Quo vadis ars?
The situation in the cultural sector has been
described and discussed in numerous interviews, corona diaries,
comments and reports in the past few weeks. Our annotated
collection
of currently 193 sources
gathers voices from different sectors and media.
This creates a picture of the cultural landscape in crisis,
whose temporal transformation can be explored interactively
via a dedicated
tag cloud.
»Wir sollten uns nicht hyperüberschätzen« . Amelie Deuflhard zum Theater-Lockdown
»We should not hyper-overestimate ourselves« . Amelie Deuflhard about the theatre lockdown
by Amelie Deuflhard, Vladimir Balzer (05 Nov 2020)
Original source: Deutschlandfunk Kultur
Planning reliability is what cultural institutions need most urgently at the moment. The employees at many institutions continue to work, but the feeling of producing into a void is a great burden for many. Amelie Deuflhard, artistic director of the 'Kampnagel' theatre in Hamburg, does not want to follow the suggestion of the artistic director of the Schaubühne, Thomas Ostermeier. Just in solidarity with the free theaters, the houses must continue to be played in, even if the situation is uncertain. Nevertheless, she would also like planning reliability, bec ause if a closure beyond November was already determined now, then the houses could consider alternative concepts for their spaces and use the closure for conceptual considerations. Although Deuflhard believes that many theaters in Germany are on the right track, she nevertheless warns that the theater in the present time still appeals to the educated middle classes. Developing new concepts here, also leaving the traditional spaces, addressing target groups and working on the diversification of the theater are some of the tasks that could be tackled. She even goes to that lenghts in times of crisis as to suggest other meaningful tasks for the theater staff - reading aloud in nursing homes, helping out at the health department.
Of course, the state-subsidized institutions in the present are much more likely to allow a positive view of the future than privately run institutions and solo self-employed persons. The precarious employments of the freelancers are also on Deuflhard's imaginary to-do list for crisis closure. Here, however, politics would also have to get involved and consider how to provide rescue for this group to help them survive such a crisis. Here, an unconditional basic income or a solidarity fund are just two ways of stabilizing the sector so that it does not collapse again if a new crisis occurs. It should also be borne in mind that bureaucracy can be reduced as much as possible.
Finally, she points out that all international cooperation is currently frozen. This means that not only an important form of cultural exchange is missing, in many countries there is also no support for artists during the crisis. Read More Read Less
Of course, the state-subsidized institutions in the present are much more likely to allow a positive view of the future than privately run institutions and solo self-employed persons. The precarious employments of the freelancers are also on Deuflhard's imaginary to-do list for crisis closure. Here, however, politics would also have to get involved and consider how to provide rescue for this group to help them survive such a crisis. Here, an unconditional basic income or a solidarity fund are just two ways of stabilizing the sector so that it does not collapse again if a new crisis occurs. It should also be borne in mind that bureaucracy can be reduced as much as possible.
Finally, she points out that all international cooperation is currently frozen. This means that not only an important form of cultural exchange is missing, in many countries there is also no support for artists during the crisis. Read More Read Less
tag Theater Planungssicherheit Privilegien Kultur als Chance Grundeinkommen Demokratisierung Solo-Selbständige Performing Arts/ Cinema Gespräch
Bildet Banden! . Warum der zweite Lockdown für Theater und Künstler*innen wie eine Ohrfeige wirkt
Create gangs! . Why the second lockdown is like a slap in the face for theater and artists
by Georg Kasch (28 Oct 2020)
Original source: Nachtkritik
The location of the theaters is desperate. Not only is a second lockdown imposed on them, they are also classified as "entertainment«, are in a row with gyms, betting shops and brothels. And this despite the fact that the theaters behaved so exemplarily during the lockdown. With streamings they entertained their audience, developed hygiene concepts, and replanned the new season three times. And now?, asks Gerog Kasch in his commentary. The houses have to close their doors again, although even virologists do not consider this step necessary. Can the closure rea lly be justified by the fact that the audience, after the consequent separation, meets in the stalls after the performance to discuss the evening?
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
tag November-Lockdown Unterhaltung Hygienekonzepte Bestandssicherung Grundeinkommen Bauernopfer Krise als Chance Streaming Performing Arts/ Cinema Kommentar
Corona-Pandemie: »Kultur merkwürdigerweise in dieser Krise marginalisiert«
Corona Pandemic: »Culture strangely marginalized during this crisis«
by Julian Nida-Rümelin, Änne Seidel (18 Oct 2020)
Original source: Deutschlandfunk
»Aufstehn für Kultur« [stand up for culture] is an appeal for a demonstration in Munich. The goal is to address as many people interested in culture as possible and to motivate them to participate in the demonstration. The importance of this is explained by one of the initiators, political scientist, philosopher and former Minister of State for Culture Julian Nida-Rümelin, in an interview with the German radio station Deutschlandfunk.
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
tag Grundeinkommen stiller Tod Systemrelevanz Aufstehn für Kultur Lockdown 1929 Depression Kulturstaat All sections Gespräch
Lieber Maler, male mir! . Diskussion über Kunst in Coronakrise
Dear painter, paint for me! . Discussion on art during Corona crisis
by Ingo Arend (08 Jul 2020)
Original source: TAZ
Under the title »Painting by Numbers - Art in the Corona Crisis«, the Green Party in the German Bundestag invited to a discussion about a group that currently plays hardly any role in the public discourse about the Cornona Crisis: the visual artists. At the moment, there is great concern that the money from the economic stimulus package will flow into the support of museums and cultural institutions, but that the artists themselves will go away empty-handed.
The author Ingo Arndt is somewhat irritated by the fact that in the discussion about possible s olutions to the precarious situation of artists, the idea of a New Deal, which Hans Ulrich Obrist brought up in April, has not been taken up. A large-scale acquisition project for museums and public institutions launched by the German government could offer a way out of the crisis by commissioning visual artists.
The author Ingo Arndt is somewhat irritated by the fact that in the discussion about possible s olutions to the precarious situation of artists, the idea of a New Deal, which Hans Ulrich Obrist brought up in April, has not been taken up. A large-scale acquisition project for museums and public institutions launched by the German government could offer a way out of the crisis by commissioning visual artists.
Read More Read Less
