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?

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Los emprendedores creativos y gestores culturales en distintas geografías y sectores de las industrias creativas hacen frente al reto de obtener financiación para desarrollar sus proyectos. El Crowdfunding o financiación colectiva ofrece una alternativa viable a la financiación tanto para emprendedores como para ONGs.
For the Goethe-Institut as the initiator of cultural programmes, sustainability and resource management in cultural work is an important issue. With its collection of strategies and tools, the Inspirador is a useful collection of ideas for sustainable cultural management.
This IETM Porto workshop tried to articulate the challenges that art professionals in different countries face when making and touring their work, with the aim of identifying key factors for creating greater equity and mutual understanding. The workshop also looked at the different ways art markets function across countries, different opportunities, constraints, regulations that come along, and the concept of an art market itself.
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.
In collaboration with On the Move and DutchCulture , we have published a new Toolkit for fairer international collaborations, written by Mike van Graan. The publication explores why and how artists and cultural professionals can adopt a more equitable approach to international and intercultural collaborations.
Is there an ‘expiry date’ for being an emerging artist? What if an artist’s career veers off the trodden paths and traditional routes, and keeps on emerging in new environments and in new shapes?
As the title of this toolkit suggests, evaluation should indeed be understood as a journey. It gains relevance when it is integrated in and informs regular work, rather than seen as a separate chap- ter, done for extrinsic purposes. Evaluation also becomes more useful when performed as an iter- ative process, which allows for long-term learning.
This book is a compilation of the papers presented at the Final Conference of the COST Action Investigating Cultural Sustainability, that took place in Helsinki in May 2015. It presents several very different perspectives on how the idea of culture in sustainability was interpreted and approached, showing the diversity of the issues that have been discussed and need to be taken into account when talking about culture in sustainability.

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