Experience

CONCEPT DEVELOPMENT

EVALUATION AND IMPACT ASSESSMENT

NETWORK DEVELOPMENT


RESEARCH

WRITING

WORKSHOP FACILITATOR AND TUTOR

PRESENTATIONS

MAJOR EVENTS PLANNING


CULTURAL HERITAGE / CONTEMPORARY ARTS / CREATIVE INDUSTRIES

EUROPEAN CULTURAL POLICY


FUNDING

COMMUNICATION

FINANCIAL MANAGEMENT

ADVOCACY


TRAINING

STAFF MANAGEMENT

LANGUAGES






CONCEPT DEVELOPMENT

• Concept development and goal setting are at the core of every project. Even more important at a transnational level, they make sure you, your team and your partners know what objectives you are aiming for, why you aim for them and how they fit into the organisation’s overall mission. Everything else in project execution builds on that.
• Over the years I have again and again been involved in setting up and implementing big and smaller activities.
• Among the highlights was at BOZAR (Brussels), when I was working with strategic bodies to build mutually beneficial creative and cultural partnerships between BOZAR and Iran. Another particularly interesting project was being representative of BOZAR in the Cultural Diplomacy Platform, which is designed to strengthen EU cultural relations outside of Europe.
• As Head of Office at the heritage network Future for Religious Heritage, I regularly made recommendations to the Board regarding the strategic direction of the organisation across policy development, international relationship building, organisational growth and fundraising.
Close

EVALUATION AND IMPACT ASSESSMENT

• Evaluation and impact assessment help to determine whether a project is on track and, after the end of the project, whether it has achieved its objectives. Impact assessment, together with concept development and goal setting, are intrinsically linked to creating, defining and communicating value. Value creation is in its turn currently the single biggest challenge of the arts and culture sector. That in itself makes it worth the effort to pay due attention to it.
• As employee at the Agency for Education and Culture (EACEA) of the European Commission, I did evaluation reporting for senior management. I was also responsible for (the operational and budgetary) monitoring and assessment of a portfolio of EU projects under the "Creative Europe: Culture" funding scheme.
• I have reported on behalf of EU projects to be sent to the European Commission. I currently work as assessment expert of project proposals for the European Commission.
• For organisations I have worked with, I have designed and carried out surveys and feedback collection to understand needs and opinions of for example conference participants, professionals of a specific sector or the members of an organisation.
Close

NETWORK DEVELOPMENT

• Since the 90s, European cultural networks have been on the rise. Technology has made it easier and more necessary to come together in interest groups, and so they will continue to become more important. They connect, coordinate, do advocacy, and as such have significant leverage power. They promote and facilitate diverse forms of collaborative practice and community building across local and national borders, and generally improve access to arts and culture.
• I worked for several specialist networks, such as in cultural heritage at Future for Religious Heritage and worldwide cooperation for the Cultural Diplomacy Platform, getting to know and developing their structure, objectives and sustainability from the inside out.
• At Creative Europe (EACEA of the European Commission), I could specialise in the “Culture Networks” strand. This funding programme targets European cultural networks as strategic partners for the “Creative Europe: Culture” scheme. They represent hundreds of cultural organisations across a wide spectrum of cultural fields.
• My own professional and personal network extends all over Europe and beyond.
Close

RESEARCH

• I did a study into operational and financial sustainability in the applied games sector.
• My research experience is grounded in my academic studies in Art History and Philosophy, which led to the publication Geschichte und Identität. Black Box / Chambre noire von William Kentridge (2011, RegioSpectra Verlag Berlin).
Close

WRITING

• I have experience writing in multiple languages (DE, EN, NL) and for a range of target audiences – for academia, for the public, art reviews, opinion pieces, project reporting, funding applications, communication materials and for specialised PR projects.
• In particular, I am author of a scientific book on Art History, in which, based on an installation by artist William Kentridge, I investigate a possible model of (post-)colonial identity between Africa and Europe.
• I am also co-author and copy-editor of a European Commission best practice manual, which presents ICT and languages in education funded projects (2009-2013), clustered around policy themes, such as Serious Games, STEM-subjects, Social Inclusion, or Lesser-Used Languages.
Close

WORKSHOP FACILITATOR AND TUTOR

• Working for the European Commission, I organised multiple ICT-workshops and was co-organiser of the 2013 Projects' Meeting for newly funded projects.
• For a couple of years, I was head of the vocational training department of the Sprach-und Kulturbörse of the Technische Universität Berlin, and responsible for a varied programme in the field of enhanced vocational training for language tutors.
• I was also tutor in Dutch and English. I was responsible for the design and execution of the course curriculum. I taught both classes and individuals, with the participants including teenagers, pensioners, unemployed expanding their skillsets, students, office workers and diplomats. Keeping in mind the wide-ranging needs of my students, I took on the role of a mediator and a promoter: between a language and its culture on the one hand and between the students on the other.
Close

PRESENTATIONS

• I have been a speaker at several universities and festivals, including the Goethe-Universität Frankfurt, Columbia University New York and the Eye Film Institute in Amsterdam.
• I moderated a panel discussion European Cultural Routes of Reformation (organised by the Representation of the German Free State of Thuringia), which brought together several speakers around the topic of tourism and the 5th centennial of the Reformation.
• For the EACEA (European Commission), I set up, co-chaired and presented meetings and conference workshops on specific policy issues and adequate project implementation.
Close

MAJOR EVENTS PLANNING

• Conceptual planning for a cultural exchange project between Europe and Iran, BOZAR in Brussels, Belgium, being lead partner. This included a prospective trip to Tehran with the BOZAR Artistic Director and entailed meeting the Iranian arts scene, liaising with the European diplomatic field and meetings with Iranian government officials such as the mayor of Tehran.
• I did the operational planning, execution and follow-up of Future for Religious Heritage 2016 biennial conference taking place in Vicenza, Italy, and gathering more than 150 participants, 36 speakers from all over Europe, and an extended on-site programme.
• I was responsible for the planning, programming and design of the European Commission’s 30m2 exhibition booth at OnlineEduca Berlin 2013, Germany, with the aim to present the ICT for Education funding strand to the fair visitors.
• The establishment of Flachland, an entirely new multi-day and multidisciplinary festival which promoted the artistic talents of the Netherlands and Belgium in Berlin, Germany. Together with the small and committed team, I created a platform for cultural practitioners to showcase their work, and internationally strengthen their contacts and cooperation opportunities.
Close

CULTURAL HERITAGE / CONTEMPORARY ARTS / CREATIVE INDUSTRIES

• The cultural field is very diverse, ranging from contemporary arts, to the creative industries or cultural heritage (with of course its many possible cross-overs).
• I have very much enjoyed working in all of those sectors.
• Some examples of my diverse experience are in applied games and creative entrepreneurship, technology and art, contemporary arts transversally, Persian cultural heritage and religious heritage. What binds them is the role of culture in society, its innovative power and potential for social regeneration and social cohesion.
Close

EUROPEAN CULTURAL POLICY

• For BOZAR (Centre for Fine Arts Brussels), I was representative in the Cultural Diplomacy Platform, which was set up by the European Union to advise and support in putting culture at the forefront of its external relations.
• At the Agency for Education and Culture (EACEA) the EU's cultural and educational funding programme is implemented. I worked there at the meeting-point of policy, project management and communication. I acquired sound knowledge and practical experience of the EU's policies, programmes, procedures and activities.
Close

FUNDING

• I now work as an assessment expert of project proposals in the heritage strand of the H2020 research and innovation programme.
• I have experience in EU funding applications, most recently gaining a 1.000.000 € EU grant for the cultural network function of Future for Religious Heritage.
• At the European Commission I was responsible for the monitoring, operational-financial evaluation and administrative record-keeping of European projects in culture.
• Likewise at the European Commission, I carried out a complete funding application cycle in ICT and education, which involved expert monitoring, attendance at selection board meetings and reporting;
• I also have some experience in attaining corporate sponsoring, getting contracts for the arts festival Flachland and for the art gallery Sandy Brown in Berlin.
Close

COMMUNICATION

• I have time and again been involved in diverse communication activities, both in terms of marketing and maintaining networks of contacts.
• For EACEA (European Commission), BOZAR (Brussels) and Future for Religious Heritage, I Iiaised on a regular basis with relevant contacts within their network: board members, volunteers, prospective members, a broad range of cultural organisations and educational institutes throughout Europe, national institutes, governmental officials (specifically from Iran), MEPs or European Commission cabinet members.
• At Future for Religious Heritage, the cultural heritage network, I produced content for the website and on various occasions kept it up-to-date, which meant working with WordPress. I also kept an eye on its social media and at multiple times put the monthly newsletter together. I did copy-editing of flyers, brochures and mailings.
• I was responsible for the concept and planning of the European Commission's communication booth at OnlineEduca Berlin 2013.
• I was part of a small team of moderators for an education experts’ online platform and I delivered content for the website of EACEA (European Commission).
• At the art gallery Sandy Brown in Berlin, I participated in its PR activities, which comprised of communication with the press, ensuring participation in mailing lists, and maintaining a high google ranking.
Close

FINANCIAL MANAGEMENT

• I have experience managing finances. My attention to detail and budgeting experience helps me in keeping up-to-date financial records.
• At the European Commission, I quickly mastered their financial-administrative databases and grant applications’ system, and I was assigned financial checks of EU projects.
• At Flachland, the Belgian-Dutch arts festival in Berlin, I was responsible for the accountancy and administration. This included monitoring of finances, doing payments, tax declaration in co-operation with a tax consultant, and file maintenance.
Close

ADVOCACY

• Advocacy, either as a rallying call for an idea or for a project, is important to the work of the cultural sector. Engaging people to take a stance in support of an organisation or the cultural sector and communicate that to stakeholders, policy makers and the public at large keeps the sector alive.
• It is central to the concept development and project management that I have done over the years, debating and explaining the idea of a project with to network members, partners, government and embassy officials, or EU officials.
Close

TRAINING

• I am a regular participant in workshops, trainings and conferences with the aim to expand and keep my skills and knowledge up-to-date.
• Topics I have trained in include international project management, art theory, cultural diplomacy, intercultural communication, and ICT (such as coding) with for example ENCATC Academy, tranzit.org and the Summer Academy Salzburg.
• My academic background is in Art History and Philosophy in the Netherlands and Germany. The final result in my Master’s degree (Berlin) was Excellent (1.3 in the German system).
Close

STAFF MANAGEMENT

• On the occasions that I have managed a group of people, it was always in an intercultural setting with multiple nationalities.
• I was Head of Office of the European heritage network Future for Religious Network, and as such intermediary between the Board, Future for Religious Heritage members and a staff of 3 people.
• I was one of the two national co-ordinators of the European Cultural Parliament Youth Network, a pan-European volunteer organisation that aims to empower young people through culture. I managed the Belgian hub of about 10 people.
• As a tutor for Dutch and English, I acquired excellent skills in leading and motivating a group.
• For the Flachland festival, I was team leader of the multicultural group of volunteers.
Close

LANGUAGES

• I have a high level of reading, writing, speaking and listening in Dutch, English, German and French.
• I understand Spanish.
• I have used these languages in high level professional environments, in day-to-day work situations, in social situations, and at academic level.
Close