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.


 

Zurück zur Sache, Schätzchen . #allesdichtmachen: Debatte ohne Bodenhaftung
Back to the point, sweetie . #allesdichtmachen: Debate loosing touch with the ground

by Nils Markwardt (02 May 2021)
Original source: Deutschlandfunk Kultur

Referring to Peter Sloterdijk's Luhmann critique, Niklas Markwardt accuses the actors of #allesdichtmachen of no longer asking about the what as the core, but only about the how. Their critique is thus merely a second-order observation in the system-theoretical sense, which is why Markwardt calls for "back to the matter, darling" in an already arrogant manner. What the philosopher overlooks here: The second-order meta-reflection of reality has always been art's very own quality. It is precisely the artistic refraction of reality that constitutes its str ength.

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tag #allesdichtmachten Niklas Luhmann Peter Sloterdijk Systemtheorie Philosophie Schauspieler*innen Ironie
All sections Statement

#allesdichtmachen: Die infektiösen Folgen der Infodemie
#allesdichtmachen: Die infectious consequences of the infodemic

by Markus Gabriel (26 Apr 2021)
Original source: Frankfurter Rundschau

The philosopher misses too much the humanities that reflect media and artistic discourses such as those triggered by the actors' videos of #allesdichtmachen. He sees the quality of artistic statements precisely in addressing mechanisms and stereotypes in relation to Corona. Instead of classifying and analysing, he accuses the media of being too willing to let social media such as "some arbitrary Twitter account lead the thought process" - infodemics as twittocracy.

tag #allesdichtmachten Jan Josef Liefers Ulrike Folkerts Twittokratie Infodemie Schauspieler*innen Philosophie
Performing Arts/ Cinema Statement

Darum ist Liefers' Kritik so wichtig!
This is why Liefer's critique is so imporant!

by Ralf Schuler (25 Apr 2021)
Original source: Bild

In his commentary, Schuler points to parallels between the actors' contributions to #allesdichtmachten and the strategies of dissidents in the GDR. The ironic exaggeration in Jan Josef Liefer's contribution in particular resembles that of a submissive party obeisance, which at the same time undermines the party line. With this East German perspective in mind, Schuler points out: "Perhaps in the end it really is the biographical background that makes people more sensitive to the mechanisms of conformity pressure, which today no longer emanate from a repressiv e state apparatus, but more and more often from a political-media group dynamic."

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tag #allesdichtmachten DDR Gruppendynamik Schauspieler*innen 1989
Performing Arts/ Cinema Kommentar

Sind die #Allesdichtmachen-Videos gerechtfertigt?
Are the #Allesdichtmachen videos justifiable?

by Jennifer Wilton, Andreas Rosenfelder (25 Apr 2021)
Original source: Welt

One accusation against the actors who took part in the #allesdichtmachen action is that they have no empathy for the Corona patients. Andreas Rosenfelder shows from the reactions to the action that their critics lack empathy. The actors, on the other hand, have shown that they can empathise with the worries and needs of a society in a state of emergency.  Jennifer Wilton finds the action less convincing. She feels that the clips not only lack content, but for her the videos express mockery, irony and cynicism that affect people who have been living in cons tant fear for a year. 

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tag #allesdichtmachten Schauspieler*innen Empathie Satire Angst Unsicherheit
Performing Arts/ Cinema Statement

Guérot: „Es gibt keinen Raum mehr für legitime Kritik“
Guérot: „Es gibt keinen Raum mehr für legitime Kritik“

by Ulrike Guérot, Stephanie Rohde (24 Apr 2021)
Original source: Deutschlandfunk

The political scientist and co-signatory of the "Open Society Manifesto" considers the #allesdichtmachen campaign an important initiative. She personally understood the irony in the contributions. She finds it worrying that the actors in the homogenised media landscape of the pandemic are exposed to a shit storm, because this pushes legitimate criticism into a right-wing corner where it does not belong to.

tag #allesdichtmachten Jan Josef Liefers Meret Becker Ulrich Tukur Schauspieler*innen Kritisches Potential der Kunst homogenisierte Medienlandschaft Legitimität Dietrich BrüggemannSelbstverantwortung Gelassenheit
All sections Interview

Kultur ist kein Sahnehäubchen . Warum wir Theater, Kino und Buchhandlungen jetzt sofort öffnen müssen
Culture is not icing on the cake . Why we need to open theaters, cinemas and bookstores right now

by Alexander Skipis (23 Feb 2021)
Original source: FAZ

Applying the concept of catharsis introduced by Aristotle in his Poetics, Alexander Skipis, Chief Executive of the German Publishers & Booksellers Association, goes back very far in cultural history to describe the impact of the pandemic on the population. The release of strong feelings through reflection and witnessing in art and literature is only possible to a very limited extent during the lockdown. Even as policymakers attempt to compensate for the economic losses suffered by cultural producers, they fail to provide the consumer relief functions paraphrased by t he term catharsis. Skipis therefore combines his plea for the rapid opening of cultural institutions and bookstores with a warning about the mental damage to society that the pandemic has already triggered and the extent of which cannot yet be foreseen.

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tag Lockdown Systemrelevanz Katharsis
All sections Kommentar

»Diese Selbstverständlichkeit ist passé!« . Neustart des Musiklebens
»This matter of course is passé!« . Restart of the musical life

by Marie König, Frauke Roth (15 Feb 2021)
Original source: Deutschlandfunk

Although an opening prospect is not yet in sight, but subscribers are already waiting impatiently for the start of concerts at the Dresden Philharmonic. How the upcoming concerts might look, however, is still unclear. At the moment, no tickets are being sold, as the experience of last year has created a great deal of uncertainty for everyone involved. Nevertheless, the artistic director of the Dresden Philharmonic, Marie König, is looking positively into the future. Not only does her house have an excellent ventilation system, but last fall also showed that visitors are taking advantage of the event dates on offer. If a checkerboard pattern could be offered to the audience, then the sense of community that is created at a concert could also be re-established.
As a long-term consequence for the concert business, she sees that the belief in planning security - both in terms of performances and for tours - has been permanently shaken. The long planning cycles that existed before the crisis will no longer exist after the crisis. There will also be increased attention to the fact that events where many people come together in small spaces will not take place for a while. In Dresden, for example, the concert introduction will no longer be offered as a face-to-face event, but as a podcast.

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tag Lockdown Öffnung Programmplanung Schachbrettmuster Dresdner Philharmonie gemeinschaftliches Erlebnis
Music Interview

»Bei Öffnungen muss die Kultur dabei sein«
»Easings need to include culture«

by Carsten Brosda, Daniel Kaiser (11 Feb 2021)
Original source: NDR Kultur

The politicians' promise to present a step-by-step plan for a way out of the lockdown in mid-February was not fulfilled. Some ministers of culture have submitted a proposal that was not taken into account in the federal and state consultations. The question of how efficient the lockdown and the measures associated with it are is being raised more and more loudly. In an interview with NDR, Hamburg's Senator for Culture calls for a little patience. He hopes that the proposed gradual regulation for the opening of cultural institutions will also be implemented in par allel with retail and restaurants, also because of the excellent hygiene concepts in the institutions, so that culture is not disadvantaged as it was last autumn. In this context, he can hardly understand why the opening of hairdressing salons is currently being given priority. At the same time, he is concerned about the long-term consequences for cultural workers of the extension of the lockdown. At least in Hamburg, he does not see the financing of cultural institutions in jeopardy for the next two years. However, there will be no return to a cultural landscape like before the crisis, if only because the ranks of the players are thinning out.

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tag Lockdown Öffnung Kulturfinanzierung Friseursalons stiller Tod Perspektive
All sections Interview

Beendet den kulturellen Notstand! . 100 Tage Kultur im Lockdown
Stop the cultural emergency! . 100 Days of Culture in Lockdown

by René Schlott (08 Feb 2021)
Original source: Deutschlandfunk Kultur

Cultural institutions in Germany have been closed for 100 days. The representatives of the interests of those working in the cultural sector are barely succeeding in making their voices heard. Emergency decisions such as the closure of all Berlin theaters until Easter are hailed as a victory for planning security, rather than a loss of cultural participation. Instead - as historian René Schlott notes with surprise - statements that fuel the closure of the theaters are increasingly heard in the media. For example, the cancellation of the Leipzig Book Fair was greet ed with hope in a Berlin newspaper as a sign that other major events will soon be canceled.Positive examples such as the successful staging of the Salzburg Festival are no longer mentioned.  On the last weekend in January, the mayor of Marseille, Benoît Payan, declared a »cultural state of emergency« as part of the »Théatres Ouverts« initiative. This must also be ended as quickly as possible in our country.

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tag kultureller Notstand Lockdown Theater Museen Planungssicherheit Benoît Payan Théatres Ouverts Berichterstattung
All sections Appell

Ein Jahr ohne Werke . Was es für das Musikleben bedeutet, wenn Verlage um ihr Überleben kämpfen
A year without pieces . What it means for musical life when publishing houses fight for their survival

by Merle Krafeld (03 Feb 2021)
Original source: VAN Magazin für klassische Musik

Music publishers play an important role in the cultural ecosystem. Not only do they promote the work of composers, but they also produce well thought-out sheet music in individual parts, ensure good binding quality of the sheet music and produce new editions of historical works. To do this, they conduct study of sources and work with scientific precision. The publishers therefore generate income not only from the sale of sheet music, but above all from the lending of scores of mostly copyrighted works to orchestras and choirs. The rental fees are made up of various facto rs such as the length and instrumentation of the work, the number of performances and seats available for sale. Last year, the turnover from rental fees for music publishers collapsed by up to 80 per cent. In addition to lending fees, publishers and rights holders also lost income from distributions by the German Performing Rights Society (GEMA) and foreign collecting societies as well as the German Music Edition Society (VG Musikedition). Since royalties are usually only paid out in the following year, the loss of income will not be felt until 2021. Publishers who specialise in choral music are also particularly affected, as it is not foreseeable here when rehearsals can be resumed. In the lockdown, only the purchase of individual parts and chamber music with small ensembles boomed. Henle-Verlag, which serves this segment with an app, among other things, is the only publishing house that recorded an increase in turnover in 2020.
As long as there is no planning security in the cultural sector, the sale and rental of sheet music will not increase. The staff of the publishing houses are therefore currently on short-time work and at the same time working flat out to offer works with a small line-up.
Many publishers are currently falling through the cracks of the aid payments because they are either too small or too big. The Neustart Kultur programme can compensate for turnover losses from the rental sector, but only 30 per cent of the lost turnover from April to November 2020, against which aid already received, such as short-time allowance, must be offset. So in the end, the aid is just a drop in the ocean.

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tag Musikverlage GEMA Planungssicherheit Chormusik Leihverkehr Kurzarbeit Neustart Kultur
Music Bericht

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Facing arts is a non-profi project. Feel free to support it and get in touch with us!

The Team

Facing arts is a projet by STORM.

STORM is an acronym playing with the initials by Miriam Seidler & Tim Otto Roth, who are hit both by the Corona crisis. Dr. Miriam Seidler is a scholar in German literature and currently works as specialist in public relations. Dr. Tim Otto Roth is a scholar in art and science history and works as a conceptual artist and composer. He is known for his huge projects in public space, cooperations with leading scientific institutions and his immersive sound and light installations. Miriam and Tim collaborate regularly for years. With facing arts they reaslize their first common art project.
You find more informatin on both initiators on www.miriamseidler.de and www.imachination.net.

Special thanks to Paco Croket for the tag cloud programming!

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