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New Wolsey Theatre is based in Ipswich and is an independent not-for-profit organisation. They are funded by Arts Council England as one of its National Portfolio Organisations and receive local funding from Ipswich Borough Council and Suffolk County Council as well as other project funding from a variety of sources. New Wolsey Theatre is a mid-scale theatre with a mixed performance programme that combines in-house with touring productions. It has a diverse audience, a strong commitment to access and reaching parts of the community not normally engaged in the arts. This is complemented by a strong business model based on a policy of maximising earned income, especially through ticket sales, and innovative funding. Ipswich is a town with 127.000 population, a mix of ‘rural bliss’, ‘gentrified areas’ new build family housing and older working class areas. Fans of the local football club Ipswich Town are known as the ‘Tractor Boy’ indicating how the town has historically been perceived (tractors are farm vehicles).

MAXXI Foundation Rome, Italy MAXXI – Museo Nazionale delle Arti del XXI secolo is a private foundation established in 2009 and funded by the Ministry of Culture, Regione Lazio and Enel, a national energy supplier (former national electric company). The famous architect Zaha Hadid on the structure of a former military industrial plant created the building and it is located in the Flaminio area, a district inhabited by upper class, boasting a number of modern and contemporary buildings (the Auditorium by Piano, the Palace of Sport by Nervi, Ponte della Musica of Buro Happold-Kit PowellWilliams Architects, etc.). MAXXI is not only a museum, but a space were new cultural productions are developed and partnership is the main tool to achieve this result: the Foundation has more than 150 institutional and private partners and donors.

In 2011 the city of Antwerp united different city collections in its new city museum, the MAS. Both the cultural policies and urban planning policies since the 1990s explain the creation of the MAS. In 1997, three of Antwerp’s city museums did not manage to attract national funding because of their shabby conditions of conservation. Hence, the Antwerp city council had to take a decision either to renovate these museums or to close them. Instead of renovating each museum, the city decided to create a brand-new city museum for the old collections in the old port area of Antwerp, which would add to the urban renewal of this run-down quarter.

The XIX century building that now hosts Maison des Metallos (MdM)  was a former music instruments factory, and then became headquarters of the Union Fraternelle des Métallos, a situation that lasted for 60 years and that left an important legacy in terms of place identity. Since the Union left in 1997, the building was run by a committee of inhabitants of the neighbourhood, who occupied it because they felt it was part of local identity. They were concerned about the forthcoming gentrification, which was starting at that time in the former working class neighbourhood. This sense of belonging of the local community had an important role in pushing the municipality of Paris to buy the venue, but also created at first some tension with the occupants as the city decided to convert it in a cultural venue run by an appointed director, that opened in 2007. So the first audience “issue” that MdM had to face, was to find the way to involve and resolve this tension. The relationship with the associations and former occupants took time to be reconstructed, but it’s today an important part of the identity of MdM and of its relation with the neighbourhood.

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