 Hello and welcome, everyone, to NIMO's webinar, Creative Europe, What's in it for Museums? In our first webinar in corona times, we are happy that we can offer you this digital format to get some input in your home office. My name is Mira Höschler and I work at the NIMO office, the network of European museum organizations that represents European museums towards policymakers on both national and EU level. NIMO trains museum professionals in Europe through our training courses, learning exchanges, and the webinars. The network also provides the platform to challenge and to create EU corporations between its members. So we are lucky to have here today Anja Dietzmann and Lea Stöver for today's webinar. They both work for the Creative Europe desk culture, which is the national contact point for Creative Europe culture in Germany. Those offices can be found in 41 countries, and you should check out if you have one in your country as well, because people will help you with the funding opportunities and the application process. Today, we will learn more about funding opportunities for museums through the Creative Europe program. On NIMO's website, you can find more information about different funding opportunities, and we will provide you later with the link. In order to understand better the needs of the museum sector, NIMO has published in 2019 a report on the museum's participation in the centralized EU funding programs from 2014 to 18, and this report made clear that museums in comparison to other cultural sectors do not really take full advantage of the existing funding opportunities, which we like to change, and this is also why we have this webinar session today. You can find the report and the recommendations on NIMO's website as well. We have two question rounds in the middle and at the end of the webinar, and you will have the opportunity to ask questions in the chat function. And I now head over to Anja and Lea, and I wish you all a fruitful session. All right. Thank you, Mira. So I switched on my mic, and I hope everyone can hear me now. So yeah. Hi and good morning. My name is Lea Stöver, and together with my colleague Anja, I will guide you through the today's webinar. So I'll start and then later on, Anja joins us. So we are both working for the Creative Europe Desk Cool Tour in Germany. We are based in Bonn, and now the two of us, as I guess most of you are in home office, so that's why we're coming in here from different computers. Yeah. I think actually doing this webinar was the best idea we had in 2019 when we planned this year, because that's the only event we can help right now, and I think you all are experiencing the other thing. So thank you to Nemo, thank you to Mira and the whole team for organizing this, and yeah, I will start with the today's agenda. So what are we planning to do with you? So first of all, I will give a short introduction to what is Creative Europe, what is the programme about. Then Anja will join us, and she will focus more on the question what's in it for museums, and also present your specific data on museums and EU funding, or funding through Creative Europe. And then chapter three is actually the biggest part of the webinar, because we want to guide you through the European Cooperation Project Scheme. This is the biggest scheme within the programme Creative Europe, and we want you to understand what can you apply for, how does it work, what other projects already have been funded in the museum sector. And yeah, then in the end, we do a short who is who, so can you contact, how can you get in touch with maybe the creative view of desk in your country, because we know that not all of you, or I guess most of you are not coming from Germany, but also from other EU countries, or other European countries. So we will explain you how you find your creative view of desk in your country. So I continue now with the question, what is Creative Europe? And I go to this slide. So to sum it up, Creative Europe is this, so that all the pictures you see are coming from different funded projects. And as you see, it shows projects from many cultural sectors. So we have a lot of performing arts, theatre music, adult visual arts, we have some pictures from VMs. So Creative Europe is, to say it with a very formally language, is the European Commission's framework programme for support to the cultural, creative and audio visual sectors. So this means Creative Europe is a programme which funds projects from all these sectors, and this means it includes museums, galleries, archives, so I hope all the sectors you are coming from. To explain it a bit more in detail, you can see here, how amount money there is for Creative Europe, and also the duration of the programme. So Creative Europe runs from 2014 to 2020, and we have a budget now of 1.46 billion euro, and maybe you are wondering now, it's okay, why does it end 2020, and why are they doing then a webinar on Creative Europe right now at the end of the programme. So good news first, the programme will continue also after 2020, and all EU programmes, so all the others which you also might know, maybe Irrigals or Horizon 2020, or any other programme, they all run for seven years until 2020, and then there starts a new circle, a new cycle of programmes, and then in 2021, we start with a new Creative Europe programme, and we already know about the new programme that there might be, or there will be some changes, but most important is that the scheme for cooperation project is continuing. So most of the information we are giving you today will be also valid from 2021 on, and we also explain you or say, okay, there might be slight changes, so if you're really interested in applying, you should check our websites or the website from your desk. Okay, so much about the time, and now let's have a look at both sub-programs. You can see here the media sub-program, which has 56% of the budget. The media sub-program is dedicated to the audiovisual sector in Europe, so it means projects from the audiovisual sector, so films, series, but also gaming, they are funded through this media sub-program, see here on your left side. And then in the middle, we have the cultural sub-program. It's a bit smaller, but it's covering the rest of the cultural sector. So everything which is not film or gaming or series or documentaries goes into the cultural sub-program. So everything from cultural, from audiovisual arts, from performing arts, music, circus arts, museums, galleries, everything which is not audiovisual is funded by the cultural sub-program and that's what we are talking about today. And Anja and me, we are both experts for the cultural sub-program, so that's what we know a little bit about. And then the cross-sector is, I won't talk about it that much today. There are some specific calls, but also some money for, of course, the desks and the administration. So maybe you now have the question, okay, why actually does the European Union support the creative and cultural sectors in Europe, but also why are they doing it or what do they actually want to achieve with this program? And this brings me to my next slide. And here we summarize very generally the vision of the e-cultural policy and can say that the European Union has actually two visions. So you see the first one, which is to safeguard, develop and promote European cultural and linguistic diversity and to promote Europe's cultural heritage. So that's, let's say, the first and foremost vision of the European Union in the field of culture. I normally summarize this vision as under the heading of, a headline of unity through diversity, meaning that of course the European Union does not want to unify all the different cultures we have in Europe, in the EU, but also beyond the EU. But of course they want to support the diversity of these cultures, of the national cultures, of the regional cultures, but also they want to make us aware that, of course there is something which connects us in Europe and especially they want to promote the safeguarding of the cultural heritage in Europe. And then the second vision, which you can see here, is to strengthen the competitiveness of the European cultural and creative sectors. So this comes in as the second vision of the EU cultural policy. And this means that of course this is also important to the EU to support the cultural and creative industries and to also make them competitive within Europe, but also beyond. And this is one of, or this is the second vision of the EU cultural policy. Okay, so this was, let's say, a very general introduction to what the EU thinks about cultural policy, what they want to focus on. And I'm now getting a little bit more into detail. And I want to just shortly speak about the, about the, here it comes, the European Agenda for Culture. And this is a very, for us, and also then for you, a very important document which was published by the European Commission in May 2018. So already or almost two years ago. And it gives a bit more of a detail of how the European Commission sees a culture and how they understand and how also eventually they think about funding for culture. So you could wonder now, why should we look at it or why are we talking about it? And I want to keep it easy and say you want the money, so you should better look at how they want to spend the money. And by they, I mean, of course, the European Union and the European Commission, which is responsible for the program. So if you want to apply for money, you of course should get a bit of a feeling of how do they think of culture? How do they see it? How, where do they put emphasis on well, the focus? And that's why I'm presenting this to you. And it's actually not so difficult to understand. You see that we have five dimensions here or five focus points. First of all, social dimension of culture. So the European Commission says that culture definitely has a social dimension and that culture can harness or that they want to harness the power of culture and cultural diversity and that they see that culture can bring social cohesion and well-being to the citizen of Europe. So that's, let's say, one perspective on culture they have. The second one comes more from an economic point of view. And this relates also to, you remember, the second vision I just presented to you and they say that culture also supports, of course, the creativity of people and that they especially want to support the creative industries in Europe and that these industries bring jobs and growth for people in Europe. Then we come to the third dimension, the external dimension and here the Commission says that they think culture has the power to strengthen international and cultural relations. So what they definitely want to see is that through cultural projects not only the EU countries but also countries beyond the European Union work together and strengthen their relations through culture. And then the fourth point, digital for culture. This is one important, let's say, topic or point which the EU really wants to emphasize. They, in their agenda for culture, they say very clearly that they want to support the creative and cultural sectors to support, to to strengthen the digital skills and also the use of digital means and media. So that's something the EU is really highlighting. And then the fifth point, protecting and valorizing cultural heritage. This is also something very important for the European Commission and I hope that some of you remember the European Year of Cultural Heritage which we had in 2018. Yes, 18 it was. So this is also something which is very important for the European Commission is the cultural heritage of Europe. That's something they want to support. They want to safeguard it. And I hope that maybe some of you coming from the museum sector or galleries or archives are especially worrying and taking care of the cultural heritage in Europe. So that's something where you could maybe see a connection between your work and the vision the European Union has of culture. Okay, so this was my little introduction to the to the basics of EU cultural policy. And now I already talked a lot and I also, not only I, but also Anja and Nemo, we want to learn a bit more about you. So we prepared actually two questions. And I'm now switching to the to the questions and I would like to ask you to give us an answer. Let's see. Give me a moment. Okay, there it comes. So you should now see two questions. The question is what type, the first question, what type of organization do you represent? Do you have experience with European funding? I can see already you're starting to answer. I would say give you another 60 seconds to answer the question and then we can see the results. Just a little remark for you. You can click at the presentation slide you see on your desktop now. So you don't have to use the chat function. Ah, okay. Thank you, Anja. Yeah. Okay, so we have 25 seconds more. I hope all of you can access the questions. Okay, I guess you heard the alarm from my on my mobile phone. I will now finish the poll and I share the results with you. So Anja, do you see it? Yes, okay. Perfect. So I guess the other participants can also see it. So let's have a look at it. What type of organization do you represent? That's actually what we expected. Most of you are coming from museums, one gallery, one archive. Also a couple of people from the public administration students, okay, no artists and other. Okay, so maybe if you want you can also specify the other and the chat function so we can maybe see who the others are. So we ask for this sorry, that was my alarm again. So why we ask for this is because one of the important formal materials for creative Europe is that natural persons cannot apply but you need to be a legal person. So for example a museum or an archive or also a public authority. So that is something which Anja also will explain later on. And then let's have a look at the second question. Do you have experiences with European funding? Okay, so we see already 12 people having experience with creative Europe. That is great. So I still hope I can tell you a bit some news today. And then we see also Horizon and Erasmus. We specifically ask for this because as Mira already said in the beginning Nemond did research on how museums use European funding and looked into these three programs. So it's interesting to see that some of you have experience and that even more people know Erasmus more than creative Europe. That's actually interesting for us. So I see that it's all really worth doing it and I think the 43 people who have no experience will learn a lot about European funding today. Okay, and that's now the moment where I hand over to Anja and she will continue with the question what's in it for museums? Okay. A warm welcome also from me. Hello everyone. I will go on with the next question on what is in it for museum like Leah already introduced. So we said that the creative Europe culture funding program is open for every cultural sector. But especially museums can benefit from the program. So we looked at the EU funding report by Nemo and found some numbers about how museums are using the funding. So you can see here the funded projects in all the funded projects from 2014 to 2018 in the funding scheme small cooperation projects large cooperation projects European networks and European platforms. And you can also see what share museums, galleries and archives have in these special schemes. So it is always around 20%. I didn't list it all funding schemes here because I just wanted to give you an overview. So there are some more special calls that I didn't list here. But looking at the funded projects from 2014 to 2018 in total 104 projects led by museums were funded. So there is a bit potential for more but you see that museums, galleries and archives are an important sector that is funded in the program. We were always talking about European cooperation and about transnational cooperation. So lots of different countries are involved in these projects and the 104 projects are led by museums from all over Europe. This slide shows you the geographical coverage of the funding for European culture projects. There are some museum hubs like you see in UK, Germany in Italy and also in Slovenia. But there are lots of there are many more countries involved in the projects. These are only the organizations that are the leading partners of the project of the European cooperation project especially. And here you can see all the partner organizations. So it is even more transnational than you saw before. So this is the picture we have when we look at the support that European culture gives to the European museum sector and to answer the post question before the museum sector is a field that can benefit from the creative euro program and especially from the funding scheme for European cooperation projects. So we will look a bit closer to the European cooperation projects now and I will start with one funded projects of the smart places project, a European audience development project. It is a cooperation project that runs from 2016 to 2020 and it involves eight partners eight organizations six museums one university and one IT company and the museums that put that project together they all experienced the loss of their own community and their own audience and the difficulties to deepen the connection to their audience. So they started this audience development project to get to know their local audiences to engage them and to find new methods and formats to strengthen the ties of their audience. They were organizing micro projects involving two to three partners always exchanging their experiences during conferences or during their partner meetings and this is one short example to give you a glimpse what a European cooperation project is about. We will have some more examples for you so that you get a better picture of this funding scheme. So what is a European cooperation project we want to dive deeper into this funding scheme because it is the biggest funding scheme of the sub-programmed culture 70% goes to 70% of the whole creative Europe culture budget goes to the European cooperation projects and we have here an overview of the formal criteria I will start to introduce the formal criteria of this funding scheme to you. The European cooperation projects are divided in two categories one category are the small-scale cooperation projects and the other one the large-scale cooperation project. So for the small-scale cooperation projects a minimum of three organizations from three different countries have to work together and have to organize and design the project the maximum duration is four years and the EU funds 60% of the eligible costs or a maximum amount of 200,000 euro for the large-scale cooperation projects all things are a bit bigger so at least six organizations from six different countries have to have to organize the project they have to work together and for a duration of maximum four years that's the same the EU grant is about 50% of eligible costs or a maximum amount of 2 million euros so these are some formal information some formal criteria if you are interested in these categories and the structure is that you have one lead partner which is responsible for the administration of the project but you will submit one giant application with all partners so it has to be really a cooperation project where you all work together and where you design the project together so which organizations are eligible we already talked about the different sectors so the funding program is open for every cultural sector and no natural persons are eligible so you have to be a legal entity organizations must have a legal entity they can be public or private they can be in the nonprofit or in the profit oriented sector that doesn't matter every organization in this field is eligible and one important thing for the lead partner is that the lead partner has to be legally established for two years prior to the deadline what is also funded are projects with different with organizations from different sectors so not only museums that are working together but perhaps like in the project I already presented museums working together with universities are working together with multi-media art so there are many projects involving organizations from different sectors the next point is about eligible countries so not only the now 70 the 27 EU member states are eligible but there are also some more countries that participate in the program so the question will probably arise so I will start with UK UK will at the moment it looks like UK will not participate in the program for next year so in the next program period that means that UK organizations cannot be official partners but they can also participate in the project as third countries it's the same with Switzerland Switzerland and Swiss organizations they can also just be third countries because Switzerland is not participating in the creative Europe culture program we have some more participating countries like Iceland and Norway and also countries from the eastern or southern partnership of Europe especially Tunisia is the only North African country that is participating in the program so these are all the formal criteria you need to know for this funding scheme and we have now a question slot for you so if you have any questions so far please use the chat function and we hopefully can answer most of them so I will just give you some time to post your questions yeah I think I see there are a couple of questions on the third country question so maybe Anya we can start with this one yes so the question is can you tell me more details about third country organizations third country organization means that the organization is not an official partner but there can be activities in the third country that are funded by another official partner so it's like in German we have this phrase to say take someone who could pack so you take this organization with you an official partner takes the organization of a third country with them there are some some restriction to that I think about 30% of the eligible costs can go to third countries and not more so yeah and I think then there was a question would it work for example for Russia or then also for UK and that's the case so if you are a museum from Russia and from UK from next year on you can come in as a third country partner which works as Anya just explained okay then I see there a question what does it mean to be a legally established person two years before deadline so this means for example so you are a legal person let's say you are a company and you were you founded your companies last year April 2019 so when you want to apply for a cooperation project and you want to be the coordinator you can only do this then from April 2021 on because then you are legally established for two years but this only is a restriction for the coordinator for the partner it's different then you can also be just legally established for one year or two months it doesn't matter and of course it does not only go for companies but also for associations so for any kind of legal person the next question number five does the applications must come from three different countries so like I said you always have one application but this application is for a project that involves at least three organizations from three different countries so yes in this case three different countries have to be involved in the project if you want to do a small cooperation project okay then I think I will go with the next question and someone was saying that I personally experienced that it's a big challenge to request the guarantee letters from the organizations to get the funds already granted do you have any updates regarding this condition so I hope I can answer to that question from what I understand is that when you apply for the funding and you only apply for co-financing from the EU of course you need some national money and money to come in when you apply for the EU grant you don't need the guarantee that you already have other funds so let's say you are applying this year winter this year and you think about applying also for some more money within a national organization a national association then you can apply for EU money and then you can later also apply for the national money and then at the moment where you receive the letter that you get the EU grant you also need to show that you have national or that you have the co-financing be it national money or regional money or whatever so you only need to verify that you have this co-financing at the moment where you want to start the project so I hope that answers the question yeah maybe we can say we have time for two more questions I think we should go on so maybe you want to pick question 7 Anja? Yes, how long will it take before the answer of the application arrives so you have a deadline and the evaluation of all the applications last at least three months around three months and normally the deadline is in the end of the year then you will get a notification letter in the end of spring starting of summer and you can start with your project in September so this is the timeline but we will show you the timeline later okay then I go for the last question at the moment which was how to find your partners across Europe any tips or suggestions yes we have I think I would start with two tips the first is go and find your European network for your sector I know that NEMO I think one conference per year or even two so this might be a good occasion to meet other people who want to work on the European level who are interested of course there is not only NEMO there are more networks also and Anja will present them in the end and you can also find out maybe there are European networks or national networks so it's always good to go and see people maybe not at the moment but hopefully next year and to get in touch with them so I know of projects who did it like this and the other option is you can write to your national creative Europe desk and you can fill out a partner search sheet saying okay I'm this and that organization I want to do this and that project can you please spread the news about this idea within your network and the 41 desks or 40 desks then spread these sheets into their countries and then you will get answers from interested organizations from all over Europe so that's two options you have when you look for partners okay because we have some more slides and some more content we want to present I will now go on with the next slide and I will just talk shortly about one other museum project which we wanted to present to you it's called switch sharing a world of inclusion, creativity and heritage it's a project which already finished and it was made up by 10 partners mostly museums of ethnography and world culture and the project had one starting idea or one starting point it asks or it's actually the partners saw that there is not the one European identity but that European identities are diverse and rapidly changing and that they at these museums of ethnography want to become part of the discussion about European identities and in the 21st century so here you can see the different partners like Anja explained you always need to have one lead partner in this case it was the Weltmuseum Wien which is the museum for world cultures in Vienna Austria and then you have nine other museums in Germany we had the museum from Stuttgart the Linden Museum but also from many other countries so you see the museum sorry the project ran for four years and they had lots of different activities which were for example conferences but also cooperative exhibition forms meaning that they that they planned and then also implemented exhibitions together and then they could show them at different places in Europe and they also of course created a sort of documentation of the project and what is interesting about this project and that's also why I we decided to to show it to you is that the switch project was already I think the second or third project by this different organizations the different museums and they also started a new project just last year and the new project is called taking care and this time it's also a project of museums of ethnography and world culture museums but this time they want to look at the connection between ethnographic collections and the climate crisis so you can see here they did this project for four years on a specific topic but then they worked on it for four years and they decided to go on and look now to another topic so that's something you can do and from what I know is that also the partners changed not all of them but not all partners which are part or were part of which project are now again part of the taking care project which is the new project but it changed and new museums came in and others left because maybe they were not interested or they didn't have the capacities for the next four years okay I will now go on with a bit more the question on not the formal criteria of cooperation projects but on the question of the characteristics so what is funded and here on this slide you actually see let's say five buzzwords so think five words you should definitely remember when we ask you in one week or one month about cooperation projects and we have a chat on it so most important is the European added value your cooperation project your European cooperation project needs a European added value that's really the most important thing for your cooperation project and European added value means that you have a good answer to the question why do you need European partners so it's very important to show that your project really needs the cooperation between European partners that you need the insight the knowledge, the experience from other European museums or galleries, archives libraries whatsoever and you need to show why this shouldn't be a project only on the national or regional level so somehow you need to show to the commission and to the EU and to be convincing why this should be a project on the European level and then the other characteristics I would say naturally follow you need transport activities meaning that you should only organize activities in one country but the activities should take place in the different countries you should really cooperate meaning you should work together on the problems and challenges and the topic you choose and it's not just one organization doing and finding solution but it's really cooperating and then finally your project should have a broader effect and it should be sustainable and also transferable this means I think it's a bit of buzz words here but let's make it a bit easier you should think about how can you make an effect not only on the people or the institutions which are directly part of the project but also beyond that so how can you maybe prepare some documentation or some website which really shows to the people what you were doing in the project and how can they also make use of it that can be a a website for example okay and this brings me now to the next one which is the priorities and so we are getting now a bit deeper into this whole topic of cooperation projects because when you decide to do a cooperation project a European cooperation project within creative Europe you need to choose between different priorities and you have to say okay I'm doing this priority and now I explain you how I want to do the priority and so that's what you need to say and you really need to focus on one or two or three of these priorities so the first I think is very natural transnational mobility meaning the mobility of not only the artists but also of art in Europe the second one audience development means a project which is actively engaging with new audience different audiences and Anja already described the smart places project that was definitely a project thinking about audience development then the third is digitization meaning you are using digital or new digital means for new kinds of working together new forms of expressions so really using digital means for innovative project ideas new business models the fourth priority means could mean creating new skills for business related activities so you might think about how can we not only present what we do but how can we all think about making this a business model and a business idea and then the last one is training and education this would mean a project which is also focused on the idea of training for example staff members but also audience and all the people who who you are engaged in your institution okay and this actually brings me to another project example it's quite a new project it's called beyond meta cultural heritage on the virtual reality this project only started last October and German museum the center for art and media in Karlsruhe is the lead partner here and you see that they have a couple of more museums as partners but they also have for example one tech company as partner and this is very important for this project because this project wants to revive art through content through VR so what they want to do is look at exhibitions and artworks which already are in the archives of museums which already happened and they want to revive them through virtual reality so this means they are using new and innovative means of digital technology and they are also addressing this idea of audience development the cultural content to new audiences which were maybe not yet alive when these exhibitions took place or which did not have the chance to see it because they simply live in a different country so here you can see how a project can address different priorities one interesting thing is maybe for some of you that the project beyond meta they have an open core right now looking for practitioners and also theoreticians who work on the question of how to bring art content via virtual reality to new audiences so if maybe some of you is working on that topic I definitely recommend to have a look at the web page beyond meta.eu because the call is open and they look for residencies in Tallinn, Tirana and Karlsruhe so yeah have a look at it alright and now I'm almost at the end of our chapter 3 and I will just briefly have a look at one important question and that's the money of course you can talk a lot about content and partners and everything but in the end you also have to care about the costs and this is just the short summary of the questions which costs are eligible so you see four main categories of costs which are project activities so everything which is related to the project to costs which arise by implementing the project then of course communication so everything you need in order to communicate and disseminate your project then of course travel costs again maybe not at the moment but normally that's a big cost heading because you need to travel around Europe to make the project run and then also the personal costs that's usually the biggest subheading so all these different four different cost categories make up your total budget and from this you can have 7% of indirect costs and with this indirect costs you can this money you can spend on for example rent or insurance or everything you also need to pay okay and this brings me also shortly to the question how can you co-finance such a project and this of course is also very different in the 41 countries so it's always good to talk with your creative your desk about this question so you could pay your project from your own resources if you have you can of course apply for other funding from private or public sources and you could second your paid personal so you can say okay we already have persons working in our institution they are paid through our normal funding and now we say they work for let's say two years on this project and we pay them so that's then the income you have it's not allowed to have other EU funding so you cannot apply for creative Europe and Erasmus at the same time and in kind contribution also do not work good then the very last question is about the timeline if you decide now to apply for a cooperation project you definitely have look should have a look at the creative your desk website throughout the whole year because this timeline could change normally we have a call for cooperation projects in wintertime but I'm actually expecting this call more in the spring of 2021 because right now we are you know in a crisis all over Europe so I think the timeline may change and normally you then have maximum 8 weeks until the deadline is and then the results come six months later so you normally apply and then you have to wait another eight months until you have the news and the results and then it takes some more weeks until you can start a project good and the very last question is now because I already talked about it and who is how is it going after 2020 because we spoke about the new program it starts in 2021 and I want to keep it short here because time is a bit running and the most important thing for you to know is that the cooperation project scheme is continuing so everything we told you today about the formal and informal criteria and also the ones which are content related this is the scheme will continue we expect slight changes so it's always good to have a look at the publications of your creative field desks but if you are planning a cooperation project with different partners let's say three different partners from three different countries this idea will continue also beyond 2021 and that's also the good news we have some new schemes especially one which is dedicated to the music sector and also the topic of cultural heritage heritage should be supported after 2020 okay and that's where now my colleague Anja will do a short who is who so that you also know who to contact after the today's webinar yes so we are almost finished at the end I want to give you an overview where you can get help for the application process and who is who in the on the European level who is developing the program and who is doing the administration so here at this slide you can see at the one hand on the left side the European commission the DJ EAC director general for education youth sport and culture this is the yes the director general that is responsible for the content related questions of the program so they defining strategies and evaluating the program on the right side you see the executive agency they are implementing the program so they are there for the administration of everything and when you get funding you also have a project officer coming from the agency we the creative Europe desks culture are at the interface between the EU level and the national level so we get the information from the EU level and we will transfer to our cultural and creative sectors in the 41 countries that are participating in the program and we are just one desk of the 41 that are all over Europe and you can you can find your local desks at our web at our web page you can find the link here on the slide and look it up there they will help you with the application they will guide you through yes through the whole process and consult about the project you are planning on our map you can see where all the desks are located beside the creative Europe desks that can give you the one hand information on the program the European networks like Lea already mentioned are very helpful and very useful if you are interested in European cooperation so we have NEMO the network of European museum organization that can help you with finding partners that also provides information then there are some more museum related networks like the European route of industrial heritage Europa Nostra is specialized on cultural heritage and we also have the association of European open air museums all these networks they gather information from their sectors and they also try to give the sectors interest to a European level so yes they are very helpful too so we hope we could give you an idea of what creative Europe culture is about European cooperation projects are about we are very happy that so many people listen to our webinar and we also know that especially in these challenging times it is good to know where you can get funding if you have any further questions on the program you can post them in the chat function it is already 12 o'clock but if you have some more time we will stay for a bit around 5 minutes and yes you can post some more questions here I already had a look at the questions while Anja was still presenting so I think I will just start answering two questions one question was can come from countries outside the EU for example yes this is theoretically possible but still you should always remember that this is funding for EU and Europe so it should be still a project focusing on the European cultural sector if you think that a partner from 1000 America can bring something into the project what you don't have in Europe or what is really enriching is something you can do but it shouldn't be a project which is then more focused on South America than on Europe that's the answer to that question and then another question question number 12 is can an institution that exists for less than two years be a partner in a creative Europe project yes the rule with the two years of existence only applies to coordinators so if you are only a partner you can exist for one year, two months one year and three months whatsoever good just looking at the questions there's one question number 16 what if one partner quit because of impossibility of keeping on it we always suggest that you don't only have three organizations from three different countries but you always have one extra so a lot of projects small corporation projects for example are working with four organizations from four different countries so if someone, if for some organization it's not possible to get on you can still do the project that's quite important we can see that there are really a lot of questions and I'm afraid that we cannot answer all of them but don't be afraid and there is someone in your country who can answer it or you can also get in touch with us that's why I go back to the slide where you find the link how to find your local desks so we definitely advise you to get in touch with a desk in your country of course you can also write to us at the German desk we are also happy to help everyone from Europe but maybe it might even be more convenient for you to write in your mother tongue and I would say I suggest that we can maybe answer two more questions there was one on the impact of the current Covid situation on the agenda I have to say that I don't know if there will be a direct impact because the program which then starts next year was already discussed by the three EU institutions the Parliament, the Commission and the Council so I'm not sure I could say that definitely digitisation was a very big priority already in this running program so I can see that all the experiences you and we are having right now due to the crisis I think that's something which you can use also during the next program and something which will definitely be valuable for a cooperation project okay maybe yes there's one more question on how important it is for the coordinator to have a rich activity portfolio in the past years and a financial situation so the coordinator has to do the whole administration of the product so for the agency and also for the commission it is important to have yes to have an organisation that can provide good financial capacity and also good operational capacity so when you do the when you submit your application you also have to improve that you can do this project that you can handle the budget so it is quite important to have a rich activity to already know how to deal with cooperation projects perhaps on a bilateral level and yes to prove your operational and financial capacity yeah yeah yeah okay I think we should now call it call it a day I posted in the chat also our content because I just realised that we didn't put it on the last slide so if you want to get in touch with Anya or me or one of my colleagues please visit our website I posted it in the chat or you look for the desk in your country they're all very nice and very active colleagues all over Europe and send them our regards if you talk to them and yeah I think that's it thank you to all of you thank you very much to Nemo for giving us the opportunity and yeah everyone take care stay safe and maybe see you again thank you very much goodbye bye