Tous 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.

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Ook in de cultuursector blijft ‘duurzaamheid’ een woord dat velen vaker bepleiten dan echt belijden. Mochten we dat discours nu eens hard maken met een fair practice-label voor duurzame cultuurorganisaties, op basis van hun eerlijke arbeidsvoorwaarden voor losse kunstenaars? En niet van bovenuit, maar van onderop. Het is trouwens al bezig: internationaal, maar ook in België. Voor je het weet, komt er een vakbond van kunstenaars van … image© Vincent Lynen
Ai closed his exhibition Ruptures at Denmark’s Faurschou Foundation Copenhagen, in protest at a new law that allows Danish authorities to seize valuables from asylum seekers. “The way I can protest is that I can withdraw my works from that country. It is very simple, very symbolic – I cannot co-exist, I cannot stand in front of these people, and see these policies. It is a personal act, very simple; an artist trying not just to watch events but to act, and I made this decision spontaneously.”
He had gone “from being an artist who makes things, to being an artist who makes things happen.” Is political art becoming a restrictive term?
There is growing international interest in the potential of the cultural and creative industries to drive sustainable development and create inclusive job opportunities. An indication of this is a recent set of UNESCO guidelines on how to measure and compile statistics about the economic contribution of the cultural industries. But should this be the only reason for funding arts and culture? Cultural industries can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing and fashion...
"Accommodations for most performers with disabilities come in the form of renovations to a physical structure. Accommodations for people with invisible disabilities require a change to an internal people structure." Source: HowlRound
"There is no justification for saying that a poem is intrinsically better than a rap: all that matters is what the poem and the rap bring into existence, their intrinsic quality and the response they can draw from readers or listeners. And yet, cultural policy is still largely constructed on the idea that certain forms, as practiced by certain social groups, are necessarily more valuable than others. If democracy means anything in this diverse world, it means that such prejudgements should not be built into policy. Some art is great. Some art is awful. Some art expresses all that is best...
"An art career is always an investment, and a risky one at best. That being said, understanding the art industry and being able to build a clear intelligent plan is going to move mountains for the financial results of your practice. Career planning isn't just for CEOs and suits."
“There was a group of men inside, some in uniform and others in plainclothes. They started shouting at me and asking me what my religion was,” he said. “Then they started asking about comics. I was confused.”
Europe has a ‘problem’; it is becoming a ‘less cultural continent’ as fewer Europeans are ‘engaging in cultural activities’. This paper questions the existence of this ‘problem’ and instead suggests that there is a shared problematisation across Europe sustained by common discursive archaeology that employs various discursive strands in relation to a dominant institutional discourse. The argument is that the ‘problem’ of ‘non-participation’ legitimates a ‘solution’ that predates its emergence: the state subsidy of arts organisations.
"I argue that various contemporary artworks have a potential very few cultural practices have: namely that they are able to create a space of the potentials of nothingness in which we do not simply think, but also exist without prescriptions." Article by Délia Vékony, an art historian, a full-time lecturer at the Department of Arts Management, International Business School, Budapest. Source: Seismopolite (Journal of Art and Politics)

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