This project explored how the European work culture changed as the European Union expanded to include new accession countries. It did this by commissioning photographers from each of the project partner countries to exchange with a photographer from the associate partner countries to create images that explained the working lives of that country's community. It then shared the results through a series of conferences, exhibitions, publications and the internet.

Europeans have changed their culture to fit with new demands and conditions, including EU expansion, new technology, a changing political and social climate and economic prosperity. This project challenged artists/photographers to work in new countries with new partners as a way of forging new cultural links and developing practical ways of developing meaningful intercultural dialogue.

An expanded Europe was facing the consequences of a much wider cultural perspective that included many ex-Communist countries moving into a new economic environment. New technology, changing work practices, social change, economic migration, new social welfare rules, changing legislation and increased economic investment were all major factors contributing to a massive period of change.

The project's objective was to create some common ground between all of the countries and cultures involved, looking at the universal aspect of work in different cultures. Organisers aimed to create a body of work that would explore and explain how similar we are in some respects and how different we are in others through a visual presentation.

The aim was to create new practice for international photography by commissioning new bodies of work that reflected advances in technique and technology enabling a new style of artistic documentary practice. The creation of a professional network - The International Photography Research Network (IPRN) – was used as a way of building links and joint artistic and research across the academic and cultural sectors. The idea was to create a body of debate and discussion on the central issue of work, using visual language as a common language.

The aim was to build a way of documenting, commenting on and advocating the creation of a record of European current joint cultural heritage: a family collection of photographs that would help explain how we were and help support a more harmonised approach to cultural assimilation. Problems of language, technological and educational imbalance, availability of funding, diverse cultural traditions and the complexity of communication across a large number of countries was overcome by the enthusiasm shown in personal and informal investments in the network.

Motivation
The central motivation of this project was to create a common visual language as the foundation for an intercultural dialogue on the issues of growing cultural diversity.

Community participation
Working communities were integrally involved in the production of many of the photographic commissions, from the small family of workers in the dockyard at Edam to car workers in new factories in Slovakia, from the dislocated youth of Iceland to the servants and employers of domestic staff in Brazil.

The project includes: 18 international photographic commissions, 8 major international publications, 3 international conferences, 3 major touring exhibitions, a website and series of intercultural meetings across Europe.

THE ROLE OF THE PROJECT PARTNER/S

Project Coordinator
To manage and deliver the project and support the delivery of the programme in each of the countries. To coordinate the project and provide the administration to ensure the smooth delivery of the project, keeping a record of financial and contractual processes, to facilitate the involvement of all of the partners, to research new partners and ensure that EU guidelines were adhered to.

Project Co-organiser
To manage the delivery of the project, election, expenditure and events in their own country and to meet to agree collective decisions, on expenditure, administration and artistic and overall project objectives.

Associate Partner
To work with the coordinator and their partner country to deliver the selection and completion of the project's programme of commission and dissemination.

The general reasons for the project involving these partners were: history of contemporary photography; existence of quality partner organisations, galleries, museums and universities; trust and confidence in their ability to manage the project well; fit with the project's desired demographic profile; fit with project's desired geographic profile (New Europe, Old Europe, Asia, Africa and South America); enthusiasm for the project.

The general resons why partners became involved in the project were: gaining new programmes; advancing national photographic practice and development; gaining new international partners; creating cultural debate; financial investment; creation of new work and publications; access to database and free touring exhibitions; international profile and contacts.

The problems encountered in delivering this project divide into a number of differing areas. All solutions were obtained by negotiation with the partners, a reliance on their sense of fair play and a clear set of signed contractual agreements between all parties.

Financial: keeping records of financial expenditure; keeping to EU spending guidelines; keeping records up to date and on time; not providing funds to artists in good time; underspend and overspend due to the need for a three year forecast of expenditure; differing accountancy methods; differing governmental rules; a centrally administered budget as part of the University of Sunderland; inability to raise any form of private sector sponsorship or investment; inflexible spending window from EU; bureaucracy; achieving earned income levels.

Artistic: keeping photographers to their commission briefs; tight deadlines for delivery of work for publication and exhibition; pricing of conference attendance to ensure artists attending; selection protocols and decisions; professional ability of photographers and curators.

Administrative: keeping partners' reports on time, getting basic information for updating website and archive in Slovakia; understanding the inflexibility of the EU rules on expenditure; getting all partners to three annual meetings.

Continuity and sustainability: lack of national and international recognition for the work completed; lack of international funding for continuity and sustainability.

Long-term value: the loss of momentum of the partners and the project when it closed without a future.

Advice:

• Choose your partners for their experience and professionalism rather than their status and reputation.
• Choose partners who would be likely to be your friends, as three years is a long time!
• Create an informal communication network.
• Meet regularly 'face to face'; don't depend on email and telephone.
• Keep in close touch with your EU project officer from the very beginning.
• Make sure that any changes to project delivery and objectives are formally noted by the EU officer.
• Make sure your partners provide the money they said they would.
• Ensure that your profile is as well known as possible.
• Budget more money for marketing and publicity than you think reasonable.
• Have a good sense of humour and an ability to see the long-term vision rather than the short-term problem.
• Be prepared to be disappointed, excited, relieved and satisfied in equal measure.

The arts and cultural sector is the most effective way of making an entry into widely different cultures as a way of overcoming ignorance and gaining insight into the reality of our cultural diversity. The development of a cultural dialogue leads to the opportunity for better harmonising the way we lead our lives.