Senior European official: Tartu 2024 was an exemplary title-bearer

I spoke with Pasqua in summer shortly after he attended a curator-led tour of ‘Enter Woodland Spirits’, the latest exhibition at the University of Tartu’s Natural History Museum. He was captivated by the set-up of this showcase of technological art in the historic building’s classrooms and circular auditorium. The exhibition featured a plastic forest and a mystical space, illuminated by surreal yellow light, dedicated to the study of rocks in which quiet voices whispered messages from the surrounding canvases.

“The installations made me reflect on impermanence and extinct species,” he muses. “There’s a strong sociocultural meaning behind it that’s been expressed through art. It reminds us that while we’re human, there are many other beings on this planet which aren’t, and that we’re all deeply connected.

It’s well past time we realised that as human beings we should value balance. And yet we often disrupt that balance, thinking we can fix everything and make it right.”

Can capitals of culture remain independent?

Pasqua works at the European Commission, coordinating activities and cooperation with all ministries in the selection of European Capitals of Culture. He says it is important to work with the selected cities even while events are happening, not just in the lead-up to them. “I assist in the selection and operational phases, working with experts to help them fulfil their responsibilities while also ensuring they stay on track,” he explains. “Because once the cities have been chosen, they all face the same challenges.”

Pasqua says that since Capital of Culture status requires the creation of completely new structures, the greatest concern is leadership, which must be flexible in order to make a success of the project. However, there are strict rules to follow when obtaining funding from both the state and local governments. A lot depends on the local team and how independent they are able to remain in putting the project together. Pasqua adds that while politicians have interfered directly in processes in certain cities, this has not been the case in Tartu. 

“It goes without saying that because the Capital of Culture receives public funding, the country’s Minister of Culture or the city’s mayor have to be up to speed on how the money’s being spent,” he says. “It’s also their role to help the project team build up the network of contacts they need and to foster cooperation between the state and local authorities. That said, politicians shouldn’t meddle in projects or how they’re implemented – which we’ve seen in the past in certain instances.”

Pasqua, who has been involved with the Capitals of Culture for 11 years, declines to go into the specifics of the more drastic cases. “It’s not about blaming someone after the fact,” he says. “It’s about becoming aware of and addressing the problem at the right time. You have to take local circumstances into account, and for the most part, any major crises we’ve seen have been resolved in a way that’s benefited local residents.” 

Attending a Capital of Culture event is always the most rewarding part of an official’s job. “You get to see that something effective has been made of ideas that previously only existed on paper,” Pasqua smiles. “The joy in the eyes of the people who spent so long preparing everything is lovely to see.”

Pasqua says that Capital of Culture status definitely motivates the local cultural community, “It pushes them to take an even more professional approach to their work, to be more demanding of it, and to be more European and more open in their approach,” he explains. “Becoming part of the ECOC family opens up new doors and new opportunities to them.”

The Capital of Culture legacy

Pasqua also reflects on Tallinn’s time as European Capital of Culture. “Things were different 10 years ago, of course,” he says. “Tallinn’s central theme was its connection to the sea and telling stories of its maritime heritage. As a result, the sea has become a more prominent feature of the city since then.” Indeed, a prominent example of this is the Culture Kilometre walking track which was constructed along an old railway line. At the time, the track still ran partly through overgrown thickets; a decade later, it has been replaced by a two-way street, and the area has become one of the most upscale and well-maintained residential districts in the capital.

What about Tartu has left a lasting impression? 

For Pasqua, it is the people who made the experience a memorable one throughout the year, gaining new skills to continue creating cultural events in the future. “The confidence they’ve gained from the project is hugely significant,” he says. “The year brought people together from very different age groups, and the creative skills they’ve demonstrated will continue to be nurtured here in Tartu and throughout Southern Estonia.” He adds that large-scale events are always important, because for some young people they can be their first real work experience and a chance to learn from more experienced colleagues. 

The connections formed with other European cities over the year are also important, since experiencing and learning from what is happening elsewhere enriches local life. “The ability to organise cultural life is something that will remain here, and it will enable the creation of entirely new values,” Pasqua says.

Plenty of events will continue to be held in Tartu – find out more about them here!