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Alors que dans certains pays d’Europe les arts sont pris au piège des réalités du marché et opprimés par des exigences telles que le surplus économiques, la liberté créative est engloutie par les agendas politiques et étouffée par la présence des états dans les arts.

Libéralisme, liberté, financement public, ingérence étatique ; ces notions - que nous avons tous en tête de temps en temps - sont-elles perçues de la même façon dans des contextes historiques, économiques et sociaux différents ? Cette section nous donne un aperçu des divers paradigmes, défis et aspirations qui prévalent aux quatre coins du monde.

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The text by artist Daniel Buren entitled “Where are the artists?” is emblematic of this long-running discussion. Written in 2003, it is a further development of his earlier short essay “Exhibitions of an exhibition,” written in 1972. In this text, Buren discusses the tendency of curators to increasingly put their own ideas at the forefront, where they take more attention than the actual artworks on display. His short text from 1972 was specifically addressed to the legendary curator Harald Szeemann and his Documenta V
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This report has been written with the aim of investigating and documenting how the State of Emergency (SOE) measures introduced after the July 15, 2016 coup attempt in Turkey have affected the country’s culture and art worlds.
Veem Huis voor Performance - Amsterdam
Elena DI FEDERICO
Fair practice refers to a better labour market position for artists and fair business practices on the part of commissioning clients. The Dutch Fair Practice Code was drawn up jointly by makers, employers, trade unions, professional groups and other partners in the creative and cultural sectors, following a report by the Netherlands’ Council for Culture and Social and Economic Council. The draft version of the Code is now available also in English.
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The current paper presents those processes which characterizes the appointment of a leadership of Hungarian cultural institutions. Public theaters, performing arts institutions and independent theaters stay in the focus of the paper.
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In this article, I attempt to indicate the productive function of censorship based on examples of recent restrictions of creative freedom in Poland, understood as elements of a new political order.
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In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatre in the context of political and social changes. We analyse conditions for freedom of artistic expression and of mechanisms of censorship; we observe significant conflicts and struggles in theatre life, and scrutinize the entanglement of economic, political and aesthetic determinants.
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The new theatre season in Germany, especially in Berlin, has started with a lot of highlights. But the big news was that a group of about 100 German theatre activists called Staub zu Glitzer (Dust to Glitter) squatted in the Berlin Volksbühne between 22-26 September 2017.
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Diversity is a hot topic in UK performing arts as organisations try to better reflect their communities. But are there issues that are still neglected? In the second of a series of two blogs, find out what artists and practitioners think we should be discussing but aren't...
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If Africa is the cradle of civilisation, it is also the birthplace of artistic exploration: this continent produced the rhythms and call-and-response that continue to shape the contemporary music landscape.
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IETM launches the mapping ‘Contemporary Performing Arts in Lebanon: an overview’, which provides an outline of the Lebanese contemporary performing arts field, with its main issues and key actors.

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