of the EU’s
“Culture
Programme
2007-2013”
The Project
endorses certain
specific European
programmes and
has attracted the
necessary funding
The project
endorses the
1995 Barcelona
Process
The third element of the Barcelona Process aims to
bring people together through social, cultural and
human partnerships that are intended to encourage
understanding between cultures and exchanges
between different types of civil society. One of the
great novelties of this process is to consider culture as
an essential pillar of Euro-Mediterranean
cooperation.
Organising events with cultural leaders and artists
means supporting the emergence and the reinforcement of strong civil societies in Southern countries
as the leaven for democracy, freedom of expression
and secularism. Artistic communities are the driving
forces of society.
Promoting intercultural dialogue also means supporting
the modernisation of cultural and social representations on either side of the Mediterranean and of the
perception that societies have of themselves and of
their neighbours. Questions of training and transmission are at the heart of this ambition. The Mediterranean is overflowing with ancestral artistic practices
80
that must be conserved and passed on, alongside
fruitful contemporary creation that merely asks to be
more widely distributed.
In this regard, our counterparts in Brussels put the
accent on three lessons learned from the first years of
implementing the Barcelona Process:
––As things stand, the European funds destined for
this policy can only be awarded to individual local
communities; this hampers collaborative initiatives
between communities and reduces the number of
projects that come to fruition (“many studies, few
results” we were told).
––The slowness and complexity of bilateral procedures
have been rightly criticised and it would be desirable
if the elected officials and representatives of metropolitan and municipal administrations took on a
more important role in development, particularly
in cultural development. The Liverpool conference
on 1st-3rd May 2008 on “The Intercultural City”
clearly identified the specific roles of local community bodies in the development of innovative projects
and reproducible experiments with regard to the
promotion and management of interculturalism (in
“Making the Mixing Happen”).
––The involvement of civil society in achieving the
aims and implementing the projects must be encouraged1 more vigorously.
1 These observations are specified in the recent communication of the
Commission to the Parliament and to the Council (20/05/08) regarding
the Barcelona Process: “Union for the Mediterranean”
The Marseille-Provence 2013 project promotes:
––intercultural dialogue;
––support for civil societies by welcoming and transmitting the production of artists and creators in all
disciplines;
––direct cooperation between local communities in
the bid area and their counterparts in Mediterranean
countries or with their cultural institutions;
––workshops organised according to the “cloistering”
method, uniting figures from culture, science, community associations and industry.
The project thus seeks to contribute to implementing
the less developed aspects of Barcelona by mobilising
significant long-term resources (200 to 250 European
and Mediterranean creators welcomed each year in
the framework of the “Ateliers de l’Euroméditerranée”;
enduring Euro-Mediterranean events such as the
InterMed Festival and its InterMed Youth section,
the Via Marseilles Festival, etc.).
The very concept of the “Ateliers de l’Euroméditerranée” and its implementation through the themes
in Strategy 1 “Le Partage des Midis” (Sharing the
South):
–– “Migrations and Memories”
–– “Values and Beliefs”
–– “Genders or Genres”
and the treatment of the themes in Strategy 2 “La
Cité Radieuse” (The Radiant City), in association
with the corresponding commissions awarded to
European and Mediterranean artists, all respond to
the triple aspiration of promoting North-South intercultural dialogue, the mobility of artists and the circulation of their work.
All respond to the triple aspiration
of promoting North-South intercultural
dialogue, promoting the mobility
of artists and supporting the circulation
of their work.
The presence of an office of the Commission and of
the European Parliament in Marseilles has already
enabled our funding arrangements for both structural
and specific programmes to be studied. The search for
partners for our projects was thus able to take this
factor into account very early on in the process.
In addition, stakeholders across the area are already
heavily involved in a certain number of programmes.
As an example, the area is leading the implementation
of the “Youth 2000-2006” community action programme, extended by a decision of the European
Parliament and Council in November 2006 to “Youth
in Action 2007-2013.”
facilities. It was decided that volunteers participating
in exchanges between cultural institutions in the area
would be welcomed and sent to other countries to
work together.
A team from Marseille-Provence 2013 took part in
this seminar.
In the second half of 2008, under the French Presidency
of the EU, the group will meet in Marseilles in order
to intensify activity and widen the partnership through
a Euro-Mediterranean forum known as “the Cultural
Volunteers Exchange.”
On the basis of this experience, during the European
Capital of Culture year, Marseille-Provence 2013
will be looking to host up to a hundred young volunteers aged between eighteen and thirty from the
Euro-Mediterranean space. These young volunteers
will play an important part in the event.
In 2007, a score of partners from ten European countries and four Mediterranean countries met in Marseilles to prepare the ground for future collaboration
in youth policy and strategy with regard to cultural
81
European “Youth in Action” Programme
Some examples: 2007-2008
In Marseilles, 50 young people from 8 countries (Slovakia, Czech Republic,
Portugal, Greece, Spain, Poland, Latvia and France) produced an exhibition
to celebrate the 50th anniversary of the Treaty of Rome in collaboration
with the Association pour la Promotion et la Défense de l’Animation
pour Tous.
In Aix-en-Provence, for the “Roule Ma Poule” event organised by the
Pistes Solidaires association, handicapped and non-handicapped young
people from France, Italy, Slovenia, Estonia and Slovakia gathered with
the aim of learning how to live together.
In Aix-en-Provence again, the Summer Forum organised by the European
Youth Parliament (PEJ-PACA) brought together nearly 200 young participants from all over Europe to debate the future of Europe.
Exchanges between Vitrolles and Krakowice (Poland) organised by
l’Association Européenne du Pays d’Aix et du Bassin Minier (European
Association of Aix and the Mining Country): 20 young Poles (from
Krakowice Catering College) visited Marseilles and the surrounding area
for 15 days to find out more about their counterpart college (Vitrolles
upper-secondary school). In exchange, young people from Vitrolles went
to Poland for 10 days in April 2008. They visited the Krakowice region
and dedicated a day to Auschwitz.
Michelangelo Pistoletto, Love Difference, Mar Mediterraneo, 2003 - 2005. Entrusted to the Contemporary Art Museum in Marseilles
by the National Contemporary Art Fund, Ministry of Culture and Communication, Paris – Photo courtesy of Vincent Ecochard
82
83
Chapter 2
How does
the project serve
a Europe
of Culture?
2.2
The project mobilises
stakeholders and citizens
around issues and
partnerships in Europe
and the Mediterranean
As outlined in Chapter 1 above and Chapter 4 below:
Cultural institutions and events in the area
are developing Euro-Mediterranean alliances
in the run up to 2013
Major annual events are planned, for example: for
2008 and subsequent years, the Rencontres Internationales de la Photographie (International Photography Encounters) and the Les Suds Festival in Arles,
the International Opera Festival in Aix-en-Provence,
the International Piano Festival in La Roque d’Anthéron, the Festival of Marseilles, the Fiesta des Suds
Festival and the Marsatac Festival in Marseilles have
already programmed works, residencies, workshops,
commissions and Euro-Mediterranean partnerships
linked to the bid project.
Opera houses, major theatres and museums are doing
the same.
Participative projects involving residents will develop
Euro-Mediterranean themes and exchanges
These projects are presented in Chapter 4 and in the
Appendix. Some examples are given below:
84
Major annual events are planned
and have already programmed
works, residencies, workshops,
commissions and Euro-Mediterranean
partnerships linked to the bid project.
Class Eurock with Spain, Italy, Germany, Great
Britain and the “Cities on the Edge” European
network.
ADDAP: young people helping to renovate a locale
used by an association in Morocco.
ARTECO: courses for amateur musicians from the
Mediterranean rim (Italy, Lebanon and Tunisia).
The Paths of Song: exchange residencies for young
people from Salonica, Marseilles and Riga.
Lieux Fictifs: film workshops in the prisons of Marseilles, Barcelona, Oslo, Wuppertal and Milan.
The Théâtre de la Mer: exchange workshops around
memories of immigration with Amsterdam, Tetouan
and Marseilles.
“Autobiographies”: creative writing workshops exchanging with schools from Hungary, Italy, Greece,
Germany and Morocco.
“Méditerranée” teaching workshops for uppersecondary school pupils (aged 15-18).
“My School, My District, My Town”: exchanges
and workshops organised with schools in Morocco.
85
Chapter 2
How does
the project serve
a Europe
of Culture?
2.3
The project develops
Euro-Mediterranean
partnerships and
integrates existing
exchange networks
2.3.A
With Slovakia
The Marseilles multi-annual 2007-2013 programme
of cooperation with Slovakia, presented in the preselection report, has been specified and modified to
take account of new missions carried out in Slovakia’s
candidate cities and of exchanges with their stakeholders (three visits in 2007, three in 2008). Themes
linked to migration, memory, intercultural dialogue
and art in the public arena, presented by Marseilles to
our Slovakian counterparts were very well received.
As a result, the following developments have been
added to the initial projects:
RIAM we are negotiating Slovakian partnerships for
the “Art and New Media” network project that we
are submitting to the European Commission.
Roma culture: the teaching and circulation of Roma
culture in Slovakia proved to be richer than we had
imagined. This is why we have developed, in the bid
project, a travelling exhibition entitled “Roms”
(Roma) produced by the Arlaten Ethnographic
Museum in Arles in collaboration with different
Slovakian national institutions and Slovakia’s four
finalist cities. With them, a programme of multidisciplinary events (music, dance, circus, cinema and
literature) called “Sharing the Roma Memory - Deltas
of Europe and the Mediterranean” has been included
in the Marseille-Provence 2013 project.
Shows and events in the public arena, one of the high
points of the Marseilles project, aroused great interest in
Slovakia. Three of the four Slovak cities in the running
for the Capital title expressed a desire to host events from
the Marseilles project as of 2008 and we have submitted
four detailed propositions to them.
Diffusing art and culture to children and teenagers:
despite all of its problems, the old Communist regime
in former Czechoslovakia had some positive features
in this respect. That policy has not been affected by
recent changes. Marseille-Provence 2013 will extend
its InterMed Youth project, initially planned with
Barcelona and Berlin, to a third partner in Slovakia
(Bratislava and the selected candidate city).
A specific programme, “Artistes Sans Mer” (Landlocked Artists), will be organised from 2010 to 2013,
to offer Slovakian artists a “piece of coastline” within
the area implicated in the bid in order to incite them
to create works inspired by their vision of the sea. We
have taken the idea of this project from Nice’s bid and
members of the Nice team will be invited to put it into
action. A wider collaboration on the theme of “Coastal
Art” is also being studied with the City of Nice.
Art linked to new technology: following the initiative
of RIAM, an international network of alternative
cultural locales (based in Marseilles) that focuses
particularly on digital art, we discovered intense
creativity in this field in Slovakia. RIAM is hosting
a Slovak music/video group this year, and will invite
a second group to its 2009 festival. Additionally, with
86
87
2.3.B
Overview of artistic
exchanges carried out
with Slovakia in 2007
Encounter between professionals and representatives of European arts institutions organised by Lieux
and artistic collaboration between an upper-secondary
school in the Slovakian capital and the Marseillesbased Orange Bleue cultural association, which built
a boat on the Danube and undertook an extraordinary
voyage with the students, taking in a number of cultural
events (April-September).
Publics – the National Centre for the Creation of Street
Arts and IN SITU, a European network of artistic
creation for the public arena. Three professionals were
invited from Slovakia: Tatiana Masnikova (who is part
of the Kosice 2013 team), the Managing Director of
Actores, the City of Roznava Festival of Contemporary
Theatre, Jozef Juhasz, Director of the Performances
Festival in Nove Zamky and Ondrej Spisak, Director
of the Teatro Tatro, who is taking part in the organisation
of the International Festival of Theatre in Nitra – also
in competition for the title of Capital (September).
Invitation to the Slovakian group Longital within
“L’Odyssée du Danube” (The Danube Odyssey): The
the framework of Mimi, the Marseilles Avant-Garde
Music festival (July).
Institut International du Théâtre Méditerranéen
(International Institute of Mediterranean Theatre)
and the Théâtre Toursky of Marseilles organised a
cruise during which shows, concerts, theatre workshops
and debates with artists were programmed in each
stopover city. The hundred or so cultural figures and
artists who joined the cruise were thus able to discover
Giurgiu, Ruse, Turnu-Severin, Belgrade, Budapest,
Bratislava and Vienna (September).
The Francophone Colours of the Danube: linguistic
88
Artistic exchanges
carried out with Slovakia
in 2008
“The Chairs”: The Slovak National Theatre will stage
an exceptional production of this great classic by
Eugène Ionesco at the Théâtre Toursky (French
premiere on 21st October).
Concert of classical and contemporary music from
In Marseilles
Programming of Longital: A new sound adventure
for the musical group who returned to Marseilles to
play at the Balthazar (17th April).
central Europe by the renowned Capella Istropolitana
Orchestra of Bratislava. This concert will be given in
a recently renovated Marseilles venue, the Station
Alexandre Arts Centre (November).
Three Slovakian views
V4: an exhibition designed by the former Slovakian
Minister of Culture Ladislav Snopko that presents
the administrative regions of four central European
countries, all signatories of the Visegrad Agreement:
Slovakia, Hungary, the Czech Republic and Poland.
The exhibition is organised by the Marseilles Chamber
of Commerce and Industry in the prestigious setting
of the former Stock Exchange. It will be inaugurated
in the presence of his Excellency the Ambassador of
Slovakia, who will give a talk on the economy of his
country (18th August-18th September).
Conferences will accompany this exhibition:
Regionalisation- the future of Europe and Slovakian
cultural policy by Mr. Snopko.
The visual arts behind the Iron Curtain and The current
renaissance of sponsorship in Slovakia by Ms. Bartosova,
former Director of the Slovak National Museum,
currently responsible for the cultural fund at Slovakia’s
most important investment corporation.
1. The young Slovak photographer Daniela Hanzelova
will be coming to Marseilles in the framework of
this photographic exhibition project (June).
2. L’Homme effacé/Vymazany muz, a Franco-Slovak
exhibition by French writer François Soulage and
Slovak photographer Tereza Golasova. After the
opening of this exhibition, Tereza Golasova will
stay in Marseilles for a week to photograph the city.
This work will be a second contribution to the
“Three Slovakian Views” project (OctoberNovember).
3. The internationally acclaimed photographer
Tibor Huszar, who is very popular in Slovakia,
will also be coming to Marseilles on a voyage of
discovery.
In 2009, their photographs will give three Slovakian
views of Marseilles for audiences in Marseilles, Arles,
Kosice and, probably, Paris (November).
In Slovakia
Appearances by the Marseilles-based company
Migrateurs/Transatlantique at one or more theatres
and dance and musical festivals in Nitra, Martin,
Kosice and/or the Gag 0’08 Festival in Kremnica
(August-September).
The Musicatreize ensemble from Marseilles has been
invited to the Festival of Sacred Music in Kosice with
a programme comprised for the most part of works by
20th century French composers. This will be a first in
the context of this festival, which up to now has been
dedicated to classical music (November).
With European
and Mediterranean
networks
With the Cities on the Edge
network (Liverpool –
Marseilles – Naples – Istanbul –
Gdansk – Bremen)
Marseilles-Provence will contribute to all of the work of
the Cities on the Edge network and to the projects that
the network develops. Marseilles will be heading the
network in 2009. Among these projects, MarseillesProvence has chosen to lend particular support, from as
early as this year, to those that are the closest to our own
founding themes and especially to those that endorse the
virtues of integration and outreach to excluded publics,
or that affirm the concept of European citizenship and
more active participation by young people and workers.
The “On the Edge of Passion” project will lead to the
making of a documentary film dealing with “l’afición”
for football within families of supporters and with relations
between supporters of rival clubs in the same city; in
Liverpool between the Reds and the Blues or in Istanbul
between Besiktas, Galatasaray or Fenerbahce. In addition,
the making of this film will allow us to organise residential
exchanges for supporters between clubs from different
89
cities and to report on these exchanges. The première
of this documentary by Thierry Aguila, a Marseilles-based
film-maker, is scheduled for October 2008.
practitioners”, contributes to building fundamental links
in the city, whether they be taxi drivers, prostitutes,
couriers or the homeless, we will look at how their activities produce today’s true urban myths and legends.
Streetwaves – Music on the Edge consists of a series
of musical springboard concerts held in the network
cities that will conclude in Liverpool. Springboard
rock concerts have been organised locally by Class
Eurock in all of the upper-secondary schools in the
region of Marseilles-Provence. The last five French
groups in the competition will be welcomed in Liverpool in the same way as the German or Italian groups.
The winning French group will appear at the Matthew
Street Festival in Liverpool in August 2008.
Reberth. Local writers like Sonia Chiambretto,
Stéphanie James and Nora Mekmouche express their
offbeat views, both lucid and poetic, of their city and
its residents. Ultimately their work will build into an
urban anthology around the cities of the network.
In Liverpool, the English photographer John Davies
is leading a photojournalism project for which he
ration in Historic Port Cities” Marseilles-based
has selected a number of different photographers. In
Marseilles, he selected Philippe Conti. The project
may be extended to other cities with other
photographers.
architect René Borruey will attend a conference
organised by Liverpool.
Teleport will act as a virtual space and communication
“On the Seafront, Culture, Heritage and Regene-
Coming and Going, deals with the transnational mo-
bility of artists and will confront the issue of movement
in the face of urban development. In this perspective,
Radio Grenouille, a major community radio in the
Marseilles-Provence area, visited Liverpool to take part
in a residence with Radio Merseyside and Metal, the
organisers of the contemporary art biennial festival.
Street Philosophy and Urban Storytelling is a publi-
cation about the “new users” of cities. Starting from the
idea that one category of city-dwellers, the “urban
90
tool for the Cities on the Edge network, putting the
network cities in contact with each other and enabling
windows to be opened at regular intervals between
the cities to retransmit, show and exchange ideas.
This project is an opportunity to combine even the
most modest and popular arts projects with cuttingedge technologies. Experiments in simultaneous retransmission based on high-speed technologies will
be set up between the cities in the network. They will
use free software and be organised with the help of
local research laboratories and technical universities
working in association with the artists.
With the SEAS network
With the IN SITU network
Initiated in 2002 by Intercult (Sweden), SEAS was set
up with six other partners: Arts Council-East Midlands
(Great Britain), the City of Tromso (Norvège), the
Sfumato Theatre (Bulgaria), KIT (Denmark) and
Utrecht Cultural Program (Netherlands).
SEAS is interested in ports as places of circulation,
migration and history, as expressed by the younger
generations of artists. Between 2002 and 2005, SEAS
set up a connection between the Baltic and Adriatic
Seas. Since 2006, they have widened their horizons
to include the North Sea and the Black Sea, a project
for which they have received the support of the European Commission for the 2007-2010 period.
The various meetings held with the directors of the
network show their desire to integrate the Mediterranean Sea into their work. Thus, in 2010, in the
context of Istanbul, European Capital of Culture,
Marseilles may host SEAS events and develop, by
2013, an extension of the project that includes the
Mediterranean.
Since 2003, IN SITU has been the benchmark European network for street arts and new forms of artistic
creation in the public arena. Coordinated by Lieux
Publics – the National Centre for Creation of Street
Art in Marseilles – it has the support of the European
Commission and brings together a score of major
festivals or institutions in 10 European countries.
The project is articulated around several complementary elements:
The Hot Houses, creative writing seminars and
workshops (20 sessions per year).
Events produced jointly by combined teams (3 projects
per year).
A fund dedicated to residencies, translation and
foreign adaptations (15 projects per year).
A mobility fund for European artists and works
(20 shows and over 200 presentations per year).
A deliberate policy in favour of artists and cultural
structures from new Europen countries.
An annual meeting between the entire network and
European institutional figures.
A web revue in 4 languages, “ViaEuropa.eu”.
With the International College
of Literary Translators (CITL)
With the Mediterranean Basin
Dance Network (DBM)
Created in Arles 10 years ago thanks to the initiative
of the “Actes Sud” publishing house, this European
college of translators has progressively built a network
whose activities have become essential to intercultural
dialogue. A programme specific to the European
Capital of Culture project will be devoted to the
development of these activities in collaboration with
network partners.
DBM, based in Lisbon, defines itself as an independent
association, whose aim is to “revitalise the development
of contemporary dance and dramatic arts in the
Mediterranean.”
In Beirut, in November 2007 and in collaboration
with Maqamat Theatre Dance and the Anna Lindh
Foundation, DBM organised an event around different
themes, with a particular focus on “the development
and opportunities for contemporary dance in the MiddleEast and civil, social and artistic involvement.” In this
context, DBM may join different workshops and
festival projects, such as DANCEM Festival in Marseilles, in order to feed into its new project: the
“Mediterranean Dance Map.”
Translation is an essential condition of dialogue
between cultures and it was recognised as a priority
during the meeting between Euro-Mediterranean
Culture Ministers in Athens. The exemplary action
of the Arles International College of Translators will
be developed in the perspective of 2013. A 2010-2013
programme will be proposed to European agencies
(with the Anna Lindh Foundation and the European
Cultural Foundation) in liaison with the “Mediterranean Cultural Forums”, IEMed – the European
Institute of the Mediterranean (national translation
programmes run by the partner states of the Barcelona
Process) and the King Abdul Aziz Foundation
(Morocco).
In 2007 and 2008, Marseille-Provence 2013 has
provided support for the activities of the network,
which will be involved in the Via Marseilles Festival,
one of the beacon projects of the bid.
91
2.3.C
With SIWA
After two editions in Paris (Théâtre de la Cité Internationale and Théâtre National de l’Odéon), the
SIWA Meetings are coming to Marseilles. As a field
of reflection on modes of creation and representation
among contemporary artists in the Arab world, the
event will be based on permanent workshops that will
give expression to artists for whom creation is often
an act of resistance.
With Meeting Points
and the Young
Arab Theater Fund (YATF)
The Young Arab Theater Fund will be a vital partner
of the Capital by virtue of its active participation in
the Meeting Points Festival project.
Programmed for its fifth edition in 2007/2008 by
Frie Lyesen, the former Director of the Kunsten Arts
Festival in Brussels, the Meeting Points Festival, which
has been staged in nine Arab cities, enjoyed great
success when certain projects were presented in
Brussels and Berlin. Marseille-Provence 2013 will be
one of the upcoming Mediterranean partners of the
festival.
With the Baltic-Mediterranean
Workshop
The first Baltic-Mediterranean Workshop took place
on 11th June 2008 in Marseilles. It brought together
experts and research scientists from two regions that,
though distant, are comparable in terms of their organisation around closed seas.
Its aim: to encourage initiatives that promote the
sharing of knowledge and the exchange of good
practices in terms of the development of work that
will allow civil society to grow in these two “extremities
of Europe.” Fishing resources, the environment and
innovation networks were on the agenda of this
meeting, which was organised under the auspices of
the Finnish season in France (100% Finland). The
work of the Baltic-Mediterranean Workshops will
continue in 2009, on the theme of water, in Turku,
the Finnish city that will be European Capital of
Culture 2011. The meeting in Marseilles in 2010 will
examine the relationships between science, technologies and cultures.
With the cities
of Europe
In addition to the European partners involved in the
projects presented in Chapter 1 and in the Appendix,
specific partnerships have also been launched with a
number of European cities. It’s worth remembering
that between 2000 and 2006, 112 projects were undertaken by 83 cultural operators based in MarseillesProvence, in partnership with European institutions.
This characteristic of Marseilles’ cultural life will be
amplified by the bid project, in particular through the
following programmes:
2.3.D
2008, within the framework of the multi-annual
programme “Cities on the Edge”.
With Istanbul (Turkey) and the Istanbul Foundation
for Culture and Arts for the Futebol project (see first
report p. 175 and programme 66 in Appendix).
With Copenhagen (Denmark), candidate for the title
Berlin (Germany) with projects co-developed with
of European Capital of Culture 2017, within the
framework of the “Via Marseilles” festival.
Haus der Kulturen der Welt and partnerships with
InterMed Youth (FEZ and Volksbühne).
With Stockholm (Sweden) and the Intercult Agency,
Essen (Germany) with the Melez Festival, a close
within the framework of the SEAS programme.
partner of the Traffic event.
With Genoa (Italy) and the Festival of Science, which
With Ghent (Belgium) for youth projects.
With cities
and stakeholders
on the Southern
and Eastern
shores of the
Mediterranean
has developed a very wide network. Marseilles-Provence
is already involved in the coming 2008 edition.
With Linz (Austria) for the “Shopwindowing Art”
Fès with the Festival of Sacred World Music and the
project.
associated Rencontres de Fès.
Finally, within the framework of the “Athens, Cordoba
and Jerusalem” programme, which goes into preparation in 2008, Marseilles-Provence will be teaming
up with various cultural institutions in Greece.
Tangier and its Cinema Library, one of the more in-
With Liverpool (UK), European Capital of Culture
With Barcelona (Spain) and its Festival de la Merce
in which the Fiesta des Suds Festival is now involved,
as is the Mercat de Les Flors / National Dance Centre
with whom we will co-produce a part of the Traffic
event.
teresting artistic venues in the city. The Cinema
Library stages a large number of events and also organises schemes for artistic discovery intended for the
younger residents of Tangier. It will be a major partner
of InterMed Youth.
The artists Yto Barrada and Bouchra Khalili who run
the Cinema Library will also be associated with the
programming of InterMed.
Tunis is a great cultural city. Many organisations such
as the Journées Théâtrales de Carthage, El Teatro,
the Rencontres Chorégraphiques of Carthage will be
associated with the InterMed project.
92
93
European Capital
of Culture
ISLANDE
2007-2013
FINLAND
Turku
2011
SWEDEN
Main cities
partners with
NORWAY
Marseilles-Provence
Helsinki
Stockholm
Tallin 2011
Stavanger 2008
ESTONIA
LATVIA
DENMARK
Special attention will be given to young artists who
are developing new approaches to the public, as in
“Unclassified” proposed by Sofiane and Selma Ouissi,
in the context of Meeting Points 2007.
With Alexandria, two projects are under development.
The first is a project in the public arena for Via Marseilles.
The other is being developed in partnership with the
ACAF association (Alexandria Contemporary Arts
Forum), a new contemporary art gallery in Alexandria.
Cairo today has a very dynamic arts community.
Cultural spaces such as the Townhouse Gallery, the
Contemporary Image Collective (CiC), the Emad
Eddin Studio and Makan area are major centres for
meeting and communicating about the arts in Cairo
today. They will be important partners of the InterMed
and Meeting Points projects.
Several Egyptian artists have already agreed to be
associated with Marseille-Provence 2013. Among
them are the visual artist Amal Kenawy, from whom
we have commissioned a specific work, and the video
artist Hassan Khan who designs protean arts projects
adapted to the urban space that should find their place
naturally in Via Marseilles.
Semat, an independent film production company in
Egypt is already partnered with Aflam (distributor of
Arab films) and the CMCA (Mediterranean Centre
for Audiovisual Communication) in Marseilles through
the Caravan of Eurocinema project, which is supported
by the European Commission as part of the Euromed
Audiovisual 2 Programme (2006-2008). This project
will fit in well with Marseille-Provence 2013.
With Tel-Aviv, the Center for Contemporary Art, the
DigitalArtLab, the Dvir Gallery and the International
Exposure Festival are important spaces for creativity
in Tel-Aviv, especially in respect of new artistic forms,
video and multimedia. These organisations will be
important partners of the City 2.0 project (see p. 32).
With Jerusalem, we are developing a project of musical
creation in the city with composer Eran Sachs, in the
context of Via Marseilles.
Beirut is one of the most important cultural cities in
the Arab world, and a number of partnerships have
been developed with the city in the run up to MarseilleProvence 2013.
Using the same approach as the exhibition produced
from the Al Madina photographic archive in the city
of Saïda, a project is under way with the Arab Image
Foundation and the artist Akram Zaatari. It involves
organising, as part of the Via Marseilles project, an
exhibition of portraits collected from across the Arab
world since the start of the 20th century. The resulting
exhibition will be put on in public spaces across the
City of Marseilles.
The Ashkal Alwan association, a Lebanese foundation
for the visual arts, and the Maqamat dance company
will be key partners in the organisation of professional
training projects and young artists’ centres in the
framework of the InterMed Festival and Meeting
Points.
The Beirut Art Center (BAC), a new space for
contemporary art that will open its doors at the end
of 2008, and the Zico House are future partners for
the setting up of artists’ residencies.
A project is under development with the Shams artists’
collective, which runs “Le Tournesol” theatre in an
outlying district of Beirut at the crossroads of the
Shi’ite, Sunnite and Christian communities. The
Shams artists organise a number of cultural events
with an inter-community dimension intended for the
young people of the district. They will be important
partners of the InterMed and Meeting Points
projects.
Liverpool 2008
IRLAND
UNITED KINGDOM
Vilnius 2009
Gdansk
Bremen
NETHERLANDS
Ghent
Berlin
POLAND
UKRAINE
CZECH REP.
GERMANY
SLOVAKIA
Luxembourg 2007
FRANCE
2013
BYELORUSSIA
Essen 2010
BELGIUM
Brussels
RUSSIA
LITHUANIA
Copenhagen
Linz 2009 2013
Maribor 2012
SWISS
MOLDAVIA
HUNGARY
AUSTRIA
ROMANIA
Pécs 2010
SLOVENIA
Sibiu 2007
CROATIA
Marseilles
Provence
Guimarães 2012
Genoa
BOSNIA
SERBIA
ITALY
Barcelona
BULGARIA
Naples
SPAIN
MACEDONIA
ALBANIA
GREECE
Istanbul 2010
TURKEY
PORTUGAL
Damascus is the 2008 Arab Capital of Culture. The
team that is organising this Capital year has succeeded
in emphasising an alternative vision of culture and has
put together a very solid programme that emphasises
the (re)discovery of Damascus’ cultural heritage through
a number of works specifically commissioned for the
event. Some of these “Damascus 2008” productions
will be hosted in Marseilles in 2009 and 2010.
Tangier
Algiers
Fes
MOROCCO
ALGERIA
Tunis
MALTA
CYPRUS
TUNISIA
SYRIA
LEBANON
Beirut
Damascus
Tel-Aviv
ISRAEL
Alexandria
LYBIA
EGYPT
Jerusalem
Cairo
Map indicating our Euro-Mediterranean partnerships.
94
95
Chapter 2
How does
the project serve
a Europe
of Culture?
2.4
The high points,
framework programmes
and certain new facilities
have a European and
Mediterranean vocation
and represent major
long-term investments
The construction of the MuCEM (Museum of
European and Mediterranean Civilisations) and of
the CRM (Regional Mediterranean Centre) (see
p. 106 and p. 107) represents a combined investment
of nearly €200 million.
In the framework of the “Ateliers de l’Euroméditerranée”,
––the two new annual festivals created in Marseilles:
InterMed – the international platform for the “Ateliers of l’Euroméditerranée” – and Via Marseilles – the
European encounter between art and the city;
––the 11 exhibitions programmed according to the
four themes of Strategy 1: “Le Partage des Midis”;
––the great popular events that usher in each season,
especially “The Neighbours’ Party” and “the ‘SavoirFairs’ “, which highlight the blending and dialogue
of cultures;
all respond to objectives, investigate issues, involve
artists and are built with European and Mediterranean
partnerships.
This is also the case with other framework programmes
of the themes in Strategy 1 and Strategy 2, among which
we can mention the following events as examples:
Programme 8
Fashion Sails
Programme 9
Central Market: Cooking takes
to the Stage
Programme 10
Sharing the Roma Memory.
Deltas of Europe and the
Mediterranean
Programme 13
Traffic
Programme 23
The Festival of Sacred Music
Programme 41
Programme 42
Seas Online
Programme 45
Shopwindowing Art
Programme 47
1st International Biennial
of Circus Arts
Programme 70
Slovak Season
and Landlocked Artists
These major European events together comprise
the heart of the project.They are the subject of
committed partnerships. Certain will endure beyond
2013 and will make a sustainable contribution to
the long-term aims of European cultural policy.
Programme 38
Programme 39
Programme 40
Exterior Daylight
96
97
Chapter 2
How does
the project serve
a Europe
of Culture?
2.5
The European agenda
of Marseilles-Provence
in 2008
98
2.5.A
General Agenda
31st January
Inauguration of Euroregion’s head office in Brussels
25th-27th March
Simulation of a UN plenary assembly with students from 5 European regions on the theme: the environment in the Mediterranean
15th-16th May
Spring event for secondary schools and apprentices in Martigues (3,000 young people from the Mediterranean Basin) in the presence of Madame Wallström
11th June
“Baltic-Mediterranean Workshops” organised in Marseilles by the Consulate of Finland
12th June
“Cultural Mobility in Europe and the Mediterranean” debate (ADCEI - Association for European and International Cultural Development)
23rd-24th June
Forum of local and regional authorities
(Mediterranean Commission of the CGLU – Cités et Gouvernements Locaux Unis – United Local Cities and Governments)
2nd July
Meeting of EU Trade Ministers
4th-7th July
Forum of partners of the “Youth in Action” programme
9th-11th July
50th anniversary of the Marseilles – Hamburg twinning
11th-12th July
European debates on intercultural dialogue at the Festivals of Aix-en-Provence and Avignon
Autumn 2008
Forum of the The Roberto Cimetta Fund on the mobility of artists in the Mediterranean
3rd-5th October
Symposium by Marseilles-Espérance on the theme: “Youth: Dialogue and Fraternity”
23rd-25th October
16th General Assembly and Annual Conference of the European Forum for Art and Heritage (EFAH) in Marseilles
November
Installation of a “European media-desk” in Marseilles
2nd-3rd November
EU Foreign Ministers Meeting
4th-6th November
The Mediterranean Cultural Forum
14th-15th November
The Rencontres d’Averroès
17th-22nd November
Mediterranean Week
99
2.5.B
European cultural
projects initiated
or supported by
the bid as preview
events of the
European Capital
of Culture in 2008
2.5.C
Symposium on religions in the context of the Europe
and Mediterranean Celebration day, (8th May).
Programming in Marseilles of a Finnish group in the
The Paths of Song Festival (June).
Baltic – Mediterranean Workshop co-organised in
Marseilles with the Consulate of Finland and the
CNRS (11th June).
actOral.7: accent on new English and Italian authors
for the 7th actOral festival of contemporary writing
(29th September-11th October).
Festival of Science in Genoa: secondment of three
research scientists from Marseille-Provence 2013
(23rd October-4th November).
The Golden Age of Arab Science: exhibition at the
Paris Institut du Monde Arabe (end of 2008-beginning
of 2009).
Cultural projects
initiated
or supported
by the bid in 2008
as part of the
European cultural
season during the
French Presidency
of the EU
The following are examples of the 15 projects that
will be produced in this context:
LIBERTÉ! Libertés The entire history of opera is
marked by the aspiration for freedom. The Aix-enProvence Opera Festival and its educational service
have brought more than 600 children together for an
eclectic concert that will explore the work of the great
musicians of yesterday and today, as well as the compositions of Fabrizio Cassol (27th June / Aix-enProvence International Opera Festival).
of European documentary films. Awarding of a Special
European Prize (2nd-7th July).
The Marsatac Festival The10th Marsatac festival
will showcase new European musical scenes with an
exceptional programme from Central and Eastern
Europe (25th-27th September / Marseilles).
“small format” street theatre presented by European
companies and selected by the programmers of the
IN SITU European network (24th-26th October / Lieux
Publics / Marseilles).
Forbidden Music This is the first stage of a project that
will be rolled out in the run up to 2013. The Marseilles
Philharmonic Orchestra will perform this “Music
Forbidden by the 3rd Reich” in the framework of a
European project associating Marseilles, Prague, Terezin
and Bucharest (4th-5th July / Marseilles City Opera).
Van Gogh – Monticelli Among the exhibitions in the
official season devoted to European artists and artistic
movements, Marseilles plans to mount an important
exhibition that will set the works of Van Gogh in
relation to those of Monticelli (12th September 200811th January 2009 / Vieille Charité Centre).
Design Parade 03 As an international festival of
contemporary design, Design Parade looks to identify
future European talents by means of a competition.
Theme-based conferences will be organised to enable
professionals in the field to unite (4th-6th July / exhibitions until 21st September / Villa Noailles, Hyères).
100
One of the exhibitions will draw a portrait of contemporary creation over the last twenty years in the
27 countries of Europe. A European night is programmed for 9th July (8th July-14th September).
Small is Beautiful / IN SITU Network A festival of
The International Documentary Festival A programme
Le Préau: co-production of Jean-Michel Bruyère’s
next show with Linz, Berlin, Anvers and Avignon.
The International Photography Encounters in Arles
Daniel Barenboïm and the West-Eastern Divan
Orchestra. As part of the European youth encounters,
which take intercultural dialogue as their theme and
which bring young people together from 49 different
countries, Daniel Barenboïm has agreed to open the
event with an exceptional concert given by young
people for young people (8th July / Pharo / Marseilles).
101
Chapter 3
104
3.1
The project is part of an overall
development and regeneration
strategy for Marseilles-Provence
116
3.2
The bid is a territorial cultural
project
118
3.3
The project creates lasting
pieces of work
122
3.4
The project is building
sustainable cultural activities
What lasting changes
will the project bring
about for MarseillesProvence?
How is it preparing
for the post-2013
period?
Chapter 3 What lasting changes will
the project bring about
for Marseilles-Provence?
How is it preparing for
the post-2013 period?
Chapter 3 : What lasting changes
will the project bring about for
Marseilles-Provence? How is it
preparing for the post-2013 period?
3.1
The project is part
of an overall development
and redevelopment
strategy for MarseillesProvence
104
Marseilles-Provence is changing. By 2013, the area
will have been significantly transformed. The works
of world-famous architects (Massimiliano Fuksas,
Zaha Hadid, Jean Nouvel, Rudy Ricciotti, Stefano
Boeri, Yves Lion, Patrick Bouchain, Kengo Kuma and
Frank Gehry / Edwin Chan) will stand out against its
landscape.
Its economy, districts, infrastructure and public
buildings have been undergoing important changes
for the past decade. We described these changes in
the first chapter of the pre-selection project.
A new phase has been initiated by the recent adoption of the Schéma de Cohérence Territoriale
(SCOT) for the period 2008-2016. This plan defines
the development strategy for the metropolitan area
and its policy directives in various sectors.
The Schéma directeur pour la culture 2002-2012
(Outline Plan for Culture, 2002-2012) and the
European Capital of Culture 2013 Project are included among them as conditions for enhancing
economic growth, influence and attractiveness
throughout the area. In keeping with the Lisbon
Agreements, SCOT emphasises “an economy based
on knowledge, innovation and creativity” and seeks
to “further the area’s Euro-Mediterranean role.”
The Ateliers de la Euroméditerranée (Euro-Mediterranean Workshops) – the bid’s unifying concept
and project – reflect this double vocation and represent the heart of its cultural foundations.
This urban renewal policy provides
the framework for the construction
of new cultural facilities for 2013.
The growth of tourism is one of SCOT’s priorities,
The extension of major urban renewal projects is
especially with regard to cultural tourism. The bid
will promote this growth by setting objectives in terms
of visitor numbers, by developing hospitality and
accommodation facilities in connection with the
2008-2013 Tourism Development Plan, which was
recently implemented (see Chap. 5 below), and by
creating a series of cultural events for the general
public (popular events, international festivals, exhibitions, etc.).
also one of SCOT’s priorities. This notably includes:
––Extending the scope of the Euro-Mediterranean
development project, which began in 1995 on an
initial 310 hectares and will be completed in 2012.
––The continuation of the Grand Projet de Ville - GPV
(Key City Project) in the surrounding districts.
––Commitments to a new phase of construction work
for the “Urban Transit Plan” (extension of underground lines, creation of tram lines, tunnels to replace overpasses, implementation of the L1 ring
road, etc.)
This urban renewal policy provides the framework for
the construction of new cultural facilities for 2013.
105
3.1.A
The Cité de la
Méditerranée
Between the Old Port and the Arenc, this major
programme is fundamentally transforming the city
and its port facade into a single, unique hub reflecting
Marseilles’ role as a major metropolis at the crossroads
of cultural and economic exchanges between Europe
and the Mediterranean.
Development has been entrusted to town planner
Yves Lion and consists of three newly created areas:
––The Saint-Jean esplanade, where major cultural
facilities will be located: the Museum of European
and Mediterranean Civilisations (MuCEM) and
the Regional Mediterranean Centre.
––A vast commercial and entertainment block destined
for transit passengers or tourists is planned for the
Terrasses du Port area located across from the Quai
de la Joliette and the refurbished docks. The new
FRAC and J1 Hangar will also be built or developed
within this same district.
––The Arenc zone is a new district featuring housing,
the Silo and departmental archives, as well as towers
designed by Zaha Hadid and Jean Nouvel, and a
cinema complex developed by Massimiliano Fuksas.
These constructions will reflect the modernity, quality
and international vocation of this new area.
A unique cultural centre is thus beginning to bloom
at the very heart of the city. It will encompass all
artistic fields.
Five major buildings, located within less than 6 km2,
will open their doors in 2013. In figures, this represents nearly 57,000 m² and a total investment of
€230 millions. These five buildings are:
106
The MuCEM (Museum of European
and Mediterranean Civilisations)
The CRM (Regional
Mediterranean Centre)
On 14th January 2008, the Prime Minister confirmed
that Marseilles would host the new Museum of European and Mediterranean Civilisations (MuCEM) and
that it would open before the end of 2012.
The Minister of Culture appointed Stéphane Martin,
president of the Musée du Quai Branly, to come up
with proposals by July 2008 for implementing the
following missions:
––Affirm the future establishment’s multi-disciplinary
artistic nature,
––Develop its international standing and partnerships
with major museums in the Mediterranean area,
––Develop activities for the widest-possible public,
––Seek out innovation in terms of both cultural
outreach and the use of modern creation and information technology,
––Promote complementarity among exhibitions, live
performances, lectures and conferences.
Designed by Rudy Ricciotti, the MuCEM is located
at the J4 port and at the Fort Saint-Jean and will
incorporate a new 15,000 m² building, bringing the
total surface area to 26,000 m².
At the crossroads between the historic Old Port and
the new Euro-Mediterranean Joliette district, France’s
second largest city has chosen to create this interdisciplinary centre to reflect its commitment to developing its international influence and to bringing
cultural events to the heart of the city.
The Regional Mediterranean Centre (or CRM) will be
a convivial, multidisciplinary space of over 10,000 m²
that will be opening its doors in 2011. A true architectural feat signed Stefano Boeri, it features a sunken
base and is set to be one of the flagship centres for the
Euro-Mediterranean project’s cultural activities. Its
activity will be punctuated by frequent and numerous
exchanges between the two shores, its chief aim being
to strengthen ties between the different populations
currently living around the Mediterranean.
Events will systematically incorporate an international
element and will focus on creation linked to current
affairs throughout the Mediterranean: architecture,
water, contemporary art, transport, trade, etc.
The Silo
Within the same port area near the Arenc docks, the
converted grain elevator (the Silo) will house a concert
hall for classical music containing 2,200 seats; it will
also host the first Opera season during its forthcoming
renovation. Built in 1927, it was considered to be one
of the largest and most modern structures in the world
at the time and has been officially recognised as part
of France’s 20th Century Industrial Heritage.
The experience of previous
European Capitals has demonstrated
the importance of designating a key,
dynamic meeting point that has been
strongly influenced by contemporary
creativity and that hosts exhibitions,
welcomes artists, provides the public
with information and hosts popular
gatherings, as the Tri Postal did
in Lille during 2004.
The “J1”
From the very outset, the bid team identified the J1
site as one of the main focal points for future events
during the Capital of Culture year. The Marseilles
Independent Port Authority will allow the city to use
part of this area in 2013.
The J1 is located in the centre of the new urban and port
development area that extends along the seafront boulevard from the Arenc Silo to the J4 esplanade. Connected to the station by a sheltered footpath, the J1 site is
the perfect interface between the city and the port.
The choice of this area as a central space for the Capital
of Culture year will boost both the Port Authority’s
plans to renovate the site as well as the image of the
event itself. The experience of previous European
Capitals has demonstrated the importance of designating a key, dynamic meeting point that has been
strongly influenced by contemporary creativity and
that hosts exhibitions, welcomes artists, provides the
public with information and hosts popular gatherings,
as the Tri Postal did in Lille during 2004.
The decision to anchor the project in the most emblematic part of the city, the port, is reinforced by its
role as an international gateway. Boats will dock on
both sides of the building.
107
Development plan for the J1 site (see p. 107). “A location central to the Capital project, made available by the Marseilles Independent Port Authority” – Image courtesy of Stéphane Gruneisen
108
109
“The current configuration of the J1 site” – Photo courtesy of Marina Agostini
110
“Development plan for the J1 site” – Image courtesy of Stéphane Gruneisen
111
3.1.B
The FRAC
(Regional Contemporary Art Fund)
A new 5,000 m² facility will be built by the architect
Kengo Kuma to house the Regional Contemporary
Art Fund of Provence-Alpes-Cote d’Azur (FRAC
PACA) by 2011. This facility will enable the FRAC
to successfully carry out its regional, national and
international missions.
For over two decades, the FRAC has been prospecting
and providing support for budding creations. This
work has resulted in a collection that represents the
major trends in contemporary creation on an international level.
With this new facility, the FRAC is set to become a
driving force behind diffusion, awareness and support
for contemporary creation. It plans to act as a testing
ground open to all cultures, developing crossover
projects with resident artists, architects, writers or
philosophers, or even performing artists thanks to its
in-house theatre with seating for 250 people. It plans
to encourage the mobility of its collections, land redevelopment via regional partnerships and crossborder projects.
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Aix-en-Provence
Cultural Cluster
The Grand Cultural Forum of Aix
A cultural forum combining conservation, training,
creation and diffusion facilities was created in the centre
of Aix-en-Provence in the renovated Sextius Mirabeau
district. This is the sole project of its kind in the
region.
Facilities include the Cité du Livre or City of Books,
whose Méjanes library (housed in a former match
factory) welcomes more than one million visitors a
year and benefits from the Albert Camus fund; a
technical training college for jobs related to books;
the Pavillon Noir; inaugurated in October 2006
to house the Centre Choréographique National
d’Angelin Preljocaj; and the recently opened Grand
Theatre of Provence, designed by Vittorio Gregotti,
which welcomes all forms of performing arts, including
part of the International Opera Festival.
3.1.C
Creation of a Digital Arts Centre
The City of Aix-en-Provence and the Pays d'Aix
district council have decided to inaugurate the Aixen-Provence Art School on the site of the Vasarely
Foundation and to create a centre dedicated to artistic
forms that are linked to new types of technology.
The Regeneration
of industrial
Wasteland
SNCF Workshops and the
International Centre
of Photography and Imagery
The former railway workshops located in the Arles city
centre are a unique place for photographic arts. Major
renovations are currently underway and a large hall
designed specifically for the Rencontres Inter-nationales
de la Photographie (International Photography
Encounters) has now been completed. They are also
associated with an academic centre of excellence that
includes the National School of Photography, a technical
college and the SupInfoCom School. The Luma Foundation is heading up the project to create an International
Centre of Photography and Imagery in Arles. A genuine
centre for images with architecture signed by Frank
Gehry and Edwin Chan, the Centre will be a site devoted
to exhibitions, conservation and creation in the field of
photography and digital arts. Additional improvements
are planned for the site, including an area for regrouping
musical activities (a conservatory and a concert hall for
contemporary music), offices for the publisher Actes
Sud, the creation of a cinema complex as well as the
development of hotel accommodation.
The Friche La Belle de Mai
Arts Centre
The projects undertaken at the Friche La Belle de
Mai Arts Centre have significantly contributed to the
way in which the public are embracing artistic practices. They have also promoted the region’s cultural
development and broken new ground in artistic
expression.
Looking at performance arts alone, more than 5 hectares
and 120,000 m² of creative space have been hosting
performances ranging from the most traditional to
the most innovative for nearly 20 years. A “network
of professions” was created by developing a series of
different activities linked to training, design, production and diffusion in the fields of cultural heritage,
audiovisual, visual arts and performing arts.
After several years of working with an association of
cultural leaders and experimenting with the site’s
transformation, a Société Coopérative d’Intérêt
Collectif (SCIC) was created in 2007 by residents of
the city of Marseilles and other local communities.
Architect Patrick Bouchain was appointed Chairman.
Patrick, speaking about the project’s basic philosophy
and its contribution to a new phase of redevelopment,
remarked that “…if we want to do things differently, we
have to stop programming, controlling and allocating
everything beforehand. This means adopting different ways
of listening to the demand and a different solution, as well
as a return to simple tools that anyone can use, whether
you’re an elected official, an architect, a builder or a user.
We have to let go of power and comfort in return for the
sensual pleasures of nature and our raison d’être, and in
return for freedom.”
Cultural figures have thus become active in their own
development and in the redevelopment of 45,000 m²
in the heart of the city over the next 45 years. They
have collectively drafted a document that describes
their role as they see it from now until 2013.
The SCIC will be able to grant lasting usage rights
for activities that have their own business models
(housing, shops, cinemas, etc.) and/or collective
functions (nursery, sports for adolescents, etc.). This
new era will mark a turning point in this site’s social
and cultural development policy – the construction
of public housing in the centre of the zone is one of
the project’s major elements.
As an important centre for resident artists, the Friche
La Belle de Mai Arts Centre and its major cultural
entities (Theatre Massalia, Système Friche Théâtre,
etc.) have developed two major collective projects
for a future European Capital of Culture:
The Lieu Déconfortant (Discomforting Place) is a
new physical and virtual space dedicated to the
intersection of artistic writing and emerging forms
related to modern technology for expression and
diffusion. It will be founded by major participants in
the arts centre: Grenouille-Euphonia, Zinc, Cabaret
Aléatorie and Medicine Show, the platform of the
artist Erik M. “Non-disciplinary” forms and nonacademic aesthetics will find a privileged stage here,
113
open to the public for long periods throughout the
day. In addition, the Lieu Déconfortant will include
a structure for life-long education (L’Auto-École, or
Auto-School) that associates the University with
the founders on issues raised by New Information
and Communication Technologies, online radio,
peer-to-peer music, blogs, etc.
The Lieu Déconfortant will also host Zanzibar, a
testing ground for ideas that will bring together artists,
researchers and business leaders around a platform for
the arts, technology, science and innovation.
The Contemporary Art Cartel
The first resident artists settled in as early as 1993 and
began their work in the field of contemporary art:
Astérides, Triangle France, Le Dernier Cri, Documents
d’artists and [S]extant et plus, each with their own
particularities and all contributing to the diversity of
the Friche La Belle de Mai Arts Centre. These structures regroup the expertise needed to support and
diffuse contemporary creation in a single location.
The five organisations will create a new 3,000 m² space
where exhibitions, workshops and residencies can
intermingle. This space will complement that of the
FRAC and form a production and presentation centre
for contemporary creation in the very centre of Marseilles, something that was lacking given the suburban
location of the Museum of Contemporary Art.
114
By 2013, we will have the largest
European site dedicated to urban
writing and a privileged space for
the “Ateliers de l’Euroméditerranée.”
The Street Arts Academy
Several years ago, the City of Marseilles, along with
the State and local governments, launched a major
experimental project dedicated to artistic writing in
public spaces.
It involves a 3 hectare tract of land located in the
northern part of Marseilles, which boasts 11,000 m² of
infrastructure, and is associated with two national
institutions that are currently developing European
actions: Lieux Publics, Centre National des Arts de la
Rue (National Centre for Street Arts) and pilot of the
European network IN SITU, and Formation Avancée
et Itinérante pour les Arts de la Rue or Advanced and
Itinerant Training for Street Arts (FAIAR).
It will also host a renowned theatre company, Générik
Vapeur, a workshop, Sud Side, diffusion and outreach
structures. The foundation work in progress should also
open up space for several smaller companies and structures dedicated to contemporary circus acts, and define
a simplified modus operandi for national structures.
The Academy will open in 2011 and be ready by 2013
to support all of the public-space projects: Via Marseilles,
1001 Nights and the Neighbours’ Party.
With its 21 rooms, spaces reserved for circus tents or
caravans, workshops and rehearsal areas, it will be a
permanent place of residence for companies and
invited European artists. By 2013, we will have the
largest European site dedicated to urban writing
and a privileged space for the “Ateliers de l’Euroméditerranée.”
The Centre for Dance in residency
In 2010, a brand new facility managed by choreographer Michel Kelemenis will open its doors in a
former industrial zone in the northern suburbs of
Marseilles. Composed of three studios that can also
receive the public, it will act as Marseilles’ stand-alone
facility for educational activities, residencies and
performance programming, particularly in the context
of the new InterMed festival.
3.1.D
The history surrounding the Camp
des Milles is exemplary in that
it illustrates the mechanisms
of exclusion and the difficulties
inherent to memory.
Places of Memory
The Camp des Milles
The history surrounding the Camp des Milles is
exemplary in that it illustrates the mechanisms of
exclusion and the difficulties inherent to memory. It
reflects the various stages of intolerance and persecution from the internments in 1939 to the deportations
in August/September of 1942. Several European artists
and intellectuals were incarcerated there.
The site is unique in France because the building is
very well conserved, as are the paintings left by imprisoned artists. It was also registered as a historical
monument on 23rd February 2004.
A large-scale redevelopment plan, including a
15,000 m² building that will be completed in 2010
and a 6 hectare park, is underway.
The “Camp des Milles Remembrance Project” has
plans to open the historically solemn internment
building to the public and fit out the site for pedagogical activities.
The Grand Saint Jean
The Grand Longchamp
Since 1999, the International Opera Festival has been
regularly staging operas at the Grand Saint Jean site,
just west of Aix-en-Provence. This site still shows
signs of human occupation dating back two thousand
years and is one of the festival-goer’s favourite places.
It adds a unique natural aspect to the festival’s identity.
Attendance has also increased thanks to lower performance prices.
However, the continued use of this site will require
suitable infrastructure. Architect Patrick Bouchain
has thus designed a wooden structure that offers a
magnificent view of this countryside location. Light
but durable, it can accommodate 1,500 spectators and
covers the stage, technical equipment and the orchestra pit. It will be an environmentally friendly construction, in harmony with the site’s characteristics.
Besides the festival, this site will host activities promoted by other cultural organisers: classical concerts,
rock concerts, world music, dance, theatre, equestrian
performances and more. It will also be an ideal location for the circus, which could temporarily set up
traditional circus tents on the lawn in front of the
building.
The exceptional quality of this site and its facilities
will make it one of the major Euro-Mediterranean
Workshops for 2013.
This palace dates back to the second empire and marks
the arrival of the Canal de Provence. It is an important
part of the city’s history and its water supply. It is now
an exceptional cultural hub with two museums, a jazz
festival, scientific activities linked to the observatory
and the IMéRA (Mediterranean Institute for Advanced Research).
Museums
The 3,000 m² overall extension of the Museum of
Fine Arts and the Museum of Natural History will be
completed in 2010.
IMéRA (Mediterranean Institute for Advanced
Research)
Work on housing the institute in a 3,000 m² building
located within a 2 hectare park began in 2008 and
will be completed by 2010. The IMéRA is an association that regroups three universities from Aix and
Marseilles, as well as the CNRS. One of its main
purposes is to host highly qualified visiting professors
and researchers from around the world for periods
ranging from 3 months to 1 year.
115
3.2
The bid is a regional
cultural project
The geographical area corresponds to both the cultural
activities on offer and the public’s cultural habits and
expectations.
It is also in line with the ambition to promote cohesion among different local authorities via the project
for 2013, and thus help transform the area into a
genuinely European metropolis.
With help from the Bouches-du-Rhône Département
and the Provence-Alpes-Côte d’Azur Region, projects
have been developed around the bid’s 8 chosen themes
and will be carried out throughout the entire area.
The project for 2013 has focused
on implementing a cultural policy
that fosters art and event mobility,
their multiplication in all of the cities
involved and outreach into rural areas.
Seven urban districts have worked on these themes.
Flagship institutions and events located in these
communities have also worked on them.
This will ensure that all of the proposals are consistent with
the objectives and priorities laid out in the bid’s themes.
We refer in particular to the 2nd theme of Strategy 2:
“Walkers – Nomads – Territories” and its specific
programmes:
––Trails for Curious Wanderer
––A Breath of Fresh Air for Art
––Nomadic Artists and Works
Moreover, the project for 2013 has focused on implementing a cultural policy that fosters art and event
mobility, their multiplication in all of the cities involved and outreach into rural areas. Event planning,
the way events are produced and specific grants to
support their diffusion will promote both mobility
and outreach. This is one of today’s major, national
challenges when formulating public policy related to
cultural development.
116
117
3.3
The project
creates lasting
pieces of work
118
While the public accepts urban sculptures, architecture, and even disastrous urban planning without
much resistance, publicly commissioned works of art
have to survive their inauguration. This is a collective
responsibility that requires attention before, during
and long afterwards. If we look closely at commissioned
works for former European Cultural Capitals, it becomes evident that very few works have made lasting
impressions in the collective memory, if not in the
public space itself. There is a significant gap between
the power of rhetoric and the reality of the cultural
heritage left behind. This is not a recent phenomenon:
take, for example, the exhibition of 1937 that resulted
in more than 900 commissioned works, with little left
to show for it. More specifically in Marseilles, works
that have been commissioned in recent years are both
few and far between and rarely convincing, when they
don’t end up representing the failure of an ever-risky
procedure (see the destruction of Richard Baquié’s
work). We have therefore remained extremely prudent
with regard to this chapter of the bid.
Five commissioning programmes
whose works, in whole or in part,
are designed to be permanent.
In the first phase, we worked with a panel of experts
and assessed the experiences of various European
Capitals of Culture and a number of exemplary achievements in France and abroad. During the second
phase, we invited various international experts to
Marseilles, including Laurent Le Bon, curator at
the National Museum of Modern Art, to examine
commissioned works at major sites in Marseilles,
François Hers, director of the Hartung Foundation,
for the “New Commissioners” project and the directors
of festivals in Antwerp, Casablanca and Ljubljana for
the Via Marseilles project.
After these assessments, we defined a series of five
commissioning programmes whose works, in whole
or in part, are designed to be permanent.
119
Programme 38
Programme 39
This major artistic project, located in the heart of the
future Capital, puts one of its most emblematic sites
in the spotlight. The idea is to reopen The “Digue du
Large” (Sea Wall) to the public while using it to display
works and stage events that will reinforce the city’s
identity – one of quality and modernity that meets
the challenges of tomorrow head on. The artistic
decisions for commissioned works will be taken jointly
by the Marseille-Provence 2013 Association, Laurent
Le Bon, curator at the National Museum of Modern
Art, and architect Patrick Bouchain.
Starting in 2009, a permanent piece of visual art will
be commissioned every year at one of five sites throughout the Bouches-du-Rhône Département: SainteVictoire/Roque Haute, Sainte Baume/Saint Pons,
Garlaban/Pichaury and Camargue (with Les Aulnes
and the castle of Avignon). This yearly commission
may include several works by several artists.
The “Digue du Large” (programme 38; see pages 51 and opposite). “One of the most symbolic sites when it comes to Marseilles identity, re-opened to the public for the Capital year and used to support contemporary activities and pieces of work” – Image courtesy of Laurent Garbit, sketch © Patrick Bouchain
120
121
3.4
Programme 41
Programme 61
New Commissioners
We are intending to set up a “contemporary funfair”,
bringing together some fifteen commissions by artists
chosen by 10 directors of European cultural institutions
and festivals. Our village of sideshows and rides will
be on view 24 hours a day throughout the entire event,
and will thus be seen by a very large number of people.
In following years, it will return enriched with two
additional sections, and may go on tour to major
European cities.
Presented in the pre-selection report, this programme
aims to open up to the general public the possibility
of commissioning a work of art under certain specific
conditions. This invitation to citizens is ready and
will be launched in 2009. The selection method has
been defined and the mediators for selected works have
been appointed. Most of the resulting pieces encompass
every artistic discipline and are intended to last, especially those directly destined for public spaces
(hospitals, schools, city squares, gardens, etc.). Both the
sustainability of these works (though always uncertain
and ever-threatened) and the new modes of creation,
economy and cultural democracy will ensure that this
programme leaves a lasting impression throughout
the area and will continued beyond 2013.
Programme 59
One Thousand and One Artistic
Nights (Call for projects)
This programme’s objectives are described in the
pre-selection report. They aim to revive city centres
by commissioning artists to decorate public spaces
and by programming frequent cultural events during
the evenings, at historic cafés in particular. The
European dimension of these events has been stressed.
By nature, these projects are ephemeral but intended
to create a sustainable, vibrant nightlife in town
centres and to culturally re-qualify the most emblematic public places.
The project is building
sustainable cultural
activities
122
Once installed and having developed gradually from
2008 to 2013, the “Ateliers de l’Euroméditerranée”
will continue their activities beyond 2013. This central
aspect of the bid federates all of the cultural and
economic figures around Marseilles-Provence’s international vocation and Europe’s political objectives
linked to this vocation (the Barcelona Process). They
reflect the city’s sustained and tangible efforts to
welcome, transmit, produce and exchange in such a
way that fosters the implementation of this process.
By the nature of its ambition, this will take many years
to accomplish.
Three of the popular events created to mark the
changing seasons during the Capital year have been
designed to be replicated annually, thus creating
benchmarks for the area’s cultural life, both locally
and internationally: the “Neighbours’ Party”, “Water
Courses” and “The Amateurs’ Night”.
Two new festivals have been created to illustrate the
bid’s two strategies and create original, internationally
acclaimed artistic events in Marseilles. Too few of
these events currently exist for the city to be able to
compete with the attractiveness and influence of other
major European cities.
––InterMed and its InterMed Youth section, a showcase
for contemporary Euro-Mediterranean creations
and exchanges,
––Via Marseilles, a European gathering for arts and
the city.
Once installed and having developed
gradually from 2008 to 2013,
the “Ateliers de l’Euroméditerranée”
will continue their activities
beyond 2013.
In addition to these two benchmark festivals, there
will also be the Biennale Internationale des Arts du
Cirque – International Biennial of Circus Arts,
the new Festival of Sacred Music, Traffic (Urban
Culture) events and Central Market: Cooking Takes
to the Stage.
Finally, the themed routes put in place throughout
the area will offer a new tourist and cultural heritage
that will remain long after 2013.
Two facts should be highlighted in the conclusion
of this chapter:
1. The area’s major cultural works that have been
initiated in connection with the bid, or those initiated
before it but whose development will ultimately
determine the bid’s success, are part of a development
strategy formulated and approved by all concerned
public entities (SCOT). This strategy explicitly
focuses on culture as a necessary condition and
component for developing an economy based on
knowledge, innovation and creation.
2. On 1st January 2014, in addition to the changed
physical and cultural landscape caused by these
projects, the cultural events which were designed
for 2013 will continue to occur in MarseillesProvence: the “Ateliers de l’Euroméditerranée”,
the new festivals and the new cultural gatherings
for the public at large.
123
“The Museum of European and Mediterranean Civilisations”. Architect: Rudy Riciotti (see p. 106) – © Rudy Riciotti, architect
“The Museum of European and Mediterranean Civilisations” – © Rudy Riciotti, architect
124
“The Museum of European and Mediterranean Civilisations” – © Euro-Mediterranean / Courtesy of the studios of Lion Architects and Urban Planners
125
“Regional Mediterranean Centre”. Architect: Stefano Boeri (see p. 107) – © DR
126
127
“The Street Arts Academy” (see p. 114) – Architectural perspective and design: IRL Architecture / 3D image courtesy of Guillaume Paturel
The Provence-Alpes-Côte d’Azur Regional Contemporary Art Fund (FRAC). Architect: Kengo Kuma (see p. 112) – Photo courtesy of Cyrille Thomas
The “Cité de la Méditerranée” (see p. 106) – © Euro-Mediterranean
“The Silo” (see p. 106) – © Euro-Mediterranean
128
The Major esplanade – © Euro-Mediterranean
Dance centre for dancers in residence (see p. 114)
Image courtesy of the architect Beccaria
Euromed Center / Cinema complex. Architect: Massimiliano Fuksas (see p. 106) – © Euro-Mediterranean
129
Model of the development plan for the Grand Saint Jean site (Aix-en-Provence). Architect: Patrick Bouchain (see p. 115) – © Construire
130
The Friche La Belle de Mai Arts Centre. Architects: Poitevin and Reynaud (see p. 113) – Image courtesy of ARM Architecture
131
The SNCF Workshops and the International Centre of Photography and Imagery (Arles). Architects: Frank Gehry / Edwin Chan (see p. 113) – © DR
132
133
Chapter 4
136
4.1
Implementing the strategy for
mobilising citizens
138
4.2
Working with associations
144
4.3
Working with businesses and
laboratories
148
4.4
Working with schools
152
4.5
Informing and rallying residents
in 2008
158
4.6
Citizen participation after 2008
How is the project
mobilising citizens?
How are citizens
participating in
the development
of the project?
Chapter 4
How is the project
How are citizens
participating in
the development
of the project?
Chapter 4 : How is the project
How are citizens participating in
the development of the project?
4.1
Implementing
the strategy for
mobilising citizens
In Chapter 6 of the pre-selection report (p. 221),
we described our strategy for mobilising citizens and
the general public. It includes 12 arrangements,
in particular:
––Assessing the results of the public support campaign
launched in 2006,
––Grouping the cultural, political and economic
stakeholders of the bid into a “mobilisation
committee”,
––Defining objectives for citizen mobilisation by this
said committee and choosing target audiences for
marketing and participation activities,
––Selecting preview projects for the Capital year and
the timetable for their implementation between
2007 and 2013,
––Launching the first actions in 2007,
––Evaluating and committing the necessary human
and financial resources.
This strategy was fine-tuned in 2008 after visiting
European Capitals of Culture and analysing their
organisers’ work (Istanbul, Essen, Linz, Luxembourg,
Liverpool, Lille), and after re-evaluating the effects
of actions carried out throughout the territory of
Marseilles-Provence in 2007.
136
We selected an initial group of
associations, businesses, laboratories
and schools throughout the territory,
with the aim of:
– mobilising employees,
– mobilising residents,
– mobilising students.
A decision was taken to develop the theme launched
in 2007, “Everyone is Involved”, in 2008.
To do this, we selected an initial group of associations,
businesses, laboratories and schools throughout the
territory, with the aim of:
––mobilising employees,
––mobilising residents,
––mobilising pupils and students,
through structures that can engage citizens in the
Capital project’s programmes over the long-term
and throughout their entire preparation and implementation phases. Companies have been asked
to set up the first “Ateliers de l’Euroméditerranée”
(Euro-Mediterranean Workshops). Associations
and schools have been asked to launch projects
promoting artistic training and cultural practices
related to the bid’s themes.
We were able to test both our ability to mobilise
people and the feasibility of sustainable, participative
activities closely linked to the project’s issues and
programmes.
In addition, in 2008, we have continued and expanded the long-term programmes initiated in 2007 that
aim to get citizens involved in the project process:
––“New Commissioners”: Strategy 2 – Theme 4
––“Youth in Action”: Strategy 2 – Theme 4
137
Chapter 4
How is the project
How are citizens
participating in
the development
of the project?
4.2
Working
with associations
Five selection criteria were established for the associations we chose to work with on
participative projects in 2008.
The first stems from applying one of the bid’s founding principles: to promote access to
culture for all people. Our approach has obviously prioritised audiences that have been
neglected or even traditionally denied access to culture. These include, but are not limited to or in any order of priority: prisoners, disabled, ill or mentally handicapped people,
newcomers, “visible minorities”, people living in inner-city areas, the homeless, etc.
The second criterion focuses on actions involving the greatest diversity of participants to
enhance networking both locally and internationally. This approach has often led us to
organise meetings between project sponsors or to simply highlight projects that already involve people from very diverse geographical, professional or socio-economic backgrounds.
The third criterion relates to the bid’s project meshing throughout the territory.
This principle has already been applied this year and will be developed in upcoming
years. The aim is both to ensure that the distribution of projects is compatible and
balanced throughout the territory while also favouring nomadic, mobile projects.
The fourth criterion is the production’s artistic quality. Our goal is to combine excellence and popular appeal.
The final criterion is the project’s consistency with the bid’s major themes.
138
139
4.2.A
Participative
projects
undertaken
by associations
Associative projects
with an international
character
ARTECO
ERAC - ISTS
This association organises percussion classes for
amateur and semi-professional musicians in and around
the Mediterranean rim. Lebanese, Italian, Tunisian
and French people come together for three-day residencies in each country, before performing a concert.
The mission of the ERAC (Ecole Régionale d’Acteur
de Cannes – Cannes Regional Acting School) is to
train actors in the dramatic arts and to expand their
horizons to encourage encounters. Associated with
the ISTS (Avignon), ERAC’s work is firmly anchored
in this partnership, particularly in connection with
mixed residencies involving Moscow’s Okolo Theatre,
the Stabile in Turin and the École National de Théâtre
de Cluj (Cluj National Theatre School).
Aix’Qui?
The Class Eurock project is a musical springboard
that takes place in and around the “Pays d’Aix”.
Participants must still be in school, can only interpret
compositions, and must be under the age of 23. The
Aix’Qui? association has exported its concept to Spain,
Italy and Germany. Member of the Cities on The
Edge network, the association has initiated an exchange this year with Liverpool ‘08.
Compagnie Grenade
Choreographer Josette Baïz’s association proposes a
residency in the German capital with contemporary
dance workshops for children – a preamble to a
performance of Ulysses by the children from the
Compagnie Grenada, which will take place next
September in Gütersloh and Berlin.
Les Voies du Chant
ADDAP
This association of street workers is taking eight
adolescents from an underprivileged district of Marseilles to Morocco to help renovate a community
centre in the village of Tinfate. This is an ideal opportunity for intercultural meetings, exchange and
dialogue.
This association is organising “Chorifé”, a residency
project for adolescent choristers from Salonica, Marseilles and Riga. Young people will come together in
each of these cities for workshops around a common
repertoire and will put on a concert in Marseilles.
Lieux Fictifs
Médiation Culturelle Européenne (MCE)
The association proposes the “High Points Workshops”
dedicated to introducing people to Mediterranean
rhythms. Goblet drums, tambourines, cajòns and even
palmas are the instruments that underpin Mediterranean music, whose rhythms are as diverse as its people’s
lifestyles and backgrounds.
designed for specific
audiences
La Maison de Gardanne
This association-run centre welcomes terminally ill
patients. In addition to its role as a palliative care
centre, the centre organises artistic workshops run by
professionals for its patients. Painting, writing and
photography take place each week, and the work is
then exhibited. This year, Marseille-Provence 2013
is sponsoring a story-telling workshop.
L’Art Plus Fort que le Handicap
(Art Stronger than Disability)
This association is organising an arts festival involving
both disabled and able individuals. This event is the
result of workshops held throughout the year in specialised centres, IMEs (Instituts Médico-Educatifs)
and CATs (Centre d’Aide par le Travail) throughout
the entire Bouches-du-Rhône Département.
Le Théâtre Off
This theatre company offers drama workshops in
prisons and detention centres for minors. Supervised
by prison staff, a psychologist and social workers, these
workshops give prisoners the opportunity to experience writing as well as acting. These activities
resulted in the play “Parloir Sauvage” (Wild Parlour),
which has been performed in Festval of Avignon, La
Criée and at the National Theâtre de Nice by two
former detainees who have since gone on to become
professional actors.
Cultures du Cœur (Cultures of the Heart)
The aim of “Cultures du Cœur” is to combat exclusion
by promoting access to culture for all people (families,
children, adults on their own) in particularly precarious
situations. The organisation of cultural outings (theatre,
concerts, cinema, festivals, art galleries, etc.) relies on
a network of 258 cultural companies and 293 socialservices groups.
Since 1997, “Lieux Fictifs” has implemented a project
called “Image in Prison” that consists of film workshops
at the Marseilles prison. This project, which resulted
in the film 9m2, will be developed over the next five
years in the context of the European multi-year
programme known as “Borders”, involving Marseilles,
Barcelona, Oslo, Wuppertal and Milan.
140
141
related to the bid’s
major themes
The Théâtre de la Mer
Mare Nostrum: The Adventures of Juha
Art Laboratory in the City – Gare Franche
The “Théâtre de la Mer” promotes drama in disadvantaged areas of Marseilles. With a constant focus
on memory and the quest for identity, the Company
offers mixed residencies in Marseilles, Amsterdam
and Tetouan. These workshops, entitled “Journey to
the Roots”, will allow authors to compare their views
on exile, memory and origins with inhabitants of the
cities in which they will take place.
In partnership with schools in Algeria and Italy and
with the collaboration of artists, children from Marseilles, Kabyle-speaking countries and Sicily will attend
storytelling, writing and calligraphy workshops with
an underlying theme based on Juha, a character who
symbolises the common heritage shared by countries
in the Mediterranean Basin. The action will take
place over five years and will result in the publication
of an educational book containing the children’s work
in their three respective languages.
The Wladyslaw Znorko’s Cosmos Kolej company,
along with several artists in residence, scientists and
planners, are organising workshops to explore the
physical world of the hills of Northern Marseilles,
involving residents, schools and social-services and
employment centres. Collaboration with Marrakech
will be developed between 2009 and 2013.
Written Outcries
With several books devoted to the life of various
districts in Marseilles already under its belt, the association is preparing a collection of personal stories
about the Cité des Créneaux located in the Northern
part of the city. Besides its geographical location and
its urban renewal programme, this inner-city area
stands out for its concentration of single-parent families. The women, mostly of immigrant origin, play
an important role there.
Not Seen on TV
Located in the Estaque district, the association aims to
foster ties between newcomers and long-time residents,
between the young and old and, of course, between
different communities, particularly the Gypsy and North
African populations. The association has been collecting
photos, interviews and other memorabilia for a long
time and this year plans to create an Everyday Nomadic
Museum not about residents, but with them.
142
Les Petits Débrouillards
This association that simplifies science has been
working in various districts for years. As part of its
“Cités Débrouillardes” (Resourceful Cities) action,
it will run workshops this year during school holidays
in Marseilles and Aix-en-Provence. These waterthemed workshops will welcome children who are
not enrolled in social-or leisure-centre activities.
Les têtes de l’Art (Art Stubborns)
In his “Towns Going To” project, visual artist Xavier
Latvian will accompany a group of residents as they go
about their daily commutes. Photos, super-8 films, video
or audio recordings will allow the artist and Art Stubborns to post these journeys on a shared virtual
space.
Urban Dreams Company
Led by architects, sociologists and visual artists, this
structure aims to get residents, pupils, employees and
other social groups to rethink their living spaces in
order to rediscover and improve them. After the design
phase, the public will implement their own projects
using appropriate construction materials.
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Chapter 4
How is the project
How are citizens
participating in
the development
of the project?
4.3
4.3.A
Working with
businesses
and laboratories
The “Ateliers
(EuroMediterranean
Workshops)
in businesses
As early as 2006, a study conducted by Jean Digne,
Chairman of “Hors les Murs” (Outside the Walls),
for the “Mécènes du Sud” association, proposed a plan
entitled “1000 Talents” for businesses in Marseilles to
host and provide residencies for international creators
and artists. We have been inspired by this work.
144
Principle
Implementation
The principle underlying this project is to consider
business from a humanistic perspective: a group of
men and women working together in a common space.
The idea is no longer to tie a company’s image to a
cultural event, but to implicate company personnel
in the artistic act itself. Businesses taking part will
thus welcome one or several artists (musicians, visual
artists, writers, filmmakers, etc.) and allow them to
create while sharing their artistic approach with
employees and even customers.
As a candidate city, Marseilles-Provence chose to
validate this approach in collaboration with the
Chamber of Commerce and Industry, the “Top 20
Club” and the “Mécènes du Sud”. In February 2008,
companies were approached based on:
––The bid’s geographical coverage,
––The diversity in the sizes of businesses,
––The diversity of activities (retailer, textiles, new
technologies, etc.).
Objectives
For company personnel, the objective is to approach
artistic creation from another angle than that of
cultural consumption and to create links between
people as they discover other forms of creativity beyond
the context of their jobs. For the business, the project
provides an opportunity to portray itself differently
and have its employees become its ambassadors, while
participating in the major project of the European
Capital of Culture federates and gives their own project
an ambitious goal.
Judging by the initial results and by the numerous
requests from companies wanting to get involved with
the “Ateliers de l’Euroméditerranée” project as soon
as possible, it is reasonable to assume that the concept
can spread very quickly and involve around fifty
companies each year until 2013.
In connection with “InterMed” (see p. 27), plans are
underway to present all of these actions to the general
public.
145
The workshops started in April 2008, according to
the following table:
The “Ateliers de l’Euroméditerranée” in businesses
Business
Activity
Employees
Area
Project
Workshops
4.3.B
Haribo
Confectionery
Marseilles
Musicals on the history of the company. Costume workshops
with the Festival d’Aix-en-Provence in 2008.
September
2008
Marseilles
Michèle Sylvander
Video installation on the theme of the veil.
June 2008
Marseilles
Printing artists’ work (visual and graffiti artists and photographers) June 2008
from missions in Vilnius, Pécs, Maribor, Tallinn and Istanbul.
Toulon
Under development.
The “Ateliers
project in
laboratories
Marignane
5 artists for 5 common values shared by employees.
August 2008
Marseilles
Student exchanges (Marseilles and Istanbul).
May 2008
Puyricard
Under development.
Marianne Cat
Retailer
Quadrissimo
Printing, copying
Optis
Creation of simulation software
for interactions between light
and its environment
45
Eurocopter
Helicopter manufacturer
8000
Axes Sud
Graphic arts and visual
communication school
Puyricard
Chocolate factory
80
Caisse
d’Épargne
Bank
800
Marseilles,
Aix, Vitrolles,
Aubagne
Choirs. Texts written by employees.
Hôtel Pullman
4* Hotel
100
Marseilles
Suzanne Hetzel, German photographer: a special report on
employees’ daily life. Tanguy Moyet, magician from Marseilles,
will teach magic tricks to waitors. With additional circus acts
outside the hotel.
October
2008
May 2008
Cabus et Raulot Distribution of electrical equipment
450
3
70
Marseilles
Music workshops (percussion) with the group Symbléma.
Gémenos
Culinary workshop on the theme of colour
with a scientist and a chef.
Arles
To be determined.
Pébéo
Paint manufacturer
180
LERM
Laboratoire d’Etude et de Recherche sur les Matériaux
(Materials Research Laboratory)
60
146
Principle
Implementation
The laboratory workshops project adheres to the same
principle as the business workshops, i.e. working closely
with the men and women who make up various research
teams and implicating research personnel in the artistic
act itself in order to foster a dynamic environment for
members of the laboratory. It is based on an opportunity
for the artist, whatever his or her discipline, to share
his or her artistic approach with laboratory staff, but it
is also and especially an opportunity for the artist and
researcher to share the fundamentals of their respective
approaches: questioning, doubt and experimentation
through its trials and errors.
Finally, some research subjects, particularly those which
involve questions about society, can provide an impetus
in themselves for an artistic process leading to occasionally
destabilising creations capable of turning scientific and
public representations upside down (see “Art Biotech”
by Jens Hauser at Lieu Unique (Nantes), or the Cloaca
2000-2007 retrospective by Wilm Delvoye in Luxemburg,
last year’s European Capital of Culture, for instance).
If its bid is successful, Marseilles-Provence will seek
an endorsement of this approach from the DRRT
(Délégation Régionale à la Recherche et à la Technologie – Regional Delegation for Research and
Technology) and from the University Chancellor, as
it did for the workshops set up in businesses. Initial
contacts have been established with institutions that
are already collaborating with artists. For example, in
Luminy: INMED (Institut de Neurobiologie Méditerranéenne – Mediterranean Institute of Neurobiology),
CPPM (Centre de Physique des Particules de Marseille
– Marseilles Centre for the Physics of Particules), ISM
Etienne-Jules Marey (Institut des Sciences du Mouvement – Institute of Sciences relating to Movement);
in Saint-Charles: ESCUP (Espace Science et Culture
de l’Université de Provence – Centre of Science and
Culture at the University of Provence); Services de
Microscopie de Saint Charles et Saint Jérôme (Microscopy Services of Saint Charles and Saint Jérôme);
in Aubagne: SATIS Department (Sciences, Arts et
Techniques de l’Image et du Son – Sciences, Arts and
Techniques for Images and Sound).
A call for participation could be launched using the
Science Festival’s contact network, which covers most
figures involved in research and higher education.
Criteria such as the ability to host foreign artists, especially Mediterranean ones, may be included in this
call for participation.
Objectives
The objectives of the laboratory workshops will be
extended to include the mutual enrichment of the
“creators” who adopt similar research approaches,
despite the fact that some are in scientific/academic
fields while others are in artistic fields. This collaboration will be presented either as works of art or open
sites and, depending on the theme, will be open to the
general public, both academic and non-academic.
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Chapter 4
How is the project
How are citizens
participating in
the development
of the project?
4.4
Working
with schools
148
4.4.A
As with the projects involving associations, participative projects in schools were selected along the lines
of the following criteria, established in cooperation
with academic authorities, whose enthusiasm with
regard to these projects must, once again, be
highlighted:
––Populations at risk and particularly students with
limited resources, who are targeted by the artistic
education and cultural action policy outlined by
the Aix-Marseilles academic authorities,
––Priority zones, including “pilot zones” in particular,
and “collèges ambition réussite” (lower-secondary
schools with ambitions for success) as defined by
the French National Board of Education,
––Workshops conducted internationally via exchanges
with European and Mediterranean institutions,
––Projects’ compliance with the bid’s themes and
pursuit of the best relationship between the common multi-year themes proposed by the academic
authorities and the European Capital of Culture
project themes,
––The quality of projects and the artists involved in
these projects.
Participative
projects involving
schools
International projects
that tie into the “Ateliers
European Autobiography Day
This project brings together pupils from different schools,
in particular those who have reading and writing difficulties, to share their work that was completed during
artistic workshops. In 2008, the action is being extended
to European and Mediterranean countries: Italy, Germany, Hungary, Greece and Morocco.
In 2008, the Marseille-Provence 2013 Association
provided financial support for all of the teachers involved in the autobiography workshop from Hungary,
Italy, Greece, Germany and Morocco to meet in
Marseilles. In 2009, it will provide support to host
pupils from these countries, to present and to pool
their work together.
149
Mediterranean Intercultural Network
This twinning project, implemented by the “Groupe
de Recherche en Histoires des Idées” (Stories and
Ideas Research Group), consists of establishing ties
with a Euro-Mediterranean sister city. The goal is to
develop an educational network for intercultural
training in Marseilles and throughout the EuroMediterranean. In October 2008, a group from a school
in Catania (Italy) will be welcomed in Marseilles.
Educational Workshops of the Mediterranean
The purpose of these workshops is to demonstrate the
uniqueness of the Mediterranean to young children
and create a space for culture, interracial mixing,
exchanges, civilisations and identity. These workshops
offer teachers and pupils the opportunity to develop
several tools including cartography, orienteering,
observation and travel logs, short films, etc.
Projects related
to the bid’s
major themes
Overseas and the Colonial World
In conjunction with the creation of an Overseas
Memorial, the archives department of the City of
Marseilles is organising educational workshops for
students from CM1 (Year 5) to troisième (Year 10)
devoted to the history of both colonisation and
Marseilles.
Introduction to Cultural and Religious Heritage
The European Mediterranean Observatory for Peace
is organising a workshop whose aim is to introduce
lower-secondary school pupils to the diversity of religious cultures found in Marseilles. The themes of
religious practices are approached via artistic and
historical visits to three religious monuments. A
classroom session on secularism in connection with
the themes of eco-citizenship and freedom of thought
concludes this workshop.
150
Artistic Expression on the Theme of Relations
About the Sharing of Water
La Gare Franche – Cosmos Kolej
Discovering Digital Arts
between Boys and Girls
With a focus on water, the CICRP and Noël Casanova
offer pupils the chance to discover places and objects
by following routes that can be found in the school’s
immediate surroundings or during class trips.
Questions that will be addressed include: freshwater
and drinking water from Antiquity to the nineteenth
century, water and health, modern water systems in
homes, the monumental celebration of water (architecture at the Longchamp Palace), agriculture, industry
and water-related professions.
One of the pilot projects implemented in 2007-2008
in the City of Marseilles is located in one of the most
difficult areas of Northern Marseilles. It is based on
the cultural structure of the “Gare Franche” and
involves two nursery schools, two primary schools,
an “ambition réussite” lower-secondary school (Elsa
Triolet), the La Viste Vocational Secondary School
and eventually the Saint Exupéry General and Technological Secondary School, all working on multifaceted projects related to artistic expression.
The workshops organised by “Second Nature” focus
on Net Art and Internet usage, as well as visits to
thematic or monographic exhibitions at the Vasarely
Foundation.
Water”
Springtime of Street Art’s Wild History in Lower-
New Collectors at the Lower-Secondary School
The Centre de Culture Scientifique Technique et
Industrielle (CCSTI) (Scientific, Technical and Industrial Cultural Centre) from Marseilles proposes a
watery escapade that knows no bounds: from clouds to
snow, from rivers to aquifers. “Tribulations from a Drop
of Water” encourages children into a game of endless
trails, in which they address issues related to the use,
preservation, legislation and distribution of water.
Secondary Schools
This workshop was initiated by the “Bureau des
Compétences et Désirs” to encourage lower-secondary
school pupils to express their tastes when faced with
the possibility of artistic creation. After acquiring the
necessary knowledge via a comprehensive programme
that includes visits to places devoted to art, meetings
with professionals and discussions about major artistic
trends, the pupils will put together a collection which
will become the Lower-Secondary School Collection.
The works will then be lent out based on an art library
model and will also be part of an annual exhibition.
A team of actors from the Kartoffeln Company works
in mixed-gender pairs with pupils on expressing their
identity and reflecting about relations between the
sexes. The company proposes a performance on the
same theme, during which characters ask questions
about sexual identity, featuring scenes of men and
women in the media, and show their difficulties
communicating with one another.
Exhibition/Game: “Tribulations from a Drop of
From March to May, an awareness campaign about
street arts is scheduled in eight lower-secondary schools
in the ‘Bouches-du-Rhône Département’. Three
companies are working with these schools and will
run one or more creative workshops in the classroom.
Each of these companies will put on a performance
at the school. In addition, a teaching kit has been
developed and given to teachers who will use it to
illustrate their street arts awareness programme.
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Chapter 4
How is the project
How are citizens
participating in
the development
of the project?
4.5
4.5.A
Informing and rallying
residents in 2008
Publicise the
stakes, increase
visibility, increase
the bid’s relays
of information
A marketing campaign
in public spaces
In the beginning of 2008, publications produced by
local authorities that have partnered up with MarseilleProvence 2013 – municipal newspapers and the review
of the ‘Conseil Général’, which reach nearly 1.6
million readers – announced the selection of MarseilleProvence 2013 as a finalist to the general public. Its
aim of informing the local population was reinforced
by a poster campaign using municipal facilities.
A new poster campaign scheduled for the summer of
2008 throughout the area implicated in the bid, implemented using network facilities of partnering public
authorities, will appeal to the public, while RTM
trams, buses and the underground will be clad in
the colours of Marseille-Provence 2013.
A giant tarpaulin hung at the entrance to the City of
Marseilles on an imposing, 700 m² wall of the Silo
symbolically launched this campaign.
Cultural establishments as well as businesses, led by
the Chamber of Commerce and Industry, were mobilised. The Marseilles-Provence airport, the Street Arts
Academy, the Société Marseillaise de Crédit, the head
office of Crédit Agricole Alpes Provence, the Écureuil
Foundation, among others, have installed tarpaulins
in support of the bid. The screens at the Airport and
at the Foire de Marseille (Marseilles Fair) have also
adopted the Marseille-Provence 2013 colours.
Meanwhile, 110,000 leaflets were distributed to
cultural places, schools and universities, and in June,
at tourist sites, hotels and tourist offices as well as at
festivals taking place throughout the region. Communication about events that Marseilles-Provence
has officially approved as part of the European Cultural
Season provided an additional opportunity to present
the bid. With support from the publisher Actes Sud,
30,000 notebooks published in Marseille-Provence
2013 colours rounded off this marketing campaign.
152
153
A marketing campaign
at major cultural events
The visibility of Marseille-Provence 2013 at major
cultural events throughout the summer is ensured.
The International Photography Encounters in Arles,
the International Documentary Festival in Marseilles
(FID), the Festival of Marseilles, the Five Continents
Jazz Festival, the Piano Festival of La Roque d’Antheron and the Opera Festival of Aix-en-Provence
are among those supporting the bid in their catalogues
and programmes.
Similarly, brochures for the 2008-2009 season of major
cultural institutions in the region, such as the Grand
Theâtre of Provence/Gymnase/Jeu de Paume as well
as the theatres of La Criée, the Salins and Arles among
others, are also promoting the bid.
A campaign to mobilise
relays and to prepare
future ambassadors
After leading a delegation of business leaders to get
an idea of the scope of events happening at Liverpool
2008, the Chamber of Commerce and Industry went
on a tour of the region’s central cities to exchange
with businesses and retailers about the bid.
This operation has raised retailers’ awareness about
the impacts and economic knock-on effects that the
bid could generate, so that they in turn become motivated relays of information. Hotels have also been
informed and encouraged to publicise and promote
the bid to their customers.
The Marseilles-Provence team, with reinforcements
from young people belonging to the Unis-Cité association, Civil Service and European Voluntary
Service (EVS), has started promoting encounters
with the general population by setting up bid information booths at a number of major public events,
popular gatherings, trade fairs and festivals.
154
In parallel, local relays have also been visited and
encouraged to support the bid and spread information.
Nautical companies, the “Ordre des Avocats” (the
Bar), researchers, teachers (especially via the CRDP),
the “Confédération des Comités d’Intérêts de Quartiers” (Confederation of District Interest Committees)
and its 110,000 members, OM supporters’ clubs, social
centres and popular education federations are now
associated to the bid.
Since spring, traditional district celebrations organised
by “Comités d’Intérêts de Quartiers” have also provided
ample opportunities to communicate information about
the bid and encourage people to support it.
A crucial partnership
with the local and
regional press
A website to accompany
information and support
the bid
In addition to excellent coverage by newspapers and
radio, Marseille-Provence 2013 has managed to negotiate a successful partnership with local television
stations. Television channels such as La Chaîne
Marseille - LCM (the Marseilles Station), France 3
Mediterranean or Canal Maritima (in Martigues)
have opened up significant chunks of their programming for news and reports related to the bid. Similarly,
OM-TV, Olympique de Marseille’s channel, became
a mouthpiece for the bid by inviting MarseilleProvence 2013 to its pre-game shows.
Informing
Marseille-Provence 2013’s website has evolved in
2008 towards a more dynamic site, informing the
public via a series of short news segments about the
Marseilles-Provence bid (the team’s trips in Europe
and the Mediterranean, the bid’s pilot projects and
workshops, and major European events). Approximately 80 articles have been written and posted along
with photos, sound recordings and videos.
Integrating and familiarising
The site also acted as a catalyst for different support
initiatives on the web; the Marseille2013.org project
has been incorporated into the navigation without
the initiative losing its independence as a result. The
media project Blog 2.013 (described in report no. 1,
p. 225) developed in partnership with Radio Grenouille, has been clarified and four blog channels have
been created, based on their content: BlogThéma
(documents and explores the bid’s major themes),
BlogPilotes (prolongs or decrypts pilot projects),
BlogArtistes (project proposal space for artists developed on Marseille2013.org) and BlogCommuns. The
last blog channel is the most participatory of them
all, with contributions by and for communities working
on bid projects. A project has been developed related
to this with residents from the Belle de Mai district,
with the help of Claude Renard from the Institute of
Cities. It’s simply one more way to implicate the local
population in the Marseilles-Provence bid and to test
an association-based cultural media project. The
Medialab 2.013 project is described in detail in
Chapter 5.
Providing support for the bid
To accompany this mobilisation campaign, a bid
“support kit” was put online in April. It contains a set
of documents and communication tools that can be
downloaded immediately and a service for ordering
associated accessories that will allow companies, associations and cultural structures to actively take
charge of publicising the bid.
The “Bid Supporters” space also went live in June.
The last component of the support space, it allows
anyone to send a personalised message expressing
their support for the bid. The system, designed by a
new graphic arts agency in Marseilles, can be adapted
to the web as well as public spaces and playfully displays
the bid themes.
155
4.5.B
Popular events
to rally residents
from the territory
implicated in
the bid
In addition to the participative projects in businesses,
associations and schools – which are key elements
of our mobilisation strategy – we produced nearly
50 cultural events together with stakeholders
throughout the territory in 2008. Some of them
will bring together large audiences from every background to celebrate the bid.
RéCLAME
The rue Saint Ferréol has entered into the equation,
not only as a long pedestrian road and retail area in
the centre of Marseilles, but also as a place of creation
in its own right. Brigitte Cirla, artistic director of Voix
Polyphoniques, seized the opportunity to propose
Réclame, a concert specially designed for this street
featuring 10 soloists and 200 amateur choristers.
The vocal piece, written with Marianne Suner and
Jean Tricot, remixes advertising slogans and transforms
them into poetic refrains presenting the European
Capital of Culture.
When retailers close up shop, market rumours make
way for polyphony. Three stations were set up along a
200 metre stretch for the public to stroll, stop and follow
the musical wave up and down the street, taking in the
surprising and hard-hitting sounds of the twenty-first
century. (10th May 2008 / creation Lieux Publics)
Engrenages: sound, radio and urban event
Engrenages offers multiple listening stations throughout the city, allowing one to hear and live out the
urban space differently and see it from several different
angles. An ambulatory and auditory rediscovery based
on a museum audio tour but with a twist; a blind
promenade guided by the sounds of the town or a
radio-guided cinema by the Ici-même group (Grenoble); a radio picnic at Pierres Plates accompanied by
sound creators and their latest concoctions; or a pause
at the music kiosk of the Réformés with a documentary
collage courtesy of Café Verre…
156
Engrenages also intervenes in certain places (Montévidéo, La Friche La Belle de Mai, the Théâtre du
Merlan), proposing an art de l’écoute, or listening style,
exhibited as creations are rolled out. All of these forms
are the result of collaborative work, produced or coproduced by Grenouille-Euphonia in connection with
the bid. (21st-25th May 2008)
Souk de la Parole (The Language Bazaar)
The public was invited to participate in linguistic and
musical repartee in a huge, ephemeral bamboo structure measuring 10 metres high. Participants revealed
and discovered all sorts of words and stories, talked,
exchanged or questioned the word explorers. For three
nights, the bazaar was packed and the public was free
to roam through it and stay as long as they wanted.
In preparation for the bazaar’s construction, and in
order to echo the themes of Marseilles’ European Capital
of Culture 2013 bid, the Caracol Company and Lieux
Publics organised a survey for a “fresco-inventory”.
The results served as blueprints for three artists:
Nicolas Diaz (painter), Toni Casalonga (illustrator)
and Faouzia Hilmy (calligraphy artist). They thus
created a new map: an imaginative projection of the
Marseilles-Provence region. (30th May-1st June
2008)
OM Match
After travelling nearly 4,700 km from Marseille to
Gdansk, the artistic caravan of Marc Boucherot and
Philippe Ivanès – clad in the Marseille-Provence 2013
colours – symbolically ended its trip in front of the
stands at the Velodrome stadium for the OM-Bordeaux
match on the 4th May. The project, entitled “From
the Baltic to the Mediterranean”, could best be described as an artistic road story that aimed to build a
bridge between the two shores and seek out “encounters with others” in a simple and friendly way. With
OM’s agreement, Marseille-Provence 2013 kicked-off
the match while the winners unleashed a “typho” of
support for the bid (4th May).
In March 2009, if the bid is successful, we have made
plans with the City of Lille to organise, in connection
with the “Lille 3000” event devoted to Central Europe,
and in both cities, a relay ceremony and party as the
2004 Capital makes way for the 2013 Capital.
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How is the project
How are citizens
participating in
the development
of the project?
4.6
Citizen participation
after 2008
If the Marseilles-Provence bid is successful:
50 new “Ateliers de l’Euroméditerranée” will be
started in businesses and laboratories in 2009 and
50 more each year until 2013 (Target for 2013: 200
to 250 companies or laboratories). This commitment
has been made by the Chamber of Commerce and
Industry of Marseilles-Provence, by businesses belonging to the “Top 20” club and by members of the
“Mécènes du Sud”.
With regard to associations, the projects already
underway will be pursued year after year. Each year,
starting in 2009, a minimum of 20 new associations
will be assisted as they develop participative projects
related to the bid’s themes via:
––call for projects for “1001 Nights” (see Appendix,
prog. 59)
––call for projects for “New Commissioners” (see
Appendix, prog. 61)
––preparations for the popular gatherings, launching
each of the four seasons during the Capital year.
––preparations for the “Fashion Sails” project
(see Appendix prog. 8)
––preparations, by company employees participating
in the “Revelations” project (see Appendix
prog. 55b)
158
At schools, projects uniting nursery schools, primary
schools, lower-secondary schools and vocational secondary schools within the same pilot area over several
years will be developed. In addition, the international
aspect of these workshops will be amplified. In the
context of partnerships established between the school
authorities and other countries, including Morocco
(Tangier-Tetouan Authorities), Kent in the UK,
Germany and Italy, the cultural aspects have been
outlined and are subject to precise specifications.
Opening up to the Mediterranean is a key strategy,
in particular with Morocco and the three-year cultural
partnership that has been established with it.
In 2009, a Euro-Mediterranean geopolitical workshop will be created from teaching materials designed
As during the pre-selection stage, we remain committed to our mobilisation strategy that emphasises
active, sustainable, continuous and progressive citizen participation as we prepare the European
Capital of Culture project, as opposed to costly and
premature ephemeral events. This extensive work
requires considerable energy that has been met by
the exemplary commitment and exceptional quality
of business leaders, heads of associations and artists
working in these establishments, teachers and
educational professionals in schools and their administrative superiors.
Thanks to them, support for the bid and a willingness
to actively participate in planning the project’s
content and addressing its associated issues have
both been enhanced in 2008.
by Jean-Christophe Victor (TV producer of the
programme “Le Dessous des Cartes” [The Flipside of
the Map] on the European channel ARTE).
New workshops will be launched on the following
bid themes:
––Albert Camus
––Athens, Cordoba, Jerusalem
––Knowledge of Religions
––On the Roads of Exile
–– Le Partage des Midis: Painters and the Mediterranean
––The Colonial Imagination
––Vessels, Navigation, Navigators
––The Sharing of Water
––One Thousand and One Nights
159
© Vincent Lucas
© Vincent Lucas
© Vincent Lucas
160
© Gilles Clément
© Beata Staszynska
161
© Vincent Lucas
© c-ktre
© Vincent Lucas
© c-ktre
© Gilles Clément
162
© Quadrissimo
© E330
163
François Moura © Marseille-Provence 2013
164
165
166
© Ville d'Arles
167
Chapter 5
172
5.1
Future governance of the project
178
5.2
Organisation
182
5.3
The budget
188
5.4
Evaluation and managementmonitoring tools
190
5.5
Strategy concerning citizen
mobilisation, promotion,
communications and tourism
development from 2009 to 2013
How is the project’s
implementation
being prepared?
Chapter 5 How is the project’s
implementation being prepared?
The Marseille-Provence 2013 Association was created in January 2007. All of the partners
of the bid area have met at quarterly intervals in the context of the Administrative Board
and the Steering Committee, in order to approve the bid project, the charter of the Association and the resources to be implemented. The Association is thus fully operational today.
The application period, which the new European directive offers European Capitals of
Culture, was used to learn from past and current experiences (notably, Genoa and Lille 2004,
Luxembourg 2007, Liverpool 2008, Linz 2009 and Essen 2010, with whom regular contact
has been established) in order to conduct an overall assessment.
An assessment of questions in all areas was conducted by experts and discussions were held
to facilitate the necessary arbitration.
In particular, we were warned of possible cost overruns associated with a lengthy preparatory
period. We were also warned of the risk that either the team or the stakeholders might fall
victim to saturation, while the public’s enthusiasm could wane over such a long period.
A dynamic operational process is underway and the Marseilles-Provence region is ready
to launch this major project as soon as the result is announced.
170
171
Chapter 5
implementation
being prepared?
5.1
5.1.A
Future governance
of the project
Legal review
In January 2008, we launched a study on the various
legal statuses possible for supporting the project, by
combining two imperatives:
––Providing financial partners with solemn guarantees
of good management practices and respect of the
law, notably regarding the transparency of action,
establishing responsibility, competitive tendering
and the redistribution of subsidies;
––Ensuring complete independence in terms of artistic
choices as well as the flexibility and reactivity necessary for the implementation of such large-scale
projects.
After an initial cursory review, the following legal
forms were retained for the study:
––The Groupement d’Intérêt Public Culturel (GIPC
– Cultural Public Interest Grouping);
––The Etablissement Public de Coopération Culturel
(EPCC – Public Establishment for Cultural
Cooperation);
––An Association in accordance with “1901 Law”.
This study (see Appendix to Questionnaire) was distributed to all partners for review by their respective legal
departments. Other studies have also been commissioned
by the City of Marseilles. They supported the same
conclusions regarding the legal status. After several
discussions, the following consensus was reached:
172
The legal status of an association will be retained and
reinforced by:
––The adoption of an Association charter that will
define the general scope of action (see Appendix
to Questionnaire).
––The adoption of internal policy that will determine:
––Relations between the Association’s governing
bodies;
––The principles and restrictions regarding the
delegation of authority and of signature, and
personnel recruitment;
––The introduction of validation procedures for
projects and financial commitments by an ad hoc
committee composed of the representatives of
financial partners;
––The Association’s rules of governance in order to
ensure the consistency, independence and transparency of actions and decisions taken its administrative and executive bodies, notably on the
artistic front;
––A procedural guide that will reinforce the transparency of the decision-making process and the
flow of finances. This guide will establish regulations for the competitive tendering of the goods
and services of the Association;
––An annual external audit by an independent European auditor, who along with the Statutory Auditors,
will review procedures and the organisation;
––The use of standard contracts with cultural partners
will strengthen and homogenise the Association’s
modus operandi.
In light of these reinforcements, the Administrative
Board formally approved the choice of an Association
in accordance with “1901 Law”. It is useful to note
that the legal status of Association was also retained
by Lille in 2004.
See table on the following page.
173
5.1.B
Legal status
Disadvantages
Advantages
Public Interest
Grouping
Cumbersome constitution and
management process (presence
of a government commissioner).
Legal status specific to projects
with a fixed duration.
The selected
mode of
governance
Administrative Board
Defines and commits the resources
needed to implement the project
20 seats each representing 1 member
(1 representative = 1 vote)
Unattractive tax regime.
Association
in accordance
with “1901 Law”
Difficult to recruit personnel (principle
of making personnel available through
members except if special dispensation granted
by the Commissioner).
Public Establishment
Legal persons governed by private
of Cultural Cooperation law cannot be members.
Cumbersome, restrictive process due to the
application of public law, of a public accounting
systems and the public market code (additional
financial cost likely).
Ability to receive donations and legacies.
Suitable tool for the management
of cultural facilities.
An EPCC entails the management of a cultural
public unit as part of delegated public service.
However, all the conditions for public service are
not yet in place.
Association
in accordance
with “1901 Law”
From a public financier’s viewpoint,
limited guarantee of the supervision
of funds.
Operations
Team
Analyses the
project and
makes recommendations
Designs and implements the project
20 civil servants
each representing
1 member of the
Association +
qualified
persons
Administration,
Finances,
Sponsorship
General
Management
Event
Production
Promotion,
Mobilisation,
Tourism
Programming,
European, National,
and International
Partnerships
Independent legal status.
Simple charter process and a flexible
management structure.
An association is entitled to public
subsidies once the general interest of its
mission has been established.
174
Steering
Committee
Evaluation and Supervisory Committee
Audits the project in relation to economic
impact, image and management
175
5.1.C
5.1.D
The MarseillesProvence area
The Charter
of the Association
From the start, Jean-Claude Gaudin, the Mayor of
Marseilles, wanted to include all neighbouring towns
and inter-communal structures in the project in order
to form a coherent and complementary entity in terms
of both the cultural and economic aspects.
The Marseille-Provence 2013 Association covers a
large region of 2.2 million inhabitants and the project
requires the mobilisation and participation of various
political bodies and that of economic, cultural, social,
academic and pedagogical stakeholders. The Association’s by-laws determine the legal objectives and
scope of these bodies.
Nonetheless, it became necessary to support these
texts with a charter, which would establish the general
scope of action.
The text is intended to define the principles of action
and of good governance between members relevant
to the project. It also makes provisions for the terms
and conditions of participation, notably financial,
based on which its members will support this substantial project, as well as the general principles linked
to promotion and communication.
In 2008, all of these towns and inter-communal
structures confirmed their involvement in the project,
contributed financially to the Association’s budget,
adopted the partnership charter and agreed to meet
the corresponding commitments.
Inter-communal working groups were formed in the
associated towns in order to more easily mobilise the
stakeholders and public concerned.
176
Main Tourist
Destinations
Marseilles-Provence
2013 Area
TGV Train Station
International Airport
History
In the first half of 2007, the Association worked on
the charter’s draft and attached an initial version to
the pre-selection file. The text has subsequently been
finalised with the assistance of all of the partners and
their legal departments.
The version appended to the attached questionnaire
was submitted to each member’s decision-making
body and was unanimously approved.
Contents
As the complete text is attached to the questionnaire,
we will only highlight the most important points as
regards the modalities of governance and financial
commitments.
The modalities
of governance
The modalities of governance strictly regulate relations
between the Administrative Board (the decisionmaking and arbitrating body as regards the general
scope of action) the Steering Committee (the coordinating structure between the Association and the
civil servants of its various member institutions) and
the Association’s own employees. Note that the Association “has complete freedom in terms of its artistic
choices, including those relating to event programming,
the selection of artistic projects and the recruitment of
artistic teams when implementing artistic projects.”
Financial commitments /
the contribution
of signatories
Information relevant to the 2009-2013 budget, its
distribution over time and the scale of distribution
between the various local authorities, and to sponsorship were already addressed in the preliminary
application file.
The charter facilitates the validation of this information and its submission to the respective decisionmaking bodies for approval.
The charter clarifies certain elements concerning
these commitments:
––The budget only comprises new measures “without
reducing already existing structural budgets and
without valuation of the working order of equipment
or of contributions in the form of services or
expertise”;
––The Association will manage all resources made
available. With a few rare exceptions, funds cannot
be allocated directly or exclusively to a specific
event.
If the application is successful, these elements will be
detailed in a multipartite framework convention (as
was the case for Lille in 2004) and in annual bipartite
conventions between the Association and each of its
partners, in accordance with French legislation.
177
Chapter 5
implementation
being prepared?
5.2
5.2.A
Organisation
The
Administrative
Board
The Board is composed of elected members responsible
for monitoring Marseille-Provence 2013 or of their
official representatives within their respective
structures.
Decisions are taken based on the principle of majority
rule as defined in the by-laws and on the basis that
one representative = one vote.
Current Composition
The Administrative Board comprises the following
institutions:
Companies
––The Marseilles-Provence Chamber of Commerce
and Industry
––The “Ambition Top 20” Business Club
––The Marseilles-Provence airport
Local community authorities
––The Conseil Régional Provence-Alpes-Côte
d’Azur
––The Conseil Général des Bouches-du-Rhône
––The City of Marseilles
––The Marseilles-Provence Metropole
––The Toulon Provence Méditerranée urban district
––The Ouest Étang de Berre urban district represented
by the City of Martigues
––The Arles Crau Camargue Montagnette urban
district, represented by the City of Arles
––The Pays d’Aubagne et de l’Étoile urban district,
represented by the City of Aubagne
––The Agglopole Provence urban district, represented
by the City of Salon-de-Provence
––The Ouest Provence urban district, represented by
the City of Istres
––The City of Gardanne
Universities
––The area’s four universities
A partnership agreement was signed between the
Association and Aix-en-Provence on one hand, and
the Pays d’Aix Community on the other, which stipulates the conditions of commitment for the Pays
d’Aix as an area associated with the bid.
Membership may be widened
If the application is successful, Marseille-Provence
2013 will invite other financial investors to join the
Association, first of whom will be the State via the
Préfet and the Direction Régionale de l’Action
Culturelle (Regional Authority for Cultural Action),
and the European Union via the heads of permanent
missions of the European Commission and European
Parliament located in Marseilles.
Public institutions
––Etablissement Public d’Aménagement Euroméditerranée (The Public Office for Euro-Mediterranean
Development)
––The Marseilles Independent Port Authority
178
179
5.2.B
5.2.C
The Steering
Committee
The Operations
Team
The Steering Committee is composed of civil servants
from and nominated by each member institution of
the Administrative Board, as well as by referral agents
of the working groups and qualified personalities.
The Steering Committee will monitor the Association’s
work and make recommendations to the Administrative Board concerning the Association’s general
scope of activity.
The Association’s salaried team will be responsible
for the project’s implementation, both in terms of
artistic design and direction as well as event coordination and production.
At the same time, we will also request the creation of
a 2013 body under the responsibility of the Préfet to
coordinate the calendar for large projects and the
execution of major events in the public arena.
Finally, from 2009 in each large district of the MarseillesProvence region, a “2013 branch” will be launched
in designated areas and managed by a delegate of the
Association and a representative of the local authorities. This branch will serve as an interface between
the project and the relevant services and
stakeholders.
180
5.2.D
Team structure
Bernard Latarjet, the Managing Director, will be
responsible for the project in general, including areas
related to artistic aspects.
After analysing the organisation of the teams of other
European Capitals of Culture, we have opted for an
organisational system that combines:
––A centralised organisational structure based on
segment of activity (event programming, administration, finance, promotion, communications,
technical aspects, etc.);
––The efficiency of an organisation structured along
major project sections (living art, exhibitions, festivals, audio-visual elements, etc.).
An analysis of the schedule to be implemented reveals
a reasonable balance between projects undertaken by
the region’s operators and those that will be directly
produced and executed by the Association. It will
therefore be necessary to have a strong management
team with an overall vision of each key operational
section to coordinate all partners on the one hand,
and fairly autonomous and highly specialised project
teams for event productions on the other.
representative, will centralise information and
approve all operations;
––To guarantee budgetary and financial control of the
commitments undertaken. The independence
granted to “project teams” necessarily entails procedures regarding expenses and the delegation of signatories, validating these procedures and implementing
common systems. This supervision will avoid cost
overruns and any financial difficulties, but will also
reveal any budgetary niches or savings in order to
put them to good use before the event ends.
The organisation’s core staff numbers *
Year
Staff (equivalent
to full-time employment)
2009
25
2010
29
2011
34
2012
34
2013
40
The Evaluation
and Supervisory
Committee
This committee’s role and composition is detailed in
section 5.4, below.
A relatively rapid escalation
is expected in order to:
* Teams assigned to project production and execution (technical aspects,
reception, ticket sales, etc.) are not counted among these workers
––Organise the preview events from 2010, thereby
requiring the early deployment of a team;
––Support a regional policy that will require decentralised project managers to be stationed in each area,
i.e., 3 or 4 people.
(allocated to the events and promotional budgets).
The team’s offices
During the two-year application process, the Association is based in the cultural centre of The Friche
La Belle de Mai Arts Centre. If the Marseilles-Provence
region’s bid is successful, the team will move to the
Euro-Mediterranean harbour district close to the J1
(several options have already been put forward for
setting up in the 1st half of 2009).
Furthermore, this combined structure also allows:
––The possibility, for some missions, of having a single
representative who interacts with all partners or
external agents. A sole technical or financial representative for local authorities: the technical or
administrative directorate will remain the permanent
181
Chapter 5
implementation
being prepared?
5.3
The budget
182
We used 2008 to have the budgetary proposal presented in our preliminary application file
analysed by certain Directors of European Capitals of Culture and by the cultural engineering company, Kanju. We concluded that the sum of €98m was reasonable for a potential
long-term project that was to be supported by a region of 2.2 million inhabitants. The
necessary budgetary arbitration was therefore performed with this in mind, so that this
budget might accurately reflect the project and facilitate the execution of all events described in the file.
We also took advantage of this time to verify and boost the region’s ability to finance
the project.
183
General Budget 2009-2013
expenses
2009
2010
2011
2012
2013
TOTAL
%
2 700 000
3 165 000
3 605 000
3 840 000
4 690 000
18 000 000
18.4 %
1 980 000
2 246 000
2 595 000
2 619 000
3 040 000
12 480 000
12.7 %
400 000
410 000
370 000
430 000
500 000
2 110 000
2.2 %
Monitoring and evaluation
20 000
30 000
50 000
80 000
220 000
400 000
0.4 %
Overheads and interest paid
195 000
324 000
405 000
521 000
765 000
2 210 000
2.3 %
Equipment and depreciation
105 000
155 000
185 000
190 000
165 000
800 000
0.8 %
1 000 000
1 000 000
1 000 000
3 000 000
5 000 000
11 000 000
11.2 %
Promotion and communications
600 000
600 000
600 000
1 600 000
2 600 000
6 000 000
6.1 %
Mobilisation measures
400 000
400 000
400 000
1 400 000
2 400 000
5 000 000
5.1 %
1 300 000
2 495 000
6 555 000
19 800 000
38 850 000
69 000 000
70.4 %
Concerning the “Ateliers de l'Euroméditerranée”
(Euro-Mediterrenean Workshops) (Both Strategies 1 and 2)
280 000
490 000
870 000
1 110 000
2 930 000
5 680 000
5.8 %
Le Partage des Midis (Sharing the South - Strategy 1)
245 000
375 000
1 675 000
6 490 000
10 955 000
19 740 000
20.1 %
La Cité Radieuse (The Radiant City - Strategy 2)
355 000
700 000
3 260 000
8 560 000
16 690 000
29 565 000
30.2 %
Other Euro-Mediterrenean projects (Both Strategies)
300 000
700 000
250 000
1 590 000
4 175 000
7 015 000
7.2 %
Infrastructure and use of 2013 locations / Joint costs (Both Strategies)
120 000
230 000
500 000
2 050 000
4 100 000
7 000 000
7.1 %
5 000 000
6 660 000
11 160 000
26 640 000
48 540 000
98 000 000
100.0 %
2009
2010
2011
2012
2013
TOTAL
%
Europe and The State
312 500
748 250
1 674 000
3 996 000
7 969 250
14 700 000
15.0 %
Provence-Alpes-Côte d'Azur Region
625 000
832 500
1 395 000
3 330 000
6 067 500
12 250 000
12.5 %
Bouches-du-Rhône Departement
625 000
832 500
1 395 000
3 330 000
6 067 500
12 250 000
12.5 %
2 000 000
2 000 000
2 511 000
5 994 000
9 545 000
22 050 000
22.5 %
Community of Pays d'Aix and the City of Aix-en-Provence
375 000
499 500
837 000
1 998 000
3 640 500
7 350 000
7.5 %
Toulon Provence Méditerranée urban district and the City of Toulon
375 000
499 500
837 000
1 998 000
3 640 500
7 350 000
7.5 %
All other urban districts and cities
375 000
499 500
837 000
1 998 000
3 640 500
7 350 000
7.5 %
Business partners
312 500
748 250
1 674 000
3 996 000
7 969 250
14 700 000
15.0 %
5 000 000
6 660 000
11 160 000
26 640 000
48 540 000
98 000 000
100.0 %
5 %
7 %
11 %
27 %
50 %
100 %
Organisation
Payroll
Missions, receptions, fees, consultancies
Communication and mobilisation
General comments
on the budget
––Budgets for financial years 2007 (€1.350m) and
2008 (€2.630m) are not included.
––Likewise, the budget for 2014 was not taken into
account: The project’s mission is to become a longterm venture. For information, the necessary budget
for 2014, strictly within the context of bringing the
operation to its conclusion, is €1.9m.
––The Association’s charter stipulates that allocated
subsidies comprise new measures only, with no reduction of existing structural budgets or valuation
of the “working order” of cultural facilities or contributions in the form of services or expertise made by
the various partners (promotion, security, cleaning
and technical services, etc.). This financial statement
reflects the project’s operational budget only.
––The Association is not mandated to act as the
contracting owner for large cultural facilities, thus
the budget does not factor in investments.
––And finally, the budget includes all taxes.
184
Comments on earnings
––The breakdown between local authorities was
confirmed during the charter’s validation. A
breakdown specific to the 7.5% indicated in the
table under “all other urban districts and cities” was
suggested to the relevant partners and is in the
process of being approved.
––The lines in the table concerning “Europe” and
“The State” have currently been combined for an
amount corresponding to 15% of the budget, as
neither can be approved or even negotiated before
the jury’s decision is reached. Furthermore, Lille
2004’s experience revealed that a certain amount
of financing is mixed (FEDER Funds, Culture or
Tourism).
Work conducted with the Relais Culture Europe
team, the Region and the Secretary General for
Regional Affairs facilitated the analysis of options
for European financing for each programme or in a
transversal manner across the major strategies of
the project. The consensus is that prospects for financing exceed initial estimates.
––Corporate sponsorship has been one of the fundamental elements from the very beginning of this
application process. Businesses are at the centre of
the “Ateliers de l’Euroméditerranée” (Euro-Mediterranean workshops) and are directly involved,
acting as ambassadors in the bid process, both in-
ternationally and regionally, where working groups
have been formed based on urban districts.
The assumption that corporate financing represents
a maximum of 15% of the budget was confirmed
and the corporate sponsorship charter approved.
A significant programme focusing on raising awareness, discussion and project participation was
launched in 2008. Rather than asking companies
to finance the 2008 budget, this year, we opted to
establish 10 workshops in 10 companies.
Comments on
“Communications and
mobilisation” budget
These two lines of the table have been merged as they
are so closely linked.
This is the budget available within the Association
to execute promotional and mobilisation operations
without valuation of the contributions of the many
media partnerships envisaged, or the structural communications budget of each of the Association’s
partners or the tourism sector. In reality, the consolidated budget is therefore much higher.
Events
GENERAL TOTAL
EARNINGS
Marseilles Provence Métropole and the City of Marseilles
GENERAL TOTAL
185
Detailed budget covering “organisation” expenses for 2009-2013
2009 FTE
Payroll costs
1 980 000
25
2010 FTE
2 246 000
29
2011 FTE
2 595 000
34
2012 FTE
2 619 000
34
2013 FTE
3 040 000
40
TOTAL FTE
12 480 000 162
Management team
2009 FTE
69 %
Missions, receptions, fees
2010 FTE
2011 FTE
2012 FTE
2013 FTE
TOTAL FTE
400 000
410 000
370 000
430 000
500 000
2 110 000
Missions-Receptions
Current team
640 000
6
652 800
6
665 856
6
679 173
6
692 757
6
3 330 586
30
Accommodation-invitations
60 000
70 000
80 000
120 000
150 000
480 000
Project Managers
280 000
4
285 600
4
291 312
4
297 138
4
303 081
4
1 457 131
20
Transportation and travel expenses
60 000
70 000
80 000
120 000
150 000
480 000
Territorial Project Managers
210 000
3
214 200
3
218 484
3
222 854
3
227 311
3
1 092 848
15
Fees
Head of Corporate Sponsorship
70 000
1
71 400
1
72 828
1
74 285
1
75 770
1
364 283
5
Head of Tourism-Related Communications
70 000
1
71 400
1
72 828
1
74 285
1
75 770
1
364 283
5
Fees
(legal, accounting, management)
120 000
120 000
120 000
120 000
150 000
630 000
Technical Manager
70 000
1
71 400
1
72 828
1
74 285
1
75 770
1
364 283
5
Artistic consultancy missions
160 000
150 000
90 000
70 000
50 000
520 000
Production Manager
70 000
1
71 400
1
72 828
1
74 285
1
75 770
1
364 283
5
Monitoring and Evaluation
20 000
30 000
50 000
80 000
220 000
400 000
20 000
30 000
50 000
80 000
220 000
400 000
195 000
324 000
405 000
521 000
765 000
2 210 000
145 000
254 000
325 000
411 000
565 000
1 700 000
Equipment rental
20 000
30 000
30 000
40 000
50 000
170 000
Interest paid
30 000
40 000
50 000
70 000
150 000
340 000
105 000
155 000
185 000
190 000
165 000
800 000
Equipment for current year
55 000
75 000
95 000
90 000
55 000
370 000
Provisions for depreciation
for past financial years
50 000
80 000
90 000
100 000
110 000
430 000
Monitoring and Evaluation
Operations Teams (temporary work contract)
Overheads and interest paid
Communications
Head of Communications-Tourism
27 030
0.5
55 141
1
56 244
1
57 369
1
195 784
3.5
Webmaster
27 030
0.5
55 141
1
56 244
1
57 369
1
195 784
3.5
Press Officer
35 700
0.5
72 828
1
74 285
1
75 770
1
258 583
3.5
Administration Manager
53 550
0.8
72 828
1
74 285
1
75 770
1
276 433
3.8
Production Manager
40 545
0.8
55 141
1
56 244
1
57 369
1
209 299
3.8
Head of Corporate Sponsorship
40 545
0.8
55 141
1
56 244
1
57 369
1
209 299
3.8
Technical
40 545
0.8
55 141
1
56 244
1
108 120
2
260 050
4.8
1 035 009
22
135 000
3
183 600
4
234 090
5
238 772
5
243 547
5
Receptionist, logistics,
general workers
67 500
1.5
91 800
2
93 636
2
95 509
2
194 838
4
543 283 11.5
Accounting
45 000
1
45 900
1
93 636
2
95 509
2
243 547
5
523 592
11
40 576
0.5
27 591
0.3
42 215
0.5
188 382
2.3
24 970
0.5
16 979
0.3
34 638
0.7
181 067
3.7
Temporary employees; trainee allowances
Temporary employment - executives
78 000
1
Temporary employment - non-executives
80 000
1.7
Taxes and other payments
included on the payroll
186
TOTAL
2 700 000
% annual distribution
Production Assistants
Trainees
Overheads
Equipment and depreciation
Administration Production
Assistants
12 %
24 480
0.5
5 000
8 000
10 000
15 000
20 000
58 000
159 500
189 075
209 767
203 548
245 849
1 007 739
15 %
25
3 165 000
18 %
29
3 605 000
20 %
34
3 840 000
21 %
34
4 690 000
26 %
40
2 %
12 %
4 %
18 000 000 162 100 %
100 %
FTE = Equivalent Full Time Employement
Comments on
“Organisation” Budget
At 18%, the relative burden of this budget is considerably higher than that of Lille 2004 (10%) or the
average for previous European Capitals of Culture
(14%). This reflects the aforementioned desire to put
a large team in place very rapidly and to make this a
long-term venture. It also responds to the request for
transparency of action: all operational items linked
to promotional activities or the projects have been
included in this budget in order to avoid “bleeding”
the communications and events budgets, as is often
the case.
187
Chapter 5
implementation
being prepared?
5.4
The Palmer Report notes that European Capitals of
Culture did not plan for monitoring and assessment
systems early enough; work often began late, was not
linked to planning and there was rarely any independent assessment.
Conscious of the importance of monitoring and
evaluation procedures and based on the recommendation of this report, in 2007, we regrouped several
institutions within the area implicated in the bid.
This working group comprised notably the urban
planning agencies of Marseilles (AGAM) and Toulon
(AUDAT), the Resource and Development Centre
for the Performing Arts of Provence-Alpes-Côte
d’Azur (ARCADE), and the Resource Centre of the
Chamber of Commerce and Industry of MarseillesProvence. The Resource Centre of the Chamber of
Commerce and Industry has already conducted various
studies on the impact of cultural and sporting events
in the region, including the Cézanne en Provence
exhibition in 2006 and the Rugby World Cup in
Marseilles in 2007.
Furthermore, we gathered information on the work
carried out by each of the European Capitals of Culture
during several trips. In April, Marseille-Provence
2013 invited Ms. Beatriz Garcia, Director of Impacts
08 – The Liverpool Model, and Mr. Franco Bianchini,
Director of Research at the University of Leeds: we
worked together to devise the specific supervisory and
assessment procedure to be implemented for MarseilleProvence 2013.
Evaluation
and managementmonitoring tools
Here are various principles of the system that MarseilleProvence 2013 will put in place:
188
Independence and professionalism
In light of the discussions held, we deem it important
to contract a university team to coordinate monitoring
and evaluation procedures in order to meet these two
criteria. This team will collaborate with our various
partners in order to conduct quantitative and qualitative studies. It will take the initiative in creating a
network of university faculties which have worked
on these questions for other European Capitals of
Culture and collate the various studies and methodologies used up to this time.
A review committee will be formed and overseen by
the university team. It will comprise the Chamber of
Commerce and Industry, urban planning agencies,
ARCADE, Agence Régionale du Patrimoine (Regional Agency for Heritage), Regional Tourism
Committee, the Departmental Tourism Committee,
INSEE (National Institute for Statistics and Economic
Studies) and Marseille-Provence 2013.
Three objectives
1.To organise the area’s various existing databases on
culture, tourism, the economy and social aspects.
2.Completely evaluate the effects (economy and
tourism, culture, image and reputation, and the environment) using specific methodologies producing
results that must be organised into a hierarchy.
3.Introduce monitoring indicators from 2010 in two
important areas:
––The event’s impact in terms of economic knockon effects, image and reputation based on criteria
determining the appeal of the area;
––The effects in terms of social ties, access to culture
and sustainable development corresponding to the
goals of the European Capitals of Culture.
A sizeable sum was reserved within the Association’s
“organisation” budget for this task. It will be complemented by other regional sources of financing.
All data will be made available to the “supervisory
and advisory panel”, which is to be created by the EU.
A representative will be designated by the Association
to act as a mediator.
Monitoring management
As mentioned in this Chapter, the project will be
borne by a single entity, the Marseille-Provence 2013
Association, which was specifically created for this
purpose. Thus, all financial data can be centralised
while ensuring the consistency of expenses and simplifying the project’s financial management.
Opting for an organisational system featuring operational management teams will ensure more effective
monitoring of expenses. In addition, for optimum
management efficiency, we will apply some additional
regulations that will be detailed in a procedural manual
and in the internal regulations.
In addition to the professionalism of management
teams, monitoring by the Administrative Board and
mandatory management rules and regulations (public
auditing and chartered accountants), a firm of external
auditors will also be contracted to devise a management
chart for the 2009-2013 period, relative to all major
2013 projects, and to carry out periodic evaluation.
189
Chapter 5
implementation
being prepared?
5.5
5.5.A
Strategy concerning
citizen mobilisation,
promotion,
communications
and tourism
development
from 2009 to 2013
190
Belief confirmed
In the first application file, we put forward an
original approach based on the following observation: communication and culture often find it
difficult to tread the same line, whether it is to
perceive, with originality, an artistic approach or
to contribute to the widening of audiences. Contrary
to the rules of the free market economy and marketing, art and culture are driven more by offer
than demand. The success of a cultural event results
from a wide range of actions within which the
involvement of all the participants plays a greater
role than the press, public relations or advertising.
Marseilles Capital of Culture is based on the belief
that using communication as the mere transmission
of messages to a set audience is not only a limited
approach, but is actually responsible for some of
the failures of the democratisation of culture.
Communicating initially meant “having a part,
sharing”, and in everyday language it meant for a
long time “to participate in something.” Communication thus initially indicated a sharing and a “way
of being together.”
Communication must therefore be devised as a cultural
project in itself, with the following objectives:
––to foster the union between people and ideas;
––to generate participative approaches, forms of
creativity that are encouraged through practice;
––to get the artists themselves to alter their own relationship to communication by perceiving it, first of
all, as a space for sharing rather than one devoted
to promotional use;
––to try to reach the greatest possible number of people
and notably those who are sometimes called “nonaudiences.” This widening is a crucial issue when
faced with the power of entertainment industries.
To boost our strategy, at the beginning of 2009, we
will take the time to launch a comparative study of
past and current promotional strategies introduced
by European Capitals of Culture. The many contacts
we have made with teams that we have met have
reinforced our conviction of the exceptional nature
of this type of operation. This has encouraged us to
take advantage of the wealth of mobilisation and
promotional measures designed by other Capitals.
Therefore in 2008, we decided to launch a series of
projects and mobilisation drives in the area implicated
in the bid (see Chap. 4) rather than finance large
promotional campaigns or short-term events. Communications tools put in place helped to emphasise
these actions thanks to adaptable support structures,
such as Blog 2.013, which developed each project on
the bid’s website in an original way.
The in-depth work being conducted has reinforced
our desire to implement a strategy that closely associates mobilisation and communications. The types
of organisation chosen for the teams from 2009 reflect
this goal, with a management structure that will
coordinate mobilisation, promotion, public relations,
the press, and even protocol and tourism. Consequently, the two budget items relating to mobilisation
and communications, have been merged.
191
5.5.B
The strategy’s
key points
Adaptable and reactive
comunications tools
All of the representatives of the European Capitals
of Culture with whom we interacted stressed the time
factor as well as the risk of saturation, not only in
relation to the four years of preparation, but to the
year of culture itself: “Enthusiasm is a rare quality.”
We will devise the most reactive communications
tools possible.
Three examples:
2.013 medialab: A cultural and participative media
The programme: Of course, we are putting together
project that expands on the 2.013 Blog launched
in 2008. Every day of 2013, this new medium, coproduced by local media (written press and audiovisual
media) artists, cultural structures and inhabitants will
live and promote the Cultural Capital. The principal
medium will be the web, but content gathered on this
multimedia platform will be adaptable to the press,
TV or public events. Media 2.013 will also be the
home base for journalists in residence (one residence
per month) and will therefore be connected to national
and international media, whether aimed at the general
public or alternatives.
an attractive programme more than two years in
advance, so that tourist-based prospecting can be
conducted at key international trade fairs. However,
this will not be the benchmark document for the
general public as it will contain too much information
and will become obsolete very quickly. Dividing the
programme into four seasons means that events will
be announced progressively and we have opted for
simple and reactive promotional tools (newsletters,
weekly or weekend programmes, etc.). In the same
vein, we believe that the season’s opening event will
be of paramount importance in terms of mobilisation
and national and international renown. We will
therefore propose promotional procedures specific to
that event.
Graphic identity: Throughout 2008, the graphic
identity has changed with various versions being
produced by the agency, Atalante – which designed
the logo – as well as by artists and graphical artists
who have often re-interpreted it. If MarseillesProvence’s application is successful, the applicant’s
logo (used by a maximum number of partners in a
show of support) will have to be transformed into the
logo of a European Capital of Culture, with greater
restrictions placed on its use as a label. Atalante has
already designed a new, more streamlined and distinct
version, which will be revealed as soon as an official
announcement is made.
192
To implement these reactive communications tools,
we opted for an integrated team of graphic artists and
webmasters. Public relations or graphics agencies will
also be consulted for strategic designs, graphics creation
or in an advisory capacity.
A geographically
targeted strategy
A policy featuring relay
points and ambassadors
We have identified five major concentric circles of
action:
––The area implicated in the bid;
––The Provence-Alpes-Côte d’Azur Region, which,
strictly speaking, is outside the MarseillesProvence 2013 territory, will also be associated with
the joint projects being discussed (Avignon, Nice,
Monaco, etc.);
––The “Greater South-East” area, which includes
Montpellier, Nîmes and even Lyons, thanks to the
TGV high-speed train network: this is MarseillesProvence’s natural trading area, culturally speaking,
for major events less than 2 hours away by train;
––The rest of France;
––International.
We requested the assistance of the Lille 2004 team,
who coordinated 18,000 ambassadors, with the identification of relay points in the region and throughout
Europe, as well as with the missions to be entrusted
to them. A 2013 ambassadors’ programme will begin
in 2009. The network of twinned cities will contribute
and we will sign agreements with each of the European
Capitals of Culture to raise awareness among their
citizens of the Marseille-Provence 2013 project.
A considerable effort
made to welcome and
inform the public
––Signposting throughout the region;
––Terrestrial and maritime shuttle service for the
general public;
––2013 information booths and interactive terminals
at each of the region’s strategic points (young architects and designers competition launched in 2009);
––A ticketing network system and weekend pass
system;
––A training and information programme designed
for retailers, hoteliers, taxi and public transportation
drivers.
For each of these circles, a specific strategy will be
applied. The nearer we get to the Marseilles-Provence
region, the greater the mobilisation effort will be. The
further away we move, the greater the emphasis that
will be placed on classic means of communication
(press conferences, a presence at key events and important transportation networks), closely associated
with the tourism development strategy.
193
5.5.C
A tourism
development
policy linked to
communications
It is often difficult for the cultural and tourism
segments to synchronise their strategies and programmes. We wanted to take advantage of 2013 to
bring them together for more meaningful discussions,
given that they will be completely interdependent.
A “Tourism Development Plan for 2008-2015”
was launched in March 2007 by the sector’s stakeholders with the European Capital of Culture in
mind. It contains a considerable section on informing
and hosting the public.
The plan outlines an overall strategy and provides
significant support to the 2013 project since it boosts
the tourism product way in advance of that date.
The strategy contains four elements:
A plan to develop hotels
and transportation
infrastructure
Hotels
Four large hotels have just opened or are about to
open:
––New Hotel Pharo: a 4-star facility, with over 100 rooms,
suites and conference rooms;
––Radisson Vieux-Port Hotel: 4 stars, 189 rooms, suites
and conference rooms;
––Villa Massalia: 4 stars, 140 rooms, suites and meeting
and conference rooms;
––Marriott Hotel: 4 stars, 210 rooms on the Euromed
perimeter.
Additional hotels will be built by 2013:
––Novotel, îlot Dubois: 140 rooms close to the new
Saint Charles train station
––Hôtel Parc Chanot: 300 rooms
––Hôtel Intercontinental de l’Hôtel Dieu: 4 stars,
194 rooms
––Hôtel Express by Hollyday: 121 rooms
––Hôtel Novotel: 140 rooms
––Suite Hôtel Euro-Med: 127 rooms
––Hôtel Ibis: 192 rooms
Business and leisure facilities: Euromed Center and
the Palais de la Glace et de la Glisse (ice-skating rink).
194
Transportation infrastructure
––Construction of the Vitrolles train station / Marseilles-Provence airport: Opening scheduled for the
end of 2008. 2 minutes away from the airport thanks
to a rapid shuttle system; this will increase accessibility
to the region’s cities, with 42 trains to be put in
service every day in 2009. It will also shorten the
arrival time (20 minutes to Marseilles city centre);
––Renovation of the Saint Charles train station and
construction of a new bus terminal: An immense
glass hall was built as an extension to the historic
building. Shops, cafés, restaurants and a Tourist
Office have brought life to the city. Parking capacity
has doubled to 800 spaces.
––Construction of a train station on the EuroMediterranean periphery: The Arenc train station,
scheduled to open in 2009-2010, will play a unique
role at the heart of the Euro-Mediterranean zone,
the port, reachable from the airport by train, and
the Côte-Bleue, accessible by tram, the underground
and coach from Aix-en-Provence.
––Rail and road transport throughout the region:
The Metropolitan railway network complemented
by a departmental network of coaches circulates on
five internal routes: Marseilles, Aix-en-Provence,
Manosque / Marseilles, Aubagne, Toulon / MarseillesEuro-Mediterranean, Airport, Miramas, Arles /
Salon, Aix-en-Provence, Martigues Airport and
Fos-sur-Mer. Improvement and expansion are underway, in particular, the Aix-en-Provence line to the
“nerve centres” of the city is being extended.
––Transportation in Marseilles: Two tramway lines
were put in service in June 2007. The planned extension of lines (underground and tramway), the
use of a maritime shuttle service, the expansion of
“bicycle lanes” in Marseilles and Aix-en-Provence
as well as the development of car-sharing in 2007
will significantly improve travel and accessibility
to the city centre and is part of a policy of long-term
development.
––Projects for 2013: complementary transportation
systems: Shuttle service by clean vehicles and a
significant increase in maritime shuttle services
between event locations and cultural sites (as was
the case in Aix-en-Provence for the year of Cézanne); increase in the number of small tourist trains
and “hop on-hop off” tours between tourist sites;
more electric bicycles available for hire; bicycle
rickshaws in coastal regions; young or retired people
paid a fee by a transportation company to transport
and guide tourists around in their own cars.
The development
of the business
tourism segment
Business tourism continues throughout the year and
perfectly complements other forms of individual
tourism, which it often encourages. The project’s
location in the Euro-Mediterranean zone provides
the perfect opportunity for development, particularly
regarding high-tech companies (micro-electronics,
bio-medical engineering, cancerology and immunology), which have a large presence in the area. In
2006, a regional think tank was formed as part of the
Regional Zones for Innovation and Economic Development (PRIDES).
Cruise tourism
The Mediterranean Sea is the world’s premier tourist
destination with over 200 million visitors per year.
Cruise tourism to this area has risen significantly (10%
per year). The Port of Marseilles is an inevitable hub
and plans for major port facilities are at the heart of
the Euro-Mediterranean project, and should considerably increase traffic by 2013.
Eco-tourism
The uniqueness of Marseilles-Provence’s natural sites
is a big plus for the development of quality ecotourism.
The main advantages are:
––The approved creation of the Calanques National
Park in 2011: it will be the world’s second peri-urban
national park after that in Sydney, Australia;
––Following on from the Côte Bleue marine park and
the sub-aquatic national park in Port Cros, the
protection of maritime sites has been extended by
the RECIF Prado coral reef protection operation,
France’s most ambitious project to create artificial
reefs (30,000 m3). It will extend the protected
marine zone;
––The acquisition of 10,000 hectares by the Conservatoire du Littoral (Coastal Protection Agency);
––The Sainte Victoire Mountain, which has been
classified as one of France’s most important sites.
––The Camargue, classified as a regional park: the
Marais du Vigueirat, with 15 km of trails featuring
an observation platform, piers, and circuits to be
discovered on foot or by horse-drawn carriage. These
sites are associated with the World Wide Fund for
Nature (France), the coastal protection agency and
the community of Arles. They are the technical
organisers of the European programme, “Life
Promesse”.
A trade fair entitled ECORISMO has been created.
Unique in Europe, it is a professional forum for exchange on eco-products and environmental solutions
specific to various activities related to hotels, camping
sites, the food service industry and tourism.
195
Chapter 6
200
6.1
Handicaps and weaknesses
202
6.2
Weaknesses with promising
potential
206
6.3
How the European Capital of
Culture will help correct
Marseilles’ weaknesses
How would its
selection as ‘Capital’
help MarseillesProvence become
a true European
cultural metropolis?
Chapter 6 How would its selection
as “Capital” help Marseilles-Provence become
a true European cultural metropolis?
Why Marseilles?
The first chapter of the pre-selection report was devoted to this question. After assessing
the area’s strengths and weaknesses, “seven reasons” were identified in favour of
Marseilles-Provence.
The last two years of work have enabled us to carry out an objective evaluation of the
metropolis’s weaknesses and shortcomings in relation to its cultural and European ambitions.
It has also helped us to elaborate the European Capital of Culture project, which will help
make up for shortcomings, eliminate handicaps, develop strengths and overcome weaknesses,
considering the exceptional potential of the Marseilles area.
The effort that has already been channelled into preparing the bid, uniting stakeholders
behind a collaborative project, establishing an appropriate mode of collective governance,
implementing the first preview projects, and obtaining the necessary commitments for
funding has provided an opportunity to demonstrate our motivation and capacity for
mobilisation, decision-making, and joint actions.
199
Chapter 6: How would
its selection as “Capital”
help Marseilles-Provence
become a true European
6.1
Handicaps
and weaknesses
Economic shortcomings
European shortcomings
Cultural shortcomings
Marseilles is still not part of the “Top 20” European
metropolises, currently ranking 23rd. Following a long
period of decline, it began to make a comeback towards
the end of the 1990s, and continues to make important
progress each year. However, its unemployment rate
remains above the national average (13% compared
to 8%). The number of high-skilled jobs is still less than
that of other European cities of similar size. It also has
less financial potential than other cities of its size.
One paradox stands out, among several others, in
terms of the territory implicated in the bid.
On the one hand, the people of Marseilles “don’t feel”
European; a higher proportion of them voted against the
Constitutional referendum than the rest of France.
On the other hand, Marseilles and the ProvenceAlpes-Côte d’Azur Region:
––Host a large number of European and EuroMediterranean organisations (see Report 1, p. 35),
––Are the single managing authority or national
coordinator of several EU programmes,
––Are model participants in certain European programmes (“Youth in Action” for example),
––Mobilise European funds for their development
(between 2000 and 2006, 23 cultural projects
benefited from European grants via 14 different
grant programmes).
Three critiques are most often formulated by those
professionally responsible for culture, as much in
Marseilles itself as elsewhere.
Firstly, energy, resources, institutions and events are
vastly dispersed in Marseilles, while cultural figures
and projects are relatively isolated. The advantage of
this dispersion is that it ensures remarkable cultural
irrigation of the area, activities that are strongly rooted
in districts, and proximity between these activities
and the public. Inconveniences include a lack of facilities that are big enough to project themselves
nationally or internationally.
Urban shortcomings
Despite the considerable effort that has been made,
especially since the creation in 1995 of the EuroMediterranean Public Development Agency (l’Établissement Public d’Aménagement Euroméditerranée),
which has spearheaded the largest urban renewal
operation in Europe, there is still a lot of work to be
done in certain districts, in both the city centre and
outskirts, to build new housing and develop stable
employment (in the most underprivileged districts,
unemployment among youths aged 18-25 has reached
40%). Certain services must be improved, especially
with regard to urban cleanliness, public transport and
nightlife in the city centre.
Marseilles-Provence thus has a number of community
policies, but its residents have little consciousness of
being, or desire to be, “European and Mediterranean.”
Shortcomings in good
governance
Marseilles-Provence is not used to leading large
projects on an international scale. Cooperation
between local authorities is impeded by strong wealth
disparities and a history of traditional rivalries independent of political factions.
200
Secondly, Marseilles does not have enough annual,
internationally recognised artistic events which attract
both French and foreign artists and professionals,
while promoting the cultural development and
attractiveness on a scale equal to the city’s ambitions.
Such events exist in its exurbs (Aix-en-Provence,
Arles, La Roque d’Antheron). Some exist in Marseilles
but are much too small or need to be developed.
Thirdly, Marseilles is often admonished for its failure
to produce works of international repute. In other
words, for not being a European centre of creativity
and artistic exploration.
201
6.2
Weaknesses
with promising potential
The following highlights key points from the descriptions provided in Chapter 1 of Report 1:
Geographical potential
Cultural potential
Strategically located in the middle of the Latin Arc that
unites metropolises along the Northern bank of the
Mediterranean, Marseilles-Provence plays an essential
role in supporting and developing Southern Europe.
Marseilles is the most cosmopolitan European city.
Some thirty ethnic groups have settled and coexist
here. Generous and hospitable for the last 20 centuries, it is an intercultural city par excellence.
Offering a multitude of experiences, Marseilles is a
privileged testing ground of cultural integration at
a time when issues related to immigration are increasingly central to European construction.
By building a multimodal transport terminal, it has
turned itself into an international transportation hub.
––With the opening of its new, low-cost MP2 terminal,
the Marseilles-Provence international airport now
has direct routes to 90 destinations in 30 countries.
––The Marseilles Independent Port Authority has
connections with more than 200 ports worldwide,
transporting 2 million passengers every year.
––22 million passengers pass through the Aix-en-Provence
and Marseilles high-speed train stations each year.
––Three motorways linking Spain and Italy to Northern Europe intersect in Marseilles.
Unrivalled destinations and cultural heritage sites –
from the Rade de Toulon to the Port-Saint-Louis-deRhone – abound: cliffs, coves, beaches and the only
bay in Marseilles, which boasts 57 km of coastline.
The Camargue (river delta), the Crau, the Alpilles
and the Sainte Victoire Mountain provide a stunning
backdrop to Provence’s exceptional landscapes.
202
Cultural institutions have been forming partnerships
and encouraging exchanges with their European and
Mediterranean counterparts for a long time. They
know how to adhere to EU priority policies and obtain
corresponding financial support.
Artistic and cultural life is characterised by a number
of activities dispersed throughout the region, a balanced combination of elite and popular cultural forms,
consideration for contemporary writing, an abundance
of groundbreaking actions to promote cultural democracy and reaching out to new audiences (particularly
in schools and associations, whose enthusiasm and
quality stand out nationally).
203
Economic and urban potential
International potential
Human potential
Marseilles-Provence’s development strategy outlined
in its “Schéma de Cohérence Territoriale” – SCOT
for 2016 is based on the knowledge and creation
economies, in line with the Lisbon Agreements.
Several competitiveness clusters are currently being
created around or near universities, research institutes
and top-ranking businesses in France.
As attested by Marseilles’ and the Provence-AlpesCôte d’Azur Region’s European roles and activities
(see Chap. 1/Report 1) and their 2008 programme
for European activities described in Chapter 2 above,
the international character of activities and the budgets
allocated to them have grown considerably over the
past five years and are picking up speed. This bid is a
telling example.
The two years spent preparing the European Capital
project have demonstrated how political, economic,
cultural, academic and scientific groups are determined
to work together and make cultural investment a key
priority for development throughout the territory, as
well as for promoting its attractiveness and renown. By
2002, Marseilles had already won a “Eurocities Award”
for its urban renewal cultural projects related to the
theme “Culture: the driving force for cities.”
The urban renewal project led by the Établissement
Public Euroméditerranée has resulted in the construction of 200,000 m2 of new office space and the creation
of 16,000 jobs. The government has just decided to
expand and double the size of the original zone
(400 ha).
They have also shown just how strong the associative
fabric is throughout the region and its exceptional
potential to integrate people into the community.
Above all, these past two years have demonstrated
a capacity to mobilise, unite and work together not
only to conceive a common project and devote the
time needed for reflection, debate and design, but
also to implement various tangible elements that
prefigure the future Capital, regardless of the final
selection. In this regard, the commitment made by
heads of cultural institutions, businesses and associations was exemplary. This is the reason why, as
described above, the first “Ateliers de l’Euroméditerranée” were able to be initiated in 2008.
204
6.3
How the European
Capital of Culture will
help correct
Marseilles’ weaknesses
Making up for
economic shortcomings
The Marseilles-Provence bid is fully compatible with
the previously mentioned “Schéma de Cohérence
Territoriale” – SCOT 2006-2016, which privileges
an economy based on innovation and creation.
It develops new, mixed economic models for cultural
production incorporating businesses, not only for their
direct financial support, but also for their long-term
commitment to creating studios for the “Ateliers de
l’Euroméditerranée” project.
It transforms the legal status and modus operandi of certain
major cultural institutions, like the Friche La Belle de
Mai Arts Centre (now operating as an SCIC) and incorporates the public sector, cultural industries and
commercial activities that create wealth and jobs.
Its project themes focus on addressing European
cultural challenges that have a direct impact on socioeconomic development (integration of immigrants,
training and education, gender equality, management
of water resources, etc.).
More specifically, it brings together artists and academics to create and reflect on these challenges following
the example of the RAMSES 2 research project, which
is supported by Europe and whose programmes inspired
206
diverse proposals for the bid including encounters and
debates such as the “economy and culture” symposium,
which will take place in 2013 with preparations beginning in 2009.
It proposes recurring international events whose aims
are to increase the territory’s attractiveness and its
capacity to welcome businesses, jobs and upper-level
management.
It provides Marseilles-Provence with a sustainable
training and creation centre via the “Ateliers de
l’Euroméditerranée”.
Making up for
urban shortcomings
The Marseilles-Provence bid has programmed cultural
investments that are compatible with the area’s urban
renewal and sustainable development strategy.
It participates in the cultural reconversion of certain
central spaces at the Port of Marseilles:
––The former J1 hangar,
––The J4 unit where the new CRM (Regional Mediterranean Centre) and the new MuCEM (Museum
of European and Mediterranean Civilisations)
buildings are being built.
It promotes cultural renovation in the quays district:
––Transforming the Silo into a concert hall,
––Installing the new Regional Contemporary Art
Fund (FR AC),
––Expanding cultural activities at the former docks
and the Docks des Suds,
–– Opening the Euromed Centre’s cinematographic
centre.
It is supporting renovation projects located on former
industrial sites:
––The future “Street Arts Academy” in the Northern
district, whose first stone was laid in late 2007,
––The “SNCF Workshops” in Arles that will develop
significantly over the forthcoming years,
––The “Friche La Belle de Mai Arts Centre” that has
recently adopted the cultural plan and project for
a new area of renovation,
––The “Gare Franche” located in a former factory in
the Northern district, which recently opened its
doors to new creative, educational and project activities in the city (“an art lab in the city”).
The bid proposes a series of major projects for artistic
creation in the public spaces of urban renewal areas
(see The “Digue du Large”, “Via Marseilles” and “New
Commissioners” programmes).
It calls for a cultural revival project in city centres
(see the “One Thousand and One Nights” programme
in Strategy 2).
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In close connection with the policies driven by the
Bouches-du-Rhône Conseil Général and local authorities, it proposes local cultural development projects
that favour the itinerancy and mobility of exhibitions
and shows, associations’ activities, and artistic workshops in schools (see Themes 1, 2, 3 and 4 of the
project’s Strategy 2).
Making up for European
shortcomings
The Marseilles-Provence bid is entirely based on the
territory’s desire to play a part in building a creative
Europe (see Chap. 2).
It is based on a European, cultural, geopolitical approach that supports the Barcelona Process and which
consists in creating in Marseilles-Provence a lasting
platform for collaboration, exchange, training and
production for European creators and creators from
other neighbouring Mediterranean countries.
It sets the stage for a permanent and sustainable presence
of European and Mediterranean artists in the area.
It supports and exploits two new major cultural institutions devoted to Europe and the Mediterranean:
the MuCEM and the CRM.
Each of its projects possesses a Euro-Mediterranean
208
dimension, whether it is the theme, its partners, the
origin of the artists on exhibition, or most often, a
mix of these three criteria.
It strives to give its projects the most tangible, popular
and visible forms possible, so that the reality of Europe
in terms of both its diversity and unity become a tangible
experience for the people of Marseilles-Provence.
It multiplies the number of workshops that allow
citizens to participate in future Capital projects whose
themes are directly linked to European ambitions and
which are already being put in place with other groups
of citizens throughout Europe and the Mediterranean
(see Theme 4 of Strategy 2 and Chapter 4).
It solicits and will continue to solicit European funding,
in connection with the new agenda (follow-up on
the Barcelona Process, replacement of the IEPV with
the European Neighbourhood Policy, new 2007-2013
cultural programme) both for its investments (EU
funds are already financing certain Capital project
facilities and their development) and for its activities
(for example, helping with the Aix-en-Provence
European Music Academy’s 2000 Culture Programme
or the European “Youth in Action” programme that,
in 2006 and 2007, financed nearly ten actions and
which should support the reception and training of
Euro-Mediterranean “young volunteers” – staff and
leaders for the future Capital).
Making up
for shortcomings in
good governance
Since its creation, the Marseilles-Provence bid has been
spearheaded by an Association responsible for managing
the project (see Chap. 5). This Association is comprised
of elected local authorities from each commune as well
as business, cultural, educational and scientific leaders.
It is chaired by a business leader.
The Association’s Administrative Board has met twice
every month since its creation. All decisions, especially
financial ones, have been taken unanimously. The
Board’s independence in terms of artistic and cultural
programming has been assured and respected by all.
Two years of work has put the different partners’
commitment to the test and helped bring working,
management and decision-making methods up to
scratch for a collective project of such magnitude.
We are positive and reassured by this experience
– though aware of the difficulties that lie ahead,
having visited former Capitals – that the European
Capital of Culture project will make a decisive
contribution to building a true metropolis and essential intercommunal practices. The project’s
success prefigures and conditions that of the Marseillaise Greater Urban Area (AMM).
Making up for cultural
shortcomings
––The project regrouping some of Marseilles’ museums
in a new and unique space, the Grand Longchamp
by 2013.
The Marseilles-Provence bid responds to the three
cultural weaknesses mentioned above.
It diminishes its handicap when it comes to internationally-renowned artistic events by presenting two
new permanent festivals, with no national or international equivalent:
––The “InterMed” Festival, an annual showcase of
contemporary and multidisciplinary Mediterranean
creation,
––The “Via Marseilles” Festival, a European event
devoted to the relationship between art and public
spaces (see Chap. 1 and the document in the
Appendix).
––By creating two new European high points:
––International Biennial of Circus Arts,
––“InterMed Youth,” public workspace for youths.
By developing existing festivals, such as the Sacred
Music Festival which, by joining forces with the
Moroccan Fes Festival and the Slovakian Kosice
Festival, could become a Euro-Mediterranean event
par excellence.
It lessens the dispersion handicap by bringing cultural
figures together and consolidating their activities and
resources on a few strong, common projects:
––The “Ateliers de l’Euroméditerranée” where the
project will be managed collectively by the group,
––The two new multi-disciplinary, multi-polar festivals,
InterMed & Via Marseilles, products of the shift
towards consolidation.
––Joint museum exhibitions with a common theme,
presented in several different complementary ways
(see in the Appendix, the project “Le Partage des
Midis: Painters and the Mediterranean”).
–– Existing festivals whose activities are already being
developed in connection with the bid by partnering up
with diverse cultural institutions (museums, art galleries,
libraries, theatres, etc.). Such is the case, for example,
with the Festival of Marseilles, the International Documentary Festival and the actOral Festival.
––Stages and teams collaborating on original new
projects. The cultural action programme in Northern
districts initiated by the Gare Franche in collaboration with the Scène Nationale du Merlan and
Lieux Publics – Centre National de Création des
Arts de la Rue is an example.
It lessens the handicap of insufficient, internationally
renowned artistic productions from Marseilles:
––With the international commissioning programme
for The “Digue du Large”, “Montains and
Wonders” and “European Artists’ Funfair” (see
Chap. 3),
––With the “New Commissioners” programme
(see Chap. 1),
––With commissioning programmes initiated in
connection with festivals, in particular “Via
Marseilles”,
––With certain exceptional productions (creation of
an opera and a theatrical and musical trilogy for the
Camus centenary, etc.).
209
Demographic, economic, ecological and political fractures are worsening
on the EU’s Southern borders. At the crossroads of populations and religions,
the Mediterranean is a focal point for the turmoil of our planet. Cultures,
Of all of the candidate cities, Marseilles-Provence is probably the one
memories, relationships between men and women, social models, the status
that most needs the title of European Capital of Culture.
of art and of our icons all divide the two shores and feed distrust and discord.
Marseilles is changing.
More than any other city, Marseilles-Provence is facing up to these problems.
Yet despite the massive efforts that have been invested over the last 15 years
to turn a declining city around, Marseilles-Provence has still not wholly
As a land of immigration and a city of refuge, rejecting the divisive
communitarist model, Marseilles is inventing and experimenting with
made up for falling dramatically behind national and European standards
blends and mixes that need essential support.
in terms of economic and urban modernisation.
Thus, of all of the candidate cities, Marseilles-Provence is the most
Among these efforts, we have allotted an essential place to the development
intercultural – the city in which dialogue between cultures is both more
of culture as a force for promoting the regeneration, status and activity of
ancient and more diverse.
our city.
Although Marseilles may need the EU more than the other cities do, we
These efforts deserve to be recognised and encouraged, and they must be
may also be more useful to Europe than the others, thanks to our
pursued.
experience of sharing and integrating. Marseilles, with its own resources,
Of all of the candidate cities, Marseilles-Provence is the one that is most
could provide the EU with an original and durable tool that might be
directly affected by the major issues that will, in part, determine the
future of Europe.
used to advance the 3rd element of the Barcelona Process. The “Ateliers
de l’Euroméditerranée” will deliver tangible results that will help to push
the Process forward into areas where it needs to flourish: mobility for
artists, encounters with artists and their works, the transmission of
knowledge and skills, and contemporary creation in all various forms.
210
211
A flagship boat for the “Ateliers de l’Euroméditerrannée”. Images Laurent Garbit
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Design : Atalante (www.agence-atalante.fr)

Marseille- Provence 2013 - Plan Estratégico de Burgos

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