Thèmes

Les « thèmes » sont un flux de ressources générées ou créés par le personnel de l’IETM et par nos membres. Les sujets mis en avant nous semblent actuellement essentiels pour le secteur des arts du spectacle : la relation avec le public, les politiques culturelles de l'UE, la diversité et l’intégration, la durabilité du secteur, la valeur des arts dans la société, et les divers paradigmes, défis et aspirations qui sont vécus aux quatre coins du monde.

Elenq
“Wouldn’t you just die without Mahler?” This classic line from Willy Russell’s Educating Rita, spoken by the broken aesthete Trish, signifies both main character Rita’s entry into the realms of cultured bohemia and the hysterical emotiveness often associated with the late composer. A confession. I used to think I suffered from some mild form of anhedonia, an alienation from responses like those experienced by Trish. An aesthetic deficiency which meant I wasn’t able to be taken cognitive hostage by the cultural works I had consumed after reading heady reviews. Novels that had left the reviewer...
Elenq
The public debate on artist fee guidelines "Who pays the artist?" was the logical next step after BKNL (Beeldende Kunst Nederland) had published results of the second survey on artist fees, published in November 2015. Those results shows that the call for a new directive is widely supported. Artists, art support organisations, arts centres and even the national government, all agree upon the fact that the current situation is unsustainable.
Elenq
The Cultural Value project, supported by the Arts and Humanities Research Council, looked into the question of why the arts and culture matter, and how we capture the effects that they have. The Project had two main objectives. The first was to identify the various components that make up cultural value. And the second was to consider and develop the methodologies and the evidence that might be used to evaluate these components of cultural value.
Elenq
For those steeped in contemporary art theory, walking into Zuccotti Park was an uncanny experience. In a kind of historical displacement, contemporary art was at that moment thrown into relief as a distant prefiguration or prophecy of what was now happening in real time, too close for the comfort of the exhibitions, conferences, and catalogues within which the radical aspirations of contemporary art had sought refuge. As an historiographical provocation, one that admittedly borders on the eschatological, it might be said that this moment of passage represents the end of socially engaged art .
fbittencourt
Arts Rights Justice has written a Public Toolkit Public Toolkit for artists, cultural workers and organisations facing violations of artistic freedom, and for arts associations, networks and cultural organisations that may already have or want to have a role in protecting artists and artistic freedom, as well as for human rights and free speech NGOs that are working on protecting artists and artistic freedom.
Julie Burgheim
Conference "Theatre and Net" (May 2014) by Heinrich Böll Stiftung
Permanently Visible
The last few months have been rather busy- I've moved to Berlin and Sarah is growing a baby! But incase anyone wondered what else we've been up to, here's a round up of a trip I made to an arts conference in Budapest very recently... Arriving in Budapest ahead of the IETM (international Network for Contemporary Performance) I felt rather excited, full of intrigue and anticipation. For those unfamiliar with IETM, it’s members comprise an international body of like-minded arts professionals, coming together twice a year (sometimes more) to thrash out current issues within the arts, share ideas...
Nan van Houte
A rich overview of what the world looks now when it comes to the fundamental right to express oneself and get access to vital information.
Julie Burgheim
Cet article de Benjamin Hoguet cite notamment une création de la compagnie anglaise Blast Theory, KAREN, évoquée dans le mapping Le spectacle vivant à l'ère du numérique : un tour d'horizon.
Julie Burgheim
... tour d’horizon des oeuvres qui, grâce à l’interactivité, parviennent à “mixer les genres”, parviennent à marier au documentaire d’autres démarches artistiques héritées de la bande-dessinée, du jeu, de la fiction, de la médiation culturelle ou encore de la réalité virtuelle

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