RESOURCES

Joan Blachere, Directeur de la création

PORTRAITS → Young culture professionals  

La série Portraits explore notre secteur culturel contemporain depuis la perspective de ses jeunes travailleurs. Beaucoup d’entre eux ont choisi la culture car elle les rendait fiers, donnait du sens à leur travail, inspirait une vocation. Qu’en est-il de ce secteur culturel idéal aujourd’hui ? 

Joan Blachere est Directeur de la création dans l’industrie du jeu vidéo à Bordeaux (France). Expérimenté à la fois en marketing et en game design, il évolue rapidement sur différents postes de cette industrie si particulière, lui permettant de réunir expertise et passion. Désormais associé, il vit au plus proche des enjeux stratégique d’une structure, pour servir une équipe à taille humaine. 

Racontez-nous, quelles sont les grandes étapes de votre parcours ?

Je suis passé par Sciences Po Lyon, école dans laquelle j’ai axé ma fin de formation sur la communication et la culture, et notamment le jeu vidéo, à travers mes sujets de recherches de4e et 5e année.

Cela m’a permis de trouver un premier stage pour aider au lancement d’une campagne de crowdfunding Kickstarter d’un jeu vidéo indépendant. En fin de 5e année, j’ai également fait du volontariat auprès de Capital Games pour aider sur le stand Jeux Made In France de la Paris Games Week. C’est à cette occasion que j’ai rencontré Steve Filby, responsable de la communication et du marketing des jeux du studio bordelais Motion Twin et qui cherchait justement de l’aide pour le lancement de l’accès anticipé de leur prochain jeu.

Ce jeu, nommé Dead Cells, a rencontré un succès critique et commercial assez extraordinaire, notamment aux Etats Unis et en Chine. J’ai ainsi pu poursuivre avec Steve après mon stage avec un CDI en tant que Marketing Manager. En 2019, Motion Twin décide d’arrêter de mettre à jour Dead Cells pour se consacrer à leur prochain projet. Nous créons alors avec Steve et deux autres associés Evil Empire pour prendre la suite de Motion Twin et continuer à faire vivre Dead Cells par le biais d’ajouts de contenu, de portages sur de nouvelles plateformes, etc.

Pourquoi avoir choisi de travailler pour la culture ?

Ma première vocation se situait davantage dans la diplomatie et la défense. Malheureusement, l’image fantasmée que je m’était fait de ces milieux correspondait peu à la réalité. J’ai donc choisi de recentrer ma carrière sur mes passions, le livre, la bande dessinée, les jeux de société, et… les jeux vidéos.

L’image fantasmée que je m’était fait de ces milieux correspondait peu à la réalité. J’ai donc choisi de recentrer ma carrière sur mes passions, le livre, la bande dessinée, les jeux de société, et… les jeux vidéos

J’assure également le poste de Directeur de la création, et en ce sens, je valide l’ensemble des designs, concepts, mécaniques, et art assets […] avant qu’ils soient implémentés. Je suis également censé garantir la cohérence et la qualité de l’ensemble.

En quoi consiste votre mission et quels en sont les enjeux ?

J’occupe aujourd’hui différents rôles dans Evil Empire. En tant qu’associé, il me revient de participer et de discuter les grandes orientations stratégiques de l’entreprise (croissance, projets, recrutements, etc.) mais aussi des questions logistiques du quotidien (accès au parking, horaires de travail pour les équipes, etc.).

J’assure également le poste de Directeur de la création, et en ce sens, je valide l’ensemble des designs, concepts, mécaniques, et art assets (mes excuses pour les termes en anglais) avant qu’ils soient implémentés. Je suis également censé garantir la cohérence et la qualité de l’ensemble. Je passe également une bonne partie de mon temps à faire un travail de game designer, c’est-à- dire à réfléchir et à définir des concepts pour des niveaux, enemis, objets qui seront par la suite implémentés.

Côté marketing, aspect dans lequel j’ai gardé une forte implication, je suis responsable du planning des mises à jours et sorties, et du respect des délais (autant que possible), de la gestion des partenaires externes pour les assets marketings majeurs (key art, trailers, etc.). Il m’arrive également de réaliser moi-même les vidéos ou trailers en cas d’urgence.

Des différences entre ce que vous imaginiez et la réalité du terrain ?

Le travail de Marketing Manager est relativement proche de ce qu’on peut imaginer – stratégie, plan de comm, ciblage d’audience, réalisation des assets écrits ou vidéos, présence sur les réseaux sociaux, animation de communautés, etc. En ce qui concerne la partie production, la complexité et le temps que demande la moindre création demande me surprend toujours aujourd’hui. Dans le jeu vidéo, 6 mois c’est déjà demain..

Comment vous voyez-vous d’ici 3 à 5 ans ?

Au même poste, avec un peu de chance ! Tout dépendra de l’évolution et de la croissance d’Evil Empire – si l’entreprise fonctionne aussi bien qu’on l’espère, ma mission sera probablement davantage transversale (sur différents projets) qu’aujourd’hui.

Êtes-vous satisfait de votre niveau de rémunération ?

Complétement.

Si vous étiez Ministre de la culture, que changeriez-vous en premier ? 

J’ai perdu le contact avec la politique culturelle depuis quelques années déjà, je ne me sens donc pas légitime à donner des leçons. J’imagine que je renforcerait les financements des initiatives des “vulgarisateurs” culturels, qui me semblent des clefs bien plus efficaces pour sensibiliser sur ces sujets que n’importe quel cours à l’école.

Dans le contexte plus spécifique au jeu vidéo, il faudrait probablement promouvoir un comité, à l’image du CNC, mais indépendant du CNC justement, qui pourrait examiner les dossiers de demande de financement des studios français. Le cinéma et le jeu vidéo répondent à des contextes et des enjeux différents, cela me semble peu logique de vouloir lier les deux.

Ce qui a été pour vous un déclic culturel ?

Spec Ops: The Line. J’ai découvert ce jeu en m’attendant à un shooter fade et déjà-vu sans intérêt, sans savoir que j’étais en train de jouer à ce qui deviendra un jeu culte malgré un lancement commercial manqué. Un trip violent et psychédélique, inspiré d’Apocalypse Now, qui finit à mon sens par dépasser son maître, tant son message est renforcé par le gameplay propre au jeu vidéo.

Parler de Spec Ops, c’est peut-être déjà un peu le gâcher, préparer les interlocuteurs à une expérience particulière là où la claque n’est réelle que lorsque les attentes sont au plus bas et que le jeu prend complètement ses joueurs par surprise. Mais ne pas en parler, ce serait limiter cette pépite à une petite niche de privilégiés.

Ce jeu est important pour moi, pour l’expérience unique qu’il propose, et pour l’ambition qu’il m’a donné de créer, un jour moi aussi, un jeu qui raconte une histoire qui ne peut pas être racontée par un livre ou par un film.

Dans le contexte plus spécifique au jeu vidéo, il faudrait probablement promouvoir un comité, à l’image du CNC, mais indépendant du CNC justement, qui pourrait examiner les dossiers de demande de financement des studios français. 

Crédits photographiques: Clémence Postis, Revue FarOuest, article du 15 octobre 2019.

RekYou, music and recording studios

CONSULTING →  

REKYOU

The startup RekYou, driven by music passionates, is a marketplace to connect artists with home studios and recording studios. It aims at democratize access to music creation by addressing amateur artists and musicians, as well as the wider category of music professionals. 

Musicians have direct and easier access to studios and benefit from affordable and tailored rental rates. RekYou now gathers a network of more than 200 studios in Paris and the region. Register your studio or find a slot ! 

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Julia Serrano Cure, Cultural Entrepreneur

PORTRAITS → Young culture professionals  

The series Portraits explores our contemporary cultural sector from the young workers perspectives. Many chose culture because it made them proud, it gave meaning to work, it inspired a vocation. What about this ideal cultural sector today ? 

Julia Serrano Cure is a cultural entrepreneur from Barranquilla (Colombia). Trained both as an art manager and an advertiser, she advocates for strengthening the arts in Colombia and aims at helping Colombian artists to gain more visibility to launch a carreer. Trained both in Colombia and London, she explored two distinct cultural contexts and art markets.

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Tell us, what are the main stages of your training and career?

I am a professional in advertising, cultural entrepreneur trained with the Chamber of Commerce in Bogotá, Colombia. I graduated from a Master in Arts in Arts and cultural management from Kings College London. I worked as a Client service representative at Phillips Auctioneers, London and as a Cultural entrepreneur – Visual artists manager.

Why did you choose to work for culture?

As a daughter of an artist, I have been passionate about art all my life, a passion that then became my life project. Experiencing and analyzing the market’s context, I began to focus on what is missing at a local and national level, where the art market is still under development and artists do not count on enough spaces to show their works or professionals to help them boost their careers.

 I have been passionate about art all my life, a passion that then became my life project.

Internationally speaking, something that surprised me is the ‘volunteering’ fact. The cultural field is very used to asking for young professionals to volunteer for jobs which can be tricky if a young professional wants/needs both to gain experience and make a living at the same time.

What is your mission and its main challenges?

I think I have many missions and career goals I want to achieve. I consider myself very curious, therefore, I am always creating new cultural projects. Locally speaking I want to become the art manager that helps strengthen the arts in my city, Barranquilla, working with and for Colombian artists in order to nationalize and internationalize their works. For such aim, I combine my two professions, advertising, and art manager while working with online and offline strategies.

Are there any differences from what you imagined and the field reality?

Yes. To be honest, nationally speaking, Colombia is still developing in many ways, and for a cultural professional it is usually harder to find jobs and investment for projects.

Internationally speaking, something that surprised me is the ‘volunteering’ fact. The cultural field is very used to asking for young professionals to volunteer for jobs which can be tricky if a young professional wants/needs both to gain experience and make a living at the same time. Further, a professional with a list of volunteering experience on the cv will have an advantage over the rest, which not always defines their capacities but their social and economic position.

How do you see yourself in the next 3 to 5 years ? 

I see myself innovating and traveling all over the world representing talented Colombian and Latin American visual artists, working together with different international galleries, venues and museums.

Are you satisfied with your wage level?

Im not sure if I can answer this question accurately. At the moment I am working on three different projects, two of them fairly paid and the other one which is my entrepreneurial project, unpaid. But one thing that is for sure is that I am not satisfied with the average Colombian wage level.

If you were Minister of Culture, what would you change first? 

Work by the hand with the Minister of Education, in order to educate citizens about the importance of arts and culture, which has always been lacking.

Work for democratization of rights and subsidies for artists who are mostly independent workers, and many of them do not have access to credits and pension, among other services.

Something that has been a cultural trigger for you? 

I’ve found many cultural triggers during my career, but I’m gonna stick to the present and say that this covid-19 pandemic has been changing me as a person and as a professional as isolation days go by.  As a cultural entrepreneur i’ve always been keen to design and work with cultural projects, but this crisis has changed in many ways my perception of myself, my city and the art world itself. So my focus now is to work on what the local and global market is lacking and innovate on that would be important for the art world’s reinvention. In other words, take advantage of this threat and turn it into a business opportunity.

Work for democratization of rights and subsidies for artists who are mostly independent workers, and many of them do not have access to credits and pension, among other services.

Calls for projects – creative sector

Where to find the creative sector’s calls for projects  

 

Ministry of Culture

The ministry of Culture provides comprehensive information about ongoing calls for projects in the arts and culture, from all French regions. Research is done by topics, by organisation or by region and includes arts, medias and communication, residencies, research programmes, curation, and many more. 

  • Where: France (all regions)
  • Topics: creative sector (arts, culture, medias, research)

 

CIPAC

CIPAC is the Federation of Contemporary Art Professionals,  a non-profit organisation gathering professionals working in production, diffusion and mediation. The website provides essential support to follow ongoing calls for projects and residences in contemporary arts in France.

  • Where: France (all regions)
  • Topics: ongoing contemporary arts calls for projects 

Creative Europe

Calls for proposals and tenders from Creative Europe, the European reference for calls for projects in the cultural sector. 

  • Where: European Union 
  • Topics: arts and culture, creative sector, medias and communication 

Interregional Platform 

The Interregional Platform of the exchange and cooperation for cultural development provides information about ongoing cultural calls for projects related to international cooperation (European commission, third places, European mobility).

  • Where: international
  • Topics: ongoing calls for projects in international cultural development
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CallForProject.com

Call for project, launched in 2017, is a free online platform providing accessible, comprehensive and convenient information about ongoing applications in architecture and urbanism, graphic design, photography, writing, arts, business and entrepreneurship, product design, technology and innovation. The art section offers useful information about French and international ongoing applications from well-known as well as less advertised organisations. An essential tool with clear and brief information.

  • Where: International 
  • Topics: arts, architecture, graphic design, writing 

 

Resartis

Res Artis is an international network of over 650 creative organisations dedicated to offer higly qualitative artistic residences. The website provides essential support to map ongoing calls for projects and other related programmes or fundings related to contemporary arts.

  • Where: international
  • What: ongoing applications and calls for projects
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Club Innovation & Culture France

Innovative calls for projects, residences and hackathons in 2020 by historic, artistic and scientific heritage sites. 

  • Where: France (all regions)
  • Topics: ongoing creative sector calls for projects 
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Summer Academy 2019 with OECD Trento

EU&CULTURE at an OECD’s Summer Academy

Cultural and Creative Industries and Local Development

EU&CULTURE took part in the 2nd OECD Trento Office Summer Academy with about 30 participants and 28 nationalities represented. Five days (16-20 June 2019) of debates, on-site visits, interview-style sessions with key local actors, special guests from the creative and cultural sector and a publication, to find creative solutions to contemporary challenges for the cultural and creative industries.

For the 2019 edition, 3 main dilemmas were identified:

  • Tradition vs Innovation (keywords: digital transformation, cultural production and consumption, the role/identity of museums and other cultural institutions in contemporary society)
  • Preservation vs (Re)activation (keywords: urban/rural regeneration, creative identity of places, sustainability)
  • Linear development vs Holistic approach (keywords: cross-sectorial policies, embedding creativity in local systems, cross innovation, skills for a creative city. 

 

An introduction to…

The OECD Trento Office

Provides policy advice and develop capacities for the design and implementation of policies, always tailored to local needs and focused on the key local actors, for OECD Member and non-Member countries. 

  • – The Summer Academy is a three-year project dedicated to gathering policymakers and representatives of cultural and creative industries. 
  • – To develop expertise in putting in place effective and integrated strategies and policy frameworks
  • – To identify local economic drivers and reflect on solutions with participants from all over the world  
  • For OECD Member and non-Member countries For OECD Member and non-Member countri

Le statut d’étudiant-entrepreneur

Comment devenir étudiant-entrepreneur?

Le Statut National d’Etudiant-Entrepreneur (SNEE)

Le SNEE a été créé en 2014 sur proposition du Ministère de l’Enseignement Supérieur et de la Recherche. Contrairement à ce que son nom suggère, il n’est pas réservé aux seuls étudiants. Il est accessible aux jeunes de moins de 28 ans avec pour seule condition d’être titulaire du Baccalauréat ou d’une équivalence de niveau. Il n’est donc pas nécessaire d’être déjà étudiant pour bénéficier de ce statut; il est ouvert aux étudiants en études comme aux jeunes diplômés en emploi.

La démarche pour y accéder est simple: la candidature se fait en ligne sur le site dédié au SNEE. Il vous suffit de remplir le formulaire en cliquant sur “demande le statut”. Les questions concernent votre idée de projet entrepreneurial, votre état d’avancement ainsi que l’intérêt représenté par le statut pour votre projet.

Vous n’avez pas encore d’idée arrêtée? Vous n’avez pas commencé le dévelopemment et le stade d’avancement est faible? Cela ne vous empêche pas d’obtenir le statut, qui est destiné en priorité aux projets early-stage, c’est-à-dire aux projets qui sont encore au stade de l’idée.

Pourquoi demander le SNEE ?

  • Un statut protecteur, qui vous permet de devenir ou redevenir étudiant et bénéficier, entre autres, de la sécurité sociale étudiante.
  • Un statut légitimant, qui officialise votre démarche d’entrepreneur et vous aide à expliquer votre projet à vos partenaires ou vos proches.
  • Un statut flexible, qui s’adapte à vos autres activités, y compris salariées

Après le SNEE ? PEPITE France et le D2E

Si votre candidature est acceptée, une attestation vous sera délivrée par le Ministère de l’Enseignement Supérieur et de la Recherche pour une année académique. Le SNEE peut alors s’accompagner d’une formation diplomante, le D2E, pour Diplôme d’Etudiant-Entrepreneur. 

  1. 1. Vous êtes étudiant: vous pouvez choisir de ne pas vous inscrire au D2E. Sachez néanmoins que le volume horaire est très raisonnable (une journée par mois en moyenne) et qu’il s’adapte à votre emploi du temps étudiant. 
  2. 2. Vous n’êtes pas étudiant: l’inscription au D2E est obligatoire. Cette inscription se fait auprès d’un PEPITE, pour Pôle Etudiant pour l’Innovation, le Transfert et l’Entrepreneuriat. 

Il existe actuellement 30 PEPITES en France, réparties sur le territoire, dont 8 sont en Ile-de-France. Pour repérer un PEPITE près de chez vous, une carte est à disposition sur le site du Ministère. 

Les Pépites en Ile-de-France, toutes les bonnes idées peuvent y grandir ! Copyright PEPITE France 

Le programme du D2E, et après ? 

Son organisation diffère selon les PEPITES, mais il est généralement d’une journée de cours par mois, de septembre à mai, une année académique. La présence est obligatoire car elle conditionne votre validation des sessions obligatoires, aux thématiques concrètes: monter un plan de communication, pitcher son projet, élaborer un business plan, etc. Durant le D2E, vous rencontrerez: 

  • Un réseau de professionnels du réseau des PEPITES qui interviennent pour les cours
  • Des jeunes entrepreneurs issus de parcours très diverses
  • Un écosystème d’acteurs de l’entrepreneuriat, pour des workshops et des événements 

En fin d’année, une soutenance sous forme de retour d’expérience vous permet de valider votre diplôme d’établissement. Vous pouvez renouveller votre statut autant de fois que le nécessite votre projet, sur simple demande, à l’issue de votre soutenance. Vous bénéficierez alors de nouveau de l’accompagnement de votre PEPITE. 

Training session #2 Entrepreneurship

EU&CULTURE second training session

EU&CULTURE at the Université de l’Engagement

EU&CULTURE won a place at the Institut de l’Engagement in its creativity creation branch. The Institute is organising pluri-annual seminars called Universités de l’Engagement that bring together all members of a promotion. At this occasion, several days of conferences, meetings and workshops are organised. A moment of friendliness and team spirit.

On 28th October 2018, for its 28th Université de l’Engagement, the Institute organised a serie of workshops. EU&CULTURE led one, ‘Startup Europe: an opportunity for young graduates’. The general topic covered the details of the student-entrepreneur’s application, the entrepreneur’s national diploma, and the existing French and European programmes for young entrepreneurs. Warm thanks to the Institut de l’Engagement !

 

An introduction to…

Institut de l’Engagement

A French non-profit organization dedicated to the support and valuation of civic commitments.

  • – A strong team spirit and a community accessible after a national civic mission 
  • – 3 main branches: resumption of studies, profesionnal insertion and creativity creation
  • – Tailored consulting, pluri-annual events, workshops and networking 

Pitch Slam workshop in Paris

PITCH SLAM WORKSHOP

Incubator Schoolab x Clair Obscur music group

Our team participated to an enjoyable workshop organized by Schoolab and the Clair Obscur music group. This idea came out from three persons: Sylvain ALLARD (coordinator and expert in collective intelligence), Lou CHEVRY and Nicolas THUILLIER (members of Clair Obscur). Their will was to help people to write speeches in a more social, lively and original way. Therefore, the aim of this workshop was to train a group a people (students or workers in start-up) to create and restitute a pitch, through the slam and poetry manner.

Indeed,the participants, divided into 4 different groups, had to create a short pitch around a particular themes, chosen by some experts, such as Is poetry a way to reinvent the world? or Are robots better than men? After an introduction to the slam music done by Lou CHEVRY, rapper and slammer of the group Clair Obscur, the organizers of the workshop explained us how to create a pitch and the structure of it: how to argument and to exemplify it, and the way to create a storytelling to make the pitch captivating.Thus, thanks to the help of several experts of poetry, we had to write a speech to answerthe question and shape it in a slam way.

Régis PRADAL and Mickael JABUKOWICZ, two pitch trainers, intented to clarify our words and arguments. Then, the two musicians Pascal GERARD and Nicolas THUILLIER helped us to create a beat, with an application that creates sounds, that could fit with our pitch. Finally, with the slammer Lou CHEVRY,we worked on our “flow”, our way to slam, so as to make a live restitution of the pitch in front of all the groups.

Thanks a lot to Schoolab and the group Clair Obscur for this really interesting workshop ! 

Russia and European Fundings

RUSSIA AND CREATIVE EUROPE

Russia and the European Union

Creative Europe is the main European funding programme, initiated by the European Commission and granted with a 1,45 billion euros budget for 7 years and 28 countries. The call for projects is open to any country member of the European Union, and to some other non-member. Under certain conditions, some countries member of the EEA (European Economic Area) or of the ENP (European Neighbourhood Policy) can join an applicant team, with an equal status as European Union countries. Russia takes part in Cross-Border Cooperation activities under the ENP and is not a part of the ENP as such.

Cross Border Cooperation (CBC) is a key element of the EU policy towards its neighbours. It supports sustainable development along the EU’s external borders, helps reducing differences in living standards and addressing common challenges across these borders. European and CBC funding can also be provided for a programme between several EU and neighbourhood countries which, for example, are part of the same sea basin. CBC programmes are based on:

  • Balanced partnership between the participating countries and equal say in the programme decisions
  •  Project management entrusted to a local or national authority in a member state
  •  Common legal framework  CBC has three main objectives:
  •  Promoting economic and social development in border areas
  •  Addressing common challenges
  • Putting in place better conditions for persons, goods and capital mobility

The ENP-CBC budget for the period 2014-2020 has a global amount of €1.052 billion (1).

The call for projects topics:

  • Arts and culture (31% of the selected projects)
  • Audiovisual (56%)
  • Cross-sectoral (arts + culture + audiovisual, 13%)

Each Creative Europe project have a project leader and minimum 2 European partners + several co-organisers. A Russian cultural professionals or a Russian institution can join a Creative Europe team with the co-organiser status. Examples: cultural heritage projects, performing arts, cultural innovation and technology, translation projects etc.

Who wan apply ? 

– Any active professional in the culture and creative fields
– With a legal presence in the countries listed above (that is to say with a number of activity or national registration)

2 types of application:

– SMALLER SCALE PROJECT: a project leader + 2 European partners = 3 different nationalities. Funding: maximum 60% of the applicant budget.

– LARGER SCALE PROJECT: a project leader + minimum 5 European partners = 6 different nationalities. Funding: maximum 50% of the applicant budget.

The application :

– The application form
– The « 40 000 » signs aimed to explain the coherence of the project (partnership, public, philosophy etc.)
– The estimated budget including the 60% or the 50% of the European funding + the 40% or the 50% to find elsewhere.
– The project global schedule + The global communication plan

Training session #1 European Funds

EU&CULTURE first training session

Launching night and training session

Thanks to the support of the Carrefour des Associations Parisiennes, EU&CULTURE organised its first training session along with its launching night in Paris, one June 1st 2018.

The general topic, ‘European Entrepreneurship, a challenge for young graduates’, deepended various themes, such as the existing opportunities for young entrepreneurs, the French entrepreneurship ecosystem, and the European opportunities of development. The Europe Creative programme was explained in details as well as the required elements to apply and the recommended method to build an application. 

The second part of the session was dedicated to the interview of Fabrice Guillot, Artistic Director of the vertical dance company Retouramont. The company develops and support an emerging artistic practice and received the Europe Creative funds to develop its project. Along with 6 other international stakeholders and compagnies of vertical dance, they created the Vertical Dance Forum. Many and warm thanks to Fabrice Guillot and the entire Retouramont company for sharing their time and experience with us !

An introduction to…

Company RETOURAMONT

Pioneer in the practice of vertical dance, the company is a higly-qualitative reference in the field. 

  • – A unique artistic vision in dialogue with the cities’ architecture and features
  • – Tailored trainings to vertical dance and artistic residencies 
  • – Leader of the  Vertical Dance Forum, a network of 7 choreographers specialised in vertical dance across Europe and in Canada

Carrefour des Associations Parisiennes

Known as ‘CAP’ and supported by the city of Paris, the space is a key stakeholder in the associative life.

  • A centre to support and develop the associative life in Paris
  • Events such as the Agora, free legal consulting and tailored advice to the associations’ needs 
  • A network of partners in the city
(1) Photography credits / copyright: cie Retouramont

CREATIVE EUROPE Introduction

CREATIVE EUROPE: MAIN CULTURAL PROGRAMME

The call for projects

The call for projects is open to any country member of the European Union, and to some other non-member:

  • Albania
  • Bosnia Herzegovina
  • Former Yugoslav Republic of Macedonia
  • Georgia
  • Island
  • Norway
  • Moldavia
  • Montenegro
  • Serbia
  • Ukrainia

Under certain conditions, some countries member of the EEA (European Economic Area) or of the ENP (European Neighbourhood Policy) can join an applicant team, with an equal status as European Union countries.

The call for projects topics:

  1. Arts and culture (31% of the selected projects)
  2. Audiovisual (56%)
  3. Cross-sectoral (arts + culture + audiovisual, 13%)

 

The application

Two types of application :

– SMALLER SCALE PROJECT: a project leader + 2 European partners = 3 different nationalities. Funding: maximum 60% of the applicant budget.
– LARGER SCALE PROJECT: a project leader + minimum 5 European partners = 6 different nationalities. Funding: maximum 50% of the applicant budget.

Who can apply ?

– Any active professional in the culture and creative fields
– With a legal presence in the countries listed above (that is to say with a number of activity or national registration)

Required elements to apply

– The application form
– The « 40 000 » signs aimed to explain the coherence of the project (partnership, public, philosophy etc.)
– The estimated budget including the 60% or the 50% of the European funding + the 40% or the 50% to find elsewhere.
– The project global schedule + The global communication plan

EU&CULTURE hosted by Station F

EU&CULTURE IN A BUSINESS INCUBATOR

Only 17 successful applications for the Pépite Starter Programme

17 startups from the Ile-de-France region passed the interview to enter the Pépite Starter Programme, hosted by Station F, biggest european startup campus. The incubation is grounded on the cooperation of the Ile-de-France region, the innovative studio Schoolab and the startup campus Station F. It’s a sixth month programme dedicated to student-entrepreneurs: courses, conferences, workshops and learning expeditions to accelerate the project launching. From January to June 2018, 17 startup will be hosted by Station F.

Roxane Varza, CEO – Station F

The ambition at Station F is to improve access to entrepreneurship¹.

Since its 2017 opening, Station F’s motto “World’s biggest start-up campus” has been making a name for itself, in a surprising American way: 33 000 m² dedicated to co-working, early-stage and advanced start-ups, workshops, demo days, conferences.

What is Station F ?

The campus is divided into 3 distinct zones: Share, Create and Chill. ‘Create’ is dedicated to business incubators,  management and business school innovative programmes, and advanced stage startups renting a workspace. On June 2017, French President Emmanuel Macron gave a speech for the opening of Station F. He reminded two major focuses of his policy: “Tech for Planet” and “Make our planet grat again”. Innovative technology-based startup are the new way to implement deep changes regarding French policy toward environement, business model, and economic development.

 
[…] The most radical innovation, basic research, applied research, all the projects you’re leading, technological research and entrepreneurial innovations, are a continuum: the one who will enable us to win the fight against global warming, to “Make our planet great again” and also to make […] of Europe the place where tomorrow’s world is decided 3 .
Emmanuel Macron, French President – Tech for Planet Speech
 

Since then, Station F perfectly embodies the ‘Startup Nation’ way of thinking, currently influencing the French startup ecosystem. Nevertheless, the French newspaper Le Monde reminds that only 10% to 20% of startups survive more than five years after their launching. There can be serious consequences for young entrepreneurs who are being seduced by this new model.

 

The overwhelming majority of startups survive no more than two years. (5)
 
Elise Barthet, journalist – Le Monde
 
(1) Duval, J-B. (2017) A quoi ressemble Station F, le « plus grand incubateur de start-up du monde » fondé par Xavier Niel. Huffpost, [en ligne]. (2) Discours du Président Emmanuel MACRON. Discours du Président de la République-Station F: Tech for Planet [en ligne]. Site officiel de l’Elysée, publié le 11 décembre 2017, consulté le 22 mars 2018. (3) Translation mine. […] “L’innovation la plus radicale, la recherche fondamentale, la recherche appliquée, tous les projets que vous menez, la recherche technologique et les innovations entrepreneuriales que vous conduisez, sont un continuum : celui qui nous permettra de gagner cette bataille contre le réchauffement climatique, celui qui nous permettra de « Make our planet great again » mais celui qui nous permettra aussi de faire de la France et de l’Europe le lieu où l’on décide de ce monde de demain”. (4) BARTHET, Elise. Les arrière-cuisines de la “Start Up Nation” [en ligne]. Le Monde Economie, publié le 21 février 2018, consulté le 22 mars 2018.  (5) Translation mine.