Charter
The project involves 47 partners from 14 European countries. The partners involved cover the whole spectrum of actors in the cultural heritage sector. This Erasmus+ project aims to highlight the importance of cultural heritage and to create a responsive sector where knowledge and skills can support the development of a sustainable society and economy.
The IPCHS Restoration Centre, together with 27 European organisations, applied to the Erasmus+ call for proposals on SECTOR SKILLS ALLIANCES (Blueprint Cultural Heritage). The consortium was successful and the CHARTER-Cultural Heritage Actions to Refine Training, Education and Roles project will start in 2021.
- Call for proposals ERASMUS+, Sector Skills Alliances for implementing a new strategic approach (Blueprint) to sectoral cooperation on skills (Lot.2)
- Project duration: 48 months
- Financial framework of the project: 3.999.605,00
- Project website: https://www.charterproject.eu/
Objectives
gathering information on the training, employment and mobility of professionals assisting in the conservation of cultural heritage, developing new strategies to improve the situation in these areas, upgrading existing and developing new training programmes to help create new professional profiles, developing a long-term action plan to be implemented at national and regional level, and promoting the use of EU tools (e.g. the European Training Framework).
The role of the ZVKDS Restoration Centre
- Analysis of the regional situation in the strategic analysis of cultural heritage competences and professional profiles at EU level,
- the development of professional standards,
- participation in the project's publicity,
- improve the international profile of Slovenia's cultural heritage,
- Organisation of an international workshop in the framework of WP2 and WP3.
Partners
Education sector:
- University of Barcelona, Spain
- University of Gothenburg, Sweden
- Fondazione Scuola dei beni e delle attività culturali, Italy
- Università degli studi di Genova, Italy
- Akademie der bildenden Künste Wien, Austria
- Erasmus Universiteit Rotterdam, The Netherlands
- Université Sorbonne Paris 13 Nord, France
Umbrella organisations:
- ENCATC, Belgium
- E.C.C.O., Belgium
- Verband der Restauratoren e.V., Germany
- ERRIN, Belgium
- NEMO (Deutscher Museumsbund), Germany
- Finnish Heritage Agency, Finland
- European Historic Houses aisbl, Belgium
- ICOMOS, France
- FARO. Vlaams steunpunt voor cultureel erfgoed, Belgium
- Kultur und Arbeit, Germany
- Veneranda Fabbrica del Duomo, Italy
Industry and government organisations:
- Dep. of Culture, Heritage and the Gaeltacht, Ireland
- An Chomhairle Oidhreachta - The Heritage Council, Ireland
- Institute for Protection of Cultural Heritage, Slovenia
- Romanian National Heritage Institute, Romania
- National Heritage Board, Latvia
Regional government agencies:
- ADRAL - Alentejo Regional Development Agency, Portugal
- Basque Government, Spain
- Freie Hansestadt Bremen, Germany
- Regione Toscana, Italy
- Västra Götalands Läns Landsting, Sweden
Charter project logo
A new space for heritage professions - preliminary findings
Education and training in the field of cultural heritage in Europe - pathways to qualifications
Families of competences
Benchmarking report on innovative/emerging curricula
Report: who is not a stakeholder in cultural heritage?
Report on existing quality standards and certification schemes
Interim results - evaluation of the matrix and methodology
- A collection of literature; https://charter-alliance.eu/literature-collection-database/
- Cultural heritage, education and training programmes in Europe; https://charter.visuelles.xyz/
More about the project available at here.
Stucco Marble
The creation of Baroque altars was usually a complex process where architects, carpenters, sculptors, painters and plasterers worked together to achieve a result to suit the commission. Technique and materials were chosen according to the wishes and wealth of the client and depending on local possibilities. In Slovenia, wood was the most common material, and both the architectural parts and the sculpture were (sometimes later) polychrome-plated.
