The main priorities are to engage artists and local communities in two regions with major environmental significance; namely the island of Evia in Greece that suffered destructive wildfires in 2021, and Lake Ohrid in N.Macedonia, which has suffered degradation due to human activity endangering its endemic importance. Both regions are affected by COVID, where culture and tourism workers are searching for a way forward to sustainable and inclusive futures.​

The objectives are to contribute to the development of models of transnational collaboration that would enable stronger connections between European artists and organizations, diversified audiences as local communities and sustainable cultural tourism sectors; as well as enhance capacity building for diversity driven project management for grassroots organizations.

PROSPER involves 5 partner organizations (LOOP, Eho Animato, Peripetija, Oyoun, and Ohrid SOS), 6 associate partners and more than 40 participants who will together create residencies, collective and mutual learning experiences between artists & local audiences, transnational co-productions in performing & visual arts, capacity building training for cultural and tourism workers and a prototype of sustainable and inclusive residencies in peripheries.

The aim is to enhance international cultural collaboration, methodologies of integrating environmental issues into artistic practice, stronger collaboration between art and tourism, empowered local audiences, visibility of European artists, and stronger capacities for more impactful projects that enable sustainable and inclusion driven project management. This aim will be presented to the public in the form of 2 residencies,1 prototype, 2 1-day festivals, 2 co-production performances, 1 exhibition, 1 audio walk, 2 publications, 12 workshops, 5 capacity building trainings, and 10 presentations. 

// GERMAN

The main priorities are to engage artists and local communities in two regions of great ecological importance: the island of Evia in Greece, which suffered devastating wildfires in 2021, and Lake Ohrid in North Macedonia, which has been degraded by human activities, endangering its endemic importance. Both regions are affected by COVID, where culture and tourism professionals are seeking a path to a sustainable and inclusive future.

The objectives are to contribute to the development of models for transnational cooperation that enable stronger connections between European artists and organizations, diverse audiences such as local communities, and sustainable cultural tourism sectors, as well as to improve capacity building for diversity-oriented project management for grassroots organizations.

PROSPER involves 5 partner organizations (LOOP, Eho Animato, Peripetija, Oyoun, and Ohrid SOS), 6 associated partners, and more than 40 participants who will jointly create residencies, collective and mutual learning experiences between artists and local audiences, transnational co-productions in the performing and visual arts, capacity building trainings for cultural and tourism professionals, and a prototype for sustainable and inclusive residencies in marginalized areas.

The aim is to improve international cultural cooperation, methods for integrating environmental issues into artistic practice, stronger collaboration between art and tourism, empower local audiences, increase the visibility of European artists, and build capacities for more impactful projects that enable sustainable and inclusive project management. This goal will be presented to the public in the form of two residencies, a prototype, two one-day festivals, two co-production performances, an exhibition, an audio walk, two publications, twelve workshops, five capacity-building training sessions, and ten presentations.

The partnership between the organizations, from Greece (LOOP), Serbia (Eho Animato), North Macedonia (Peripetjia and LDA Struga), and Germany (Oyoun), and the network of six associate partners across Europe, is built on the foundation of transnational collaboration between a diverse group of European artists and cultural workers, as well as going beyond known borders of the sector and including sustainable tourism organizations. This consortium will expand on new models of transnational collaboration through a series of cultural activities that will span across 30 months. Co-creation and development of new models of sustainable and inclusive creative work (environmentally, economically, creatively, and socially) are inherently present in the way the open calls, residencies and co-productions in the PROSPER project are designed; and all co-productions are co-creations by the transnational groups of artists and cultural workers who will exchange their models and strategies of work in their respective fields. Dissemination and presentation of the results of PROSPER will be realized in all partner countries, but also through the network of associate partners that includes festivals and other actors in the local scenes of European countries, creating impact well across Europe, spreading further than just the partner countries. 

All of the artistic activities are rooted in the local contexts of the places where the long-term residencies in Evia and Lake Ohrid will take place. This local context is very much defined by the current environmental strain that the regions are experiencing. In line with the New European Bauhaus and in partnership with PHALA (Panhellenic Association of Landscape Architects – associate partner), PROSPER aims to raise awareness about the urgency of sustainable choices for the two main areas selected to host the residencies, and use them as case studies in order to develop a new prototype model for sustainable long-term artistic residencies in peripheries. 

Both Evia and Lake Ohrid represent common types of natural degradation that we experience globally and more frequently than ever before. The wildfires that took place in 2021 in Evia, a recurring global phenomenon in warm regions due to climate change, caused loss of natural habitats for insects, birds, and larger animals; dangers of erosion causing irreversible problems with topsoil fertility which are vital for the reforestation and return of agricultural practice; and, effects of erosion on adjacent marine habitats with large mass of sediments. The actions and decisions taken in the first years after a wildfire can have a magnified effect on landscape reclamation; and there is an urgent need for sustainable management of the landscape to recover the financial opportunities of the local rural communities that depend on it.

Lake Ohrid, on the other hand is a UNESCO world heritage site with a unique ecosystem not only because of its high biodiversity and significance for migrating species, but also because of its large number of endemic species – species found only there. Lake Ohrid wetland habitats have recorded a constant decrease in recent times, mostly because of agriculture and urban development. The increased human activity in the region with larger towns, intense commercial fishing and increasing tourist development adds problems with pollution and higher risk of eutrophication and endangers the balance of the already shrunk natural habitat. The urgency applies here since decreases in biodiversity are hard to overturn, at the same time endangering the habitat of endemic species can have irreversible effects, even extinction.

The open call for the selection of the participating artists for the two residencies in Evia and Lake Ohrid will enable the creation of an international group of 16 artists that will directly engage with each other, as well as with local communities and sustainable tourism actors in the peripheries. The selection of the artists will be made by the main partners with gender equality, inclusiveness, and diversity aspects in mind; Participants must be able to identify as artists on the peripheries and describe how they plan to contribute to peripheries in their applications. Selected participants will be provided research methodology workshops that focus on the environmental aspects of the local context. This will not only enhance the intercultural but also the multidisciplinary aspects of the project, emphasizing on environmental and ecological awareness, while promoting sustainability throughout the course of the residency in practical day to day terms. A key objective within the residencies is to inspire artists to find connections between their artistic practice, the fragile environment they are inhabiting, and the people who live there. This will contribute to the development of a new methodology of environmentally conscious artistic practice integrated in developing sustainable residencies as a prototype.

By engaging local communities in places with an underdeveloped cultural scene, such as Evia and Lake Ohrid, PROSPER also aims to create stronger connections with new audiences and non-audiences, providing new opportunities for interaction and mutual learning. In this way we will explore long-term residencies as generators of interpersonal connections, and as motivators for inclusion through direct contact between artists and local audiences. Furthermore, the tourism sector, as well as the cultural sector, are heavily affected by the Covid-19 crisis and new strategies are needed in order to achieve sustainability. Partnering with sustainable tourism organizations, PROSPER proposes new models of collaboration between culture and tourism sectors that can create new opportunities, jobs and projects. ​

Capacity building is also an essential part of PROSPER. Most of the main partners are grassroots micro-organizations, which have been taking part in larger projects with increasing responsibility over the past years, but lack institutional support. Therefore, the intention is to build capacity with larger and more established partners such as Oyoun (partner) and Pogon (associate partner), who will support the smaller organizations with their skills, experience, and expertise. Strategies of solidarity infused project management, strategies of growth for grassroots initiatives, strategies on sustainable artistic practices and tourism (which will be developed with LDA Struga), as well as development of residencies with a strong emphasis on gender and inclusiveness are the main capacity building trainings at the core of the project development. Training sessions will be open to organizations outside of the consortium interested in the topics. These collective learning practices, as well as hands-on experience while working on the project will significantly increase capacities of all participating organizations.

// GERMAN

The partnership between organizations from Greece (LOOP), Serbia (Eho Animato), North Macedonia (Peripetjia and LDA Struga), and Germany (Oyoun), as well as a network of six associated partners across Europe, is based on the transnational collaboration of a diverse group of European artists and cultural workers and extends beyond the familiar boundaries of the sector by also including sustainable tourism organizations. This consortium will develop new models of transnational collaboration through a series of cultural activities spanning 30 months. The joint creation and development of new models for sustainable and inclusive creative work (in ecological, economic, creative, and social terms) is inextricably linked to the design of the open calls, residencies, and co-productions within the PROSPER project. All co-productions are collaborative works of transnational groups of artists and cultural workers who will share their models and working strategies in their respective fields. The dissemination and presentation of PROSPER results will take place in all partner countries, but also through the network of associated partners, which includes festivals and other actors from the local scenes in European countries, thus achieving a Europe-wide impact that extends beyond the partner countries.

All artistic activities are rooted in the local contexts of the locations where the long-term residencies will take place in Evia and Lake Ohrid. This local context is strongly influenced by the current environmental pressures these regions are facing. In alignment with the New European Bauhaus and in collaboration with PHALA (Panhellenic Association of Landscape Architects – Associate Partner), PROSPER aims to raise awareness of the urgency of sustainable choices for the two main areas selected for the residencies and use them as case studies to develop a new prototype model for sustainable long-term artist residencies in peripheral areas.

Both Evia and Lake Ohrid represent common forms of natural destruction that we are experiencing worldwide and more frequently than ever before. The wildfires that occurred in Evia in 2021, a recurring phenomenon in warm regions worldwide due to climate change, led to the loss of natural habitats for insects, birds, and larger animals; erosion threats that cause irreversible problems with the fertility of the topsoil, which is crucial for reforestation and the return of agricultural practices; and impacts of erosion on adjacent marine habitats containing large masses of sediment. The measures and decisions taken in the first years after a wildfire can have a magnified effect on landscape restoration. There is an urgent need for sustainable landscape management to restore the financial capacity of the local rural communities that depend on it.

Lake Ohrid, on the other hand, is a UNESCO World Heritage Site with a unique ecosystem, not only because of its high biodiversity and importance for migratory species, but also because of its large number of endemic species – species that are found only there. The wetlands of Lake Ohrid have recently experienced a steady decline, primarily due to agriculture and urban development. Increasing human activity in the region, with larger cities, intensive commercial fishing, and increasing tourism development, is leading to problems with pollution and a higher risk of eutrophication, endangering the balance of the already shrunken natural habitat. The urgency here is given because a decline in biodiversity is difficult to reverse, and at the same time, the threat to the habitat of endemic species can have irreversible effects, even leading to extinction.

The open call for applications to select participating artists for the two residencies in Evia and Lake Ohrid will enable the formation of an international group of 16 artists who will engage directly with each other, as well as with local communities and sustainable tourism stakeholders in the peripheral areas. The selection of artists will be carried out by the main partners, taking into account aspects of gender equality, inclusion, and diversity. Participants must be able to identify as artists in peripheral areas and describe in their applications how they intend to contribute to the peripheries. Selected participants will be offered research methodology workshops focusing on the environmental aspects of the local context. This will strengthen not only the intercultural but also the multidisciplinary aspects of the project, fostering environmental and ecological awareness while promoting sustainability in practical terms throughout the residency. A key goal of the residencies is to encourage artists to find connections between their artistic practice, the fragile environment in which they live, and the people who live there. This will contribute to the development of a new methodology of environmentally conscious artistic practice, integrated into the development of sustainable residencies as a prototype.

By engaging local communities in places with underdeveloped cultural scenes, such as Evia and Lake Ohrid, PROSPER also aims to create stronger connections with new target groups and non-target groups, offering new opportunities for interaction and mutual learning. In this way, we will explore long-term residencies as generators of interpersonal connections and motivators for inclusion through direct contact between artists and local audiences. Furthermore, both the tourism and cultural sectors have been severely affected by the COVID-19 crisis, and new strategies are needed to achieve sustainability. In collaboration with sustainable tourism organizations, PROSPER proposes new models of collaboration between the cultural and tourism sectors that can create new opportunities, jobs, and projects.

Capacity building is also an essential component of PROSPER. Most of the core partners are small grassroots organizations that have participated in larger projects with increasing responsibility in recent years, but lack broader institutional support. Therefore, the goal is to build capacity with larger and more established partners such as Oyoun (partner) and Pogon (associated partner), who will support the smaller organizations with their skills, experience, and expertise. Strategies for solidarity-based project management, growth strategies for grassroots initiatives, strategies for sustainable artistic practices and tourism (which will be developed jointly with LDA Struga), and the development of residencies with a strong focus on gender and inclusion are the key capacity-building trainings that are central to the project's development. The trainings are also open to organizations outside the consortium interested in the topics. These collective learning practices, as well as the practical experiences gained while working on the project, will significantly enhance the capacities of all participating organizations.

What are decolonial practices? How can they be considered in cultural managing projects? Participants are invited to collectively rethink common practices of project management through questions from decolonial, queer*feminist and migrant perspectives. The workshop aims to build capacities and provide knowledge and resources to develop strategies for inclusion and diversity and to implement decolonial practices in (transnational) cultural projects.

The workshop consists of a theoretical component introducing concepts such as decoloniality and queer*feminism in order to raise awareness of the impact of colonial power structures and enable participants to recognize, question and re-think them. Within the second part of the workshop, these concepts will be discussed in a practice-oriented approach with the aim of jointly developing tools that can be actively used in managing cultural projects in the periphery and beyond. Cultural practitioners in the EU, as well as the general public and individuals with various backgrounds, are invited to participate.

This workshop focuses particularly on cultural work in the Post-Yugoslav region and asks what it means to act de-colonially within this context. We will examine the unique aspects of this region, understanding its continuities with and discontinuities from the Western modern paradigm.

WITH: Ana Sladojević, Belgrade-based independent curator and theorist.

WHO: Cultural practitioners and anyone interested in the topic is welcome to join. No prior experience is required but we expect participants to be open to reflect on their own positionalities and perceptions. 

// GERMAN

What are decolonial practices? How can they be considered when managing cultural projects? Participants are invited to collectively rethink common project management practices from decolonial, queer*feminist, and migrant perspectives. The workshop aims to build capacity and provide knowledge and resources to develop strategies for inclusion and diversity and to implement decolonial practices in (transnational) cultural projects.

The workshop consists of a theoretical part introducing concepts such as decoloniality and queer*feminism to raise awareness of the impact of colonial power structures and empower participants to identify, question, and rethink them. In the second part of the workshop, these concepts will be discussed in a practice-oriented approach, with the aim of collaboratively developing tools that can be actively used in the management of cultural projects in the periphery and beyond. Cultural workers in the EU, as well as the general public and people from diverse backgrounds, are invited to participate.

The follow-up section of this workshop will focus specifically on cultural work in the post-Yugoslav region and explore what it means to act decolonially in this context. We will explore the unique aspects of this region and understand its continuities and discontinuities with the Western modern paradigm.

WITH: Ana Sladojević, independent curator and theorist from Belgrade.
WHO: Cultural workers and anyone interested in the topic are welcome. No prior knowledge is required, but we expect participants to be open to reflecting on their own positions and perceptions.

WITH: Sonja Soldo and Marijana Rimanić from Pogon – Zagreb Center for Independent Culture

WHO: Cultural practitioners and anyone interested in the topic is welcome to join. No prior experience is required but we expect participants to be open to reflect on their own positionalities and perceptions. 

In this workshop, Marijana Rimanić and Sonja Soldo, from Pogon – Zagreb Center for Independent Culture, will delve into the essential elements for establishing successful arts residencies in peripheral regions. 

Seeking answers to the question of what the key elements are for a successful art residency in the periphery, they will draw from their project experiences where residencies have been used as a tool for producing new work, and share valuable insights, experiences and questions that have emerged.

Which formats are most suitable given the resources available and how to set them up?
How to collaborate with artists and facilitate their work with local communities?
How can the expectations of all participants be met?
What is more important – the process or the outcome?
Are we allowed to fail and what does failure even mean in the context of residencies?

Participants in this workshop will have the opportunity to engage in a collaborative discussion. Together, they will explore the significant role that residencies can play and the key factors required for the successful initiation and implementation of arts residencies in peripheries.

Sonja Soldo is the Senior Associate for Cultural Programs and International Cooperation at Pogon. Since 2010, she has managed an artist exchange program with Akademie Schloss Solitude. Her past roles include work with [BLOK] Association on art in public space and co-managing UrbanFestival.

Marijana Rimanić, an Art History and Comparative Literature graduate, joined Pogon in 2011. She's held roles as a Program Coordinator, Manager of Communications and Marketing, and worked as a journalist at Croatian Radiotelevision. She's also been a Co-Curator at [BLOK] Association's UrbanFestival and worked at the Multimedia Institute as the Manager of MaMa, a cultural and social center.

// GERMAN

WITH: Sonja Soldo and Marijana Rimanić from Pogon – Center for Independent Culture in Zagreb

WHO: Cultural workers and anyone interested in the topic are welcome. No prior knowledge is required, but we expect participants to be open to reflecting on their own position and perceptions.

In this workshop, Marijana Rimanić and Sonja Soldo from Pogon – Zagreb Center for Independent Culture will explore the essential elements for establishing successful artist residencies in peripheral regions.

In their search for answers to the question of what the key elements for a successful artist residency in the periphery are, they will draw on their project experiences in which residencies were used as a tool for producing new works and share valuable insights, experiences and questions that have arisen.

Which formats are most suitable given the available resources and how can they be implemented?
How can we collaborate with artists and facilitate their work with local communities?
How can the expectations of all involved be met?
What is more important – the process or the result?
Are we allowed to fail and what does failure even mean in the context of residencies?

Participants in this workshop will have the opportunity to participate in a collaborative discussion. Together, they will explore the significant role that residencies can play and the key factors required for the successful initiation and implementation of art residencies in peripheries.

Sonja Soldo is a Senior Associate for Cultural Programs and International Cooperation at Pogon. Since 2010, she has led an artist exchange program with Akademie Schloss Solitude. Her previous activities include working with the [BLOK] Association for Art in Public Space and co-directing the UrbanFestival.

Marijana Rimanić, a graduate in art history and comparative literature, joined Pogon in 2011. She has held positions as a program coordinator, communications and marketing manager, and worked as a journalist at Croatian Radio. She was also co-curator of the [BLOK] Association's Urban Festival and worked at the Multimedia Institute as manager of MaMa, a cultural and social center.

Practicing Pluriversal Thinking:

Deconstruction of Internalized Colonialism

We failed. And it's not fine for everyone.

We live in a moment where the cracks in the system are no longer hidden. The collapse isn't coming—it's already encoded in the everyday. Supremacist ideologies, once enforced through brute colonial force, now operate through quieter, programmed violations: in data systems, in global platforms, in algorithmic values ​​that reproduce domination in digital form. While this soft warfare expands, many communities—those long treated as errors within the colonial matrix—have sustained parallel ways of being. They developed strategies of survival, care, and creation that were never meant to be recognized as valid.

As artists, activists, and cultural workers, we're not just being asked to critique. We're being pushed to reimagine the ground beneath us. To take apart what globalism called “progress.” To face what we carry inside—those internalized colonial codes.

What this workshop offers

This workshop doesn't offer solutions—it opens space. A space to begin again from zero. To break the illusion of a single world and a single truth, and to step into the complex, multiple realities that have always existed. This is what we refer to as pluriversal thinking—not as an abstract idea to admire, but as a vital strategy for staying alive and making life accessible for all. In this workshop, we will confront the ways new media and technology still reproduce Eurocentric logics. We will unlearn design as a form of control and ask how tools, systems, and collaborations can instead become acts of care, resistance, and shared difference.

Framing the format

This is not a toolkit, and it's not a seminar. It is a collective pause—a space to slow down, to listen deeply, and to trace the stories, practices, and strategies that often fall outside institutional frameworks, yet have always made other worlds possible. Throughout the workshop, we will work through discussion, media, small exercises, and shared reflection. Together, we will ask:

What worlds do we come from—and what worlds do we carry within us?
Which systems and tools deny these worlds—and which ones can hold space for them?
How do we design from an ontology of relation instead of separation?
First method

We start with practicing the first method of pluriversal thinking: Cultivating radical empathy

// GERMAN

Practicing pluriversal design:

Deconstruction of internalized colonialism

We have failed. And that's not okay for everyone.

We live in a time when the cracks in the system can no longer be hidden. Collapse isn't imminent—it's already embedded in our everyday lives. Supremacist ideologies, once enforced through brutal colonial violence, now operate through quieter, programmed violations: in data systems, on global platforms, in algorithmic values ​​that reproduce domination in digital form. As this soft war expands, many communities—those long treated as errors within the colonial matrix—have maintained parallel ways of life. They developed strategies of survival, care, and creation that were never meant to be recognized as valid.

As artists, activists, and cultural workers, we are not only called upon to exercise critique. We are encouraged to rethink the ground beneath our feet. To dismantle what globalism calls "progress." To confront what we carry within us—these internalized colonial codes.
What this workshop offers

This workshop doesn't offer solutions—it opens up a space. A space to start from scratch again. To break the illusion of a single world and a single truth and enter the complex, multiple realities that have always existed. We call this pluriversal thinking—not an abstract idea to be admired, but a vital strategy for staying alive and making life accessible to all. In this workshop, we will explore how new media and technologies still reproduce Eurocentric logics. We will unlearn design as a form of control and ask how tools, systems, and collaborations can instead become acts of care, resistance, and shared difference.

The format

This isn't a toolkit or a seminar. It's a collective pause—a space to slow down, listen deeply, and explore the histories, practices, and strategies that often lie outside institutional frameworks but have always made other worlds possible. Throughout the workshop, we'll engage in discussions, media, small exercises, and shared reflections. Together, we'll ask:

Which worlds do we come from – and which worlds do we carry within us?
Which systems and tools deny these worlds – and which can make room for them?
How do we design from an ontology of relationship rather than separation?

First method

We begin with the first method of pluriversal thinking: Cultivating radical empathy

Echoes of the Deep is an original immersive theater project inspired by the rich history, myths, and ecosystem of Lake Ohrid. This site-specific experience will transport audiences into the hidden, underwater world of the lake, exploring its untold stories through a unique sensory and theatrical journey.

Three actors will guide spectators through an evocative exploration of space, time, and the mysteries beneath the surface. Designed as an intimate experience, each performance will last approximately 30 minutes and will be limited to a small number of participants per session to maintain an immersive atmosphere. To ensure accessibility for all interested audiences, the performance will be repeated multiple times.

// GERMAN

Echoes of the Deep is an original immersive theater project inspired by the rich history, myths, and ecosystem of Lake Ohrid. This site-specific experience transports audiences to the lake's hidden underwater world and allows them to discover its untold stories on a unique sensory and theatrical journey.

Three actors guide the audience through a powerful exploration of space, time, and the mysteries beneath the surface. Designed as an intimate experience, each performance lasts approximately 30 minutes and is limited to a small number of participants per session to ensure an immersive atmosphere. To ensure access for all interested viewers, the performance will be repeated several times.

Catastrophe can be personal or collective; an abrupt act of violence or a prolonged process of decay; human-induced or natural disaster. It is a total change of paradigm, something that challenges everything we know in the blink of an eye. Catastrophe is no longer a surprise, it is the state of the world, it is what we expect – pandemics, devastating wars, hideous displays of aggression, floods, wildfires, etc. But how does soil/body/mind react?

Devised theater performance with the working title In a Blink focuses on a moment in which recovery begins, the ambivalent moment where healing starts, still interwoven and inseparable from the catastrophic event. By stretching this moment, the performance aims to explore how grief and growth intertwine in complex ways. It searches for the origin of biological, psychological, societal, and environmental resilience.

// GERMAN

A disaster can be personal or collective, a sudden act of violence or a prolonged process of decay, man-made or natural. It is a complete paradigm shift, something that challenges everything we know in an instant. Disasters are no longer a surprise; they are the state of the world, they are what we expect—pandemics, devastating wars, heinous aggressions, floods, wildfires, etc. But how do the soil/body/mind react to them?

The theater performance, with the working title "In a Blink," focuses on the moment in which recovery begins, the ambivalent moment in which healing begins, still intertwined and inextricably linked to the catastrophic event. By stretching this moment, the performance aims to explore how grief and growth are intertwined in complex ways. It seeks the origins of biological, psychological, societal, and ecological resilience.