21 May 2010

ANIMATED Museum – Culture Access – March 2010, Workshop 3, Budapest




The 3rd training of ANIMATED took place in Budapest in cooperation with VIVO Foundation and Ludwig Museum – Museum of Contemporary Art from 4 to 7 March 2010 with the aim of introducing contemporary art to PEOPLE WITH SPECIAL NEEDS.
The workshop offered a variety of programmes and a whole day conference, which attracted over 70 participants from different Hungarian cultural organisations, public and private institutions, along with the press. ANIMATED partnership guests were also Marina Sorbello, Antje Weitzel, Dorothee Bienert, Mona Jas, Ulrike Solbrig from Berlin and Aleksandra Nalbantova, Zhivka Janakieva-Nacheva, Diana Andreeva, Iveta Koleva, Ivan Dobrev and Georgi Iliev from Sofia and Stara Zagora.
The Ludwig Musem – Museum of Contemporary Art decided on the topic of CULTURE ACCESS as it not only coincides with the core principle of the museum to provide physical and intellectual access to the widest audiences but also fits in with the framework of the Grundtvig programme as part of the Lifelong Learning Programme.
The training has shown us that ‚CULTURE ACCESS‘ is a field of exploration to further explore and with a lot of potential. The topic is related to the broader field of audience development. It is associated with the broader theme of the 2010 theme of the European Year for Combating Poverty and Social Exclusion. Although operating in different organisational forms and with different focus the exchange between Uqbar, Intercultural Consult and Vivo Foundation proved to be relevant and aroused interest. We have found that all three partners have benefited from this direct learnign experience and there is need to follow up on its success.
The programme of the workshop:
On 4th March the group visited two private initiatives, the







„ABILITY PARK“ http://www.abilitypark.hu/home/english/ and the „INVISIBLE EXHIBITION“ http://www.lathatatlan.hu/en, which were examples of cultural entrepreneurship targeted at building on new ideas and trends in modern society. The Invisible Exhibition Budapest is a unique interactive journey to an invisible world, which allows participants to experience how to find their way through touch, sound and smells. The Ability Park - a thematic amusement park – helped the learners to get acquainted with the life of people with disabilities in an interactive and entertaining fashion.




On 5th March there was a whole day conference at Ludwig Museum – Museum of Contemporary Art. First Ranise Cécile PhD presented on the MEANING OF ACCESSIBILITY for people with special needs in the context of museums along with the current situation of Hungarian and European museums. Her presentation was followed by BEST PRACTICE EXAMPLES shared by: Skanzen Museum (Hungarian Open-air Ethnic Museum) on postgraduate courses offered by the Skanzen (Éva Csesznák); the Museum of Fine Arts Budapest (Edina Deme)
From the Ludwig Museum – Museum of Contemporary Art Rita Farkas and Henrietta Szira from the Education Department introduced how the museum can solve the question of accessibility. New initiatives from the context of Budapest Museum of Contemporary Art were discussed: the Guided tour for deaf and hard of hearing or blind and visually impaired in cooperation with the Hungarian Federation of the Deaf (Sarolta Dobránovics) and with the Hungarian Federation of the Blind and Partially Sighted (Márta Dr Tolnayné Csattos); the guided tour for mentally disabled audiences was presented as a partnership of the contemporary arts museum with a day-boarder home for mentally disabled adults ( Ágnes Onódi). A concert by “Nem adom fel” (rock-group founded by people with special needs) was also part of the programme as well as a guided tour in the exhibition “Transitland” - Video Art from Central and Eastern Europe 1989 – 2009 http://transitland.eu/


On 6th March there was an informal meeting at Gödör Klub. The learners exchanged thoughts on their experience and discussed their impressions about the previous two days by doing an interactive word game. Hungarian and international contemporary artists whose artwork deals with the problems of people with special needs also joined the meeting. Later a partner meeting took place between Diana Andreeva /Sofia Observatory of Culture Economics/ and Peter Inkei, /Regional Observatory on Financing Culture in Central-Eastern Europe, www.budobs.org. The exchange of professional ideas between learners continues in June 2010 in Berlin and Sofia.



17 May 2010

VIVO foundation


VIVO Watershed Visual Education Foundation is an organization founded in September, 2001. It concerns itself with museum education. The members of the foundation are students specialized in art history, aesthetics, literature, media as well as a number of foreign languages.

The foundation organizes guided exhibition tours in a number of Budapest’s museums on a regular basis. These guided tours aim to awaken interest in the visual arts among children and adults. Along with expanding a child’s factual knowledge, special emphasis is put on improving their creative thinking. Programs are geared for small groups so that each participant can receive proper attention. This also allows every child to participate in numerous, playful exercises according to his or her own needs. Consequently, everyone takes an active role in the program’s activities.

The activities are approximately one and a half hour long. This enables us to discuss 5 to 10 works of art in detail. In other words, the aim is to encourage quality – and not quantity – based reception of pieces. To help process the material exhibited, we utilize playful exercises, task sheets and other aids to promote creative immersion of the participants. We would like to prove that for the interpretation and enjoyment of works of art – that is to say, for a successful conversation with artistic products – preliminary knowledge concerning the objects on display is not necessary. We intend to provide a number of approaches to children so they might select their favourite interpretation or create new renderings afterwards. Along with all of this, our concern is also to develop the participants’ encyclopaedic knowledge and to point out the connection between factual data, which we believe necessary in order to attain a complex understanding of the ontology of artistic objects.