From top to bottom, left to right:

1. Maribor, Placebo ali Komu potok solz ne lije, Photo: Dejan Bulut
2. Essen for the Ruhr, Eröffnung close encounter by Joeressen and Kessner, Photo: Rupert Oberh Ñuser
3. Guimarães, CIAJG Center of Arts José de Guimarães, Photo: Paulo Pacheco
4. Essen for the Ruhr, Tiger & Turtle, Photo: Manfred Vollmer
5. Aarhus, Rethink Landscape, Photo: Thomas Rühlin
6. Maribor, Črne maske, Photo: Mediaspeed
7. Maribor, Klovbuf, Photo: Pat Verbruggen
8. Guimarães, La Fura dels Baus - opening show, Photo: João Peixoto
9. Maribor, Chouf Ouchouf, Photo: Mario de Curto
10. Marseille-Provence, MUCEM / © R.Ricciotti and R. Carta Architects
11. Umeå, Old pianos transformed into playable pieces of art by Marc Strömberg, Photo: Eugenio della Morra
12. Turku, Parade Carpet by Meiju Niskala, Photo: Tuukka Kaila
13. Maribor, Culturel embrassies, Italy, Photo: Miha Sagadin
14. Maribor, Gora okrog tube, Photo: MP Produkcija
15. Essen for the Ruhr, Symphony of Thousend, Photo: MichaleKneffel
16. Guimarães, platform for Arts and Creativity, Photo: Paulo Pacheco
17. Turku, Eurocultured Festival, Street Art by Aryz , Photo: Kari Vainioi

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European Commission
Directorate-General for Education and Culture
B-1049 Brussels

Luxembourg: Publications Office of the European Union, 2015

ISBN 978-92-79-43622-2
doi: 10.2766/87872

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Reproduction is authorised provided the source is acknowledged.

Printed in Italy
Foreword
Tibor Navracsics, European Union Commissioner for Education,
Culture, Youth and Sport

O
ver the past 30 years, Culture also contribute to forging an image of an attractive
the European Capitals and creative Europe open to cultures from across the world.
of Culture have grown
into one of the most ambitious Being a European Capital of Culture can also boost the long-term
cultural projects in Europe. And socioeconomic development of cities. They often take this opportu­
they have become one of the nity to regenerate themselves, improve their creative and innovative
best known — and most appre­ potential, develop new and more sustainable forms of tourism and
ciated — activities of the Euro­ raise their profile. Being a European Capital of Culture can also fos­
pean Union (EU). ter social and territorial cohesion within city boundaries and beyond,
strengthen citizens’ roles in the city’s development as well as their
The original motivation of the participation in the shaping and making of cultural expressions.
project —started in 1985 on the
initiative of the then Greek Minis­ This brochure showcases successful projects in recent Euro­
ter of Culture Melina Mercouri — pean Capitals of Culture. They show that the European Capitals
is still very much valid: to bring of Culture have become laboratories of strategic investment in
citizens of the European Union (or the European Community, as culture, benefiting our economies and our societies as a whole.
it was then called) closer together.
The European Capitals of Culture are an integral part of the
By providing opportunities for Europeans to meet and discover Creative Europe programme 2014–20, whose ambition is to
the great cultural diversity of our continent and to take a fresh promote Europe’s cultural diversity and cultural heritage and to
look at our common history and values, the European Capitals reinforce the competitiveness of our cultural and creative sectors.
of Culture promote mutual understanding and intercultural dia­ Creative Europe helps artists, cultural professionals and cultural
logue among citizens and increase their sense of belonging to organisations to adapt to the digital age and globalisation, work
a community. across borders and reach as many people as possible in Europe
and beyond. It also supports efforts to improve access to finance
The European Capitals of Culture remain first and foremost a through the setting-up of a new financial guarantee facility.
cultural event. Cultural activity in these cities increases, new
audiences can be reached and the city’s cultural operators I am pleased to celebrate the 30th anniversary of the European
can acquire a more international outlook and thus improve Capitals of Culture, and I invite you to discover more on the
their skills and professionalism. The European Capitals of following pages.

1
Guimarães 2012 —

Platform for arts and creativity in a former market —

photographer: Paulo Pacheco

European Capitals of Culture:

30 years of achievements

T
hirty years old in 2015, the Euro­ The European Capitals of Culture can also explicit EU policy. And the first city to
pean Capitals of Culture initiative deliver in terms of prosperity and quality hold the title was Athens, in 1985. Glas­
remains fresh and vigorous, highly of life for the cities that take part. Culture gow in 1990, Antwerp in 1993 and Co­
popular with cities and citizens across has become more closely integrated into penhagen in 1996, to name just a few,
the European Union. It is now a prestig­ the long-term development of many of the conspicuously demonstrated just how
ious and fully mature year-long interna­ participating cities. And the cities have in much could be done.
tional event with an established place in turn benefited from regeneration and new
global cultural calendars. infrastructure, a higher international profile, Progressively, a sequence of refinements
increased tourism — and an enhanced in the processes for choosing cities, and
Over and over again throughout those image in the eyes of their own inhabitants. in monitoring and evaluating their perfor­
30  years, the European Capitals of Cul­ Participation in the European Capitals of mance, have helped to raise the level of
ture have highlighted the richness of Culture programme has frequently helped professionalism in the preparation and ex­
cultures in Europe, and allowed Europe­ achieve many policy goals at regional and ecution of the events. Milestones include
an citizens to share celebrations of their national level, too. the competitive bid process introduced in
diversity. Millions of Europeans have 1999, and the guarantee since 2005 of a
also been offered a new sense of be­ From its earliest days, it offered a plat­ minimum of four years’ lead-in time — a
longing to a common cultural area — form for creativity. The idea of designat­ development that has inspired still bolder
and millions, in the more than 50 cities ing an annual ‘European City of Culture’ ambition. With the growth of the profile of
that have taken part, have had the chance was first proposed by the Greek Cul­ the European Capitals of Culture, the bid
to show off the local places and customs ture Minister, Melina Mercouri, in 1983, process itself has become a high-profile
and events that they take pride in. long before culture was elevated into an event in its own right. And increasingly,

3
Guimarães 2012 —

Renascer ‘Time to be reborn’ —

photographer: José Caldeira

the initiative has fostered the development six years before their title year, two Member
of an aspirational vision that goes beyond States of the European Union invite
celebration, and embraces transforma­ applications from the cities on their territory
tion. Being a European Capital of Culture that might be interested in bidding for the
has become a catalyst for a wider change honour. Over the course of the following
in the perception of a city — both by its two years, the applications are reviewed
own residents, and by the world beyond. by a panel of independent experts in the
field of culture, who recommend one
At the same time, a trend has emerged for city in each Member State for the title.
activities to have an impact that is felt not These are then formally designated as the
only in the cultural sphere, but spreads into European Capitals of Culture four years
the social, educational, urban-planning and ahead of the relevant year, permitting
even economic and regional dimensions. extensive and detailed planning and
Programmes have deliberately sought preparation. The panel, supported by the
to widen engagement across more diverse European Commission, continues to offer
audiences — particularly in parts of a city advice and guidance to designated cities on
or segments of its population that do the evolving preparations until the hosting
not represent customary customers for year. Finally, at the end of the European
cultural events. Involving local populations Capitals of Culture year, an evaluation
actively in the creation and conduct report is prepared for and published by the
of events has also become a matter of European Commission. EU funding of the
routine, and the deployment of ‘citizen European Capitals of Culture initiative has
volunteers’ has cemented many of the also increased over the years. It amounts
cities’ programmes into the consciousness now to EUR 1.5 million for each chosen
of the local population. The ‘life cycle’ city, in the form of the Melina Mercouri
of each European Capital of Culture Prize, which is awarded in light of the
programme has evolved too. Nowadays, outcomes of each city’s preparation.
 Umeå 2014 —

Closing ceremony, Northern light —

photographer: Fredrik Larsson

Riga 2014 —

Chain of book lovers —

photographer: Martins Otto

During its evolution, the programme has en­

couraged a stronger commitment towards
more closely-defined and locally-sensitive
vision statements. It is important that the
programmes not only correspond to the
ambitions of the planners but also sit com­
fortably with the city’s own population. This
requires an acute consciousness of local
culture — in every sense of the word — to
ensure that the content of the programme
and the creation or import of new cultural
activities win the support of local commu­
nities, rather than generate disruption and
associated tensions.

Bringing ‘European added value’ to the

event has always been an obligatory
theme for aspirants. For cities, it means
connecting their local context with the Eu­
ropean framework, but also being locally
meaningful while appealing at European
and international levels. This has resulted
in presenting events featuring European
artists, collaborations, co-productions, and
exchanges between artists and cultural or­
ganisations across Europe. At its best, this
cooperation has a strong rationale — often

6
Riga 2014 —

Musical light show —

photographer: Martins Otto

based on a pre-existing geographical, his­ And of course the promotion of tourism The Directorate-General for Education and
torical or more personal links. The Europe­ across Europe, attracting visitors from oth­ Culture, the responsible department of the
an dimension can also be explored through er Member States or beyond, automatical­ European Commission, has supported the
developing European themes and issues ly reinforces the European significance of a process, producing a guide for candidate
or celebrating aspects of European history, city’s event. cities, and a series of information days
identity, shared values and heritage. Some­ at which potential candidates can learn
times this has taken the form of present­ Candidates — and winners — have faced more about the logistics of organising a
ing old themes in fresh ways, or revealing up to the challenge of communicating bid. It has also fine-tuned the presumptions
hidden aspects of a European connection a vision for the event, and of setting and mechanisms at the heart of measuring
— or even tackling difficult themes that res­ goals, especially for the longer term, as is success for the programme.
onate across the continent. Specific part­ evident from the sustainable legacy plan­
nerships between cities have also offered ning that has become a growing feature of The programme is already looking ahead
scope for new reflections and new relations. programmes. to the next 20 years. On 14 April 2014,

7
 Turku 2011 —
Colourscape colour labyrinth —
Eye Music Trust

acting on a proposal by the European European Capitals of Culture project into competitive bidding process. And the fol­
Commission, the European Parliament and their overall cultural strategy as a way to lowing quotation from late 2014 — from
the Council adopted a decision for a new produce a sustainable cultural, social and Androulla Vassiliou, the former European
action for the European Capitals of Culture economic legacy. And additional support Commissioner responsible for education,
for the years 2020 to 2033. The aims are will be made available to cities during the culture, multilingualism and youth, on the
largely unchanged — to safeguard and preparation period. It will also be possible recommendation of Matera as European
promote the diversity of cultures in Europe, for a city in a candidate country or potential Capital of Culture in 2019 — is self-ex­
to highlight the common features that candidate for EU membership to hold the planatory: ‘I congratulate Matera on its
they share, and to foster the contribution title every third year as of 2021. successful bid. The competition for the ti­
of culture to the long-term development tle in Italy was one of the strongest ever,
of cities. The main features would also Although it is now one of the longest-run­ with 21 initial contenders narrowed down
be retained — equal opportunities for all ning EU initiatives, the European Capitals of to six finalists. This number is a testimony
Member States, geographical balance, a Culture remain relevant — as may be seen of the immense popularity of this European
strong European dimension, and the in­ by the continuing intense interest. In the Union initiative. I am confident that Matera
clusion of all citizens in all neighbourhoods competition for the 2016 edition, 16 Spanish will attract more visitors from Europe and
of the city in the project. There will be an cities and 11 Polish cities expressed a de­ all over the world to discover the city, its
increased focus on the need for candidate sire to become their country’s European history and the cultural diversity which is
and winning cities to better embed their Capitals of Culture, and engaged in a fiercely one of the strengths of our continent.’

8
9

10

Mons 2015 —

Opening —

photographer: © David Bomans

A high-profile cultural event

T
he concept of culture has taken on of Culture to date, creating numerous aerial ballet against a dramatic rockface.
new meaning with the European opportunities for citizens to attend, to take The more conventional forms of culture
Capitals of Culture. Not just high part in or sometimes also to co-create cul­ have also featured prominently, but often
culture — although there has been plenty tural events stretched across several cities associated with a touch of modernity. In
of that. The capitals have demonstrated and a wide territory. Altogether it featured Turku (Finland), the world premiere of the
Europe’s capacity for defining culture some 950 projects, including an exhibition opera ‘Eerik XIV’, specially commissioned
in the broadest possible sense — and of Cézanne, van Gogh and Bonnard in from composer Mikko Heiniö, inaugurated
for giving it a high profile too. In recent Marseille and in Aix-en-Provence that was the new main hall for performances. Ap­
years, the chosen cities have promoted seen by nearly half-a-million people. propriately, it depicts the life of the 16th cen­
culture in so many of its facets, from tury Swedish king who cherished dreams
the most refined miniatures to the most But Marseille-Provence also took new of a civilized Europe, once proposed
spectacular public events. And in giving approaches to culture, such as moving to Elizabeth I of England, and afterwards
culture that high profile, it has repeate­ 3 000 sheep across the region in commem­ lived happily with his peasant Finnish wife in
dly breathed new life into a city’s cultural oration of the summer tradition of transhu­ Turku castle.
consciousness. mance, reminding the urban population of
its earlier pastoral roots as the flocks con­ In Essen for the Ruhr (Germany), a per­
Marseille-Provence (France) mounted verged on the city centre in the final stages formance of Gustav Mahler’s eighth sym­
one of the most extensive and wide­ of the event. Stavanger (Norway) adopted phony — the ‘Symphony of a thousand’—
ranging programmes — culturally and a different approach to taking advantage was given exactly 100 years after the
geographically — of any European Capitals of the physical environment — staging an premiere, under the baton of Lorin Maazel,

11
and with more than 800 singers and more Warhol, and gestures of multicultural inspi­ architectural heritage, had exhibitions and
than 150 musicians on stage, including al­ ration, paying tribute to Slovak–Hungarian a competition on architecture, which was
most all the philharmonic orchestras of the and Roma heritage or the Mazal Tov Jew­ a strong focus of the overall programme.
Ruhr region and 28 choirs. ish festival. There was experimental dance
and opera, and there were high-profile Others moved into entirely new territo­
The balance between high culture and lo­ performances, including the Tokyo Metro­ ry for culture. Pécs (Hungary) created a
cal culture found different forms of expres­ politan Symphony Orchestra, and works brand new state-of-the-art auditorium,
sion from city to city. Košice (Slovakia) took by Krzysztof Penderecki. And Jordi Savall, which featured concerts of a wide range
cultural events beyond the mainstream of the renowned viola da gamba player, con­ of music and spectacles during the year.
the city centre by making imaginative use ductor and composer, brought his early
of a former barracks and of neighbour­ music ensemble Le Concert des Nations And others deliberately courted controver­
hood heat exchange stations, renovating to perform Haydn’s ‘Seven last words of sy, generating vivid public debate about
them for local art events. To maximise the our saviour on the cross’ in St Elisabeth’s the role of art. The sculpture ‘Embank­
impact, it began many of these cultural ac­ Cathedral. ment arch’ created in Vilnius (Lithuania)
tivities during the development phase of its by Vladas Urbanavicius led to widespread
European Capital of Culture year, as part of Most cities mounted events with a spe­ reflections on the relationship between
a long-term process that included the use cific link to their own historic culture. Gui­ local people and contemporary art.
of local groups in innovative art forms. But marães (Portugal), closely associated with
other Košice events included celebrations the emergence of the Portuguese national Perhaps above all, it is the performances
of the work of the son of Slovakia, Andy identity in the 12th century, and with a rich that leave the strongest impression, and

12
Stavanger 2008 —

Project Bandaloop aerial ballet —

photographer: Asle Haukland

Essen for the Ruhr 2010 —

Symphony of a thousand —

photographer: Manfred Vollmer

imprint themselves onto the cultural

consciousness of a city long after the
year has closed — such as Maribor’s
(Slovenia) opening production of its year
with Marij Kogoj’s opera ‘Black masks’
performed by the joint ensembles of the
Maribor and Ljubljana National Theatres.

Taking culture outdoors in huge popu­

lar celebrations is a frequent element in
European Capitals of Culture. Mons
(Belgium) opened its year with a cere­
mony of light, flame and colour — and
although culture is much more than fire­
works and lightshows — as Mons, Mar­
seille-Provence and Stavanger (among
many other cities) demonstrated, events
like that can give culture a high profile too.

13
14

Turku 2011 — Maribor 2012 —

Eurocultured Festival — Cultural Embassies, Mexico —

photographer: Kari Vainio photographer: Miha Sagadin

A European event

T
he programme is not entitled ‘Euro- demonstrate in its proposal how it intends Not that this is a problem for them. The
pean Capitals of Culture’ by accident. to fulfil this aspect of its role, reinforcing complex evolution of Europe means that
It is central to the concept that the elements of Europe’s common cultural fea­ there is hardly any city within it that has
cities chosen do not exist in a vacuum: they tures and values as well as showcasing the not, at one time or another, been the
are part of Europe too, as their designation huge diversity of cultures in Europe. location for a moment in Europe’s history,
affirms. Every city that is selected has had to or the place of birth or passage for one
 Essen for the Ruhr 2010 —
TWINS project, Next Generation —
photographer: Diana Küster

Essen for the Ruhr 2010 —

MELEZ project —
photographer: Manfred Vollmer

of the pageant of personalities who have

shaped Europe, or reflected a cultural or
artistic movement or influence that has
contributed to the Europe we know today.
Consequently, the European Capitals of
Culture have frequently drawn on previous
links to lend that European dimension to
their programme.

In Essen for the Ruhr, where the region’s

mythology is set against a backdrop of
coal and steel, even the influence of in­
dustrial history on its culture was cele­
brated, with the mine museum.

And in its ‘Moving Europe’ programme,

tribute was paid to the 150 years of migra­
tion — from Belgium, England, France, It­
aly, Portugal, Prussia, Scotland, Silesia and
Turkey — that was largely triggered by the
region’s industry, and which has led to some
170 different nations and regions represent­
ed among the population there, in one of
Europe’s largest conurbations. In Essen, the
mosque was opened to visitors, giving them
an insight into a religion that has come from
afar to embed itself into German culture too.

16
Pécs also reflected the multicultural dimen­ shared the title of European Capital of and cooperation between schools of art
sion of Europe. Its principal message was Culture. Some of the Marseille-Provence from many parts of Europe.
‘opening the gate to the multiculturality of operators formed partnerships with oper­
the Balkans’. The city itself is an exam­ ators in Košice. Košice created collabora­ Sometimes the European dimension took
ple of a multicultural past and present of tive activities with Marseille-Provence, and the form of distinct facets of Europe being
the region, with the Pasha Gazi Kaszami set up new cross-border cooperation with brought to the selected city. Two thirds of
Mosque in the main square, German Krakow and with Hungary. Members of the operators in the programme of Mar­
influences (Pécs and its region are now the the Košice team moved to work for Pils­ seille-Provence had an explicit European
most important cultural centre of the Ger­ en (Czech Republic), and Guimarães built and international character — ranging from
man minority in Hungary), ethnic minorities up bonds with Maribor, while Mons hosts outdoor readings of regional and Mediter­
(including Bulgarian, Greek, Polish and eight European and non-European cities ranean authors to the Villa Méditerranée, a
Serbian) and its Roma education system. — Tokyo, Casablanca, Montreal/Quebec, dramatic new building on the waterfront,
Milan, Lille, Pilsen, London and Melbourne as an international centre for Mediterra­
Links to Europe need not be historical — for 11 days each, for a programme mix­ nean dialogue and exchange. In Košice,
or pre-existing, either. The energy of Eu­ ing cultural performances and residences, 15 countries were represented during the
rope’s contemporary culture also offers rich concerts and gastronomy. opening and closing ceremonies. The Tur­
grounds for novel connections and innova­ ku programme included the ‘Eurocultured’
tive approaches to celebrating its diversity, Programmes specifically created to pro­ street culture, and its festival finale on the
in promoting co-productions or collabora­ mote the exchange of artists have also banks of the Aura featured hundreds of
tive works between partners from different been created. Košice provided support for artists from 10 European countries; on the
countries, establishing new partnerships mobility of artists and exchanges across river’s islands it created the Turku Contem­
and highlighting new comparisons and Europe, with an artists-in-residence pro­ porary Art Archipelago featuring interna­
contrasts. gramme that allowed Košice artists to visit tional and local artists.
other countries, and international artists to
In some cases, the European aspect has visit Košice. Vilnius operated a European In Vilnius, the European art programme
been expressed in links developed between School of Arts that offered creative work­ was implemented in partnership with cul­
cities, in particular, between cities that have shops and residencies for young artists, tural organisations and artists from other

17
 Maribor 2012 —

Cultural Embassies, Italy —

photographer: Miha Sagadin

European countries. It included the London contained projects that extended way be­ of the city’s association in the past with
Symphony Orchestra and a showing of the yond their own confines and out into Eu­ the Nazi period. And the Umeå (Sweden)
silent film by Danish director Carl Theodor rope. This was sometimes very tangible: film festival’s courageous programming
Dreyer, ‘The passion of Joan of Arc’, with Linz (Austria) offered Danube music tours to opened with ‘Violette’, evoking post-war
music written for the occasion by the Lith­ the Black Sea and North Sea; Umeå’s ‘The Saint-Germain-des-Prés and the links be­
uanian composer Bronius Kutavicius and birds show the way’ project followed — tween Violette Leduc, Simone de Beauvoir,
performed live in the National Opera and through computer technology — birds mi­ Jean-Paul Sartre, Jean Cocteau, Albert
Ballet Theatre. Maribor established cultur­ grating from the Ume delta through Europe Camus and Jean Genet.
al embassies involving dozens of organi­ to Asia and Africa, and back again, culmi­
sations from more than 30 countries, and nating in an April homecoming party. New technologies can also lead to new
renovated the Slovenj Gradec, birthplace bonds across Europe. With ‘Café Eu­
of Austrian composer Hugo Wolf, into an Sometimes the reaching out was more ropa’, a network of digitally connected
international museum and documentation conceptual. Guimarães’ ‘Spera Mundi’ modular and moveable places, Mons
centre about him. A performance based on represented the universal potential of Por­ explores with other cities how new ways
Wolf’s lieder was accompanied by the first tugal in Europe. Linz celebrated its links of learning and technological tools can
international workshop on classical solo with eminent Europeans, including the become vectors of social links.
singing. 17th century mathematician and astrono­
mer Johannes Kepler, and the 19th century
While Europe frequently came to cities, composer Anton Bruckner. In a more som­
the programmes of many of the cities also bre mode, it also offered a retrospective

18
19

Guimarães 2012 —

Opening ceremony “TIME TO FEEL” —

photographer: João Peixoto

A festive event…

T
he European Capitals of Culture In Guimarães, crowds were enchanted giant globes floating on the River Aura, or
are also moments of celebration — by giant beasts and men and aerial con­ with a procession of 1 000 lantern-bearing
and celebrations are by definition traptions in the opening show by La Fura children along its banks, accompanied by a
festive events. The cities that have been dels Baus, involving hundreds of volun­ joint choir of hundreds of singers.
selected have shown limitless imagina­ teers and visitors.
tion and energy in devising novel festiv­ Festive events can take many forms —
ities, and have also frequently ensured In Umeå, 11 000 people came to Rådhus­ as Essen for the Ruhr demonstrated with
that the simple and more sincere forms torget to watch the last big show of the its meal for many… or singing for many…
of local celebration have been integrated European Capital of Culture year —‘North­
into the programmes alongside the more ern lights’ — a light show on the old city …while Riga (Latvia) hosted 27 000 sing­
professional and public events. hall, together with newly composed music ers from five continents, 73 countries and
by Henrik Oja, and a finale with a major 460 choirs during its World Choir Games
The opening ceremony of Marseille- firework display. in July 2014.
Provence took place not only in Marseille —
prominently featuring the iconic Notre Dame Turku joined forces with Tallinn (Estonia) Vilnius organised events targeting the wider
de la Garde that surmounts the city — to offer Estonians the best of Finland’s re­ public with ludic art installations and anima­
but also, over the same weekend, in the nowned club music, by presenting ‘Night tions, such as ‘Art in unexpected spaces’,
cities of Aix-en-Provence and Arles, with moves’, a pulsating clubbing experience ‘Street music day’ and ‘Let there be night’.
an estimated crowd of 600 000. Through­ with the top acts from both cities. Turku Maribor, too, maximised the use of street
out the year there were numerous events also produced its own festive events, with a art to bring a sense of fun and festivity to the
in public spaces, more than half of which colour-saturated chamber labyrinth in Kupi­ city, with performers appearing in unex­
were free to the public. ttaa Park, with ‘Music of the spheres’ from pected locations, extravagant costumes,
 Linz 2009 —

Höhenrausch —

photographer: Andreas Strauss

Turku 2011 —

Colourscape, “Music of the Spheres” —

photographer: Arto Takala

and exotic displays — right in the middle of

the everyday routines of the city. Stavanger
mounted a spectacular outdoor show.

For a week, Umeå was filled with folk

music and song in a national get-togeth­
er of folk instrumentalists from the Nordic
countries culminating in a festival.

And Linz interpreted the entire city as an

acoustic space with its ‘Hörstadt’ (Acoustic
city) concept and the ‘Klangwolke’ (Cloud
of sound), an open-air music festival, as
well as offering its citizens and visitors new
perspectives on the city at ground level,
with a street art festival featuring 1 000 dif­
ferent music, theatre, and circus acts, and
from above with ‘Höhenrausch’ (Art on the
rooftops) — a walkway system above the
city centre combining viewing points, stair­
ways, plateaux and bridges, and featuring
exhibits of new artistic works.

22
23

Guimarães 2012 —

Postgraduate Advanced Centre, Couros Multifunctional Complex,

Fabrica Freitas e Fernandez —

photographer: Paulo Pacheco

…leading to local and regional development

T
he focus on culture that the Euro­ the most frequently cited examples of this The clue is in the name — not only Essen,
pean Capitals of Culture bring also form of rebirth. The city transformed itself but Essen for the Ruhr. Essen represented
has an impact on the selected cit­ physically with such additions as MuCEM — all 53 towns in the region in the application —
ies in promoting a culture of participation the Musée des civilisations de l’Europe and it was the first time a region was so
among organisations and institutions at et de la Méditerranée — the first national prominent. The consequence of the year
local or regional level, across the range museum opened in France outside the was that each town and city obtained re­
of sectors covered by the cultural and Paris region. It was one of the outcomes of inforcement from the common elements of
creative economy — from art to music, a more than EUR 600 million investment in the year, and was also able to strengthen its
literature, film, the media, design, archi­ new cultural infrastructure, which was part own identity —particularly through events
tecture and games development. This of a larger, decades-long, multibillion euro that celebrated local heroes. At the same
has led to some striking regeneration of development effort to revitalise the city. time, all towns and cities came together to
cities and their surroundings in their cul­ realise joint projects that enjoyed huge suc­
tural life, and frequently to their vigour in But in addition, the territory for the Eu­ cess: examples include ‘Odyssey Europe’,
other dimensions, from their image — in ropean Capital of Culture 2013 included the RuhrArtMuseums alliance, the ‘Henze’
the outside world and among their own close to 100 communities surrounding project, ‘Culture Canal’, ‘pottfiction’, ‘Mur­
citizens — to their infrastructure. Just as Marseille, and links were built — often as der on the Hellweg’, ‘Shaft signs’, ‘!Sing —
often, it has also helped to forge new part­ a by-product of shared cultural events — Day of song’, ‘Still-Life A40/B1’, ‘Sympho­
nerships among the authorities responsi­ that eased cooperation at local and re­ ny of a thousand’, etc.
ble for a city’s broader destiny. Glasgow gional level.
(United Kingdom) is famous for having reju­ The European Centre for Creative Econ­
venated what was regarded a city in decay. Essen for the Ruhr is another striking ex­ omy stands as a powerful symbol of this
More recently, Marseille-Provence is one of ample of local and regional development. cooperation in regional development. The

25
 Turku 2011 —

Logomo Café ‘Nothing happens

for a reason’ by Tobias Rehberger —

photographer: Bo Stranden

European Capital of Culture year was an

element — and the culmination — of a
long-term engagement for the cultural and
creative economy. As a result, this sector
now represents some 86 000 employees
in more than 10  000 businesses across
the Ruhr area — linking culture, urban
development and education. The centre,
jointly run and funded by local and region­
al authorities, also with a contribution from
the EU Structural Funds, is committed to
supporting its components as well as the
development of creative locations and
spaces.

Mons is also embedded in a wider develop­

ment strategy started some 10 years ago
to transform part of the Hainaut region of
Belgium into a digital valley. Approximately
3 000 jobs in the city and surrounding area
are now related to the creative and digital
economy. In Pécs, cooperation was en­
gendered between the local government
of the city and the surrounding Baranya

26
Photos on the next double page

Essen for the Ruhr 2010 —

European Centre for Creative Economy Dortmunder U —

photographer: Manfred Vollmer

Essen for the Ruhr 2010 —

Centre for International Light Art Unna —

photographer: Manfred Vollmer

county in unifying their libraries, and the Hungary, Romania, Slovakia and Ukraine — well as creative industries and businesses.
result was a green-field investment in a and for the first time the European fund for Guimarães’ Couros Multifunctional Com­
new regional library and information cen­ its eastern neighbourhood was used to plex became a place for meeting, social­
tre. Pécs also created a ‘Grand exhibition support public–private partnerships in the ising, playing, having parties, holding fairs
space’ by reconstructing the baroque tourism sector. and markets, planting vegetable gardens,
block of the former county hall, adding a staging shows, and more. And for creat­
modern new wing, as part of a develop­ Pilsen moved its buses, trolleybuses and ing new infrastructure, the city obtained
ment project involving the completion of trams out of a maintenance depot in the around 70 % of the total funding from the
Museum Street, in the inner-city neigh­ town centre to turn it into a creative centre, EU Structural Funds (European Regional
bourhood of the early Christian necropolis which will also become the first incubator Development Fund — ERDF).
and the Basilica. for the cultural and creative sectors of this
kind in the Czech Republic. And among the Often the development has been at a
In Košice, the activities of the project team many other examples of imaginative reuse very utilitarian and even straightforward­
increased cooperation between involved of redundant or obsolescent infrastructure, ly economic level. Lille (France) estimates
departments in the local and regional ad­ Turku renovated an engineering work­ that every euro it invested in its Europe­
ministrations, and also brought the private shop to serve as the main indoor arena for an Capital of Culture year brought in be­
sector and local universities into the loop in many of its events in Logomo, and Tallinn’s tween six and eight in the local economy.
improving creativity and creative sectors in 10  000  m2 Creative hub (Kultuurikatel) of Linz saw a significant economic impact
the city and the region. Urban development studios, galleries, function rooms and res­ from its year, as well as an improvement
transformed an industrial city to highlight taurants was created in a disused power in the city’s tourist offer with three new
creative potential, a university background and heating plant. It was designed specif­ hotels built, and upgrades in restaurants
and a new cultural infrastructure — the ically to stimulate partnerships, knowledge and local transport facilities. And govern­
Kasárne Kulturpark and the Kunsthalle/Hall transfer, good contacts and a broad Euro­ ance and partnerships were strengthened,
of Art. Further cooperation boosted tour­ pean network for creating synergy between creating the basis for further development
ism from across the Carpathian Region, various cultural trends and organisations as of the city’s cultural sector.

27
29

30

Turku 2011 —

Parade carpet by Meiju Niskala —

photographer: Tuukka Kaila

For and by the citizens

S
triking the balance between high art including to those hard-to-reach citizens In Umeå a piano casually placed on the
and wide participation is a central that for one reason or another do not cus­ riverbank allowed everyone to make their
challenge of the European Capital tomarily take part in cultural events. contribution in passing to the city’s music
of Culture. Success depends on satisfying programme.
popular as well as élite opinion, in foster­ Evidence of the wide range of citizens’
ing the involvement of citizens — whose involvement was visible everywhere in And music offered a chance for young and
city, after all, is the focus of the event. But the streets of Maribor, with specially­ old, professional and amateur, to play a
this is not an afterthought, a purely defen­ commissioned plaques, neighbourhood part in the European Capital of Culture in
sive exercise to avert criticisms of ignoring noticeboards advertising local events, in­ Guimarães.
local feelings. On the contrary, citizens are corporation of schools and youth groups
a major resource, and an often untapped into the festivities, and the recruitment of In Turku, local residents were given a new
source of cultural wealth and diversity. It is numerous members of the population as view of the area around a former prison
a matter of embracing and welcoming the an active part of the celebrations. when they were led by urban artist Meiju
heterogeneity of a city’s population. So pro­ Niskala along a 400-metre parade carpet
grammes have been increasingly planned In Pilsen a sequence of local events were that had been created for the occasion
to promote wide and deep engagement organised in the run-up to the beginning of by more than a thousand weavers from
across the groups of people who are the the year, ranging from tours that plunged southwest Finland. More generally, Turku
heart of any city. And in recognition of the into the history of the city’s districts to extensively engaged with health services,
merits of that broad participation, special neighbourhood races staged with ride­ as well-being was a core objective of the
efforts are made to bridge the gaps — upon lawnmowers. year under the motto ‘Culture does good’.

31
The narratives can have a distinctly local Many of the European Capital of Culture at the central market, in the meat pavilion
appeal, and even be created by specific events could be enjoyed without being with 30 salespeople, workers and butch­
population groups — perhaps with prac­ physically present, as they were broadcast ers, and we ended the project with 100
tical support as well as money, or evoke live on television and radio or streamed on­ Rigans on the stage of the Culture Centre,’
a broad European context. They can be line via the Internet. Latvian Television view­ says Gundega Laiviņa, the Director of the
small and amateur, or be integrated as ing figures show that broadcasts of Riga New Theatre Institute of Latvia and curator
part of a large professional event, and events, concerts, opera and other activities of the ‘Riga roadmap’.
build social cohesion. In Tallinn, volun­ reached a total of 6.2 million views.
teers worked on opening up the city to Marseille-Province involved citizens in
the sea in advance of the inauguration Part of the programme in Riga was ‘Urban pre-programme events, combining high
of the year. storytelling’ — a sequence of neighbour­ artistic requirements with outreach to au­
hood photography exhibitions featuring diences in neighbourhood projects such
Košice involved citizens from its suburbs local residents that the commissioned as ‘Quartiers créatifs’, which installed art­
in SPOTs, which celebrated the diversity artists — Japanese photographer Ayaka ists in residence in the heart of 15 districts
of minority cultures through a participatory Yamamoto and Aija Bley of Latvia — met undergoing urban renewal, with a mission
approach that involved neighbourhood vis­ by chance as they were walking around. to question, comment on and complement
its, community meetings, and resident sur­ The same attention to people was demon­ the renovations, in close contact with the
veys. Local residents were encouraged to strated in another project that looked for local inhabitants. It also ran events specifi­
organise their own activities, and one of the culture beyond the centre of the city, treat­ cally aimed at young people, as well as in­
outcomes was a Roma Ball in the Lunik 9 ing each resident of the neighbourhoods volving smaller cultural operators that had
neighbourhood. as a unique work of art. ‘We started out never before received public funding. Mar­

32
Umeå 2014 —

Old pianos transformed into playable pieces of art by

Marc Strömberg —

photographer: Eugenio Della Morra

Guimarăes 2012 —

Operation Big Bang —

photographer: João Peixoto

seille-Province also hosted 15 volunteers Guimarães brought 300 instrumentalists citizens in Essen celebrating Europe by
via the EU’s ‘Youth in action’ programme, and a gigantic choir together on a giant offering a welcome in a dozen languages.
giving an opportunity for young people from stage.
outside the city and outside France to have And some were definitely not small­
a stake in the event — and to widen their There was a strong local participation scale. In Essen for the Ruhr, people took
own cultural awareness at the same time. accent to the European Capital of Culture over the main motorway into the city.
in Linz. Local volunteers and students built
Turku’s commemoration of the great fire of 900 polythene animals as part of ‘Flut’ Liverpool (United Kingdom) ran outreach
1827 reached back into the city’s past but (the flood), and school workshops carried programmes with the city’s schools, and
linked it firmly to the younger generations the message across Upper Austria in the all the city’s pupils participated in at least
by recreating it with a heavy metal musical programme called ‘I like to move it, move it’. one activity during the year. Liverpool was
conceived and performed by Turku Young ‘Kulturhauptstadtteil des Monats’ (cultural one of the first cities to engage volunteers,
Theatre — in which the average age of the capital neighbourhood of the month) enrolling around 10 000 people, but the
performers was 14 years. A similar out­ provided a dozen neighbourhoods across practice has spread widely. In Turku they
reach to a different group of the popula­ the city, generating works in such unusual provided help to older citizens in visiting art
tion was ‘Middle-aged hair’, in which pro­ venues as shop windows, tunnels under galleries and other venues.
fessionals worked with 120 citizens to put the city, and even a bus route. And ‘Culture
on a musical with community spirit. And pilots’ featured guided tours of the Wiener And Istanbul (Turkey) distinguished itself
‘Turku 365 Playfriends’, a group of well­ Straße conducted by members of the 12 with ambitious training initiatives for its
known artists and performers, arranged different local ethnic communities. volunteers, which resulted in skills devel­
stand-up comedy on long-distance bus­ opment and improved job opportunities
es, tap dancing on trains and poems writ­ Citizens were directly involved in many for those who took part in it.
ten on hand towels in public bathrooms. events — some small-scale, such as

33
More than a year

P
art of the aim of the European Cap­ some examples of strategic legacy plan­ Aix-en-Provence conservatoire; MuCEM
itals of Culture is to provide a lasting ning. In some cases, cities have attempted — now home to the collection of the
effect in the chosen cities. By defi­ to promote sustainability by making this a Musée national des arts et traditions popu­
nition, this can be measured only after the criterion in the selection of activities for the laires; Košice now has direct flights to Lon­
event, and the tools for such an assess­ hosting year. For instance, Essen for the don; Turku’s Logomo is now established
ment are not fully established. But some Ruhr monitoring report in 2009 specifically as a nationally known culture centre and
concrete and durable effects can certainly refers to the European Capital of Culture as one of Finland’s most popular event are­
be identified on a purely empirical basis. year as a ‘temporary highpoint’, and talks nas offering big concerts and major theatre
For Lille, being the European Capital of Cul­ about selecting projects on the basis that performances; and the wall in Turku’s city
ture is widely acknowledged to have been they will ‘establish a permanent provision centre painted by Spanish visual artist Aryz
the beginning of a permanent renewal, of cultural activities way beyond 2010’. as part of its celebration of international
and Liverpool’s reinvigoration continues street art has become a permanent part of
to show how a city’s image and essence In Košice the revitalisation of a disused the cityscape.
can be improved over the long term by swimming pool has endowed the city with
determination, triggered by the focus of the a remarkable and enduring cultural cen­ The approach of local authorities and op­
European Capital of Culture. tre, the Kunsthalle, a permanent site for erators to culture has in many cases been
what are now regularly recurring events. changed by the European Capital of Cul­
Since 2006, the explicit requirement for the ture year. A sense of pride (and sometimes
programme to be sustainable and have a Many of the infrastructure improvements the prospect of economic benefits from
long-term effect has led to more frequent have persisted elsewhere — in terms of continued tourism) has induced some of
discussions of the need for legacy and buildings or transport links or artworks: the them to maintain innovations created for

34
Marseille-Province 2013 —

MuCEM —

© R. Ricciotti and Carta Arquitects

the European Capital of Culture year. Some

of the persistent results take concrete
form. The city of Marseille maintains the ‘Ex
voto’ light installation in the Tunnel National
into the city centre, and Marseille-Provence
Métropole oversees the new panoramic
viewpoint at La Viste.

Building on the extraordinary creative en­

ergy and popular enthusiasm triggered by
the European Capital of Culture year, Lille
decided to pursue this adventure through
the creation of lille3000, in order to contin­
ue exploring the cultures and complexities
of today’s world while focusing on contem­
porary art, innovation and the future.

But there are other more subtle influenc­

es. Essen for the Ruhr has left a framework
for joint working at regional level sustained
beyond 2010. And although few cities

35
 Turku 2011 —

Eurocultured festival, street art by Aryz —

photographer: Kari Vainio

set up formal legacy structures, coopera­

tion often continues on an informal basis.
Among cultural operators that took part
in the programme, this is because the ex­
perience has strengthened their skills and
capacities — for smaller operators in par­
ticular, now more familiar with networking,
and with increased capacity to access
funding. For many who previously relied
on state funding, they have seen that other
possibilities exist, creating something of a
shift in mindsets. Artists have more routine
contact with local people and with interna­
tional exchange. In addition, residents in
many cities are now more likely to attend
cultural events. And greater awareness
among local stakeholders of the potential
for culture to contribute to development
also promotes an interest in continuing en­
gagement. Turku river network has, since
being the European Capital of Culture, or­
ganised a range of events, including annual

36
Aarhus 2017 —

Rethink landscape —

photographer: Dav Jacobsen

summer carnivals. ‘Neighbourhood weeks’ Sometimes the continuation of events likely to participate in cultural activities —
constituted themselves as an association spawned by the European Capital of Cul­ such as the City festival, Sound city days,
and have continued to arrange the weeks ture year is the consequence of a deliber­ or Nuit blanche. Similarly, SPOTs has pro­
every year. An accessibility project has been ate policy, such as the ‘Guimarães Tempos vided Košice with a network of community
managed by the Arts Academy at Turku Uni­ Cruzados’ programme promoting synergies arts centre. And it is still running a project
versity of Applied Sciences, and now acces­ and sharing resources. This is also the case known as ‘Escalator’, which it created for its
sibility activities and education are strongly in Košice, particularly for events that were European Capital of Culture year, providing
embedded in its syllabus. designed to appeal to young adults less training for people to work on administration

37
Pilsen 2015 —

Opening: David Dimitri, Artist—

photo: © Pilsen 2015

of the cultural and creative sector. This has (a network of newly-created ‘hotel’ rooms in a space for workshops, discussions, meet­
now grown to extend its scope to the entire unusual locations across the city). ings and connections among people from
territory of Slovakia. different domains interested in creative ideas
Umeå will continue its work and will con­ which have the potential to be translated into
Linz cultural activities continue and there is tinue to be associated with open-minded­ business. Aarhus (Denmark), which will be
an increased capacity of Linz’s cultural sec­ ness, involvement, curiosity and passion, European Capital of Culture 2017, is already
tor, in terms of greater experience, better col­ said Mayor Marie-Louise Rönnmark. in on the act.
laboration, more positive attitudes and great­
er professionalism. Linz now has the cultural The European Capital of Culture is more than And as Pilsen says in its promotion as it starts
infrastructure to match its aspirations and a a year in another sense too. Many cities con­ its year as European Capital of Culture, it is
partnership between the key stakeholders duct advance programmes as they prepare ‘more than a one-off revival of the city, more
that remains strong. Examples are: Kepler themselves — and their citizens — for being than an advertising space for sponsors. It
Salon (a series of scientific dialogues hosted the focus of attention. Since 2014, the Pilsen is a project which has the power to change
in the former home of the 17th century as­ meeting point has served as a source of in­ how Pilsen is perceived and how the role of
tronomer), Turmeremit (Hermit of the tower), formation, a box office, and a space for pro­ culture is perceived, and to become a mile­
the Next comic (interdisciplinary festival for motional exhibitions and performances, and stone in the evolution of the city.’
comics and cartoon art) and the Pixel Hotel ‘coworking wo–co husovka’ has provided

39
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 NC-04-14-974-EN-C
AN INITIATIVE
OF THE
EUROPEAN UNION

doi: 10.2766/87872