The Intersection of Art, Education, and Entrepreneurship with Maria Nek founder of the European Culture Academy

Artistic industry is quite competitive. There are a lot of artists there, and only a few spots in museums or for the public funding or for the big events. So this also creates an obstacle because you hear a lot of noss, right? The same as in the actor industry. You keep hearing nos and that can really discourage you because it can go for quite some time.

That's Maria Neck, founder of the European Cultural Academy, which aims to provide artists and creative talent with business skills and entrepreneurial support. The courses are held in Italy and the Netherlands and are a one of a kind experience. Maria herself is amazing, having lived in several countries and speaks six different languages.

In this chat, she shares the ups and downs of building a company. As an international female founder with a humanities background, what are some of the things artists fear and what one could expect from participating in such a course? I love to hear your thoughts on this episode. As you listen, you can find me on LinkedIn at Eric Melcher.

Tag me, say hello. Let me know that you're listening. And now let's talk to Maria. What are one or two interesting things about you that most people don't know? Okay, so I would say I'm a three time interpreter and I almost gave up up to the first one, so keep on hanging there. That's the first thing. I speak six languages.

And it's, and it's a great advantage for anyone doing an international business. And also I do artistic projects on the side, so you can find me covered with paint in the, in the center of the city doing a public art project. If you're curious enough to visit me in Amsterdam of Venice. You wouldn't be the first time.

The first person that I went to meet and they were covered in paint a few weeks ago, I had a call with somebody outta India and he, he got on the Zoom phone call and he had, he was covered with paint and he said, excuse me, it's one of our holidays where we throw paint. Yeah. At each other. Well, for sure.

Waiting an interesting life for sure. Yeah. Well, very, very cool. That is many languages. I will, we'll go into that later on during the interview. So where did you grow up and how did that shape your view of the world, Maria? Sure. So I come from a very international background. My mother's half Vietnamese.

My father is Raf Russian, Ukrainian Mongolian. I grew up in Russia and left it almost 20 years ago to go study in France, and then worked in Italy, Spain, and finally in the Netherlands. I would say that. I work in education right now and having this experience of two very different educational system really helps because I got experience of socialistic system when all my education was for free.

I. And people were shocked the the even possibility or thought that they have to pay for any kind of education from primary school to university. And then I also had experiences in Western Europe, for example, or UK and even the US where it is very common that you have to pay or find a way if it's not out of your own pocket and you can't afford it.

To to pay for the education. So, and it is, I think, very important once you start work in a particular industry, check how it is done in different parts of the world, because it can give you very interesting ideas and also what your clients might look like. Yeah. Okay. So you mentioned that your parents a mixture of Vietnamese, Mongolia and Ukrainian and Russian.

Yes. Was there one dominant culture that you would say, Hey, this is the culture I I was mostly familiar with as a child, I. No, I would say that it is total mix where all the cultures are given are not given a priority, but it's just the way of a melting pot that you grew up with. So dinners can look very interesting as well as the holiday because you could have, for example, two types of Christmases and then a lunar new year would come.

And then in the Vietnamese culture, during the, during the lunar New Year, this is the time also where everybody celebrates their birthdays. So it was very natural for me growing up, and then it's only till much late in life. I realized that not everyone actually lives like this and have many presents during the year.

I. Yeah. Yeah. And I imagine come New Year's Eve when you're celebrating with friends, wherever that may be, maybe Spain, Italy, or the Netherlands, you're aware of like other traditions that these other cultures have during this time and what they're doing. And so does that ever happen to you? Is there a conflict, like, okay, I've gotta do this one tradition, but I've got another tradition right after this.

And then another one. I'm very fortunate to have very open-minded friends and also the ones who could take. Anything to increase their luck. So whatever we are doing, great burning candles, you know, whatever you can do that has a a, a hint or a slight promise of making you happy. Me and my friends were on it.

So I hope that there are a lot of spirits somewhere, but we give a lot of work and hopefully they give us a lot of luck as well. Yeah. Yeah, I remember the eating grapes one, how is it? Is it 12 grapes or something At midnight in Spain is, was that it? Yes, exactly. Exactly. With when the clock starts. So with H bowel, you get to eat one grape.

Be very careful before. Yeah, that's right. That's right. Okay. Now tell us a little bit about the history and the mission of the European Cultural Academy. This is, this is your, your program. Tell us about it. Yeah, sure. So European Cultural Academy is a Dutch company. We are registered in, we operate from Amsterdam.

It's a private education company. That was an iteration of many projects that I had on the intersection of art and education management. So we are a private education organization focusing on art and architecture. We do professional development courses for different organizations. Our clients are mainly architecture schools and universities that want to have international experience for their students, public schools in Europe that want to help their teachers grow.

And then also artistic community. So R curators, art dealers that want to do a next big project in their career. And what we focus on is immediate impact and high quality education. So you worked very hard in very short time and you see the result. We started in Amsterdam and then now we also expanded to Venice and Barcelona.

So we are looking for. Nice inspirational locations, nice food and nice stressful, yeah. Beautiful images on the website of Venice. I was poking around there. So can you walk us some of the programs and courses that you guys offer and what are the benefits for the people that are participating in these programs?

Yes, sure. So we have both B two C and B two B programs. So I'll start with B two C because I think that's might be more interesting for the audiences. We have two programs. One is called Contemporary Art Framework rot, sorry, contemporary Art. I. Roadmap for your next project. And then the second is then is Benal revealed.

So we found out that a lot of artists, they already have established practices, but they're still big dreamers and they want to have amazing projects. And there are two things that can help to do that. Either to do a big international project, a project that is attached to a big international event like Venues bi, which is the largest contemporary art event in the world.

Or they wanna do the next big project, but there is some psychology in their heart and mind that impedes them to do so. Inpost syndrome don't have enough money. I am that and that my background, I don't have a degree in art, et cetera. So we created two programs that address that. The first allows artists to learn a lot about Vens, Binali, how it's organized, the funding, and how they can become participants there in what capacity.

And then the second is if you have a dream. That you keep coming into and you need inspiration and support to do a project. Then you come to Amsterdam of Venice for two weeks and then you work with experts to have next five steps rolled out. And get inspired and pumped into living with tears, but a very solid plan of how you can make your dream a reality.

After a quick break, Maria and I talk about how artists are sometimes afraid to display their work because it's very personal. It, they don't want the public to make judgments about it. Hey, in case you didn't know the Innovators Can Laugh, newsletter comes out every Thursday. You find out which startup founders are coming on the show, along with links to posts I found interesting on the web.

My best Dad jokes, quotes from Napoleon to Chris Rock and my thoughts and strategies on what I am doing to live a rich life filled with happiness. As a Texas Expat living in Europe, sign up for the newsletter@innovatorscanlaugh.com. Welcome back to my conversation with Maria. I am surprised to hear that artists can also suffer from imposter syndrome.

So I wanted to dive deeper into this. So I asked Maria, what are some of the things artists fear in how E C A helps them overcome this? Yeah, so I, I never imagined artists, and I could be completely wrong, cam Maria, but I never imagined artists really have imposter syndrome because I, I look at their work, you know, they create this work and for me, in my perception, it's a display of, of who they are.

Like it's an outwardly as expression of who they are. And because of that, I've always felt artists are very confident. Mm-hmm. And, and not afraid to be bold. Build something new. Create something new, and express themselves. But you're saying. At least what you're saying is, is that artists do have imposter syndrome and maybe they're reluctant to maybe display some of their, their, their works or maybe try to have a showing at a museum.

I mean, what are some of the things that they fear and that you guys help assist, assist with, and overcome? Art is a very specific industry because it is personal. So you have to be extremely vulnerable showing, pouring your heart out or pouring some experiences in your life that are very personal and letting the public make judgements about that.

So sometimes artists can be hesitant to do that. That's the first thing. And then the second thing is that artistic. Industry is quite competitive. There are a lot of artists there, and only a few spots in museums or for the public funding or for the big events. So this also creates an obstacle because you hear a lot of nos, right?

The same as in the actor industry. You keep hearing nos and that can really discourage you because it can go for quite some time. So knowing that there is a community where you come and you. Can find the right opportunities for you. That's the first thing. And then you can find very practical tools of what you can do when you have this imposter syndrome, when you feel it just to come back on track and just keep going.

Knowing that you have the talent keep showing up. This is where the artist needs support, and this is where I think we, we find that we have the most impact. And that's for the, for the B two C courses and for for the B two B, we are working with architecture schools and with public schools, and this is about our own methodology that we developed, which is learning and teaching through art.

Because R, we found out that art can be a very powerful tool to address many challenges from bullying to sustainability, to increasing attention in the classroom. So we developed a methodology and we work now with universities from all over the world. So from Melbourne to U C L A, from Oxford to Cambridge, to do the programs where students come and they learn through art.

And we also work with European Union, one of their programs where any teacher from any public school in Europe can come and get the funding to learn about the methodology and then implement it in the classroom. Okay. Is there any sort of collaboration and any sort of networking between the current participants in E C A alumni that occurs?

Yes, so actually I. I'm embarrassed to say that I mute all the alumni chats after the course finishes because I just checked before our meeting. The last year course, which was 10 months ago for this week, has 130 messages. You know, some people are very active afterwards, and then what we do, we. It is the right collaboration for the right artist.

So we don't think that we need to create a project specifically for this artist. We look at everyone that we have and we think this can be a good collaboration. We put people in touch. I. And what I like is that it's not only about certain projects. So for example, there are people usually have similar backgrounds.

For example, creator working with a topic of sustainability and an artist interested in this topic. Then they start a project together. We had an example of three people from different cohorts coming. They started a residency in New York. Which was amazing. It was for women artists. Did they know each other before, previously, or no?

No, no. They were, they lived between US and Canada, so they didn't know Uhhuh, and then they started residency and then because they all met in Italy, they afterwards decided to do a residency in Italy as well. And then other alumna came and they spent a, I think a month in a beautiful Italian village working on their art project.

That is such a cool success story. Mm-hmm. For people or for your, for your alumni. Any other ones that you, you would like to share? Maria? One, I would say that one that really warms my heart are. The stories where a person didn't really feel that they could be an artist or they can work in the arts. We had a story of a lawyer from Australia who came and she was so shy to tell her family that she has interest in contemporary art and wants to become an artist, that she told them that she's going to a business school executive education course instead of coming to an art course.

So then two weeks later, she really found. Her passion, we help her to define the discipline that she's interested in and we're still in touch. And she started her artistic practice and that was good. And then the second one is air. Oh. A very successful businessman who owns several factories in Middle East has, that has nothing to do with art.

He turned, turned out that he really wanted to become an artist all his life, but he had to support his family and he was focusing on different things. So we helped him to develop his art practice, and last year, during the opening of the venues bin night, we helped him build an AR structure. So it was an AR sculpture of a certain form that floated over San Marco Square and that was an amazing moment where we all gather and we thought it took you 60 years, but you're finally an artist, you know, are the year.

Yeah. So this is very emotional moments for me when, when I remember those students. Isn't it crazy that somebody who was successful like that for many, many years and you said he had multiple factories or businesses or whatever, and they do something that they've been really passionate about, they've been haven't, haven't been able to explore that side of themselves, and then when they're finally able to do it, there's this sense of like overwhelming joy, a sense of fulfillment that they never got from.

Maybe the other thing that they were actually really good at was, yeah, business and, and whatever else. I, I totally can understand that. I, I, I had a job I really loved, I was doing what I wanted to do. Mm-hmm. But I created a, a kids' nonprofit on the side and working with the kids and seeing, you know, their joy and their passion and their love for competition, it gave me a sense of fulfillment that I never got from my regular job.

Amen. And it seems to me that these people that are attorneys, Highly successful people, they're considered a success in their own career by other people, but yet inside they're, they're, they're almost afraid to share what it is that they really wanna do. And you're kind of helping them get this outlet, like this bridge where they can explore it from a safe place and realize that there's other people that they can network with and build relationships with and be a, a part of a community for other people that are going through the same, same journey.

As them. That's really, really nice. Now tell me about the aha moment. When you thought of creating the E C a, I mean, when, when, when did that moment occur, Maria? I started doing a cultural project, so producing exhibitions, producing cultural events after, because I wanted to move to the arts after a career in education management.

I used to work in a business school and I worked to, in, you know, big educational organizations and the aha moment was when it was during opening of the event. I had, I haven't slept for, I think, 14 days at that moment. And I realized that it, I was standing in the beautiful room field of beautiful art with a glass of Prosecco, and I was not enjoying it.

And I realized that the moment that I enjoyed most was, All connected to education with, all connected. When I, everything that was created, I shared with the public. So then I went to a person who I knew was interested to work with me and could become my investor, and I said, this is what I want to do. Can you support this project?

Can we be partners? And that's how it started. Okay. Okay. Now, what were some of the obstacles that you faced in getting this off the ground? And making it to where it is today. Where do we stop? It's a very long, I think that there are two main things that took time for the business to become successful the first time.

The first is I. To find the right business model, and that means to find the revenue stream that is sustainable, scalable, and can be done in different environments, right? So if you start in one city, we or one country, we really struggled to get to a point where we can then replicate the same amazing experience.

In a, you know, different city, in a different country. It took some time. Now we have it. Great. The second was you want to start with a diverse portfolio, but you can't because you don't have enough money or resources in terms of human resources. So in that case, the biggest challenge, like for many entrepreneurs was covid.

We started something that was very personal experience that had to be, have this feeling of inspirational location and then it was not possible anymore. So that was a big challenge. Okay. Now can you kind of just share if somebody were to do one of these events or one of these programs, like in Italy, for example?

Mm-hmm. And what I saw on the website, I think it was about a three week, three week course, if I'm not mistaken. Well, yeah. So that we have from one to three weeks. So one, two, and three weeks. Okay. Is it you personally involved on the ground? Are you there making appearances, you know, here and there, like one or two days or is there somebody else that's overseeing the day-to-day efforts?

So we have a team in each of the three cities. I do the curriculum, so I make sure that the curriculum is up to our standards. And I also do certain lectures. That are on the behind the scenes of Theen Island, sharing my experience and if we have the projects where we have project presentations, I'm a part of the jury.

So, and then we have excellent trainers, but also excellent project and program managers and the program director that supports students from the ground. Okay. Now, because this appeals to teachers, educators, as well as art students and professionals who are looking for a change, like I imagine there's a, there's a, a wide range of diverse people on these tours, or is it typically like one, one type of person?

Yes. We, in general, we're open to everybody because we really think that there is a place in the art world for everybody our, in terms of. Nationalities, the whole world really comes. That's very true. The whole world in terms of the groups, it tend to be adults, so rather than students, so from I think 25 and up to 65, and I.

More or less, I think that 50% are professionals. So people already working in the industry and looking for next upgrade, about 30% are art lovers or career turners, the one who are looking for the right opportunity. And about 10%, which is a very interesting demographic for us, are art collectors because they come because they want to see the emerging talents and what's going on.

So these are very interesting because they. Yeah, already probably know most of the things. Yeah, they're just interested to see who is there, and it's not uncommon that they start buying the arts already from the students because that, that's why they're there. Very smart, I must say. Very smart strategy.

Yeah, that is a, that is a smart strategy. Okay. And how are you getting traction? Obviously you've got programs that are being filled, people are coming. Mm-hmm. Like what worked for you in terms of getting the word out, Maria? So it is a very saturated space, I must say. One of the reasons is that a lot of it is not, it is, it seems easy to make an art project or an art program, but actually it's not.

So I think what worked is that we really took time to. Develop a methodology and we really took time to develop programs with learning methodologist with educational specialist. We know that the product is good and that what I think makes a big difference. That's the first thing. The second thing, we understood who we are, and then again, if you're thinking about scaling, we wanted, we knew who we are and we defined the things that would be us.

In any program that we do in our presentation or in a three week course, for us it is, for example, we, Venice is an important place, so we defined what is Venice for us. For us, Venice is a combination of new and old for us, Venice is incredibly beautiful, inspirational locations. So wherever we go, if we go to.

New York, I would make sure that I'll find a beautiful abandoned church to make a masterclass, you know? And that will be the new technology and the old church, this juta position, finding who we are, the product is good. And then the third we found the people who became our friends. We didn't go to everybody because we are not for everybody, but we found people who understood what we do.

And then there was a lot of then goodwill to collaborate and I think that's extremely important just to know, just to see that we can do something together. Absolutely. I mean, realizing that, hey, you've got, you've got a program that's not fit for everybody. You know who you are and you know what you're providing.

And if people want to be a part of that, then even better because those people are probably gonna spread the word about you guys, about the E C A with other people and you just. It's, it's just, it's just a cycle that repeats itself. Okay, so Maria, I've got some fun questions for you. Rapid fire questions.

Gimme the first answer that pops into your head. You ready? I'm scared, but let's do it. Which country has better food? France, Spain, Italy, or the Netherlands? Easy. Italy. Favorite language. Fa. Your favorite language. You enjoy speaking Italian. Oh, okay. I think. Okay. Number one strategy to prioritize your time, Maria ai.

All right. Okay. What is a favorite TV show that you can watch again and again? I don't watch TV shows. I don't watch tv. Okay. The most interesting thing you did in the last 26 days? The most interesting thing I did in the last Hugged an ice sculpture for six hours. What art project,

what, what were you wearing? Like, like, like performance. It was a performance art project. About the effects of the climate change. I had a eye sculpture okay. In my shape. Yeah. Is there a video of this that you can share with me or It's in preparation. Okay. Please send it. I like to include it with the show when it's published.

That's not expected. No. What was going on in your head? This, this, during this entire time. It's very cold and I hope I can survive this. Okay. Maria, where can our audience learn more about you? ECA Art. All right, Maria.

I had a lot of fun chatting with Maria. I typically interview Techstar founders, so it was interesting to chat with an entrepreneur from a different background, but yet has the same aspiration of wanting to help others and grow a business, and she's so nice. You can't help but wanna go out and check out a museum or just walk the streets of Venice, Florence, or I guess any city in Italy.

If you wanna learn more about Maria, go to eca. Art links to all of this are in the show notes. Thank you to Maria for being on the show, and I look forward to seeing you this summer in the Netherlands. If you like this episode, send me a note on LinkedIn, tell others about it, and subscribe on Apple or Spotify.

Thanks.