The Department of Civil Imagination (DCI) Agency in Athens. Amministrazione Trasparente OR When DCI met GABRIELA.

Christos brings to the fore the possibility of affecting a code of honor, not only on the level of regulations, but also in terms of the ideology and values ​​that govern a community. He elaborates on recent incidents of violence and the distance that needs to be traveled in Greece on this matter. He goes on to present other ethical issues that emerge in the field of cultural production, and he addresses issues such as equality in a collaboration and the issue of exploitation, as well as success and failure, or outcome expectation and how this may influence the creators’ freedom in their collaboration with different institutions.

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Regarding the relationship between the public and the private sector, he traces the commonalities and differences of the two realms, and presents the dynamics, but also the distinct relationship that they have between them. At the same time, he clarifies the priority that the public sector and its functions must have – both as a common good and a path to social development – and sets its improvement and empowerment as a social goal.

Dimitris discusses a code of conduct in the working world and presents the ways in which legislation can be implemented and operated so as to protect workers from incidents of violence, as well as to ensure human dignity. He presents specific mechanisms and procedures followed by the Athens Festival, and in the end he touches upon the issue’s difficulties and sensitive spots and how they emerge in different working contexts in the cultural sector, beyond the Festival.

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He then comments on various models of collaboration between the public and the private, noting that this collaboration has a thirty-year-old history in other fields, whereas in the field of art, the legal framework is incomplete and limited to the institution of cultural sponsorship – which ultimately is never applied. Wrapping up, he highlights the different aims each field has and the case of profit over the public interest, and he presents prospects for collaboration at different levels other than finance, such as consulting, supervision, and the exchange of good practices.

Artemis supports that broadening the audience and the dissemination of art and culture among different social groups is at the heart of the cooperation of the public and private sector. She considers trust to be a key value for the development of collaborations and believes that culture’s involvement in public life and in public space can have a positive effect on society in a practical way, it can change mentalities and contribute towards social cohesion.

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She then talks about articulating a code of honor in practice. Inspired by the artistic praxis, it presents the history and the strategy of Outset for the artists’ and the curators’s empowerment, but also the empowerment of the employees in the organization. She speculates about practices that give space to narratives and stories that may resyt on the sidelines, examples that can raise awareness, and concluses with references to similar examples and the knowledge exchange that takes place within the international network of Outset.

Venia presents a brief overview of the operation of the Hellenic Film Committee and its key position between the public and private sector, as well as different examples from her daily life and experience in the organization. She describes the essential role that trade unions play in political decision-making and she concludes with a description of the international experience in issues of gender equality, the great distance that needs to be bridged in the domestic market, as well as the practices followed by the Hellenic Film Committee on this matter.