What are your names and how are you connected to this project? 0:24
Why the name Zemos98? 1:39
What legal form have you adopted and why? 2:45
What defines the activity of Zemos98? 5:39
What is Zemos98’s opinion of institutional cultural policies? 9:35
What would it take to guarantee citizen participation in public cultural policies? 14:29
One of the most important tools of Zemos98 was its festival. After 16 iterations, can you explain why it stopped being organized? 15:55
Could we say that the festival was a kind of citizen’s laboratory? 24:38
Why do you think there was no institutional support to continue the festival? 25:24
What characterizes the activity of Zemos98 after the closing of the festival? 26:58
What relationship has Zemos98 had with universities? 29:59
One of the tools of Zemos98 is the concept of “expanded education.” Can you explain this? 36:21
Can you explain what Zemos98’s own mechanisms are? 39:19
Taking into account the climate of political discontent and insecurity, what do you think keeps hope alive as a motivating force in Zemos98? 46:49
What does it mean for Zemos98 to grow in non-capitalist terms? 50:21
A cultural cooperative that understands culture as a tool for social activation the activation of participation. It represents a process of relation and mediation for learning, unlearning, making, and remaking. The work that Zemos98 does is relevant to various distinct communities– educational institutions and informal education models, collectives and communities that work on new audiovisual narratives, activist collectives more explicitly focused on themes of social transformation, and, in recent years, international communities that work on social transformation.