Unicult2020 – The international Arts & Cultural Management and Cultural Policy Programme
Daily Agenda - 3rd - 16th July 2017, Rijeka and Venice


MONDAY, July 3rd 2017
09.00 – 10.00:  Welcome to Unicult2020, Introducing the lecturers
10.00 – 11.00:  Lecture | MILENA DRAGICEVIC SESIC Part one: Shared Cultural Leadership and Decision Making Processes - Ethics in Policy-making and Cultural Practice
11.00 – 12.00:  MILENA DRAGICEVIC SESIC Part one: Shared Cultural Leadership and Decision Making Processes - Ethics in Policy-making and Cultural Practice
12.00 – 13.00:  Lecture | HORST HöRTNER: The Future Of The Lab
13.00 – 14.00:  Lecture | HORST HöRTNER: The Future Of The Lab or LTA
14.00 – 15.00:  Lunch
15.00 – 19.00:  Introduction to the Advisory hour, Q&As
20.00 – 21.00:  Gathering Dinner 

TUESDAY, July 4th 2017
08.00 – 09.00:  Yoga
09.00 – 10.00:  Lecture | DAVOR MISKOVIC: Bounded Rationality of Cultural Organizations
10.00 – 11.00:  Lecture | DAVOR MISKOVIC: Bounded Rationality of Cultural Organizations
09.00 – 10.00: Lecture | MILENA DRAGICEVIC SESIC Part two: Bottom-up Cultural Policies: Towards New Financing Practices
10.00 – 11.00: Lecture | MILENA DRAGICEVIC SESIC Part two: Bottom-up Cultural Policies: Towards New Financing Practices
13.00 – 14.00:  Lunch
14.00 – 19.00:  Advisory hours

WEDNESDAY, July 5th 2017
08.00 – 09.00: Yoga
09.00 – 10.00: Lecture | ALEKSANDRA UZELAC: Digital culture and cultural policies  
10.00 – 11.00: Lecture | ALEKSANDRA UZELAC: Digital culture and cultural policies  
11.00 – 12.00: Lecture  | MARIO KIKAS: European Capital of Culture bid-process in Croatia in the context of local cultural policies
12.00 – 13.00: LTA | TBA
13.00 – 14.00:  Lunch
14.00 – 16.00: #JammEurope session with Culture Action Europe
19.00 – 20.00: Public presentation ECoCs @ Drugo More Gallery – with IRMO and Local operators Rijeka

THURSDAY, July 6th 2017
08.00 – 09.00: Yoga
09.00 – 10.00: Lecture | LIDIA VARBANOVA: Strategic Management and Entrepreneurship in the Arts and Creative Industries in an International Context: Strategies, Tools and Practices
10.00 – 11.00: Lecture | LIDIA VARBANOVA: Strategic Management and Entrepreneurship in the Arts and Creative Industries in an International Context: Strategies, Tools and Practices
11.00 – 13.00: Workshop: YOUR SPEAKING VOICE: Is Your Voice a Rain Cloud or a Rainbow? 
13.00 – 14.00:  Lunch
14.00 – 16.00:  Advisory hours
19.00 – 20.00: Behind the scenes activity 

FRIDAY, July 7th 2017
09.00 – 10.00: Lecture | BRUNO JURICIC: Design and Architecture in the age of Digital Media
10.00 – 11.00: Lecture | HAKAN LIDBO: Singing Tunnels
11.00 – 12.00: LTA | REEVES LEHMANN and IGOR SUNARA: School of Visual Arts
12.00 – 13.00: Wrap-up of the first week
13.00 – 14.00:  Lunch
14.00 – 17.00:  MAPPING: Singing Tunnels
19.00 – 20.00: Behind the scenes activity – Art Kino

SATURDAY, July 8th 2017
Rijeka: 08.00 – 09.00: Yoga
Advisory hours
SUNDAY, July 9th 2017
Rijeka: 08.00 – 09.00: Yoga
Advisory hours


MONDAY, July 10th 2017
08.00 – 09.00: Yoga
09.00 – 10.00: Lecture | ROBERT MANCHIN: The culture of leadership and the use of data in decision making for cultural institutions
10.00 – 11.00:  Lecture | ROBERT MANCHIN: The culture of leadership and the use of data in decision making for cultural institutions
11.00 – 12.00: Lecture | AIRAN BERG: Radical Animation. Is there ART in pARTicipation?  
12.00 – 13.00:  Lecture | AIRAN BERG: Radical Animation. Is there ART in pARTicipation?  
13.00 – 14.00:  Lunch
14.00 – 16.00:  Advisory hours
20.00 – 21.00: Gathering Dinner

TUESDAY, July 11th 2017 – Curatorial
08.00 – 09.00: Yoga
09.00 – 10.00: Lecture | MATTIAS VIKTOR DESAC: Transformational Leadership
10.00 – 11.00: Lecture | FRITZIE ZIE BROWN and IVAN TALIJANCIC: How (Not) to Write an Effective Proposal
11.00 – 12.00:  Workshop: How (Not) to Write an Effective Proposal
12.00 – 13.00:  LTA: JASA & ROSA
13.00 – 14.00:  Lunch
14.00 – 16.00:  Advisory hours
19.00 – 20.00: Behind the scenes activity – MMSU

WEDNESDAY, July 12th 2017 - Viva Arte Viva! @ Venice
07.30: Meet in Rijeka
10.30: Venice
11.00 – 12.00: Accademia di Belle Arti di Venezia: Lecture | CARLO DI RACO
12.00 – 15.00: La Biennale's 57th International Art Exhibition / Arsenale with JASA, ROSA LUX AND MICHELE DRASEK
15.00 – 17.00:  La Biennale's 57th International Art Exhibition / Giardini with JASA, ROSA LUX AND MICHELE DRASEK
17.00 – 19.00:  Peggy Guggenheim Collection or visit to one of the 22 Collateral Events 

THURSDAY, July 13th 2017
08.00 – 09.00: Yoga
09.00 – 10.00: Lecture | DARKO LUKIC: Socially Responsible Cultural Leadership
10.00 – 11.00: Lecture | DARKO LUKIC: Socially Responsible Cultural Leadership
11.00 – 12.00: Lecture | SANDRA GAJIC: Managing Performing Arts Centres (PACs)
12.00 – 13.00: LTA | TBA
13.00 – 14.00:  Lunch
14.00 – 16.00:  Preparing presentations
19.00 – 20.00: Behind the scenes – HNK

FRIDAY, July 14th 2017
09.00 – 12.00: Student’s Presentations
12.00 – 13.00: Diploma Ceremony
13.00 – 14.00:  Lunch
14.00 – 16.00: Advisory hours
21.00 – Unicult2020 Party

SATURDAY, July 15th 2017
08.00 – 09.00: Yoga
Advisory hours
SUNDAY, July 16th 2017
08.00 – 09.00: Yoga
Advisory hours


Mon - Fri: 9 am - 13 pm



Radical Animation. Is there ART in pARTicipation?  

The Anima – the Soul is at the core of artistic creation. The role of animation in the arts is a central one. On Bali masked dancers (Wayang Topeng) and Shadow Puppeteers (Wayang Kulit) animate the spirits of the ancestors back to life in order to enter the masks and puppets and bring life to them. Actors give life to characters on stages and in film. Visual artists animate materials. Animators by hand or with the help of computers animate millions of images to create movement in cartoons. And artists involved with participatory projects animate small or large scale processes and the people involved in them. And the people animate us back. In Radical Animation Airan Berg will present various participatory projects he has developed in Austria, Belgium, Germany, and Italy and speak about how such large projects can be managed and executed, and how such projects can be made accessible and inclusive, as a basic human right for all. Together the group will discuss different formats and methodologies, the use of artistic tools in urban/human development projects, and the most persistent question of all: is there art in participation?


Part one: Shared Cultural Leadership and Decision Making Processes - Ethics in Policy-making and Cultural Practice
This lecture will discuss contemporary leadership theories - focusing on shared leadership, leadership that enables participative decision-making processes. In the same time, students will discuss important problems in cultural policy and management, trying to find their own solutions to certain ethical dilemmas. The range of case studies presented will be wide: from programming policies of major cultural institutions or ECOCs, to cultural policy dilemmas regarding issues in cultural diplomacy or in financing artistic productions and events.
Part two: Bottom-up Cultural Policies: Towards New Financing Practices
To what extent cultural organizations can create new processes of financing their own work? What does it mean resource mobilization? Can partnership or networking be a solution? This part of the lecture explores examples of solidarity and partnership within cultural sector and in community. What if there are no public funds opportunities? How different organizations can help each other exchanging knowledge and services? Using examples from Southeast Europe to India, this lecture will try to enumerate new, innovative forms of financing cultural production and dissemination.


Design and Architecture in the age of Digital Media

 Design and Architecture, in the wake of an insurgency of globally distributed digital platforms, must obey the dictum that "nothing is given, everything is designed,” from our online identities, to the interactive environment of personal devices, to the Internet, to infrastructure and data. The content cannot simply be determined by the continual transformation of inherited forms and traditions of design and architecture, but needs to draw upon a marked expansion in material science, transformations in constructability, manufacturing and cloud computing. In such a digitally pervasive environment the “designed object,” either physical or nonphysical, should be treated as a malleable hypothesis based on a system of practices that regulates a set of conditions, thereby improving the probability that a desirable outcome will occur. The capacity to change the conditions of the designed object when the outcome is not desirable can only occur if the treatment remains flexible. Following this line of inquiry, the designed object is without foundation, and as such, manifests itself as a fusion of physics and algorithms, while simultaneously blurring the boundaries of the conceptual, semantic, syntactical and technical regimes used to conceive their production. The roles of these boundaries are not meant to exclude different regimes, but rather to form a tissue inciting osmotic exchange. In such a condition, what is at stake is identifying and assessing different positions and choices about what architecture and design really are, what their objects of interest are, and what their manners of cognition are. 


The Future Of The Lab

When we consider the history of new media technology and art, the concept of the lab has played a significant role as a symbol expressing the experimental nature of media art and as a provider of infrastructure and expertise for these cutting-edge developments.

Ever since the MIT Media Lab was founded in 1985 or in the early years of Art+Com in Berlin (1988), it has also become synonymous with the encounters and exchanges between art and creativity on one hand and engineering and science on the other. The 1990s saw the propagation of this idea beyond universities and corporate R&D departments; artist-run labs like x-space in Graz (1990) and the Ars Electronica Futurelab (1995) where among these early adopters. Nowadays, “lab” is a fashionable yet also inflationary term being used for almost anything that aims to be cool and experimental—for instance, fashion labs, food labs, beauty labs and inspiration labs. And, of course, in the age of ubiquitous technology, there are pop-up labs in kitchens, living rooms and garages of all sorts.

So, what’s left or, even more important, where are the new frontiers for the labs of the future?


Socially Responsible Cultural Leadership

The course is a presentation of socially responsible cultural leadership models through the production of socially engaged art taking the students through all the levels of planning, fundraising, producing and evaluation. Presenting the differences between the general cultural production and of the community art, the course underlines the social benefit and the added cultural values. The steps of understanding this kind of production are:  recognizing and detecting recognition the needs of particular communities, choosing the projects / collaborators / venues / partners / media, attracting the community to the project, engaging collaborators and partners, facilitating the production, evaluating the outcomes, measuring the cultural values, using key indicators and recognizing risks, threats and challenges in such production. Through this course, I expect to raise awareness and interest for a socially responsible cultural leadership, for understanding differences in the fundraising, production and evaluation of the socially engaged art and for recognizing the impact of cultural values.


The culture of leadership and the use of data in decision making for cultural institutions

The conversations will center around recognizing the cultural context within and outside of organisations and leadership challenges operating in different cultural milieus.  

Will review two models in more detail. 

1.     The potential relevance of approaches based on Hofstede  dimensions of cultural values in order to understand the wider cultural context in terms of individualism-collectivism; uncertainty avoidance, strength of social hierarchy and task orientation versus person-orientation, long-term orientation, etc. 

2.     We will also look at more detail into the concept and relevance of strength based leadership, with short practical exercises of how to use the approach in building stronger teams within cultural organisations. 

The second set of exercises will look at the concept and practice of evidence based leadership. We will review   challenges facing cultural leaders who are looking for evidences for the impact of activities. This will include a review of existing data sources, methods and tools to gain understanding of the wider cultural participation of audiences at regional and city level. 


Bounded Rationality of Cultural Organizations

During the course we will confront theory of rational choice with Simon's concept of bounded rationality that is in the core of debates about decision-making process. We will find out the importance of informations, distortion of information, alternatives and time frame in which decisions should be done. That will lead us to a new discussion regarding the dynamics of decision-making process and problems with recycling and reformulating of old decisions. We will present Bradford Studies that are dealing with three basic elements of decisions making process that will be followed with discussion on distribution of influence and complexity in decision-making process. We will also deal with the phenomena of quasi-decision when we are in decision-making process that really doesn't lead to decisions. And in the end we will deal with so called model of jazz improvisation in decision-making process. During the course we will also deal with influence, assurance, participation, setting up the agenda, control of information and other elements that have impact on a group dynamics during the decision making process.


Strategic Management and Entrepreneurship in the Arts and Creative Industries in an International Context: Strategies, Tools and Practices

This lecture will assist participants to understand, improve and apply their knowledge and practice regarding governance and management mechanisms in cultural organisatons, focusing on principles and methods of elaboration of strategies and financial plans. We will discuss the essence, principles and models of strategic management in the arts, emphasizing on innovative partnership opportunities for financing and fundraising for creative projects and organisations on local and international level. 
The second part will be devoted to startup companies in the arts and creative industries: from the inception of a creative idea to its local positioning and international expansion and growth. We will look at diverse international practices of startup companies from a wide range of countries, exploring the trends, opportunities and barriers for international entrepreneurship in the arts. Participants will have the opportunity to analyze diverse fundraising and financial opportunities for startup companies in the arts and creative industries.


How (Not) to Write an Effective Proposal

This practicum aims to lend deeper insight in the rigors of grant writing and the review process from both sides and should serve participants well at any stage in their careers.

A two part workshop, How (Not) to Write an Effective Proposal will touch upon various funding mechanism: corporate,  governmental, individual and foundations but will focus primarily on the practice of effective grant writing. Prior to July 3rd, students will be asked to complete two tasks. The first: to review examples of redacted actual applications and proposals. The second will be to complete a hypothetical grant application form for a curatorial (or other) project of their own design. Guidelines and criteria will be provided.
During the morning discussion we will consider the merits and failures of the example proposals. Talijancic and Brown have long experience as applicants and as funders and will guide the students toward clarity and specificity in their professional writing.
During the afternoon, students will split into two groups to serve in the capacity of a panel of experts to review and rank the student/applicants’ proposal. The panels will be moderated by the instructors and criteria and guidelines will guide their discussion of each proposal as well as their scoring and ranking. Notes of panelists’ comments will be taken and following the process, “applicants” will be able to request feedback.


Managing Performing Arts Centres (PACs)
Performing arts centers (PACs) are an integral part of  creative industries, significantly impacting social, economic and cultural wellbeing of communities around the world. Virtually all PACs are community-based and serve the public interest irrelevant of their governance model (operated  as a public, not-for-profit, for-profit, or hybrid entity). They are present in all types of environments – from big cities  to small towns and in some cases they are part of educational institutions. However, there is a lack of professional training available to professionals that wish to enter the exciting world of PACs!  This lecture will address some high level points rooted in my knowledge and experience managing PACs as sustainable business while remaining relevant  cultural institutions.  The objective of the lecture will be to provide some  valuable information at the intersection of theory and practice in the professional field of executive leadership of performing arts centers.


Transformational Leadership

Culture needs to take a lead in society and offer constructive solutions in order to battle the increasing tensions we witness in todays Europe due to increased migration and growing income inequality. But what kind of skills do actors in the cultural field need to meet the challenges? Mattias will talk about developments and changes we are asking from our cultural leaders and how transformational leadership might be the key that can influence and encourage people to make a difference.


Deepening Participation: Towards Sustainable European Capital of Culture (ECoC)

Albeit the European Capitals of Culture (ECoC) as a well-established supra-regional programme has many guidelines, recommendations and related organisations in general, most of these are representing a top-down programme implementation strategy and due to its time-limits cannot ensure long-term cultural and social sustainability.
Local Operators’ Platform (LOCOP) has been established to address these shortcomings, and to critically assess cultural policies and supra-regional funding strategies such as the European Capitals of Culture (ECoC) programme according to their real-life effects on cultural operators in their particular local context.  Our aim is to strengthen participatory decision-making processes on the hand by offering advocacy for bottom-up organisations (issuing policy briefs, materials, organizing seminars, etc.) and on the other hand by providing self-advocacy tools for local operators.

LOCOP’s activities will be introduced from four perspectives:
1. Lubos Bisto will discuss the preconditions of the initiation of LOCOP as advocacy body to support local operators through the case study on his own involvement as local operator in the 2013 ECoC in Kosice (Slovakia)
2. Szilvia Nagy will introduce LOCOP’s organisation structure, networking activities, advocacy role, research focus and discuss why participation is one of the crucial requirements for cultural sustainability
3. Roland Zarzycki will introduce the role of monitoring and evaluation to secure sustainability of cultural projects. The presentation will be illustrated with real examples, including the flagship case of Wrocław 2016 ECoC, where the lack of evaluation programme resulted in implementation of a different project than the one that won the title for the city.
4. Petr Simon will address the benefits of LOCOP and evaluation tools from the perspective of ECoC stakeholders.








CURATORIAL PART of the program will be held at the Accademia di Belle Arti di Venezia, University in Rijeka and at the Venice Biennale


The history of Venice and the maze of its canals are an inexplicable idea of those whose names you might know but minds you will never be able to conquer. With the oldest, most far-reaching, technically and curatorial most complex of all of the world’s biennials, the two days dedicated to the understanding and dissection of tone of the highest career accolades in the art world, this in-depth exploration of the who-s, how-s and what-s will be an unforgettable shortcut you understanding how to get there, what to do when caught there and how to get out alive.

Day 1 (RIJEKA) – in depth lecture 

Day 2 (VENICE) – day trip to Venice;
Morning; arrival, guided visit to Arsenale with Rosa Lux, JASA and Giorgio Andreotta Calò.

12:30 – Lecture at the main hall of Accademia di belle Arti di Venezia:  Rosa Lux, JASA and Mitra Khorasheh. The second part of the discussion will be narrated by Michele Drascek (curator), the coordinator of the biennial for the past 3 editions.

Present and on the discussion panel also director of the Academy Dr. Carlo di Raco. 

15:00 – 19:00
guided visit to Giardini with JASA and Giorgio Andreotta Calò.




Mon – Fri: 12pm - 13 pm


Despite lectures and other activities mentioned in program, this special activity of our program will be held in an informal manner, bringing together two of our lectures, discussing on a chosen topic and exchanging their knowledge on the subjects they choose to talk about.

The format of the Let’s Talk About activity encourages the exchange of information and experiences between all the participants and lecturers together. Participants are invited to contribute to the discussion by sharing their experiences on chosen topics or by giving ideas; therefore at the end of the meeting everyone could have learned something new from each other. 







Singing Tunnels

Urban pedestrian tunnels can be scary. Badly lit, scary acoustics, stinky and dirty. A place you want to pass through as fast as possible. The project Singing Tunnels tries to change this experience to something positive. Singing Tunnels is a project by Max Björverud and Hakan Lidbo. A microphone picks up the sound from the tunnel, detecting the pitch of the sound with PureData, playing back a sampled female voice singing the same pitch. The result is a tunnel that sings with you. Or, if you bring a musical instrument, the tunnel with sing along with you. It works as long as you sing or play one note at the time. If you don’t produce a note, like everyday noise or talking, the tunnel won’t sing. The purpose of the project is to transform tunnels into new, inspiring and creative experience. 







The fundamental mission of the Institute is developing and disseminating theoretical, methodological and technical knowledge and skills required for scientific and professional interpretation and evaluation of contemporary international relations which affect various human activities and related developmental trends important for the Republic of Croatia. Development tendencies are observed in the local, regional, European and global context. In its scientific and professional work the Institute focuses on various forms of interconnections between international relations and political, economic and socio-cultural development tendencies.


The biannual Jean Monnet project ‘EU Competences and National Cultural Policies: Critical Dialogues’ (September 2016 –August 2018) coordinated by IRMO’s Department for Culture and Communication aims to promote discussion and reflection on the impact of the EU agenda on the Croatian cultural policy. Since Croatia’s accession to EU in 2013, there has not been any visible progress in terms of developing better coordination within the cultural policy research community and between cultural professionals and policy-makers responsible for the implementation of different EU instruments and agendas. The overall objective of the project is to establish closer cooperation and networking among cultural policy research community, cultural professionals, and policy-makers responsible for the implementation of different EU instruments and agendas. The project will also serve as a platform for information and communication about the relevant cultural policy processes at the European Union level that will contribute to enhancing knowledge about the impact of the EU and its processes on the national cultural sector. The focus will be placed on EU’s soft cultural policy instruments and mechanisms (e.g. Open Method of Coordination, Creative Europe program, European Capitals of Culture initiative) that represent de facto policy approach to the various cultural policy issues and their related instruments.


Digital culture and cultural policies

In this lecture I will talk about digital culture and the changes it brought to cultural policies and opportunities and threats this new context presents for cultural sector where boundaries are fluid thus demanding from us to rethink and reconceptualise what we consider culture to be. The lecture will introduce concepts related to the digital shift and will tackle issues related to convergence processes, network context and networked information economy. Digital culture will be approached as a new social ecology, within which cultural institutions need to hold onto a clear understanding of what they are trying to do and for whom. It will address the digital practices that the cultural sector has been developing: measuring success online, suitable business models and users’ needs; insight into the implications and impacts of digitalization on the governance and management of cultural resources; and, the implications of digitalization and globalization for cultural policy and management.


Discussion: European Capital of Culture bid-process in Croatia in the context of local cultural policies

Bid-process for ECOC title in Croatia will be remembered  by unexpected number of applicant cities. Nine Croatian cities were involved in the first phase of bid-process which is a huge number if we take into account the size of a country or its population (cca 4 million) and demanding frame of an ECOC project. Considering that figures, lecture will deal with the perspectives of local cultural policies in Croatian cities that were involved in ECOC bid-process and had to deliver its local strategies of cultural development. For the most of the cities it was the first time they introduced written local cultural policies and planned its implementation in ECOC bid-book. As you all know, in the end of that process, city of Rijeka is designated as ECOC 2020 together with Irish city of Galway which give us great opportunity to talk and discuss about different ECOC-issues in the host city. In following debate we will talk about impacts of ECOC bid-process on local cultural capacities and policies, as well as its relations to national and european level. We will be happy to hear and discuss different experiences of ECOC bid-proces in other European countires and how are cities that were not designated as the hosts, dealing with its cultural developemtn in post-ECOC time.

Workshop: YOUR SPEAKING VOICE: Is Your Voice a Rain Cloud or a Rainbow?

Learning to speak in your optimal pitch range
Your audience judges you from the moment you stand up to speak. However, if your voice is high-pitched, your words incoherent, or your voice too loud, their positive impression quickly will become negative. Vocal variety refers to the way we use our voice. It is a combination of elements: pitch, tone, volume and rate. If you want to communicate effectively and positively influence your audience, you must pay special attention to speaking in your natural pitch. It is the medium of your message.

Learn how to connect with your authentic voice and how to utilise that effectively in public speaking and professional presentations.This workshop will help you add dimension, strength, vitality and authority to your speaking voice.



Mon – Fri: 13 am - 15 pm


The Mentoring process is described as a developmental process - dynamic and unique to each student.  

During the two-weeks summer school, you will be able to meet your Mentors and schedule the mentoring sessions which will take place during the Advisory hours.

The mentoring process focuses on: 

  1. Project Development (helps the mentee achieve specific skills sets in order to develop his/her project, add value to the organization and progress); 
  2. Goal Setting/Career Planning (helps the mentee identify his/her professional and personal goals, as well as to identifya long-term career path);
  3. Problem Solving (helps the mentee develop cognitive skills in order to strengthen the mental process of discovering, analyzing and solving problems to overcome obstacles)
  4. Networking (helps the mentee expand his/her professional connections and possible collaborations and partnerships at an international level).



The matching between mentees and mentors will be made after students send the filled Mentee Application Form containing details regarding the education, background, expectations and goals of each participant at the programme. 

The evaluation of the Mentee Application Form and the matching are made upon the following criteria:  background (knowledge, skills and relevance); shared interest (how the mentor can relate to the mentee work and vice versa); individual aim (to be achieved from Unicult2020 mentoring session). 

The matching will be made by the organizing team in order to create the best possible match and a balanced number of mentees for each mentor. 

Mentees will receive an individual e-mail containing the name and the contact of his/her mentor together with the Start-Up Package for participants (containing the Advisory hours), after which they can start approaching their mentors from 1st of June 2017 via e-mail. By the time the mentors will be contacted by mentees, they will already have received the Mentee Application Form from each person who will be advised by them during the two weeks summer school and possibly after the program. 

Suggestion: feel free to introduce yourself to the mentor, ask for resources (links, videos, bibliography), subjects to think about before you arrive in Rijeka or just get to know each other. 


During the two weeks summer school, students will be able to meet their mentors and schedule the mentoring sessions which will take place during the Advisory hours (to be found in the Start-Up Package sent to the participants who received the Acceptance letter to Unicult2020).


We cannot guarantee a long-term mentoring relationship. It is all about your attitude and initiative.  Go through this experience wisely and with enthusiasm. Engage, be curios and take notes. Speak out loud and respect each other’s opinion. Ask your mentor if he/she is willing to keep in touch with you after Unicult2020 ends. 

Mentee Name *
Mentee Name
Preferred Mentor Name 1
Preferred Mentor Name 1
Preferred Mentor Name 2
Preferred Mentor Name 2