Tag Archives: talent

Radical Democracy Video Challenge: Award Ceremony + Screening

On May 18, the ten best videos of Radical Democracy: European Video Challenge 2014 will be screened at the Planete+ Doc Film Festival in Warsaw, Poland – in the heart of Europe. The Award Ceremony marks the highlight of the Radical Democracy Challenge, which was launched three months ago.

Finalist #6: THE TREES OF GEZI by Italo Rondinella amongst others. It's Gezi through the eyes of 10-year old Selma.

Finalist #6: THE TREES OF GEZI by Italo Rondinella amongst others. It’s Gezi through the eyes of 10-year old Selma.

On February 17, Doc Next Network called on media makers, social activists and critical thinkers to take a stand: to share their views on ‘Europe’, reflect on alternatives, and create new narratives for an open society. A total of 212 media makers from across Europe responded and submitted their work.  Continue reading

Pop-up expo at Dutch Doc Awards!

On Wednesday 5 June 2013, Doc Next Network will  give presence at the Dutch Doc Awards with a po-up expo called Uprooted. Uprooted is about the need to belong somewhere. Young Polish D-I-Y photographers share how they identify with places and people that are important in their lives. What does it mean to be “at home? Who exactly am I –  Pole, European, or maybe my Axis Mundi is my hometown? Why is it important to know the answer? Uprooted is curated by Krzysztof Pacholak. Continue reading

Remapping Europe: case study in international and inter-institutional collaboration.

Collaboration across Europe benefits from some key ingredients, which need to be at the root of our working processes. We must cross and indeed break-down borders on many physical and metaphysical levels. Collaboration enhances the ‘spaces in-between’, the intersections between, people, organisations and ideas. In our complicated (but very rich) 21st century, the intersections are not of two spheres converging, but of many – layered, interconnected – and made even more complex by the digital opportunities that envelop us.

The artists of European Souvenirs (left to right): Karol Rakowski (Poland), Bariş Gürsel (Turkey), Farah Rahman (Netherlands), Malaventura (Spain), Noriko Okaku (Japan / UK). Pic by Ricardo Barquín Molero.

The artists of European Souvenirs (left to right): Karol Rakowski (Poland), Bariş Gürsel (Turkey), Farah Rahman (Netherlands), Malaventura (Spain), Noriko Okaku (Japan / UK).

This paper considers a thought provoking project through several lenses, through several intersections. The two year experimental project Remapping Europe – a Remix was initiated by Doc Next Network, a network instigated by the Youth and Media Programme of the European Cultural Foundation. The project launched in De Balie, Amsterdam in October 2012 with a live cinema performance by five young multimedia artists from different corners of Europe called European Souvenirs. Continue reading

Yes We Cannes!

urlDoc Next films will be screened at the Cannes Film Festival this year! How about that?!?!

-2×2 – Iza Kiszczak, PL (2013)
-Rollercoaster Poets – Tara Manandhar, UK (2012)
-Murciegalo – Rocia Garcia Martinez, ES (2012)
-Astronauts – Jaha Browne & Tara Manandhar, UK (2012)
-Comforting Austerity – Gary McQuiggin & Onyeka Igwe (2012)
-The Lights of Flushing – Anna Snowball, UK (2013)
-Life in Tarlabasi – Busra Ornek, TR (2012)
-Refika – Ozge Deniz Ozker, TR (2012)
-Doctor Loco – Matthew Kay & Anna Snowball, UK (2012)
-Unbounded: Wildfire in the Aegean – Sena Basoz, TR (2012)
-Tea House­ – Jan Mencwel, PL (2013)
-On Site – Matthew Kay, UK (2012)

Thanks to Doc Next partner BFI, Doc Next films are screened in the UK Film tent in Cannes. You can also view the selection online in this group on Vimeo here. (At the moment we are working on getting all films in the group.)

BFI’s Doc Next Media Lab open for entries.

3b2efb2f-76a2-4df7-b347-6c310f6380bdt2_940_226_ScaleAged 21 to 25? Have experience making films? Read on…

BFI is looking for 10 filmmakers to become a part of our Doc Next Media Lab. As part of the Lab you’ll receive a £750 bursary, technical film training from professionals, tutoring on different documentary styles, methods and ideas, and the chance to develop and hone your art into something special. Continue reading

Doc Next photographer (18) premiers in Warsaw gallery.

18 year old Karol Komorowski is now premiering his  work at the Lookout Gallery in Warsaw, Poland. Karol is a talented photographer representing the youngest generation, standing on the threshold of his caree. His exhibition ‘Debiut’ consists of two projects: In the Dark and Girls.Karol Komorowski is one of this year Polska.doc participants – a programme run within Doc Next Network’s framework.

Read more about Karol Komorowski exhibition at polska.doc.e.org.pl and at the website of Lookout Gallery.

All images on this page are by Karol Komorowski.


In 2009 the ZEMOS98 Festival (partner in Doc Next Network) investigated the alternatives for formal education and other ways of expressing knowledge. 

This process, in which activists, educators and people from the cultural and social innovation sector participated, took place in the context of the international workshop ‘Educación Expandida’ (Expanded Education). That results were collected and documented on www.educacionexpandida.org, and have served as a starting point for a publication.


The book ‘Expanded Education’ –subtitle: education can happen anytime and anywhere- holds proposals for informal education, social activism and research in participatory processes. Expanded education is a concept that has been aknowledged by institutions and groups from various fields. To ZEMOS98, the greatest achievement isn’t the publication of the book itself, but continuation of the investigative process that began in 2009: ZEMOS98 wants to contribute to the development of expanded education by investing in anti-authoritarian and non-directional projects and methodologies.

Read more about the book here: http://publicaciones.zemos98.org/educacion-expandida-el-libro (download in PDF available)

Doc Next Network develops method for involving immigrant media-makers.

Doc Next Network initiated a training course “Working with Immigrant Media-makers” in London, taking place on September 12, 13 and 14. The goal of this cross-sectorial training is to develop shared methodologies to involve young D-I-Y creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. The training is part of the ‘Remapping Europe – A Remix’ project.

‘Remapping Europe – a Remix’ is an investigative artistic project that aims to contribute to an inclusive cultural practice and public imagery in and of Europe by connecting young creative media-makers who have (im)migrant perspectives from Spain, Poland, Turkey, and the UK to wider European intergenerational audiences.

The project’s activities stem from one underlying principle: re-mixing of media as a method to re- view, re-investigate and re-consider prevailing imagery of (im)migrants in European societies and to ultimately, ‘re-map’ Europe visually, geographically and mentally.

The activities include transnational, cross-sectorial learning platforms, investigating the immigrant’s perspective in the public debate and imagery; creative remix ateliers in Spain, Poland, Turkey, and the UK, involving 48 young digital storytellers with (im)migrant backgrounds and perspectives; international showcases of their remix works at significant cultural festivals in each of these countries and in an on- line media collection; major remix-performance and installation in Amsterdam and Seville, with a wider participatory, digital component involving European citizens across the continent and a research publication and catalogue documenting the processes and outcomes of the project.

The Goal of this cross-sectorial training is to develop shared methodologies to involve young DIY creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. Cultural experts of the partner organisations (The Doc Next Network ‘hubs’) will bring a community worker of a local immigrant organisation from their country to present and discuss practices on how to reach and include young immigrants in their creative media making ateliers.

What are the challenges and opportunities that can be used for a shared methodology to reach ‘hard-to- get’ target groups? The training is a stepping stone for the inclusion of young immigrants in the remix ateliers.

  • To develop a ‘target group’ to understand who it is we aim to work with;
  • To develop a recruitment methodology for finding participants;
  • To understand existing methods of practice when working with young (im)migrants;
  • To gain an understanding of the tools at our disposal for the Remix Ateliers;
  • To develop local and joint Remix Atelier methodologies;
  • To create a common language with mutual understandings and agreements;
  • To understand how we can avoid stereotyping and pre-assumptions that may hinder the project.

Keep posted about this project , the outcomes of the London training and more Remapping Europe: Like us on Facebook or become a member of our Linkedin group.

Design your life with passion

Malgorzata Marczewska designed Art Coaching course for 14 animatours and trainers from Doc Next Network partner the Association of Creative Initiatives “ę” (Poland). As a network, Doc Next Network is developing a methodology for empowering young media-makers as they capture their own realities. This is a conversation with Małgorzata Marczewska. By Dorota Borodaj.

Coaching is…

A method of working with people and releasing or activating the maximum of their personal, professional or creative potential (needed for the execution of their goals).

In Poland it is probably confused with psychotherapy?

Most companies start defining coaching with explicit information about what coaching is not. It is not therapy, counselling or consulting, it is neither mentoring nor treatment. However its tools are known and used e.g. in therapy. Most therapists work with the present time and the past. Therapy is supposed to fix certain dysfunctions. It looks for their sources in the patient’s past. Coaching is always directed to the future. It serves for defining goals to be met in the future. A coach supports his/her client in unleashing potential that will help realise those goals. The difference can be seen in the language – not a patient, a client. This imposes partnership and causative relations with the coach.

You have been working in this profession for a dozen years. Yet I have the impression that it is only in the last several years that we hear more about coaching in Poland.

The idea of coaching was born in sport in the 70s, in the USA. It was gradually spread across other spheres of life. Business became a natural receiver very quickly. Later, coaching started to cover other professional, personal, and, finally, artistic cases. This tool reached Poland relatively late, that is when it has already been a common and natural technique of working with people in the United States. Students work with coaches practically in every art school in the States. There are more than 50 kinds of coaching registered in Great Britain. In Poland we still tend to address coaching as such.

What is art-coaching then?

Coaching intensifies diversity and pulls out the potential hidden in a given person. That is the reason for its use in fields that need variety the most, e.g. in the arts. Art-coaching is a phenomenon that does exist in Poland. Only we rarely call it that way. When I tell about coaching I often hear that my interlocutors use the same tools and methods in practice, but they define them differently. Many people working with artists do present an attitude that is key to coachwork – they treat them with respect and openness, they focus on releasing their creativity.

When it comes to artists, creators, this work is conducted on an exceptionally sensitive organism. On the one hand artist are assigned with certain hysteria, on the other – it is often forgotten that they work on their own emotions and, at the same time, function on a tough art market.

Art is always connected with internal, spiritual work, with experiencing. We can interpret this sensitivity as hysteria but it is just a specific way of experiencing life, nothing else. People very sensitive to beauty, emotions and events, feel an urge to stream these feelings through art. On the other hand – they are not taught how to protect this sensitivity, how to influence it without destroying it. This is topped with the fear of “selling oneself”, the fear that professionalisation can be somehow related to commercialisation of ones actions. Many creators declare their contempt for all things connected with marketing in one line with declaring their artistic freedom. Whereas selling can be understood as presenting oneself, presenting something that one considers valuable. I see this as a communication process between people, as presenting things that we want to share with others. The question is, do I want to learn to show it in a way that will be comprehendible to people, so that it would influence them. Next question: do I want to make a living of my creativity. Most artists strongly want to show their art, despite all doubts. This creates an inner conflict – I want the world to hear about me but I am afraid, I don’t want to conform, to be priced. So sometimes I would do nothing that could help others hear about me.

What is the basis of the coach-client relationship?

There are two key fields in coaching. The first one is the coach’s attitude. The coach has to be able to work with him/herself, his/her attitude, with a certain ability to manage his/her inner states. Putting it more clearly – the coach cannot impose his/her feelings and opinions on the clients. This requires strong emotional maturity and an inner balance. The coach does not evaluate or give advice. The coach cannot judge. His/her most basic task is something we call cautious presence. At the same time the coach has another field at hand – a multitude of techniques used for releasing one’s potential. Namely: questions, exercises and homework. All this is conducted in a certain period. Usually the minimum length of cooperation is 6 months. The coach and client meet once a month but the client’s work continues all the time in between the meetings. The first meeting is the time when a contract is accepted. The coach presents a schedule of the whole process. Then both sides have to agree that they want to work together. Though the preliminary rules may sound very soft, coaching is in fact a very accurate activity, defined in time. Its effects have to be measurable and verifiable in a way. The central meaning is again on the client’s side. It is the client, not the coach, who defines what should be done and when. In the future, these assumptions will let the client know that his/her goals have been completed.

What happens during the monthly meetings?

The aim of work is changing dreams into goals. The trick is to plan them in time and to set clear tasks. Their completion will let us know, that a goal had been met. Example: I am a young photographer, a beginner. I want to go professional. My dream is my own exhibition. I am changing this dream into a goal and I set milestones needed to achieve it. The role of the coach is to support this process, to help the client define and extract his/her inner resources, which will make the realisation of the goal possible.


The coach helps define what way of thinking limits the client and what can let him achieve his/her goals. The coach asks questions. The coach ignites the client’s whole knowledge about him/herself that enables him/her to do the best thing in the best possible way. The coach takes care of inner emotions, blockades but does not advise specific actions. He/she picks tasks and exercises with consideration of blockades and the potential of the client. The coach’s ethics is a key element. It has to always accompany all tools used in his/her work with the client. It is absolutely intolerable to make advantage of any knowledge or information received during the work with the client and so is judging the client and his/her decisions or choices.

Talking about coaching we have to approach the stereotype that assigns this type of work to affluent people.

Money is not a key question in coaching. A coach who keeps to the professional ethics in his/her work will approach each client individually – also in the matter of remuneration. Coaching is not reserved for rich businesspeople. It is a universal, open invitation to change. It is often said that a coach is the one to believe in his/her client more than the client does. The coach’s ambition, or better – task, is pulling knowledge that lies within the client out of his/her depths. This is the most important and the most motivating part of coachwork.


Małgorzata Marczewska is president of the Chamber of Coaching, representative of the International Couching Community Poland. She has conducted coaching, training and individual consultations for 15 years. She manages the training company ITEM, designs and conducts long-term development programmes and coaching, she creates learning organisations. She promotes coaching as a universal tool for supporting ones personal, family and professional plans. She specialises in Innovation Design and coaching of Effective Change Processes for institutions, companies and individuals. Together with Manuela Gretkowska she co-founded the Women’s Party as a learning organisation. She is of the co-founders of the Poland is a Woman foundation. She gives lectures at the Warsaw Film School, runs ArtCoaching and LifeDesign courses. She is the initiator and author of the LifeDesign platform that supports designing ones personal and professional life. She works as coach for businessmen, renowned artists and designers.

This article was originally published on Polska Doc.

“Local Heroes” workshop in Eskisehir wrapped up!

“Eskişehir’in Yerel Kahramanları” konulu Youth MODE Eskişehir Belgesel Film Atölyesi başarıyla sonlandı!

18-24 Nisan 2011 tarihlerinde düzenlenen atölyede 15 katılımcı önce Anadolu Universitesi İletişim Bilimleri Fakültesi’nde belgesel film yapımı, senaryo oluşturma, dijital kamera kullanımı ve montaj konularında iki günlük eğitime girdi; daha sonra 3 gün boyunca gruplar halinde kısa belgesel filmlerin çekimlerini tamamladı. En son 2 günde filmlerin kurgusu gerçekleştirildi. 25 Nisan’da ise filmlerin gösterimi yapıldı. Tüm filmler yakında yayınlanıyor olacak.

Ilgın Aksoy, Şengül Moral ve Gamze Akan İÇİMİZDEN BİRİ adlı filmi; Merih Yıldırım, Ayşenur Uyanık ve Halil İbrahim Gökcan DİNLE NEY’DEN adlı filmi; İbrahim Zateri, Gözde Karadağ ve Kübra Yurtseven KOŞULSUZ adlı filmi; Ayşegül Kara, Yusuf Ziya Esencan, Müge Şahin ve Eren Babacan KRİSTAL UMUTLAR adlı filmi; Ahmet Demir ve Karan Düzyol da KİM-İM-İZ adlı filmi tamamladılar.

Devamını okumak ve atölye fotoğraflarını görmek için tıklayın.

To read more and to view the workshop slideshow click here.