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 ?

Marie LE SOURD
One summer evening at Motorco in 2014, what seemed like a typical midlevel rock show had actually come about through exceptional efforts. The headlining act was Poor Rich Boy, a Pakistani ensemble on its first U.S. tour. The tour was made possible by Center Stage, a program funded through the State Department's Bureau of Educational and Cultural Affairs. It helps international artists untangle the web of financial and logistical barriers they must face to tour in the States.
Christoph JANKOWSKI
If you’re a creative or cultural organisation that works (or is looking to work) internationally, then applying for Creative Europe’s Cooperation Projects is probably something you’ve already given serious consideration to. If you haven’t, then you could be missing out on vital opportunities and funding.
Ioana TAMAS
This paper proposes that publicly funded arts and cultural organisations should aspire to, and be funded to, engage in Research and Experimental Development (R&D), particularly that which aims at innovation, that is, new social application
Fernando BITTEN...
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.
Corina BUCEA
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.
Fernando BITTEN...
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.

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