Sustainability

How to make a living as an artist? How to survive as an arts organisation?

As we continue struggle out of the crisis, we must give ourselves a chance; not for survival, but for success.  

To start with, let's reassess our professional strategies and business models. How do we use our potential and our resources? How do we contribute to the sustainability of the environment we work and live in? What does sustainability in the arts mean and how to achieve it? And what role can the arts play in that wider issue: helping to save the planet, the environment we live and work in?

fbittencourt
Did you know that $3.3 billion of public money is dedicated to culture in Paris every year? Moscow and London are not too far behind, receiving $2.4 billion and $1.6 billion respectively.
Parental Ctrl by Ferenc Sinkó in collaboration with kata bodoki-halmen, Kinga Ötvös, Krisztina Sipos. Producer: Kinga Kelemen/GroundFloor Group. Photo by Roland Váczi.
corinabucea
IETM recently hosted its Plenary Meeting in Bucharest, Romania, with a particular focus on the current position of the artist in contemporary societies, as well as on the financial and social conditions of pursuing a career in the arts. This series of articles reveals what is to be an artist in today's Romania. From the perspective of the self-proclaimed (and later, experience-proclaimed) cultural manager, there is a small detail about my field of work that has constantly made me wonder about our status: the fact that our backgrounds and the paths that brought most of us here are suspiciously...
Joris JANSSENS
In 2017, Joris Janssens (Flanders Arts Institute) was invited at the Producers Network Meeting & Forum in West Kowloon Cultural District (Hong Kong) to share the experiences from Flanders and Europe with international networking since the 1980s - in order to inspire the development of this new Asian network with European experiences.
Iulia POPOVICI
Iulia Popovici describes the challenges faced by the independent performing arts sector in a country where public theatres monopolise the majority of fundings.
fbittencourt
This political moment is the opportunity of a lifetime to change our business practices, to call for organization, discourse, and reform within our own community. We can “drain the swamp.”
Ioana TAMAS
When addressing the status of artists in Romania, the general conversation tends to be about the low income and inadequate social services for those working in the arts. The creative ecosystem is viewed as unpaired, and therefore worthy of a distinct status within society.
Elena DI FEDERICO
When we talk about equity, it is often about tangible resources: Income, funding, food, housing, access to green space, etc. Rarely do we recognize that time is just as critical a resource, and that it is also inequitably distributed.
Theodor-Cristia...
IETM gets ready to host its Plenary Meeting in Bucharest, Romania, with a particular focus on the current position of the artist in contemporary societies, as well as on the financial and social conditions of pursuing a career in the arts. This series of articles reveals what is to be an artist in today's Romania.
Constantina Pap...
The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts.
fbittencourt
Unpaid or ‘free’ labour is an important element of how precarity has been theorized. It is also an issue that is often seen as endemic to cultural and creative work, rightly attracting a range of criticism.

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