Pilot project - Finance, Learning, Innovation and Patenting for Cultural and Creative Industries
Deadline: Aug 12, 2019  

 Education and Training
 Adult Learning
 Arts Education
 Creative Industries
 Cultural Management
 Culture and Development
 Creative Europe

Culture, the arts, creativity and creative industries are inter-connected and inter- dependent. Combining knowledge and skills specific to cultural and creative sectors with those of other sectors helps generate innovative solutions to societal challenges. To really tap into the transformative power of culture, a holistic approach is required, focussing on ecosystems where culture and creativity exist and support each other, and to ensure the flow of knowledge and skills from the cultural and creative industries (CCIs) to more traditional industries.

The cultural and creative industries (CCIs) in Europe employ more than 12 million workers, or 7.5% of the European workforce. They create about EUR 509 billion in added value, in particular through the contribution made by small and micro enterprises. CCIs represent a driving force generating a competitive advantage for Europe, especially since they provide products and services that promote evolution of the production paradigms of Industry 4.0.

The crossover between the cultural and creative sectors and other sectors is of crucial importance to achieve this. As specified by the 2015 Council conclusion, this is "a process of combining knowledge and skills specific to the cultural and creative sector together with those of other sectors in order to generate innovative and intelligent solutions for today’s societal challenges".

The Parliament Resolution on CCIs also stresses their importance of (in the economy and job creation, in promoting and preserving cultural diversity, strengthening social cohesion and increasing Europe’s attractiveness internationally. CCIs play a key role in reindustrialising Europe and trigger innovation spill-overs in many other sectors, from manufacturing to education or social inclusion.

Also in the recent European Parliament resolution of 14 September 2017 on a new skills agenda for Europe (2017/2002(INI)), cultural and creative industries are explicitly mentioned as contributing to social well-being, innovation, employment and as stimulating the EU’s economic development. The resolution also recalls that the creative industries are among the most entrepreneurial and fast growing sectors, and creative education develops transferable skills such as creative thinking, problem-solving, teamwork, and resourcefulness. It acknowledges that arts and media sectors are of particular appeal to young people and points out that entrepreneurship requires the development of transversal skills such as creativity, critical thinking, teamwork and a sense of initiative, which contribute to young people’s personal and professional development and facilitate their transition into the job market. It furthermore underlines that there is a need to facilitate and encourage participation by entrepreneurs in the educational process.

The 2018 OMC Report on "the role of public policies in developing entrepreneurial and innovation potential of the cultural and creative sectors"1 is also relevant in this context. This cross-sectoral group consisting of the Ministries of Economics and the Ministries of Culture of Member States also highlighted the importance of CCIs skills development and related issues: It states that there is a strong need for greater openness towards a broad and more inclusive meaning of innovation – beyond its technological aspects - highlighting the role of culture and creativity in its process. This would also empower professionals in the cultural and creative sectors with the necessary mix of required skills, provided through specifically designed capacity building programmes.

The recently adopted New European Agenda for Culture and the EU Work Plan for Culture 2019-2022 and the Council conclusions on the Work Plan for Culture of 15.11.20182 acknowledge the importance of "boosting jobs and growth in the cultural and creative sectors by fostering arts and culture in education, promoting the relevant skills, and encouraging innovation in culture". The European Year of Cultural Heritage 20183, has considerably raised public and political awareness about culture and heritage in Europe, and the importance of taking this momentum forward to tap the full potential of the social and economic value of culture for Europe". One of the objectives of the Year was "to support the development of specialised skills and improve knowledge management and knowledge transfer in the cultural heritage sector, taking into account the implications of the digital shift".

One of the pillars of the European Framework for Action on Cultural Heritage4, launched by the European Commission to ensure the legacy of the European Year beyond 2018, is “boosting skills in cultural heritage professions”. Building upon the recommendations of EU Member States’ experts, the Commission identifies a cluster of actions to support the initial and continuing development of qualified professionals and the improvement in knowledge management and knowledge transfer in the cultural heritage sector.

Finally, the OMC Report on "Fostering cooperation in the European Union on skills, training and knowledge transfer in cultural heritage professions" (OMC report on heritage professions) recommended is very relevant in this context. This cross-sectoral group consisting of the Ministries of Education and the Ministries of Culture of Member States highlighted the importance of addressing the development of skills, training and knowledge transfer in the traditional and emerging cultural heritage professions. One of its recommendations is to explore activities which aim to bridge the gap between on the one hand, heritage education and on the other hand the labour market, and to encourage in particular connections with creative industries.


The 2019 Annual Work Programme5 for the implementation of the Pilot Project6 "Finance, Learning, Innovation and Patenting for Cultural and Creative Industries (FLIP for CCIs)" foresees the launch of a call for proposals funded under Budget Line 15 04 77 19, with a maximum amount of EUR 1.050.000 allocated to the development of an action addressing this specific objective.



2.1. OBJECTIVES General objective

The general objective of this pilot project is to continue to define and test policies and actions for sustaining and developing cultural and creative industries and to generating cross-sectoral benefits and spill-overs in the different areas and sectors CCIs interface with.

The first phase of the pilot project FLIP (Finance, Learning, Innovation and Patenting) focussed on the following areas: (1) Finance: Elaboration of guidelines, follow-up of EU CCI actions; (2) Learning: Support skills classification system, development of guidelines for CCI skills development, activities and dissemination; (3) Innovation: Guidelines for CCIs development, good practice cases and showcase events on innovative models, peer-to-peer hubs exchange and (4) Patenting: Analysis, case studies and recommendations, as specified in the call for proposals EAC/S11/2018.

Since areas 1 (Finance) and 4 (Patenting) have been covered extensively already in the first phase, this second phase of the pilot project will focus on areas 2 (Learning) and 3 (Innovation).

The main objective of the FLIP for CCIs-2 project is to explore activities which aim to bridge the gap between on the one hand, cultural heritage education and skills development and on the other hand the labour market, and to encourage in particular connections with creative industries and "third places" such as creative hubs, maker spaces, fablabs, cultural centers, community centers or other.

The specific objectives of this call for proposals are listed and described in point 2.4 below.


The grant agreement resulting from this call for proposals will be allocated to one single project.

The purpose of this call is to select an organisation that will co-ordinate and organise different activities with cultural and creative professionals and entrepreneurs, in particular SMEs and micro-enterprises, cultural heritage professionals as well as other stakeholders.


Proposals should contain information as to the planned beneficiaries of the action, which must be cultural and creative professionals and entrepreneurs as well as other stakeholders active in the cultural and creative sectors7.

Applicants should describe how they plan to engage with the relevant actors and describe how they will mitigate the risk of lack of incentives for relevant actors, CCIs and other stakeholders to engage.

2.4. SPECIFIC OBJECTIVES Geographical and sector focus:

Proposals should specify how they are going to achieve a wide geographical scope involving different European regions. The proposal should show how regions can foster job creation through specific actions for skills development and geographical and occupational mobility in cultural heritage-rooted CCIs8.

Proposals should also specify how they are going to achieve a sector focus: The proposal should show how it will look specifically at cultural heritage and related skills, looking at all aspects of conservation, management and enhancement of tangible and intangible cultural heritage. In addition, the proposal should specify how it intends to focus on one or more cultural heritage-rooted areas of the content industry/ fashion/design sectors.

The proposal should as a minimum include the following activities in the fields of skills enhancement and testing of innovative approaches:

7 According to the definition given in Article 2 of the Creative Europe Programme, content/EN/TXT/HTML/?uri=CELEX:32013R1295&from=EN

8 By cultural heritage-rooted CCIs the cultural and creative industries are meant which are based on a cultural-heritage related skill/technique/product/output or similar.



2.4.1. Specific objective n°1 in the field of Skills enhancement: Using ESCO to enhance the profile of heritage professions and CCIs

ESCO (the European Skills, Competences, Qualifications and Occupations) is the European multilingual classification of Skills, Competences, Qualifications and Occupations. It works as a dictionary, describing, identifying and classifying professional occupations, skills, and qualifications relevant for the EU labour market and education and training. Those concepts and the relationships between them can be understood by electronic systems, which allow different online platforms to use ESCO for services like matching jobseekers to jobs on the basis of their skills, suggesting trainings to people who want to reskill or upskill etc. ESCO provides descriptions of almost 3000 occupations and more than 13.000 skills linked to these occupations, translated into 27 languages. The aim of ESCO is to support job mobility across Europe and therefore a more integrated and efficient labour market, by offering a “common language” on occupations and skills that can be used by different stakeholders on employment and education and training topics. ESCO is a European Commission project and is available for free at the ESCO portal9.

Phase 1 of the FLIP-CCI project (FLIP-1) contributes to improving the representation of the culture sectors in ESCO. Phase 1 checks to what extent occupations and skills profiles linked to CCIs are represented in the ESCO classification and aims to enhance these profiles or integrate new ones into the general classification, thus contributing to its continuous updating process.

Applicants will describe how they will coordinate with the work already underway in the FLIP-1 project, in particular concerning CCIs skills classifications and ESCO and how to carry these efforts further. In addition to the sectors chosen under FLIP-1, applicants will describe how the 2nd phase of the project will go about to check to what extent occupations and skills profiles linked to CCIs are represented in the ESCO classification, carry out a gap analysis and look at how to enhance these CCI profiles or integrate new ones into the classification.

During the second phase of the project, the analysis will in particular focus on cultural heritage as well as on the heritage-based areas of the content industry/ fashion/design sectors.

Applicants will first of all check in what way traditional cultural heritage professions are included in ESCO. The project will then describe how, within ESCO, they will identify and map traditional cultural heritage occupations, qualifications and skills (including skills at risk10) as well as the development of new skills and competences,


10 "Skills at risk": Several important skills in cultural heritage are at risk of disappearing unless action is taken to ensure their transfer to the next generation. Craft careers nowadays usually focus on contemporary production, materials and technologies. The practical knowledge of traditional crafts in tangible heritage such as straw roof thatching, or traditional plastering is decreasing among the active professionals. Also, several art crafts in relation to the restoration and maintenance of cultural heritage are in danger. Examples include traditional boatbuilders, gilders or archaic musical instrument makers. Regional variations in the application of skills and in both intangible and tangible heritage, and cultural heritage-related occupations and qualifications in the CCI sectors chosen.

For example concerning heritage skills, the project will analyse how cultural heritage occupations are represented in ESCO and carry out a gap analysis of missing skills and occupations in different EU countries. Input could also be provided through participation in ESCO's community fora.

In ESCO many traditional and emerging professions are attended to and provided with alternative labels and with essential and optional skills, competences and knowledge. In order to help refining ESCO occupations, the project may come up with concrete suggestions for possible new preferred and non-preferred terms, as well as with an assessment of the current assignment of essential and optional skills, and will suggest new skills if needed. It can also suggest new transversal/cross-sectoral and/or digital skills. All this input will feed into the continuous improvement process of ESCO, via its online fora.

In addition, the project will also include a life-long learning dimension in relation to the European Qualification Framework (EQF) for lifelong learning, which classifies levels of qualification on the basis of demonstrated knowledge, skills and competencies. In particular, after having analysed the skills gaps in the sector, the project could focus on possible further training needs/opportunities, from a life-long learning perspective. The outcomes of these trainings should be aligned with the EQF recommendation.

The project will use ESCO to identify and categorise skills, competences, qualifications and occupations relevant for the European labour market and education and training for cultural heritage. It will make suggestions for improving collection, comparison and dissemination of data in skills intelligence and statistical tools in order to classify heritage occupations.

2.4.2. Specific objective n°2 in the field of Skills enhancement: Creation of a Network of Experts and a community of practice

Applicants should describe how the project will support evidence-based assessment processes and specialist certification schemes in order to promote high quality standards in safeguarding cultural heritage through the recruitment of skilled and experienced professionals.

Following the recommendation of the OMC Report on heritage skills, applicants should describe how the project will create a Network of Experts tasked with linking materials used make craft preservation more difficult, as does loss of material resources (from modern agricultural practices, for example) or gentrification.

at the European level the profiles of experts in cultural heritage. This Network of Experts should then be linked to the "ESCO communities"11.

2.4.3. Specific objective n°3 in the field of Skills enhancement: To complement the EU Skills Panorama on CCIs

The EU Skills Panorama12 is a tool by the European Commission and powered by Cedefop, the European Centre for the Development of Vocational Training. The goal of the EU Skills Panorama is to gather and give information on skills (in particular on skills gaps) by economic sector/region. It aims to foster the development or improvement of skill needs assessment and anticipation. In this way, it can help education and training systems to become more responsive to labour market needs and to better match skill supply and demand across the EU.

Applicants will elaborate on how this project will look at gaps on specific CCI skills in specific sectors/ regions and link up with Cedefop to complement the EU Skills Panorama on CCIs.

2.4.4. Specific objective n°4 in the field of Skills enhancement: Analysis of education and skills enhancement for cultural heritage

Applicants will describe how they intend to analyse formal and non formal education for the heritage sector, building on the outcomes of the OMC report on heritage professions and the cases presented there and further examine the following questions:

  • -  How the prevalence of theoretical education and reduced time allocated to teaching practical skills impacts the transmission of skills at risks;

  • -  How heritage courses can focus more on new skills, including digital skills (starting by the good practice given in the OMC report);

  • -  How to help to change the social image of apprenticeships and vocational training linked to heritage to make it appeal more to young people (f.ex. through mixing traditional skills with new technologies or in maker-spaces to create new job opportunities in a playful way)

  • -  How to increase the focus on interdisciplinary working and decision-making skills and increase the emphasis on design, assessment and review of innovative solutions;

  • -  How to improve the correlation and cooperation between academic training and the heritage competences requirements of the labour market and creative industries;

  • -  What actions to take to ensure that important skills in cultural heritage at risk of disappearing are transferred to the next generations;

  • -  How to best enhance crucial skills for the heritage professions (such as management, business, digital, negotiation, audience development,...)

    11 ESCO needs to be continuously improved to remain an added value for the labour market and the education and training systems, as new emerging occupations and skills are regularly requested by employers and changes in curricula and in terminology are also regularly introduced in education and training programmes. To address these changes it is important to share frequently feedback, suggestions and proposals on how to improve the content and management of the classification with organisations using ESCO and other ESCO stakeholders. Several “ESCO community for a will be organised by ESCO, which should be regularly in touch with different ESCO stakeholders and gather information from them and be accessible from the ESCO portal.


2.4.5. Specific objective n°5 in the field of Skills enhancement: Quality standards

The quality of education and training programmes (including lifelong learning opportunities) in cultural heritage has a direct impact on the attainment of quality outcomes in cultural interventions.

Applicants will describe how they will take into account the results of the work on Quality principles for EU-funded interventions on cultural heritage carried out by the Commission in the framework of the European Year of Cultural heritage. It will investigate the possibility to develop a quality seal for digital knowledge transfer on cultural heritage (and in particular on restoration practices) and also for experts providing services related to restoration/preservation of cultural heritage.

A. Innovation in heritage: mapping, testing prototyping

2.4.6. Specific objective n°6 in the field of testing innovative approaches: Innovation in heritage: mapping, testing prototyping

Applicants will describe how this second phase of the FLIP for CCIs pilot project will look at innovative ways of skills development linked to cultural heritage at different levels (this could be training school children via creative hubs and innovation labs on hands-on skills, maker skills, traditional crafts as well as new technologies, 3D, VR etc., but also professional CCI training in innovative ways).

Applicants will describe how they envisage regions to help to innovate and improve learning and skills development, by better linking the traditional education sector with the skills required in today's cultural and creative sectors.

2.4.7. Specific objective n°7 in the field of testing innovative approaches: Innovation and the life-cycle of heritage professions

Applicants will describe how they intend to build on the outcomes of the OMC report on heritage professions, which identifies four development phases in the workforce lifecycle of heritage professionals: (i) awareness raising: first steps when people encounter cultural heritage; (ii) formal education: almost always needed to be a professional in cultural heritage; (iii) lifelong learning: how professionals maintain and enhance their specialisation; and (iv) knowledge transfer: how they successfully transmit their knowledge to the next generation.

Applicants will explain how they intend to investigate the way learning and skills development for professionals in other sectors whose work impacts on cultural heritage can provide them with the competences and transversal skills required to work on cultural heritage.


Applicants will describe how they intend to investigate how to improve mutual learning and cross-sectoral exchange among centres of excellence, particularly with the creative and digital sectors as well as education and training providers and research institutes, employer bodies, employment and tourism and to develop closer links between national and regional cultural authorities and other relevant sectors.

Applicants will show their approach to the following issues to be examined:

  • -  Awareness raising – developing best practice and innovative ways for involving and engaging the joung generations and promoting careers in cultural heritage and addressing skills at risk, including trough media and new technologies, cultural heritage apprenticeships and volunteering activities;

  • -  Formal education - testing New Learning Approaches and Training Formats, bridging the gaps between academic and vocational training, promoting work-based learning and bridging research and practice within various fields of cultural heritage. The project should take into consideration the current change in learning approaches and training formats that is being experienced across Europe, with a shift towards informal learning and social learning. New learning theories such as experience pedagogy, lifelong learning (which is dealt with in further detail in the OMC report on heritage professions section) are being developed where there is a focus on talent and ethical values. New and improved training formats such as dual education (a combination of working and learning), apprenticeships, E-learning, blended learning and crossover training are also emerging, which can have benefits for the heritage sector.

  • -  Lifelong learning – testing new approaches and formats for heritage professionals to improve maintain and enhance their skills and knowledge and develop digital skills

  • -  Knowledge transfer – testing innovative approaches, including by use of media and new technologies, to support knowledge collection and transfer, in particular at the time of retiring.

2.4.8. Specific objective n°8 in the field of testing innovative approaches: The actors and spaces for innovation for heritage

Applicants will describe how they intend to map the selected good practice examples given in the OMC report on heritage professions and do a short mapping of the spaces where heritage skills are innovatively linked to creative industries and provide examples in different EU countries/regions, going beyond the mentioned OMC report's cases.

Applicants will also describe how they will look at actors of innovation in heritage, such as the teaching of ancient skills linked to innovative uses in creative industries, how creative hubs can promote heritage skills in innovative and inclusive ways (such as maker-spaces where the elderly show young people forgotten skills, or via involvement of migrants, or how schools can be involved with creative hubs and other third spaces to give new meanings to cultural heritage and to ensure its relevance also for future generations, and also how heritage can help to create jobs for young people in innovative ways, including gaming, VR, but also hands-on crafts, intangible heritage and its reinterpretation etc.).

To this end, applicants will describe how they intend to write a concept report with cases and organise a stakeholders' meeting on Innovation in heritage, including relevant actors involved, such as heritage professionals, CCI professionals, regional policy-makers and academia and revise the report to take into account the feedback received by stakeholder at the conference.


B. Peer learning / mobility

2.4.9. Specific objective n°9 in the field of testing innovative approaches: Peer learning / mobility

Applicants will describe how they will identify, prototype and test some innovative approaches via a participatory peer learning approach, involving regions, municipalities, local authorities, local cultural and creative, cultural heritage apprentices, students, university teachers, craft instructors and other heritage professionals, as well as other communities in an inclusive way.

Applicants will describe how they will also shape incentives targeted at improving the capability of the traditional education system to work together with the heritage sector and CCIs including through the organisation of workshops and seminars and showcase events and promote innovative training models through learning laboratories and creative hubs.

Applicants will focus on explaining how they plan to organise two types of mobility schemes:

(a) Study visits to interesting cases and communities of practice

Starting from the selected good practice examples given in the OMC report on heritage professions, to organise study visits to selected places and competence centers with the aim of contributing to the development of a communities of practice for the cultural heritage sector.

(b) peer-to-peer mobility

A small-scale mobility scheme for cultural heritage apprentices, students, university teachers, craft instructors and other heritage professionals to creative hubs, maker spaces and other third places and creative industries with the aim of increasing cross-sectoral links and potential job, practical skills development and networking opportunities. The activity should be linked to the peer-to-peer mobility scheme of the European Creative Hubs Network13, previously developed under the Creative Europe Programme.


The expected results of the proposal are:

  • -  Strengthened trans-national and cross-sectoral cooperation of cultural heritage and formal and non-formal learning and skills development;

  • -  Better employability of cultural heritage professionals and closer contacts of cultural heritage education and skills development with the labour market and CCIs

  • -  Stronger connections and networking of cultural heritage sectors with creative industries and "third places" such as creative hubs, maker spaces, fablabs, cultural centers, community centers or other;

  • -  Enhanced exchanges of experience, learning, skills development and practical testing and cooperation opportunities;

  • -  Facilitation of peer learning and exchance of good practice;

  • -  Improvement of cultural heritage skills

  • -  Improved of statistics and data on the labour market for the cultural heritage sector

  • -  Recommendations for further policy making at EU, national, regional and local level

    The proposal should explain in detail how swift coordination with the FLIP-1 project will be ensured.

The proposal should explain how the expected results will be achieved through the following expected outputs:


2.6.1. Short paper

At the beginning of the project, a short paper (2-5 pages) concerning the planned activities should be provided, together with a tentative timetable (with tentative dates) for the upcoming activities of the first 6 months.

The paper should also include a short description of how the project will coordinate its upcoming activities and exploit synergies with the FLIP-1 project.

2.6.2. Organisation of thematic conferences and workshops, networking meetings, skills development actions, peer-to-peer mobility, communities of practice, study-visits

In order to implement the specific objectives 1-9, applicants should describe how they will help to put in place thematic conferences and workshops, networking meetings, skills development actions, peer-to-peer exchanges (in particular the one mentioned under Specific objective n° 9 involving the European Creative Hubs Network), study- visits and communities of practice and make a proposal concerning their number, timing, tentative places, resources needed and other relevant information.

Applicants should describe the organisation of a stakeholders' meeting on innovation in heritage mentioned under Specific objective n° 8. Such stakeholders would include, among others, heritage professionals, CCI professionals, regional policy-makers and academia as well as participants from the FLIP-1 project.


2.6.3. Organisation of a launching and a closing conference

Proposals would need to contain information on the following points:

  •   Organisation of a launching conference at the beginning of the project of up to 150- 200 participants from the creative/cultural/heritage community, the different relevant networks and projects, policy-makers, as well as the press and other participants, in particular also from the FLIP-1 project. This conference should aim at, inter alia, discussing the needs of and gathering suggestions from the participants. Press coverage of the event as well as using appropriate innovative communication channels and innovative conference methods will be crucial for the success and visibility of the event.

  •   A closing conference in Brussels of up to 150-200 participants should take place towards the end of the project. The event should give maximum visibility to the project and to the participating cultural and creative networks and their community in order to present their activities, project results and study reports. The conference should also provide cultural/creative/heritage sectors networking opportunities, including through interaction between the participants.

    In particular for the closing conference, the active involvement of the European Parliament (EP) as well as other relevant institutions (Commission, business organisations, cultural and creative sectors and networks etc.) should actively be strived for. The participation of representatives from a maximum number of countries should be sought, in order to achieve a sufficient degree of geographical balance. The Commission will give its approval on the event details, including location, programme, list of speakers and invitees before final arrangements are made.

2.6.4. Enhancing web and social media presence

The proposal should explain in detail how the project will garner visibility through enhanced online presence, for example on the website(s) and social media account(s) and page(s) (Twitter, Facebook, etc.) of the applicant, the partner(s) and the EU institutions. In addition, the proposal will also explain how the project's website will showcase interesting relevant resources elaborated by other relevant EU-projects funded under Creative Europe, Cosme, Horizon, Erasmus, ERDF/ESF, Interreg and other.

The website or section(s) of the website(s) dedicated to the project should also include, inter alia, useful links to EU funding for cultural and creative sectors and its relevant national/local contact points as well as national and other relevant funding opportunities and contacts for the cultural and creative sector.

The applicant should describe what actions will be undertaken to maintain and update over time, also after the end of the project, the web and social media presence, always with a view to enhance the core aspects of the project.


2.6.5. Other outputs and final study (including concept papers, best practice catalogues/papers/MOOCs14 and other visual material/, support actions, guidelines, lessons to be learnt, recommendations)

Proposals should contain information on the following:

  • -  Concept report (with cases) on innovation in heritage, taking into account the input received at the stakeholders' meeting

  • -  Skills classification system support actions (what exactly is planned and how),

  • -  Guidelines for skills development, activities and dissemination

  • -  Good practice cases and showcase events on innovative models

  • -  Content of the final study, including best practices, conclusions and


The final study is in addition to the administrative operational reports, and will be shared in advance and discussed with participants during the final conference.



Scheduled start-up date for the action is planned to be as soon as possible upon signature of grant agreement but no later than 1 March 2020. The intention is to inform applicants of the outcome of the award procedure no later than the month of November 2019.

The duration of the project shall be 28 months.

The period of eligibility of costs will start on the day the grant agreement is signed by the last party.

The Procedural timeline for the call for proposals is:


(a) Publication of the call

May 2019

(b) Deadline for submitting applications

12 August 2019

(c) Evaluation period

August - October 2019

(d) Information to applicants

November 2019

(e) Signature of grant agreement

December 2019


Starting date of the action

Beginning of 2020


Kick-off meeting with the Commission

February/March 2020


End date of the action

Starting date + max 28 months



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