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Lublin is setting out on an extraordinary journey. This July, “The Magician’s Journey: Prologue” will take to the streets of Polish cities – the first instalment of a multi-year project delivered by the Sztukmistrze Foundation in cooperation with the Centre for Culture in Lublin and European Capital of Culture Lublin 2029. It is not only a contemporary circus performance, but also the symbolic beginning of a journey that will take Lublin artists across Poland and Europe in the coming years and, ultimately, back to Lublin in 2029.

The project draws on the principles of the RE:UNION programme. It references the Magician of Lublin, the protagonist of Nobel laureate Isaac Bashevis Singer’s novel, reinterpreting the figure in a contemporary context. The travelling Magicians Troupe becomes an ambassador for the city and the RE:UNION idea, telling the story of Lublin through the language of art. In the years to come, the project will continue to develop, gradually expanding to include more cities across Poland and Europe.

A performance that invites participation

“The Magician’s Journey: Prologue” tells the story of five travellers who meet passers-by and… invite them for coffee. Before anyone can sit down around a shared table, however, the artists have to work together to build an eight-metre structure, prepare the space, warm up and start the coffee machine. Only then does the high-energy performance begin, combining acrobatics, juggling, balancing acts and physical theatre. After the show, audiences will be invited to continue the conversation over coffee.

First stops

In July, “The Magician’s Journey: Prologue” will visit three exceptional events:

5 July – Festiwal Kuglarzy, Wodzisław Śląski
13 July – Festiwal Góry Literatury, various locations across Lower Silesia
17 July – SĄSIEDZI – Teatralnie. Cyrkowo. Po sąsiedzku, Bielsko-Biała (as part of the Bielsko-Biała 2026 Polish Capital of Culture programme)
21 August 2026 – Potocki Palace Courtyard, Radzyń Podlaski
4 September 2026 – Centre for Culture and Promotion, Piotrowice
5 September 2026 – Szerokie, Lublin – Święto Dzielnicy Szerokie

The Szerokie district celebration is an opportunity to spend time together.

“Prologue” marks the beginning of a larger story. In the years to come, the Magicians Troupe will expand its route, visiting more cities and festivals as part of the promotion of the European Capital of Culture Lublin 2029 programme.

Creative team:

Performers: Alisa Cheburkova, Daniel Chlibiuk, Artur Perskawiec, Marcin Borkowski, Krzysztof Pacholik
Dramaturgical and directing consultation: Jakub Szwed
Duration: approx. 50 minutes
Recommended age of recipients: from 5 months to 121 years old
Production: Sztukmistrze Foundation, Centre for Culture in Lublin, European Capital of Culture Lublin 2029

EVENT PROGRAMME

Translated by: Aleksandra Górecka
Proofread by: Gabriela Niewadzi

In the art world, everything works in a softer, more relationship-based and less procedural way. Someone sends an email in the evening, someone calls, someone sends a text; things happen along the way, things grow out of conversations. Here, I expected a reality that would be structured and somewhat impenetrable. I wondered whether it might be difficult simply to walk in, start talking, be the new person in a place that already has its own relationships and its own order.

It wasn’t fear in the literal sense, more of a slight tension that appears when you enter an unfamiliar world and don’t yet know its temperature. It very quickly turned out that this fear was completely irrational.

What does a company look like through an artist’s eyes? Not as an organisation or a set of processes, but as a living organism with its own rhythm and language. This was the everyday reality Barbara Gryka observed during her residency at Medisept, carried out as part of the “Culture at Work” project.

In conversation with Ralph Talmont, she talks about meeting people who work every day in laboratories, offices and production facilities; about the importance of attentive listening; and about searching for what lies beneath a place’s official image.

As she stresses, she is always more interested in the life inside a company than in its structure itself – the relationships and experiences that paint the organisation’s true picture. The residency also became an opportunity for the artist to reflect on the nature of work: its rhythm, repetition, the need for stability and the significance of everyday relationships.

It is a story about discovering that the worlds of art and professional work are far closer than they might seem.

We invite you to read the second conversation in our series summarising the artistic residencies carried out as part of the “Culture at Work” project. The interview was conducted and edited by Ralph Talmont.

READ THE FULL CONVERSATION WITH BARBARA GRYKA (SCROLL FOR THE ENGLISH VERSION)

Translated by: Aleksandra Górecka

Proofread by: Gabriela Niewadzi

Why Japan is looking towards Lublin

Authentic Old Town streets, living traditions, cultural festivals and the rare luxury of space – Lublin is increasingly catching the attention of Japanese and other East Asian travellers looking beyond Europe’s crowded capitals. We were not surprised that except for Lublin we could hear beautiful stories of other ECoCs – Liepaja, Kiruna, Evora and Leuven.

Tourism EXPO Japan was drawing to a close while two Tokyo-based bloggers were wandering through Lublin’s Old Town, hoping to catch a glimpse of Ran Takahashi or Tomohiro Ogawa (two Japanese volleyball stars currently playing for Bogdanka LUK Lublin). What was definitely seen were last summer concerts and open workshops and a dozen lit up balloons possibly reminding them of the Aomori lantern museum.

They were among the latest group of Japanese visitors to discover the city well before it becomes European Capital of Culture in 2029. Our first conversations with Japanese organisations about bringing visitors to Lublin date back to December 2025. It is a small but important example of how interest in the city is beginning to turn into actual travel and engagement in culture.

For Lublin, East Asia is becoming an increasingly important part of the conversation about the city’s tourism and culture development.

pht. Maciej Rukasz

That conversation continued at Tourism EXPO Japan in Tokyo in September 2026, where Krzysztof Raganowicz (CEO of Lublin Metropolitan Tourism Organisation) and Maciej Rukasz (International Relations Manager for European Capital of Culture Lublin 2029) presented Lublin’s story and plans for 2029 at one of the largest tourism events in the region. Held at the spectacular Tokyo Big Sight, the four-day exhibition attracted more than 183 000 visitors, including major travel industry players, specialist tour operators, media and thousands of travellers. For a city the size of Lublin, the scale is impossible to ignore. Imagine more than half of Lublin’s population passing through a single exhibition, having the opportunity to hear about the “City of Inspiration” and the idea of Lublin 2029 – RE:UNION.

But the most interesting part of the Japanese connection is not the size of the audience. It is a surprisingly natural cultural fit.

A city Japan already knows

Lublin and Japan have for years been connected through culture. The city has welcomed performances by Toshiki Okada and Daisuke Yoshimoto as a part of the Konfrontacje Teatralne festival, while musicians including Otomo Yoshihide, Akira Sakata and the Shibusashirazu Orchestra have appeared on Lublin stages. The European Capital of Culture programme is also developing projects with the support of the EU-Japan Fest Committee.

pht. Maciej Rukasz

There are newer connections, too. Polish Institute in Tokyo actively supported the success of The Real Pain movie in Japan. At the same time a close relationship has developed with Japanese travel personality and actress Reika Kirishima through the work of Maria Orzeł, director of the Polish National Tourist Office in Tokyo (ZOPOT Tokio). Each year they co-organize the Polish Festival that brings thousands of spectators to experience Poland. This year Lublin sparked interest during that event as well.

pht. Maciej Rukasz

And now there are Ran Takahashi and Tomohiro Ogawa

The Japanese volleyball stars, whose social media following exceeds seven million, have brought a new audience to Lublin. Fans following their careers are already discovering not only the city’s volleyball scene but also its Old Town, festivals, restaurants and cultural attractions.

It is a quite vivid example of how international visibility does not necessarily have to begin with tourism. Sometimes it begins with a person, a performance, a film or a cultural relationship – and travel follows. This is a crucial observation for a European Capital of Culture and justifies the involvement and work behind it.

What Japanese travellers see in Lublin

Conversations with Japanese tour operators at Tourism EXPO Japan offered an interesting perspective on what makes Lublin attractive.

Japan has a strong culture of craftsmanship, attention to detail and appreciation of things made locally and carefully. Tour operators see a similar quality in Lublin’s approach to authenticity.

It can be found in something as simple as a traditional cebularz, the onion-and-poppy-seed flatbread that has become one of the city’s culinary signatures. It can be found in the Old Town, which remains a living part of the city rather than a stage set created exclusively for visitors. And it can be found in festivals and events where traditional crafts, music and local culture are still practiced rather than simply displayed.

pht. Maciej Rukasz

Then there is something Japanese travelers value particularly highly: nature. For someone living in Tokyo, a megacity of almost 40 million people, Lublin’s parks, greenery and slower rhythm can feel like a genuine luxury. We seem to overlook that our city offers the unusual combination of an historic European centre and plenty of space to breathe. Closeness to National Parks and UNESCO Sites are something not to ignore as well.

Lublin’s festivals can also feel unexpectedly familiar. Re:tradycja, with its focus on traditional culture and craftsmanship, and Carnaval Sztukmistrzów, which transforms the city into a huge stage for contemporary circus and street performance, have something of the energy of a Japanese matsuri – different in form, but similar in their ability to bring people together in public space.

Lublin’s difficult history offers another point of connection. For Japanese visitors interested in history and memory, exploring the story of the Holocaust in the city – from the former Jewish quarter to the State Museum at Majdanek – can take on a particularly powerful and contemplative dimension, much different from other places like that.

pht. Maciej Rukasz

These are not simply attractions to be packaged into a tour. They are qualities of the city that need to be understood and worked with carefully. And this is something interesting for a guest we truly want to host.

The luxury of an authentic city

Four days of meetings, presentations and conversations with the tourism industry in Tokyo reinforced one clear point: there is a growing market for cultural travel that goes beyond Europe’s most famous destinations.

The appeal is not about competing with Paris, Rome or Prague on their terms. It is about offering something different. Lublin is walkable, culturally distinctive and still relatively free from the crowds that increasingly define many historic European cities. Its Old Town is alive rather than over-curated. Its cultural scene is active throughout the year. Its traditions are still practiced. And its identity has not been flattened into a product designed solely for tourists. 

For East Asian travellers, these qualities can be particularly compelling.

pht. Maciej Rukasz

The European Capital of Culture title adds another layer. In 2029, Lublin will have an extraordinary concentration of cultural events, international projects and new reasons to visit. But the opportunity for tourism begins much earlier.

The two Tokyo bloggers walking through the Old Town were not waiting for 2029. Neither were the Japanese volleyball fans coming to see Ran Takahashi nor the travellers already arriving as part of organised tours.

Building the journey before 2029

This is precisely why the European Capital of Culture Lublin 2029 and LOT Metropolia Lublin are working together on international tourism promotion already.

The objective is not simply to bring more people to Lublin for one year. It is to build relationships with markets, tour operators, media and travellers early enough for Lublin to become a recognisable destination before 2029 – and to make sure the attention generated by the title can continue long after it.

For the ECoC programme, international tourism is also part of a wider European dimension. Every new connection is an opportunity to introduce Lublin’s culture, people and identity to a new audience, while learning how the city is perceived outside Poland. For the local tourism sector, these relationships can become very concrete: new itineraries, new partnerships, longer stays and visitors interested in experiencing the city rather than simply ticking it off a list.

pht. Maciej Rukasz

Japan is one of the markets where this approach makes particular sense. It is distant geographically, but not necessarily culturally. The conversations in Tokyo suggest that there is already an audience for what Lublin can offer – authenticity, culture, history, craftsmanship, nature and the feeling of discovering somewhere before everybody else does.

The task now is to turn that interest into lasting connections. Because 2029 should not be the beginning of Lublin’s international tourism story. It should be the moment when a story that has already been carefully built becomes visible to a much larger audience.

text: Maciej Rukasz

Lublin’s participation in Tourism EXPO Japan was made possible thanks to the kind invitation and support of the Polish Tourism Organisation and Maria Orzeł, Director of the Polish National Tourist Office in Tokyo (ZOPOT Tokyo). We are grateful for the opportunity and for their support in presenting Lublin and the European Capital of Culture Lublin 2029 to the East Asian tourism sector.

The Lublin 2029 European Capital of Culture Monitoring and Evaluation Team (more about team) is launching a large-scale social research project on participation in culture, barriers to participation, and the potential for cultural development in Lublin.

The research is being conducted as part of the preparations for Lublin 2029 European Capital of Culture (ECoC). Although the official ECoC title year is 2029, the preparation process is already underway.

Therefore, in 2026 the Team aims to gain a better understanding of how different groups of residents and people involved in creating and organising culture engage with Lublin’s cultural offer, what barriers they encounter, and what needs they identify in relation to the development of culture in the city. The findings will help to improve the design of ECoC activities in the coming years, so that the programme is more accessible, responds to the actual needs of different groups, and takes into account both the city centre and its neighbourhoods, as well as communities whose voices tend to be less visible in public debate.

The research will take the form of a group discussion, i.e. a meeting facilitated by a trained moderator. The discussion will last approximately two hours. A total of 20 meetings with different groups are planned. Participation in the study is compensated with a PLN 200 Allegro gift voucher (Allegro is Poland’s largest online marketplace, similar to Amazon or eBay, offering a wide range of products from numerous sellers).

The Team is looking for people connected with Lublin — both those involved in creating and organising culture and those who participate, or do not participate, in the city’s cultural life.

There is also an opportunity to apply for a second form of research: in-depth interviews, conducted as individual conversations. These meetings will also last up to two hours and will be compensated with a PLN 200 Allegro gift voucher. For participants in the individual interviews, it is important that they are willing to take part in follow-up interviews in subsequent years. The interviews will focus both on expectations and needs regarding the programme and on a broader perspective on the development and implementation of Lublin 2029 European Capital of Culture.

Research participants
The Team is looking for people willing to participate in one of 10 groups, as well as 8 people willing to take part in individual interviews (details below). You may apply to only one group.

The Team is looking for people with specific characteristics, which is why the application form includes several recruitment questions. Based on the answers provided, the Team will select participants for individual meetings. Completing the form will take approximately five minutes. After reviewing the applications, the Team will contact those who meet the participation criteria. The meetings will take place in the city centre (Academic Campus / Miasteczko Akademickie). Meeting dates for the individual groups are provided in the recruitment form. If you require any organisational or accessibility adjustments in order to participate in the meeting, please indicate this in the form. If you would like to participate in the study, please complete the questionnaire listed next to the group with which you identify (you may apply to only one group):

Cultural practitioners

• Cultural sector staff: employees of public cultural institutions in Lublin
https://surveys.umcs.pl/a/425
coordinator: Radosław Mącik
language of the questionnaire and language of the interview: Polish

• NGO staff and members: people involved in non-governmental organisations working in culture or in social initiatives that include a cultural component
https://surveys.umcs.pl/a/428
coordinator: Radosław Mącik
language of the questionnaire and language of the interview: Polish

• Informal groups and independent cultural activists
people working outside formal organisational structures  https://surveys.umcs.pl/a/407
coordinator: Agnieszka Kolasa-Nowak
language of the questionnaire and language of the interview: Polish

• Cultural practitioners and artists
people actively creating, curating or programming cultural events and projects
https://surveys.umcs.pl/a/416
coordinator: Agnieszka Kolasa-Nowak
language of the questionnaire and language of the interview: Polish

Cultural participants

• Young people aged 13–26 school and university students  https://surveys.umcs.pl/a/427
coordinator: Andrzej Stawicki
language of the questionnaire and language of the interview: Polish

• Residents of Lublin people aged 27–60, including those who were not born in Lublin but currently live in the city  https://surveys.umcs.pl/a/406
coordinator: Monika Ratajczyk, Andrzej Stawicki
language of the questionnaire and language of the interview: Polish

• People aged 60 and over
https://surveys.umcs.pl/a/408
coordinator: Monika Ratajczyk
language of the questionnaire and language of the interview: Polish

• People from other countries living in Lublin https://surveys.umcs.pl/a/404
coordinator: Karolina Podgórska
language of the questionnaire and language of the interview: Polish / English

• People who experience accessibility barriers when using the city and participating in cultural life, including people with disabilities
https://surveys.umcs.pl/a/419
coordinator: Karolina Podgórska
language of the questionnaire and language of the interview: Polish

People interested in participating in an individual in-depth interview, including follow-up interviews in subsequent years, with each interview compensated separately  https://surveys.umcs.pl/a/413
coordinator: Agnieszka Duda-Jastrzębska
language of the questionnaire and language of the interview: Polish

Detailed information about the research
The aim of the research is to understand the perspectives of Lublin residents – both those who actively participate in the city’s cultural life and those who engage with cultural activities only occasionally or not at all. Equally important is understanding the experiences of people who contribute to Lublin’s local cultural sector: employees of cultural institutions, representatives of non-governmental organisations, cultural practitioners, artists, cultural facilitators and organisers of informal initiatives.

The Team is interested not only in how Lublin’s current cultural offer is perceived, but also in what facilitates or hinders participation in culture, which groups may remain outside the mainstream circulation of cultural events, and what conditions are needed to make culture in the city more accessible, diverse and closely connected to residents’ everyday experiences.

The research is diagnostic in nature and is being conducted in accordance with the principles of the international ICC/ESOMAR Code of Ethics. Its findings will help establish a baseline for the further development of Lublin 2029 ECoC, provide a better understanding of the needs of different groups, and inform the planning of subsequent stages of monitoring and evaluation. As a result, Lublin 2029 European Capital of Culture will not be evaluated only after the programme has ended, but will also be able to evolve and be adjusted throughout the preparation process.

If you have any further questions, please write: badania.esk@lublin.eu

What should urban greenery look like if it is to be more than a collection of parks, squares and individual trees? And how can these spaces be connected into a system that responds to residents’ needs, supports nature and helps cities adapt to climate change?

The project “Green Systems for Cities in the Face of 21st-Century Challenges – Green Networks” explores these questions. It is led by the John Paul II Catholic University of Lublin in cooperation with the City of Lublin, the Ministry of Climate and Environment, the Institute of Urban and Regional Development and social organisations. One of its main goals is to develop a Green Network Concept for Lublin, as well as a model that could be applied in other Polish cities.
The project treats greenery not as an addition to urban infrastructure, but as an integral part of the city. It looks at how individual green spaces can be connected, how they can respond to residents’ needs and how they can support the city’s adaptation to climate change. The project also includes research, participatory activities and the development of resources that will remain available to residents, institutions and schools after the project ends.

This approach closely connects with one of the programme ideas of European Capital of Culture Lublin 2029: the RE:UNION Green Network. Lublin’s European Capital of Culture 2029 bid proposed building on the city’s distinctive system of dry valleys and ravines and connecting it with other green areas across the city to create a coherent network. This would include river valleys, ravines, forests, parks, allotment gardens, agricultural land and other areas of ecological value.
The RE:UNION Green Network is not only about making these places more accessible. It also envisions them as spaces for cultural and educational activities. The ECoC programme includes Bronowice Park, green areas in the Tatary district, the Zielone Błonia area below Lublin Castle and the planned naturalistic Riverside Park as part of this network. The Bystrzyca Valley will also play an important role. The knowledge and solutions developed through Green Networks can therefore support the long-term vision for Lublin set out in the ECoC 2029 programme. The aim is not simply to create more green spaces, but to consider how they can be connected, accessed and used as part of everyday life in the city.

The project’s work will be presented and discussed at the “Green Networks – Green Systems for Cities” conference, taking place in Lublin on 23–24 September 2026.

The first day will focus, among other things, on the development of Lublin’s Green Network, the current state of urban greenery and its role in climate change adaptation. The programme will also feature examples from other Polish cities and a presentation on Hamburg’s approach. Dr Cornelia Peters, coordinator of the Grünes Netz Hamburg project, will talk about the city’s green network.
The second day will take a broader look at green systems: how they can be planned, developed and implemented. The programme will also include a presentation on Singapore by Yvonne Tan, Director of DP GREEN and President of the Singapore Institute of Landscape Architects. The conference is aimed at people working in or interested in urban greenery, spatial planning, sustainable development and climate change adaptation.

Participation is free of charge. Registration is required.
Registration is open until 15 September 2026.
REGISTRATION

“Green Networks – Green Systems for Cities” conference
📅 23–24 September 2026
📍 Hotel Victoria, ul. Narutowicza 58/60, Lublin, Poland

The Green Networks project has been running since March 2024 and will continue until September 2026. Its outcomes will include not only a Green Network Concept for Lublin, but also knowledge and tools that can support future urban planning. The project will also provide an important point of reference for thinking about how the RE:UNION Green Network can develop in the future, bringing nature closer to everyday life in the city.

During my stay in Japan, I took part in a series of study visits and working meetings with representatives of Japanese puppet theatres. The aim of the trip was to establish international partnerships and learn about working methods that could be applied to “Rehab”, a project being developed as part of the European Capital of Culture Lublin 2029 programme.

“Rehab” explores the use of puppet theatre as a tool to support children and young people in dealing with traumatic experiences, particularly those related to war, but also natural disasters and other crisis situations.

One of the places I visited was Hitomiza Puppet Theatre in Kawasaki. I learned about the theatre’s history, its organisational model and its artistic and educational work. An important part of the visit was an introduction to the bunraku tradition, as well as practical puppet animation workshops. We also discussed the theatre’s work with children and possible cooperation on future educational and social projects. At Puk Puppet Theatre in Tokyo, our discussions focused on the repertoire, educational activities and the organisation of the theatre’s work. We exchanged experiences in theatre for children, theatre education and social projects. The possibility of developing international cooperation was also discussed. Another stop was Yamabikoza Theatre in Sapporo, where I was particularly interested in approaches to working with children and young people. We talked about how puppet theatre can support creativity, emotional expression and the development of a sense of safety. The experience of theatres working with communities affected by natural disasters provided an important context for these discussions. At Kogumaza Theatre in Sapporo, I took part in meetings marking the theatre’s 50th anniversary. It was an opportunity to learn about the institution’s history, its relationship with the local community and its long-term artistic and educational work with children. We also discussed the possibility of Japanese artists taking part in projects developed in Lublin.

An important part of the trip was the World Children’s Puppet Theatre Forum in Sapporo. During the forum, I presented the work of the H. Ch. Andersen Theatre in Lublin, including its educational, social and international projects. Alongside theatres from Thailand, Taiwan, the Czech Republic, Slovakia and Hungary, I also presented the concept behind “Rehab”. A significant part of the discussions focused on Japanese experiences of working with children following natural disasters. I was particularly interested in the work carried out after the earthquake, tsunami and Fukushima nuclear disaster. We discussed how puppet theatre can help children express their emotions, rebuild a sense of safety and return to everyday life after traumatic events.

This experience is important for the further development of “Rehab”. One of the project’s aims is to establish an international network of experts: psychologists, educators and artists who use puppet theatre in their work with children and young people affected by trauma. Japanese experience could become one of the points of reference for developing this model.

During the meetings, we also discussed ways of involving Japanese artists, educators and specialists in the activities of European Capital of Culture Lublin 2029. Ideas included workshops, artistic residencies, knowledge exchange, as well as joint research and educational projects.
The visit to Japan was therefore not only an opportunity to learn more about the traditions of puppet theatre and contemporary approaches to working with children. It also opened discussions about long-term cooperation between institutions in Japan and Lublin. This could lead to joint activities for children and young people who have experienced trauma.

Text: Agata Sakowicz

Participating in the 50th edition of Printemps de Bourges (14^th – 19^th April, 2026) turned out to be much more than simply attending one of the most important music festivals in France. It was an intense, inspiring experience that showed how many opportunities European cultural cooperation provides today, and demonstrated a pivotal role medium-sized cities can play in setting up international artistic projects. For me, it was also an important reference point in the context of the activities of the Lublin Jazz Festival, the Centre for Culture in Lublin and the preparations for the European Capital of Culture Lublin 2029.

From the very first days, I could feel the unique energy of this place. For years, Printemps de Bourges has been drawing many artists, producers, managers, curators and representatives of cultural institutions from all over Europe. Apart from hosting concerts, it is a space where discussions about the future of culture, new models of cooperation and common European challenges also play a crucial role. Much of the stay revolved around meetings devoted to building long-term international partnerships, supporting young artists and creating programs based on real cooperation between institutions from different countries. Discussions on financing culture, organizing large-scale events and ways of engaging local communities proved particularly valuable. It is at such meetings that projects are born, which a few years later become important European undertakings.

Among the most fruitful meetings during my stay in Bourges were conversations with people who really co-create the directions of the development of contemporary European culture. Particularly valuable was the meeting with Pascal Keiser and Louise Tournillon who designed together the ECoC Bourges 2028 candidacy, which serves as one of the tools for engaging residents and participants of the European Capital of Culture programme; as well as Boris Vedel, Managing Director of Le Printemps de Bourges. Conversations with the people responsible for such significant projects allowed us to better understand how to effectively combine an ambitious, long-term vision of cultural development with everyday organisational practice, attracting an audience and creating lasting relationships between institutions, artists and residents.

A fundamental element of the visit was the meetings with representatives of cities completing the European Capital of Culture programme. Particularly inspiring were the talks with Tessa Melzer from Bourges 2028, the delegation of the European Capital of Culture Trenčín 2026 – Martin Mojžiš, Laura Magičová and Pavol Čižmár and Linda Netland representing the European Capital of Culture Bodø 2024. The exchange of experiences showed how many common challenges and opportunities medium-sized cities face, which build their visibility, strengthen local identity and attract international partners thanks to culture.
These conversations were particularly valuable in the context of preparations for Lublin 2029. They showed that the success of the European Capital of Culture does not depend solely on the size of the city or the budget, but above all on a consistent vision, the courage to cooperate and the engagement of residents. Bourges is an extremely inspiring example in this respect – it is a city that shapes its future thanks to culture. Additionally, the active support of local authorities, including the mayor himself, makes cultural activities an important element of the development strategy for the whole city. This experience gives hope and shows that Lublin also has the potential to indeed mark its presence on the European map through culture.

The panel discussion on the mental health of artists was also extremely meaningful. In the music and culture industry, it is more and more noticeable that behind stage success there is often enormous pressure, job insecurity, an intense lifestyle and the need to constantly meet high expectations. This topic resonated strongly in the context of young artists at the beginning of their artistic journey. The discussion showed that taking care of mental well-being is no longer just an additional element of cultural policy, as it becomes one of the foundations of a responsible and modern cultural sector.
Another vital point of the programme was also visiting Antre Peaux – an independent cultural centre operating in post-industrial spaces. This place shows that innovative artistic activities do not have to be created only in large institutions. In fact, it is quite the opposite –  it is often grassroots initiatives, firmly rooted locally, that become laboratories of new ideas and important centres of creative experimentation.

The festival features over 150 performers across 11 stages and attracts about 250,000 participants. Bourges turned into a true musical capital of France. It is difficult to describe even a small part of the program, because music fills every space – large stages, clubs, bars, the squares and streets of the city. The use of post-industrial infrastructure and huge concert halls gives  the event a modern, dynamic character which is also particularly impressive.
I spent the most time at the iNOUïS stage, which for years has been considered one of the most interesting places to discover new talents. It is a remarkable supporting programme for young artists, based on a network of 28 regional branches in France and Francophone countries and more than 350 professionals who throughout the year are looking for artists who can shape the future of the music scene. That’s where I heard the most exciting concerts of the festival – from French hip-hop, through jazz-rock and math rock, to sounds mixing rap, rock and heavy metal altogether. The performances that particularly stayed with me were those by Free Zorba The Hooligan, Cheap Jewels, Holyteeth, and Sahëlie. It is such concerts that remind us that the most interesting musical phenomena are often born before they reach the largest stages.

The invitation to participate in the event was possible thanks to the Next Stage Europe initiative, run by Bourges 2028. It is an open platform enabling artists from other European Capitals of Culture to present their work during the festival. The initiative is a perfect example of how the idea of a European Capital of Culture can translate into a real artistic exchange, establishing contacts and developing lasting cooperations between cities.
The trip also had a huge networking value. Meetings with representatives of music circles and institutions such as IRCAM, as well as numerous conversations with organizers, producers and cultural animators from different parts of Europe created a space for establishing many new contacts and talks about future joint activities.

I am leaving Bourges with the feeling that European culture is currently at an extremely interesting stage. There is a great need for cooperation, exchange of experience and setting up projects across borders. At the same time, the role of cities such as Lublin – ambitious, creative and ready to co-create international cultural networks – is becoming more and more apparent. Printemps de Bourges has shown that the future of culture is not created only in the largest metropolises. It is very often born in places like Bourges where passion, courage, local energy and a European perspective meet. This experience is not only a valuable source of inspiration; it also gives real hope for new partnerships, projects and opportunities for cooperation on the way to Lublin 2029.

Written by:
Adam Szczepanek

Translated by Zofia Świerszcz

Proofread by Aleksandra Górecka

Another edition of the prestigious SPRING Performing Arts Festival in Utrecht has come and gone. This year, a delegation from the Centre for Culture in Lublin took part in a study visit.
The aim of our study visit was broadening the European perspective on the performing arts, renewing and establishing new contacts with international organisers and artists. In addition, it was a key step in preparing for the theatrical projects within the European Capital of Culture programme, such as La Commedia Divina and Theatre Confrontations 2029.
Below, we present an overview of the most interesting artistic events we had the chance to see, and which we found to be a tremendous source of inspiration.

Festival overview:

What Will We Do Without Exile
This exceptional art installation addresses the deeply topical subject of displacement, yet does so without resorting to graphic violence or journalistic literalness. The creators find a way to speak about forced resettlement and genocide… without saying it outright. Instead, they rely on powerful sensory means — the scent of earth, citrus trees, and herbs makes the message remarkably sensual, intimate, and subtle, without losing any of its original expressive force.

Engeki Quest
This participatory project, staged as an urban game, is an intriguing search for a new story about place and space. Here, the newcomer’s perspective is filtered through the experience of a long-term resident. Developed over the years in numerous European cities, the project is built around riddles and deep reflection. It gives participants the chance to take alternative tourist routes and enter the authentic fabric of the city through active discovery and lived experience.

She She Pop & Sandbox Collective
This theatrical performance takes the broadly understood “hospitality” as its central theme. Two women’s collectives have created a piece built on a defined working protocol, but also on improvisation. The starting premise was the complete absence of common ground, paired with the acceptance that the differences between them would remain permanent — exactly how they are meant to be. The performance makes masterful use of distance and irony, while striking deeply at fundamental values such as freedom and dignity — values that can be understood in radically different ways.

Ridden
This movement and dance performance searches for a form that hovers between ritual, sport, and theatre. The creators focus on examining relationships in the aftermath of disaster. At the center of their attention are the bonds between people, nature, the endless cycle of life, and the deeply rooted instinct for survival.

Radio Vinci Park
This extraordinary performance presents a pure, hypnotic stage form. In this space, an unsettling, statically present harpsichord score meets a motorcyclist and a compelling performance artist. Butoh dance combined with motorcycle riding works like a collision between Eros and Thanatos, building a sensual and moving story about seduction and death.

The Shrine
A committed performance taking the form of radical defiance, delivered with full theatrical intensity. The piece draws heavily on colonialism and critiques of capitalism and systems of power. The subject is presented through both a historical and cultural lens, strongly engaging the viewer on an intellectual and emotional level.

Home Bound
An evolving spatial installation that took shape on the city’s main square, right beneath the library, over the entire course of the festival. Built from ropes, string, tapestries, and hammocks, and incorporating other objects along the way, the structure had a powerful impact on the public space. Each day it became a different, ever-growing work, opening up space for creativity and shared participation among artists, participants, audiences, and passers-by alike. The building of social bonds was visible here both figuratively and literally.

Organisationally well-prepared and artistically of the highest calibre, SPRING Festival can serve as an ideal point of reference for Lublin. The wealth of experience it offers in the performing arts will not only help us develop the European Capital of Culture programme, but will also enrich the outlook of institutions and festivals operating year-round in Lublin, such as Open City, the International Dance Theatre Festival, Percepcje, and Theatre Confrontations. We paid particular attention to the “festival-in-a-festival model” embodied by the Asia-Europe Cultural Festival. Within its framework, nine diverse events were realised — including films, installations, and performances — promoting artistic collaboration between the two continents. This recurring platform, presented in Europe in even-numbered years, shows how effectively intercultural dialogue can be built.
The contacts made in Utrecht with curators, directors, and artists will allow us to build a solid foundation for future theatrical, performative, literary, and social projects. The trip confirmed our conviction that a continued presence at this kind of European event is key to the dynamic development of local culture and to building international bridges.
The study visit was carried out as part of preparations for the European Capital of Culture programmes.

Text
Ksenia Duńska
Ewa Molik

Translated by Aleksandra Górecka
Proofread by Gabriela Niewadzi