Interview with Liviu Jicman, President of the Romanian Cultural Institute (ICR), at SIPAM

Liviu Jicman is the man who, from the headquarters of the Romanian Cultural Institute, where he returned in 2021, supports the connections between Romanian culture and the great stages of the world. In 2024, he also took over the presidency of the European network EUNIC, which brings together the national cultural institutes of the European Union.

With studies in economics and law and 15 years of experience in the cultural sector, from the National Cotroceni Museum to the Ministry of Culture and management positions at the ICR, Jicman strongly believes in cultural diplomacy and in the power of art to build bridges between people and countries.

We met him in Sibiu, during the Sibiu International Performing Arts Market (SIPAM), to talk about what Romanian culture looks like on the international stage, about the ICR’s strategies, and about the challenges and opportunities of cultural diplomacy in increasingly changing times.

For the international audience, could you offer an overview of the structure of ICR and the autonomy that its branches have in implementing projects?

Liviu Jicman: The Romanian Cultural Institute carries out numerous activities, and the most important component is represented by the programs implemented by our branches abroad. Since the current Board of Directors took office at the end of 2021 , beginning of 2022, we have considered it essential to establish a clear strategic direction. Thus, we developed a strategy for the period 2022-2026, which serves as the main tool for planning the activities of the branches.

The ICR branches have full autonomy in planning their programs. They initially prepare an annual program, which they submit for approval to the Board of Directors. The Board may adopt the program as proposed or may make changes, additions, or eliminations of projects if necessary. After approval, the branches adapt their programs according to the specifics of the local cultural scene and the financial resources available. Each project is subsequently analyzed and validated by the Executive Committee.

Apart from the activity of the external branches, what other programs does ICR carry out?

Liviu Jicman: Besides what the branches do, the ICR has many other activities. For example, we have seven scholarship programs. Three are carried out through the external branches, and the others in the country: scholarships for established translators, for translators in training, for foreign cultural journalists who come to discover the Romanian cultural scene, scholarships for researchers, and others.

Then there are the programs of the National Book Center (CENNAC), a small department but the equivalent of institutions like the Centre National du Livre in France. CENNAC runs funding programs for translations: Translation and Publication Support (TPS), the Publishing program, and Romanian Books for Children, for children’s literature.

CENNAC’s programs cover the entire chain of written culture: we have scholarships for translators and translation workshops, programs through which foreign publishers receive funding for translating and publishing works written in Romanian, we participate in book fairs, organize events to promote written culture, and publish the magazine Lettre Internationale. In addition, we support in the country festivals with international potential, such as FITS in Sibiu, TIFF in Cluj, the International Literature Festival in Iași (FILIT), art fairs and festivals. Last but not least, ICR has its own publishing house.

How do you cover areas where ICR does not have branches?

Liviu Jicman: Through the International Relations Department. We collaborate with Romanian embassies that propose projects to us, including events such as Europe Day, Francophonie Day, or Romanian culture/film days. But independent of these, we also support mobilities: a Romanian artist invited to an important festival can request ICR’s support, even without there being a classic project organized together with ICR or the embassy. In this way, we can support projects even in areas where we do not have branches.

From ICR’s perspective, how would you describe the current state of Romanian culture and its international positioning?

Liviu Jicman: It’s difficult to give a very brief overview, but I will focus on ICR’s perspective and on the international presence of Romanian culture. I believe we are very well positioned. We have fields in which we excel and are already recognized internationally, but also areas that are in full expansion. Regarding the creations of Romanian artists, I think we’re doing very well. There’s no longer a need to emphasize how appreciated Romanian cinema is and the fact that, although generations change, Romanian filmmakers continue to win important awards internationally.

It’s worth mentioning our collaboration with maestro Cristian Măcelaru, whose performances are appreciated globally, and with the Orchestre National de France for the complete Enescu works, released at the most prestigious record label in Europe. Or the participation of young Romanian musicians in the European Union Youth Orchestra (EUYO). In visual arts, we have valuable artists and galleries which, although still few, are increasingly present at international fairs. In the performing arts, Romanian theatre enjoys international appreciation, and FITS in Sibiu currently achieves the highest performances.

What are ICR’s steps in connecting to international networks?

Liviu Jicman: Since 2007, we have been members of EUNIC – the network of national cultural institutes of the European Union. ICR also ensures the presence of Romanian musicians in the European Union Youth Orchestra. At the end of last year, ICR joined two important organizations in the field of performing arts: ISPA (International Society for Performing Arts) and APEP (Professional Association for Performing Arts). These networks provide a meeting framework for professionals and institutions. By being part of these networks, we also facilitate access for other organizations in Romania to international connections.

Do you consider that Romania is in a comparable position to other countries in the region regarding cultural diplomacy?

Liviu Jicman: I believe our position is somewhere in the middle. We have a solid network, with 19 branches abroad, one or two fewer than Poland, but perhaps a few more than other countries. In many places, ICR is well connected and recognized as an important partner. Personally, I had the honor of being elected president of the European EUNIC network and continue to be part of this organization’s board.

However, I believe that the ICR network was built with a strong focus on Western Europe, during the period when Romania was preparing for accession to the European Union and NATO. After almost two decades, we should focus more on Central and Eastern Europe, where our network is not as well developed. We have branches in Budapest, Prague, and Vienna, but they are missing from the Balkans, the former Yugoslavia, and Bulgaria. On the other hand, we have made progress globally, opening last year ICR Tokyo, in addition to the already existing branches in New York, Beijing, Istanbul, and Chișinău.

What strategic objectives do you have for Asia, especially after the opening of ICR Tokyo?

Liviu Jicman: Japan and Tokyo are extraordinary cultural markets, with more opportunities than we can support. We have to be strategic because the distance is great, costs are high, and we don’t just want to come, present a successful performance, and leave without consequences. The goal is to forge partnerships, to develop co-productions and interconnections. I’m glad there are concrete results from the Romania-Poland Season, with co-productions presented both at the National Theatre Festival and here, in Sibiu.

What do you consider essential in the current global context, especially for the performing arts and culture in general?

Liviu Jicman: I believe that the essential thing is for the cultural product or performance to manage to address an audience that can understand it, regardless of context. Whether we’re talking about language barriers, geographic, or social differences, what matters is for the artistic product to be understood and to stir emotion. That’s when we’re talking about a successful cultural product.

And if we were to talk about intersectionality, are there directions assumed at ICR for supporting artists working at the intersection of genres, identities, and cultural media?

Liviu Jicman: Yes, multidisciplinarity is one of the essential elements included in the ICR strategy for the period 2022-2026. It is important, firstly, because it represents a major direction internationally. Secondly, it allows access to diverse audiences and contributes to increasing audiences, both in the country and abroad. Thirdly, multidisciplinarity stimulates creativity, because today’s artists explore several forms of expression and address the public from varied and complex perspectives.