Abu Dhabi, 8 April 2019: The first day of CultureSummit Abu Dhabi 2019, organised by Department of Culture and Tourism - Abu Dhabi (DCT Abu Dhabi), has come to an end following a full schedule of packed panel sessions, interactive workshops, and artistic performances. The event is taking place through 11 April at Manarat Al Saadiyat in Abu Dhabi.

Over five days, CultureSummit Abu Dhabi 2019 will present a dynamic series of panel discussions and interactive workshops under the topics of art, media, heritage, museums, and technology, as well as cultural performances and networking events. This edition’s theme of ‘Cultural Responsibility & New Technology’ addresses questions of how cultural agents can be more engaged in addressing global challenges, and how creativity and technology may be harnessed for positive change.

To kick off the event, a keynote address was given by HE Noura Mohammed Al Kaabi, the UAE’s Minister of Culture and Knowledge Development, saying, “The third edition of CultureSummit Abu Dhabi has gathered a unique group of innovators and policy makers to discuss cultural responsibilities and new technologies, the role of culture in promoting awareness of pressing global matters, and the contribution of the cultural sector to positive change in societies around the world. The theme of this year’s summit, ‘Cultural Responsibility and New Technology’, summarises the requirements of our current time in harnessing technology, and questions how we, as individuals in the creative and cultural fields, can take responsibility for this surge in technology that we are witnessing in all sectors.”

Her Excellency continued, “Technology has become an essential tool in the art industry, and I'm not sure how I feel about certain aspects – for example, the artwork that was created by artificial intelligence  and auctioned for a great price – but it is time to ponder the relationship between art and the machine.

Overall, we believe that culture is for everyone, and we appreciate technology for its help in broadening accessibility and in breaking barriers. We are able to achieve previously unthinkable feats; thanks to technology, today we are able to see and analyse details of manuscripts or paintings that we cannot perceive with the naked eye.” 

HE Mohamed Khalifa al Mubarak, Chairman, Department of Culture and Tourism – Abu Dhabi, welcomed guests and said of the event: “CultureSummit Abu Dhabi has been created for communities to talk, connect, to learn about each other’s problems and try to solve them together. Our job here is to exchange knowledge by questioning everything out loud, and allowing issues and perspectives that might be new to us to manifest. We are delighted to welcome our guests here today, who have flown in from all parts of the world to collaborate and work on what this edition of the CultureSummit aspires to achieve: solutions and change.”

The event’s opening panel session was Cultural Diplomacy and Responsibility in the Age of New Technology, moderated by HE Zaki Nusseibeh, UAE Minister of State.

  • His Excellency Nusseibeh noted an increasing sense of pessimism and growing voice for isolationism, asking the panel what role cultural diplomacy plays in an increasingly polarised world, and how politicians may use it as an effective tool.
  • Former Prime Minister of Spain, HE Jose Luis Rodriquez Zapatero, noted that culture is the most effective tool diplomats can use, as it does not use force, but rather creativity and intelligence to connect and unite. He posited that we must all operate under the thought that no culture, no religion, no country is superior to another; and until we have true open dialogue, there will be no universal peace.
  • HE Jorge Fernando Quiroga, Former President of Bolivia and Member of Club de Madrid, said he blames the rise of protectionism around the world on the fact that “it is easy to blame someone who doesn’t look like you”; however he believes strongly in the value of cultural diplomacy, as culture is the common thread the binds us together. He noted that while technology has brought great opportunities, it also poses significant challenges – the danger of technology is that instead of expanding minds, it can simply serve to reinforce what we already believe.
  • Bernardo Leon, Director General, Emirates Diplomatic Academy noted that the reasons behind conflict and war are just cultural constructs, and we all have an equal responsibility to push for tolerance; to engage in productive dialogue. Cultural diplomacy has always been about interconnection - each diplomat represents a country with its own national interests, but culture is what makes diplomacy work in times of tension.

How can media survive the age of technology? was moderated by John Prideaux, US editor of The Economist, and examined the rise of tech companies as distributors of news, looking at the ways that new technology and the rise of social media has transformed the relationship between producers and consumers of all forms of cultural media.

  • Prideaux introduced the session by noting how technology is upending business models; not only changing the channels and methods of journalism, but changing ways of reading. Readers have harder time deciding what information is worthy of their time; and many do not actually want to be challenged, but to have their prejudices confirmed.
  • Mina Al Oraibi, Editor-in-Chief of The National noted how reader expectations have changed, with focus shifting from words to visuals, video, and audio. For her, the single biggest difference is that the job, and the news, is never done; with online and social channels, the news is always being refreshed and updated. Despite challenges, Al Oraibi feels that the National’s journalism has grown stronger, and sees the future of the news industry as becoming more of a personalised experience for readers.
  • Shashi Menon, Founder and Chief Executive Officer, Nervora, stated that for him, the overall goal has remained the same: to produce meaningful, quality content that people care about. Technology is a tool that has changed how he produces content, but the what has not changed. He also noted that he believes that the biggest myth in the industry was that tech will be the ‘saviour’ for media. We are finding this to not be true; print media not dying out, as was once predicted.
  • John Deftorias, Emerging Markets Editor & Host, Marketplace Middle East, CNN said that though cable news was created by new technology, the real revolution in news reporting came with the rise of smartphones and mobile technologies. He believes that the most important quality for an outlet is reliability, along with balanced and centrist coverage. He also noted that media is now playing a completely new, unprecedented role: that of fact checker, for both political sides. With many stuck in a feedback loop of too much information, it is important for readers to take a step back, digest and analyse. 

How can museums creatively embrace the digital age? asked how museums might embrace new technology to best enhance the visitor experience.

  • Moderator Troy Therrien, Head Curator of Architecture and Digital Initiatives, Solomon R. Guggenheim Museum introduced the session and aske participants to address the question of how to take an ephemeral, digital experience and bring it into the space of the museum, as well as take art outside the walls of the institution.
  • Artist Emeka Ogboh noted that not everyone has the opportunity to experience art, and documenting works digitally lets people access art outside of museum spaces. There is no excuse not to use technologies such as Virtual Reality - it is about accessibility and egalitarianism.
  • Lizzy Jongma, Senior ICT Project Leader, GLAM (Dutch Digital Network for War Collections WW2) said that a major issue is the notion of ‘authenticity’ – museums use this as an excuse to not act. She believes that it is the responsibility and the educational duty of museums to use the new ways of showing art to reveal their collections to the widest possible audiences, and that digitization is a wonderful thing – rather than driving down visitor numbers, it drives people to want to see the art in person.
  • Apinan Poshyananda, Artistic Director, Bangkok Art Biennal, said that he thought of the issue in terms of playing with contexts. How can art be taken outside the museum context? We are all digital addicts - surely art must be placed into this context. He gave an example of the Bangkok Biennale using the royal temples as venues for digital artworks – digital in the context of tradition.
  • Kudo Takashi, of the artist collective/digital art museum teamLab, explained a bit about his organisation, and how teamLab, through digital art, tries to find new ways of understanding the physical world. 

How can we define popularity vs. populism? led Tim Marlow, Artistic Director, Royal Academy of Arts, asked why art should appeal to all, and whether we should fear elitism.

  • Lars Nittve, Curator, Art Critic, Writer; Former Director Tate Modern, M+ Hong Kong, Moderna Museet Stockholm said that there is no question that people needs access to art and creative experiences, but it crucial to remember that it is not necessarily true that this will do something for them or be important for them. He also noted the dichotomy of, on one hand, the idea of institutions being uncompromising in their vision and mission; on the other, not raising the threshold higher than necessary, or it veers into elitism. He firmly believes that rising museum visitor numbers is due to digital development and engagement.
  • Farooq Chaudhry OBE, Producer, Akram Khan Company noted that with the appeal of art, it comes down to relatability – whether audiences can relate what they are seeing back to themselves in some way, making it personal and meaningful. He said that visitor numbers should not be raised just for the sake of it; the engagement to be meaningful and not arbitrary. The purpose is to unlock imagination and curiosity to connect and have a personal experience. The biggest danger of populism is that we will no longer have challenging work; fear and risk can feed interesting ideas and great art.
  • Munira Mirza, Executive Director, Culture, Kings College London, Former Deputy Mayor for Culture and Education, Greater London Authority posited that we can believe in both an elite understanding of art, as well as the idea that everyday people can and should engage with it. The artistic community needs to look inward, as they are perhaps not as inclusive and engaged with diverse audiences as they think they are. She also noted that institutions must believe in their own authority and the quality of their output, as this gains the trust of the public and opens dialogue; but that the value of expertise only goes so far.
  • Moderator Tim Marlow countered that expertise is crucial, not only in an academic sense but in that expertise can equal agenda setting, and directing and broadening public taste.

Against the background of recent conflicts and increasing numbers of disasters, Why is heritage a priority in crises? addressed the contribution heritage can make to help communities affected by an emergency recover, moderated by Lazare Eloundou, UNESCO Director for Culture and Emergencies.

  • Alexander Kellner, Director, National Museum (Rio de Janeiro), Brazil relayed his recent experiences with natural disaster following the fire that destroyed much of his museum and its collection. He noted that the one upside of the disaster was to show the government the importance and preciousness of the heritage and scientific treasures that were lost. The museum received an outpouring of sympathy and help from around the world.
  • Marylene Barret Audouin, Cultural Heritage Conservator, iTE spoke about her work in Yemen, and the hope she has for the future after seeing how dedicated the people of Yemen are to preserving what is left of their physical cultural heritage.
  • Jordanian artist Ala Younis spoke about her work, particularly her artwork ‘Plan for Greater Baghdad’, exhibited at the Venice Biennale. The work explores the ideological associations of Iraq’s buildings and monuments through parallel architectural narratives.

The Day One artistic performance was by award-winning contemporary performance artist Marcos Lutyens, who led the audience through a meditative mind session.

The afternoon sessions were workshops based on brainstorming key issues, through a cross-sectorial thinking process brought forward by the participants. On day one, workshops focused on elaborating the major questions posed in the plenary sessions.  What do participants feel needs to be asked about how culture and technology can be effective for society across disciplines?

CultureSummit Abu Dhabi is a unique global platform that brings together leaders in arts, heritage, media, museums, and technology to identify ways in which culture can play a pivotal role in raising awareness of global issues, building cultural bridges and promoting positive change. The event aims to determine an annual cultural agenda that will address the world’s pressing challenges and provide practical solutions.

Under the theme ‘Cultural Responsibility & New Technology’, this year’s programme features panel discussions, performances and interactive workshops crafted in collaboration with five cultural partners representing influential sectors in the fields of media, heritage, arts, museums and technology.

CultureSummit 2019’s five partners are The Economist Events, providing expertise in discussing issues related to media, information and its policies; UNESCO, addressing the tangible and intangible role of heritage in societal change; the Royal Academy of Arts, confronting pressing issues from the international art world; the Solomon R. Guggenheim Museum and Foundation, exploring how museums can shape the future of culture; and Google, heading the technology stream to craft discussions related to technology’s impact on arts, culture and media.

Etihad Airways is the Official Airline Partner of CultureSummit Abu Dhabi 2019.

While CultureSummit Abu Dhabi is an invitation-only event, the public is invited to watch the livestreaming of the daytime performances and panel discussions via the website at www.culturesummitabudhabi.com .

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About CultureSummit Abu Dhabi

CultureSummit is a forum that convenes leaders from the worlds of the arts, museums, heritage, media, technology, education and public policy, to identify ways that culture can raise awareness, build bridges and promote positive change. The 2018 edition was attended by 400 delegates from 90 countries.

The Summit will take place at Manarat Al Saadiyat, Saadiyat Cultural District in Abu Dhabi, with events and tours scheduled exclusively for participants.

About Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi)

The Department of Culture and Tourism – Abu Dhabi conserves and promotes the heritage and culture of the Abu Dhabi emirate and leverages them in the development of a world-class, sustainable destination of distinction that enriches the lives of visitors and residents alike. The Department manages the emirate’s tourism sector and markets the destination internationally through a wide range of activities aimed at attracting visitors and investment. Its policies, plans and programmes relate to the preservation of heritage and culture, including protecting archaeological and historical sites and to developing museums, including the Louvre Abu Dhabi, the Zayed National Museum and the Guggenheim Abu Dhabi. The Department of Culture and Tourism supports intellectual and artistic activities and cultural events to nurture a rich cultural environment and honour the emirate’s heritage.  A key role played by the Department is to create synergy in the destination’s development through close co-ordination with its wide-ranging stakeholder base.

About the Economist Events

Economist Events hosts over 80 events annually across more than 30 countries on topics that convene world-class thought leaders on a range of strategic business issues. For more information visit: https://events.economist.com .

About UNESCO

UNESCO is the United Nations Educational, Scientific and Cultural Organization. It seeks to build peace through international cooperation in Education, the Sciences and Culture. UNESCO's programmes contribute to the achievement of the Sustainable Development Goals defined in Agenda 2030, adopted by the UN General Assembly in 2015.

Political and economic arrangements of governments are not enough to secure the lasting and sincere support of the peoples. Peace must be founded upon dialogue and mutual understanding. Peace must be built upon the intellectual and moral solidarity of humanity. By promoting cultural heritage and the equal dignity of all cultures, UNESCO strengthens bonds among nations.

About the Royal Academy of Arts

The Royal Academy of Arts was founded by King George III in 1768. It has a unique position in being an independent, privately funded charitable institution led by eminent artists and architects whose purpose is to be a clear, strong voice for art and artists.  Its public programme promotes the creation, enjoyment and appreciation of the visual arts through exhibitions, education and debate.

The Royal Academy has launched a new campus as part of the celebrations of its 250th anniversary year. Following a transformative redevelopment, designed by the internationally-acclaimed architect Sir David Chipperfield RA and supported by the National Lottery, the new Royal Academy of Arts reveals more of the elements that make the RA unique – sharing with the public historic treasures from its Collection, the work of its Royal Academicians and the Royal Academy Schools, and its role as a centre for learning and debate about art and architecture – alongside its world-class exhibitions programme. Major exhibitions in recent years have included Ai Weiwei and Anselm Kiefer to Abstract Expressionism and Charles I: King and Collector.  Royalacademy.org.uk

About Solomon R. Guggenheim Foundation

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997) and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim Social Practice Initiative, the Guggenheim UBS MAP Global Art Initiative, and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

About Google Inc.

Google is a global technology leader focused on improving the ways people connect with information. Google’s innovations in web search and advertising have made its website a top Internet property and its brand one of the most recognized in the world. Google is a trademark of Google Inc. All other company and product names may be trademarks of the respective companies with which they are associated.

For information about Google in the Middle East, please visit our Official Google Arabia Blog: http://google-arabia.blogspot.com/ 

© Press Release 2019

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