Développement des publics

Les artistes donnent un sens aux œuvres d’art, mais le public leur donne la vie – ou vice versa ?

Peu importe pour qui nous créons (ou nous pensons créer) ¬ pour nous-mêmes ou pour eux ¬ sans un public, nous ne pouvons ni prouver la valeur intrinsèque de nos pratiques, ni gagner notre croûte.

Comment pouvons-nous nous assurer que notre société qui change si rapidement n’arrêtera pas de contribuer aux arts ? Comment établir un lien mutuellement enrichissant entre les artistes et leur public ? S’agit-il de relations authentiques ou de stratégies marketing ¬ ou les deux ?

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Why should we do participatory work? Is it possible for cultural institutions to manage cultural democracy? What are the power structures underlying participatory practices? To what extent is the participatory agenda aligned with the neoliberal agenda? How can we rethink participatory theatre? These questions were at the heart of the discussions of this IETM Munich session.
Eclipse Theatre is leading European theatre towards increased diversity – but with Brexit looming, how much longer can it last? Artistic director Dawn Walton tells how the Sheffield-based company is building international networks and encouraging directors to reach diverse audiences and programme work by black artists.
IETM Satellite Wales deepened some of the conversations started during our plenaries in Brussels and Porto around the theme of working outside of the big centres and in rural areas. This report summarises the discussions held during the meeting on the plurality of the concepts of rural, identity, territory, and culture, and brings concrete case studies on inspiring art projects taking place in rural areas.
The present Brainstorming report on “Social Inclusion: partnering with other sectors” is the result of the brainstorming process between 35 participating organizations, both from the cultural and other sectors.
Street art in Stokes Croft, Bristol Photo:  Tim Green aka atoach on Visual hunt / CC BY
Has Arts Council England got cultural democracy wrong? Steven Hadley and Eleonora Belfiore argue for a more thorough questioning of existing hierarchies.
The Artistic creation outside the urban areas session at IETM Porto added new examples of artistic creation and community arts in the rural areas to those that were presented at IETM Brussels 2017, in the "Meanwhile in the Countryside" session. Thus it confirmed the outcome of the IETM Brussels 2017 session: the point is not to bring culture to the countryside, because it is already there; and that one undertaking artistic work in rural areas has to openly listen and interact with the local people, and be receptive to their stories, creating art together with them, not for them.
Samantha Robinson and James Atherton in Andrea Dunbar’s Rita, Sue and Bob Too at the Royal Court, London, in 2018. Photograph: Tristram Kenton for the Guardian
Publicly funded art is still dominated by a privileged elite who fail to engage the majority of the population
Towards cultural democracy: promoting cultural capabilities for everyone is the final report of King’s fourth Cultural Enquiry. On the basis of a 15-month research project, it presents a timely and distinctive vision of how to build a cultural life for the UK that is valuable for everyone, and made by all.
This publication will help you better understand the peculiar utilization of the different social media available nowadays to increase the audience of your organisation.
Upon entering Frieze New York last May, I ran into a colleague with his two small children. As we crossed the threshold of the bustling fair tent, the kids sprang into action, making a beeline for a red Carsten Höller octopus. They promptly plopped down beside it and began a discussion—“What is it made of?” and “Why is it red?” were among preliminary questions.

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