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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The Arts Council England commissioned Golant Media to carry out research seeking answers to three questions. How is resilience currently understood in the arts and culture sector? Are organisations becoming more resilient and, if so, how are they doing this?​ What opportunities might there be to develop the sector’s resilience in the future?​
Our newest Toolkit builds on the discussions on advocacy held at IETM meetings since 2008 and on concrete actions carried out by IETM members in different countries. The publication summarises the key elements of advocacy, presents some inspiring practical cases from different countries, and offers links to practical resources - all freely available online - to develop a thorough advocacy action
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.
Salient Censorhip - report cover
This publication is a dossier with contextual information concerning censorship of art, and the official encouragement of self-censorship, on the Master of Fine Art Programme at Glasgow School of Art during 2017 and 2018.
Like a lot of freelance artists, what I get paid ranges from a lot to nothing, according to the commissioner’s resources, what I’ve been asked to do, and my own wish to do it. So my choices about what work to take on hover between interest and need, but at least I get to choose. But what about the non-professional artists, the people who participate in art projects? What choices do they have?
How can we make it possible to extend the performing arts beyond their conventional live existence? How can we allow our performances to be seen and experienced by a broader public, not restricted by the place and time in which they were conceived and presented? How can we build the heritage and history of live arts? What are the various means of archiving our art form, and how does each of these affect the content and meaning of the piece, if at all?
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 making process...
Last Sunday my ten-year-old nephew asked me an impossible question: 'Uncle Caspar, what is art?' 'Jeez... that's a really big question.' 'But you make art, right?'
A new study, drawing on 1.5 million images of cultural spaces in London and New York, finds that cultural capital is a key contributor to urban economic growth.

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