Durabilité

Comment gagner sa vie en étant artiste ?

Tout en continuant de nous battre pour sortir de la crise, nous devons nous donner la chance, non pas de survivre, mais de réussir.

Pour commencer, réévaluons nos stratégies professionnelles et les modèles correspondant à nos métiers. Comment utilisons-nous notre potentiel et nos ressources ? Que signifie le terme durabilité pour les arts, et comment l’atteindre ? Quel rôle les arts peuvent-ils jouer face à un problème de plus grande envergure : aider à sauver la planète, l’environnement dans lequel nous vivons et travaillons ?

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Performing arts practices of today survive in a peculiar ecology thanks to the role given to various cultural institutions, whose mission is no longer to produce art but to reproduce a consumerist relation to work in art, whereby the artists grow less and less present through their artworks and more and more through their labour.
Seven lessons learnt during a brainstorm at the IETM Plenary Meeting in Rijeka (24 October 2019)
Bringing concrete examples from the Adriatic area, this book brings advice on how to reduce the impact that waste generated at events has on the environment in general.
©Illias Teirlinck
According to Bruno Latour, the defining cultural-political issue of our time is not the struggle between the Left and the Right, but that between the Local and the Global attractor.
Olafur Eliasson’s ‘Ice Watch’ outside Tate Modern in London in December 2018 © Daniel Leal-Olivas/AFP/Getty Images
With its calendar of international fairs, the art world has a serious carbon footprint. Simply ‘raising awareness’ is no longer enough.
In this analysis of Australia’s public arts funding, David Pledger correlates the conditions of the small-medium and independent sector with one of the country’s principal river systems.
Climate despair can be stifling for artists or anyone who doesn’t feel like they are doing ‘enough' to impact change. Here’s what creatives can do to fight the climate crisis and find meaning in your work.
This 37-page publication, written by Toni González-Escena Internacional, gathers all the necessary information so that organizations and artists of the performing arts and music can answer the key questions: what are we? what do we do? why do we do it? how do we do it? what we offer? and what is our trajectory and achievements? It also proposes techniques for these artists and organizations to write their own narrative and from it extract communication messages, slogans and keywords necessary for web pages and other communication supports. Furthermore, it contains multiple real-life examples...
There is constant criticism of bodies who fund art. Artists often feel that they are speaking a different language to funders. This IETM Hull report features some concrete ideas on how funding systems could be better aligned with artists' needs.
This research report is written as part of a four-year collaboration project Creative Lenses. It highlights research findings on the use of business model concept in arts and cultural organisations. It also sheds light on the dynamics of business model change in the sector and the role of institutional logic in these processes.

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