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Great news for anyone who missed the initial deadline! The PLAY(THE)GROUND program is now accepting rolling applications for its summer residency until all spots are filled. If you’re an artist, researcher, educator, or cultural practitioner looking for a unique opportunity to develop a project while engaging with vibrant communities, this is your chance!

This multidisciplinary residency offers dedicated space, focused time, and stimulating conversations designed to help kick-start or advance projects rooted in one of Lisbon’s diverse peripheral locations. Applicants can choose to work in Talude, Quinta da Fonte, Bairro do Zambujal, or Quinta do Mocho, and decide on the duration of their residency during the summer of 2025.


Exploring Friendship & Collaboration

This year’s theme, “Friendship & Collaboration,” draws inspiration from the everyday acts of care and solidarity that define these communities. From neighbors helping to build homes to welcoming newcomers, collaboration is deeply embedded in the heritage and daily life of these neighborhoods. Some communities choose to build together, while others learn to coexist through differences. In every instance, these places vividly demonstrate how “joining hands” sustains life and how collective practices foster belonging, trust, and creativity.

PLAY(THE)GROUND welcomes individuals from a wide array of disciplines to participate in a co-creation process, fostering dialogue with local youth and the broader community. The residency provides valuable resources, including studio spaces, local mediation, and mentoring. There’s also the possibility to apply for financial support.


About mais uno +1: Fostering Transformative Art and Community

PLAY(THE)GROUND is organized by mais uno +1, a curatorial, project, and research collective dedicated to harnessing the transformative power of art. They achieve this by cultivating incremental relationships and ecosystems among artists, communities, and territories.

What does mais uno +1 do?

Currently, the collective operates a dynamic project space at Picoas metro station. This space is open to any artist who wishes to create and present projects such as exhibitions, workshops, performances, pop-up art fairs, seminars, and more. Beyond their project space, mais uno +1 is actively organizing art residencies in various locations, including the exciting PLAY(THE)GROUND program.

Want to be part of their work?

If you’re looking to contribute to innovative projects, explore their OPEN CALLS for exciting opportunities.

Who is mais uno +1?

mais uno +1 is an organic, open, and horizontal collective. They began brainstorming in 2021 and officially established their work in 2022. They are always open to new members and are actively seeking a multidisciplinary team aligned with their manifesto.


Don’t Miss Out – Apply Now!

With the project’s official kick-off happening next week, the organizers are keen to finalize participants soon. Ideally, applications should be submitted by the end of this week, but if you apply later and there’s still a spot available, it might still be possible to join.

This is a fantastic opportunity to immerse yourself in a collaborative environment and contribute to meaningful projects within Lisbon’s dynamic peripheral neighborhoods.

PLAY(THE)GROUND is made possible through partnerships with AMRT, CooperActiva Alfragide (@cooperactiva1), Associação de Moradores a Partilha, ICS ULisboa, NOVA FCSH, and Afrolink (@afrolink.pt). Support is provided by CMLoures, Muro Atelier (@muro.atelier), and Lisbon Drawing Club (@lisbondrawingclub).

Follow @enez_louane for more updates!

Looted Antiquities from Syria Are Being Sold on Facebook Marketplace

Ruins of Palmyra, Syria, 2025.

Ruins of Palmyra, Syria, 2025.

Facebook Marketplace is typically used as a hub for thrifters to discover hidden gems that are now up for resale. But in Syria, some Facebook Marketplace users may find some unexpected items alongside old furniture and knickknacks: artifacts that may have been looted.

Thieves are reportedly robbing graves that are more than 2,000 years old in Palmyra, among other cities, and listing the funerary gold and artifacts they take on Facebook.

Located in the Fertile Crescent, where some of the first known civilizations began, Palmyra was an ancient city along the Silk Road—a trading route at the crossroads of Europe and Asia—dating back to the 3rd century BCE. The city, known for its Roman ruins, is a UNESCO World Heritage site. It contains countless invaluable artifacts such as statues and mosaics. In 2015, Palmyra was heavily damaged by militants who blew up some of these ancient sites while they were under Islamic State control.

Looting and trafficking there have reportedly surged following the overthrow of former Syrian president Bashar al-Assad by rebels in December. The looting, along with widespread poverty affecting 90 percent of Syria’s population, puts the country’s cultural heritage in danger of being lost and destroyed by those looking for a quick buck.

“When the [Assad] regime fell, we saw a huge spike on the ground. It was a complete breakdown of any constraints that might have existed in the regime periods that controlled looting,” Amr al-Azm, a professor of Middle East history and anthropology at Shawnee State University in Ohio and co-director of the Antiquities Trafficking and Heritage Anthropology Research (ATHAR) Project, told the Guardian.

ATHAR, which follows trafficked Middle Eastern antiquities in the black market online, noted that nearly one third of its total 1,500 Syrian cases took place in December. The project includes a database of more than 26,000 screenshots, videos, and images of looted antiquities since 2012.

While its not unusual for trafficked goods to end up for sale online, the emergence of Facebook Marketplace as a hub for these kinds of sales is relatively new. Despite Facebook banning the sale of historical artifacts on its platform in 2020, the policy is not enforced strictly enough to deter looters from risking these transactions among sizable groups ranging from 100,000 to 900,000 people.

Experts have also noticed an increased speed in sales of trafficked goods. “This is the fastest we’ve ever seen artefacts being sold. Before for example, a mosaic being sold out of Raqqa took a year. Now, mosaics are being sold in two weeks,” Katie Paul, a co-director of the ATHAR project and the director of Tech Transparency Project, explained to the Guardian.

The Syrian government has tried to stop thieves by threatening jail sentences of up to 15 years and finder’s fees for those who turn in the artifacts. But with limited resources available to protect archaeological heritage, the government’s efforts have been more focused on trying to rebuild following the recent political fracture.

ARRnews

France to Charge Non-Europeans $10 Tax to See the Mona Lisa

A crowd of people before a painting.

The Mona Lisa at the Louvre.

Beginning January 1, 2026, major French museums—including the Louvre and the Château de Versailles—will charge non-European Union visitors €30 (about $35), up from €22 ($25), according to Le Monde.

The new pricing, described as a “differential tariff,” marks a sharp turn in France’s long-professed commitment to universal access to culture. It’s also triggered a domino effect: the policy will soon be tested at other top tourist destinations, including the Arc de Triomphe or the Conciergerie (both managed by the National Monuments Center), the Château de Chambord in the Loire Valley, and Paris’s Opéra Garnier. More institutions are expected to adopt the model in 2027.

The goal is to plug financial holes left by cultural budget cuts, waning corporate sponsorships, and rising restoration costs.

At Versailles, where 42 percent of the site’s 8 million annual visitors come from outside Europe, administrators are eyeing these funds as a lifeline. The funds might go toward mending cracked pools, neglected groves, or leaking rooftops. At Chambord, where non-EU tourists account for just 10 percent of admissions, officials are nonetheless considering raising prices from €19 to €29—because the chateau needs “€100 million for renovations over 10 years, including €25 million for the François I wing, which we can’t fund with our current revenue.”

Meanwhile, the Louvre itself is facing a staggering €400 million ($450 million) in repair needs over the next 15 years. According to a leaked letter from director Laurence des Cars, published by Le Parisien, much of the building is no longer watertight and suffers from erratic climate conditions that jeopardize the collection. President Emmanuel Macron has pledged a sweeping restoration, but insiders say the government is unlikely to foot the full bill. The €30 ticket is expected to raise €20 million per year toward those renovations.

Still, not everyone in the museum world is applauding. “Think about what this symbolizes,” said one Louvre curator, speaking anonymously to Le Monde. “Can you imagine charging an Iraqi more than a Belgian to see the Code of Hammurabi, which comes from Iraq? Charging Africans extra so they can view, at the Pavillon des Sessions, objects that their countries might one day ask to have restituted?”

The pricing strategy is legally limited to visitors from non-EU countries, since European Commission rules guarantee equal access to cultural institutions for EU citizens.

The policy has drawn backlash from French unions as well. Valérie Baud, a representative from the CFDT union at the Louvre, criticized the timing of the price hike, calling the move “discriminatory” and arguing it undermines the core values of France’s public cultural service: universality, equality, and openness.

Supporters of the policy, however, argue that a form of tiered access already exists: students under 26 from the EU are entitled to free entry, while their non-European counterparts must pay full price.

A Culture Ministry source shrugged off the worry, telling Le Monde that “tourists who have come from afar won’t hesitate to pay any price to step back in time with Marie-Antoinette, take a selfie with the Mona Lisa, or enjoy panoramic views of Paris from the Arc de Triomphe.”

ARTnews

Smithsonian Stands Up to Trump, MOCA Closes its Geffen Branch Amid Protests, Is Putin’s Daughter Dealing Art?: Morning Links for June 10, 2025

People standing before a tall, classically styled museum building with columns.

 On Monday evening, the Smithsonian Institution affirmed it is an “independent entity” in a statement subtly challenging President Donald Trump’s ‘firing’ of the National Portrait Gallery director, Kim Sajet, reports Harrison Jacobs for ARTnews.

“All personnel decisions are made by and subject to the direction of the Secretary, with oversight by the Board. Lonnie G. Bunch, the Secretary, has the support of the Board of Regents in his authority and management of the Smithsonian,” read the statement released on the institution’s website. Indeed, Sajet has continued to report to work, despite Trump’s firing, which his administration said was due to Sajet’s perceived criticism of the president.

The Smithsonian’s statement also seemed to allude obliquely to the administration’s complaints and previous targeting of the Smithsonian museums in an earlier executive order accusing them of “improper ideology” via “exhibits or programs that degrade shared American values.” “To reinforce our nonpartisan stature, the Board of Regents has directed the Secretary to articulate specific expectations to museum directors and staff regarding content in Smithsonian museums, give directors reasonable time to make any needed changes to ensure unbiased content, and to report back to the Board on progress,” continued the Smithsonian statement.

POLICE STATE OF LA. Los Angeles’s Museum of Contemporary Art (MOCA) closed its Geffen branch on Sunday as National Guard soldiers descended on the city and law enforcement clashed in places with anti-ICE protesters. “Out of an abundance of caution and for the safety and well-being of our staff and visitors, the Geffen Contemporary at MOCA, including the WAREHOUSE, closed early today, Sunday, June 8 at 1:30pm,” stated the institution on Instagram. Meanwhile, in a reality-imitating-art moment, Russian artist Nadya Tolokonnikova’s durational performance, Police State, is continuing until its planned 6pm end time, despite the museum being closed, added the statement. Intermittent live streams of the performance can be seen on the museum’s Instagram Stories.

“Durational performance is a scary thing to step into: once you said you’re going to show up, you can’t just leave simply because the National Guard had a whim to occupy the city, so my choice was to stay and continue doing my job as an artist,” said Tolokonnikova in a written comment provided by the museum, reported Artnet News. The Los Angeles Times has also commented on the “prophetic backdrop” of Barbara Kruger’s downtown LA mural, Questions (1990), in front of which protestors denounced ICE raids and the deployment of the National Guard.

The 30-by-191-foot mural takes up the side wall of MOCA’s warehouse building, with white letters on a red background that ask nine questions, including: “Who is beyond the law? Who is bought and sold? Who is free to choose? Who does the time? Who follows orders? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?” Kruger, a longtime Los Angeles resident, responded via email to the current state of events when questioned by the LAT: “This provocation is giving Trump what he wants: the moment he can declare martial law.

As if that’s not already in play.” The Digest Sydney-based artist Jack Ball has won the Ramsay Art Prize, worth a cool AUD$100,000 ($65,000). Ball was recognized for his large, multimedia installation, Heavy Grit (2024), investigating themes of queer intimacy and the transgender experience. The Art Gallery of South Australia (AGSA) established the biennial acquisition award in 2017, and it is considered the country’s most illustrious honor for an artist under 40. [Artforum]

A man in a tuxedo beside a painting of Marilyn Monroe collaged with various materials.
Victor Higgins, Aspens, c. 1932, oil on canvas, 12 x 14 in. Collection of Harwood Museum of Art.
Portrait of Hilde Lynn Helphenstein.
Ruins of Palmyra, Syria, 2025.

An 11-inch, rediscovered Auguste Rodin sculpture titled Despair (1892), long-thought to have been a copy, just sold for about $1 million. The hunched figure of a girl holding her foot went missing after it was sold at auction in 1906, according to the Comite Rodin, which is the leading authority on the artist. [AFP]

A woman said to be President Putin’s daughter, Elizaveta Krivonogikh [aka Elizaveta Rudnova] 22, works at an art gallery in Paris that shows Ukrainian artists and some Russian émigrés. She reportedly interns at Alexandre Vichnevsky’s two spaces, L Galerie and Studio Albatros, following studies at Icart, a private art school in Paris. Putin has denied that she is his daughter from an alleged extramarital affair with Svetlana Krivonogikh. [Le Quotidien de l’Art and the Times]

On June 6, New York’s Metropolitan Museum of Art launched a new artist residency in collaboration with Swiss watchmaker Vacheron Constantin. Its focus is on artists whose practice incorporates craft or artisanal materials and methods, and it lasts 18 months, allowing artists to spend time in the collections, work with Met staff and artisans at the watchmaker’s Geneva headquarters, and show their work at the Met in October, 2026. The three artists selected for the inaugural edition include Aspen Golann, Ibrahim Said, and Joy Harvey. [The Art Newspaper]

Sydney Contemporary, which runs September 11-14, is debuting a new photography section, called Photo Sydney, in response to collector demand. The fair’s director, Zoe Paulsen, said Photo Sydney “will bring critical focus to the richness and diversity of contemporary photography, offering a dedicated platform for established and emerging voices in the medium.” [ArtAsiaPacific]

The Digest HANGING OUT IN ROME. Kenyan-American artist Wangechi Mutu talks to Julia Halperin for the Financial Times, ahead of her solo show at the ornate, 17th-century Galleria Borghese in Rome. There, rather than a traditional hang, the majority of the works will be suspended from the ceiling, leaving “negative space” for visitors to float through. Mutu describes her approach to artmaking, informed by having grown up under a dictatorship, as having “to figure out ways to be rebellious without being noticed,” she said. To that end, she attempts to lift the lid on the fact that, “there’s a fiction told about what Europe is, what Africa is … They are dangerous fictions being used against people, and not just in one country.” This fiction, explains the artist, includes notions of national purity, which have been gaining ground of late. “There’s Roman emperors who were African — there’s a lot of Africa in Rome, and there’s a lot of Rome in Africa,” Mutu says.

ARRnews

Women in Art Fellowship: A €27,000 Grant to Empower Portuguese Female Artists

Lisbon, Portugal – The Women in Art Fellowship (WAF) has launched its inaugural grant, offering a significant €27,000 to bolster the careers of emerging female artists residing in Portugal. This initiative aims to address the often-cited gap in business acumen among artists, providing a comprehensive launchpad for their professional development. The open call for applications runs until June 8, 2025.

WAF is a collaborative effort between VIA Outlets’ Freeport Lisboa Fashion Outlet and Vila do Conde Porto Fashion Outlet, in partnership with Portugal Manual and SOTA – State of the Art. The fellowship is specifically designed for women artists who have not yet received grants, gallery representation, or patron support, emphasizing the program’s commitment to nurturing fresh talent and amplifying female voices in the creative landscape.

The grant goes beyond financial aid, offering a multifaceted program that includes:

  • Mentorship and Specialized Guidance: Expert guidance to navigate the complexities of the art world.
  • Financial Support: Funding to aid in the production of original artistic projects.
  • Networking Opportunities: Connections within the art community.
  • Pricing Strategies: Education on how to value and price artwork effectively.
  • PR and Media in Arts: Training on securing media coverage and managing public relations.
  • Personal Branding: Development of a strong artistic identity and professional presence.
  • Exhibition Space: A platform to showcase the final work.

Astrid Sauer of SOTA highlighted a key motivation for the grant, stating, “Portugal has so many great artists, but often they lack the business mindset in their artistic career.” This fellowship directly addresses that need, equipping artists with the tools to thrive professionally.

The program includes four masterclasses covering artistic identity, portfolio development, digital communication, and financial sustainability. These sessions will be coordinated by Filipa Belo of Portugal Manual and Astrid Sauer of SOTA, in collaboration with Catarina Tomaz, representing the VIA Outlets.

Joana Vasconcelos, internationally acclaimed Portuguese artist, serves as the godmother of this inaugural edition. Her work, which often explores themes of feminism, identity, and popular culture, aligns seamlessly with WAF’s core values. Speaking at the official presentation held at her atelier in Lisbon, Vasconcelos underscored the transformative potential of the grant: “Being an artist is not a profession, it’s a way of life.” While acknowledging that €27,000 alone cannot “create” an artist, she emphasized its crucial role as a “multidimensional strategy” to navigate the complex art world.

Vasconcelos concluded with a powerful message, citing Pope Francis’s words: “Everyone who helps bring beauty into the world helps bring harmony, and without harmony there is no peace.” She believes that by supporting these artists, WAF contributes to “more beauty in the world, and thus more peace.”


Eligibility and Application Details

To be eligible for the WAF grant, applicants must:

  • Be women over 18 years of age.
  • Be residents in Portugal for at least three years.
  • Be fluent in Portuguese.
  • Develop work in visual arts, design, sculpture, textile, craftsmanship, or other forms of artistic expression.
  • Present an original project.
  • Not have previously received grants, patrons, or gallery representation.

The selection process will see 10 finalists chosen by the end of June 2025. The ultimate winner will be announced on October 15, 2025, with a culminating exhibition planned for early 2026. The WAF program is envisioned as a replicable model for other countries, aiming to foster an international network of female artists and strengthen their presence in the global cultural sector.

Full regulations, information, and conditions for the fellowship can be found on the websites of Freeport Fashion Outlet and Vila do Conde Fashion Outlet.

FAQ

Rules

At the Children’s Museum Singapore, young visitors are collaborators, co-curators, and catalysts for change. Since opening its doors in December 2022, the museum has positioned children at the heart of its mission, shaping exhibitions and programmes through genuine, ongoing partnerships with schools and youth communities.

At the recent Museums & Schools Summit the Children’s Museum Singapore team shared their approach.

As Singapore’s first museum dedicated to children under 12, the Children’s Museum Singapore has embraced an innovative approach: designing museum experiences not just for children, but with them. From its earliest planning stages, the museum actively sought input from young voices and their families. Over 1,000 parents and children participated in surveys to inform decisions about exhibition themes, museum branding, and even the design of the museum’s mascot and logo.

This collaborative ethos is evident throughout the museum. From the sensory-rich “Play Pod” for visitors under four, to themed rotating galleries and vibrant interactive exhibits, every element is carefully crafted with children’s needs, curiosities, and capacities in mind.

A standout case study of this approach is the museum’s current exhibition, Into the Hawkerverse, which celebrates Singapore’s beloved hawker food culture. Aimed at children aged 5–9, the exhibition explores the sights, sounds, and smells of hawker centres through immersive, play-based installations.

Rather than assume what might interest their audience, the museum team—led by curators such as Mishelle Lim—conducted extensive consultations with children. From observing how children played with trial exhibits to role-playing sessions where kids imagined future hawker centres, the feedback was vivid, detailed, and surprising.

Their contributions were not merely symbolic. Children’s drawings, ideas, and even storylines directly influenced exhibition content. Young voices shaped the puppet theatre scripts, inspired interactive elements like mock hawker stalls, and even imagined futuristic food robots—with one thoughtful child noting that machines might one day serve food, but “robots can’t replicate the love and care that hawkers put into cooking.”

Through dynamic collaborations with local schools, the museum extends the impact of co-creation into education. One such partnership with Stamford Primary School blended the school’s “Values in Action” programme with the museum’s curatorial goals. Students weren’t just visitors—they were creators, interpreters, and ambassadors.

The collaboration included scriptwriting for puppet shows, filming promotional videos, and even recording a catchy jingle used in the exhibition’s launch campaign. Museum staff provided workshops, training, and mentorship, helping students develop key competencies such as creative thinking, communication skills, and civic literacy.

Children were given the autonomy to sign up voluntarily, and the enthusiastic response reflected the power of this participatory approach. Many students described the experience as not only educational but deeply empowering.

Inclusivity is a cornerstone of the museum’s mission. A collaborative video shoot brought together children from mainstream and inclusive preschools, highlighting the importance of accessibility and representation. Throughout the exhibition, children of all abilities are invited to participate meaningfully.

Children who were part of the programme frequently expressed a strong sense of pride and ownership. As one young participant described, “At school, they ask us to sit down and explain everything. But at the museum, they let us play and we learn by ourselves.”

According to Asmah Alias, the museum’s director, the Into the Hawkerverse exhibition marks just the beginning of a broader journey into community-led, child-centered curation. By embedding young voices into every layer of the museum—from ideation to exhibition delivery—Children’s Museum Singapore is redefining what museum engagement can be.

Head of Museum Experience, Kase Zheng, adds that children’s involvement in exhibition planning and marketing not only deepens their connection to museums but enhances the learning journey itself. This participatory model fosters a generation of confident, civically engaged young people who see themselves reflected in cultural spaces.

The Children’s Museum Singapore offers a powerful blueprint for how museums can reimagine their roles—not just as spaces of learning, but as platforms for empowerment and collaboration.

As this vibrant case study shows, when museums listen to children, they don’t just build better exhibitions—they build a better future.

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