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.
Herbert Grönemeyer will die Reichen schröpfen
Herbert Grönemeyer wants to fleece the rich
by Rainer Hank (15 Nov 2020)
Original source: FAZ
In the business section of the FAZ, Herbert Grönemeyer's suggestion to millionaires in Germany for a solidarity contribution in the Corona crisis is critically examined. Already the reasoning does not convince the journalist Rainer Hank. To pay a contribution for the victims of the crisis solely because of family resemblance is not a conclusive argument. In addition, one has to consider, the musician is quoted as saying, that 75 percent of the previous year's turnover for the month of November is not enough to support the artists. Only a permanent monthly ba sic income can get them through the crisis.
Is an artist like Grönemeyer, who is certainly one of the Corona profiteers because of the royalties for streamed songs, allowed to rise to the position of »lawyer for the disenfranchised«? Especially since the profits are likely to continue even after the crisis. Aren't artists suffering in the pandemic rather from the fact that they cannot perform their art in front of an audience? Shouldn't we therefore stop stylizing art and artists as victims of the pandemic and ask the rich to pay for it? Doesn't this turn cultural workers into a "special-purpose and employment society of the nation", a subdivision of the public service for which the state has to provide?
Looking at the political decisions of the last few months, cultural workers are not only protected by compensation payments from Corona Aid, but also have a lobbyist in the government in the person of Monika Grütters. Tax money for culture is permanently secured. And, according to Hank's argumentation, more than 50 percent of it is borne by the rich. It is therefore not possible to ask them to pay once again.
If the creative artists claim more and more state for themselves, then they regard it as "artist's pension fund". This contradicts the idea of the artistic avant-garde, which propagated an entrepreneurial existence of the artist. For this reason, artists should do without lawyers like Herbert Grönemeyer, who, instead of emphasizing creativity, ingenuity and curiosity, degrades the creative industry to a "public fun industry".
Even though Hank is quite agreeable when he emphasizes that there are winners of the pandemic in the cultural industry as well, it should be remembered that Grönemeyer is not concerned with himself when he calls for the support of the rich. He speaks for the many cultural service providers, e.g. light, sound and event technicians, concert organizers, caterers,....., who have lost their income for months and whose reserves have been used up after 8 months of pandemic. A flourishing industry, which normally does not need any support from the state, but was robbed of its income by the prohibition to work and now needs bridging assistance. Read More Read Less
Is an artist like Grönemeyer, who is certainly one of the Corona profiteers because of the royalties for streamed songs, allowed to rise to the position of »lawyer for the disenfranchised«? Especially since the profits are likely to continue even after the crisis. Aren't artists suffering in the pandemic rather from the fact that they cannot perform their art in front of an audience? Shouldn't we therefore stop stylizing art and artists as victims of the pandemic and ask the rich to pay for it? Doesn't this turn cultural workers into a "special-purpose and employment society of the nation", a subdivision of the public service for which the state has to provide?
Looking at the political decisions of the last few months, cultural workers are not only protected by compensation payments from Corona Aid, but also have a lobbyist in the government in the person of Monika Grütters. Tax money for culture is permanently secured. And, according to Hank's argumentation, more than 50 percent of it is borne by the rich. It is therefore not possible to ask them to pay once again.
If the creative artists claim more and more state for themselves, then they regard it as "artist's pension fund". This contradicts the idea of the artistic avant-garde, which propagated an entrepreneurial existence of the artist. For this reason, artists should do without lawyers like Herbert Grönemeyer, who, instead of emphasizing creativity, ingenuity and curiosity, degrades the creative industry to a "public fun industry".
Even though Hank is quite agreeable when he emphasizes that there are winners of the pandemic in the cultural industry as well, it should be remembered that Grönemeyer is not concerned with himself when he calls for the support of the rich. He speaks for the many cultural service providers, e.g. light, sound and event technicians, concert organizers, caterers,....., who have lost their income for months and whose reserves have been used up after 8 months of pandemic. A flourishing industry, which normally does not need any support from the state, but was robbed of its income by the prohibition to work and now needs bridging assistance. Read More Read Less
tag Novemberhilfe Millionäre Tantieme Corona-Gewinner Herbert Grönemeyer All sections Kommentar
»Ich empfinde die Schließung der Theater als reine Willkür«
»I consider the closure of the theatres as purely arbitrary«
by Dieter Hallervorden, Susanne Lenz (09 Nov 2020)
Original source: Berliner Zeitung
Not proportionality, but arbitrariness is a characteristic feature of the current corona resolutions. Based on this view, the German actor and comedian Dieter Hallervorden has enormous doubts as to whether the closure of the theaters this fall is actually legal. Therefore, as the owner of the Schlosspark Theater in Berlin, he has filed an expedited motion with the Administrative Court against the closure of his theater. In an interview with the Berliner Zeitung, he points out that the German Chancellor, Angela Merkel, has called the theaters "safe places". Basi cally, people come closer to each other at a hairdresser than in a playhouse. He therefore does not see the proportionality that is a prerequisite for the restriction of basic rights. In his expedited motion, he refers to the freedom of the arts as laid down in the German constitution, which he sees endangered by the closure of the theaters. Although he himself has had to contribute a great deal of money in recent months to cover the running costs of the Schlosstheater, the financial loss hurts at most his son, whose inheritance is diminished by this. The successful actor does not seem to be in financial straits for a long time yet.
Hallervorden, who characterizes himself as a rebel, is particularly pleased that he has received a great deal of recognition and approval from the audience. Disappointment is read between the lines when he confirms that although many colleagues wished him success in his application, there was very little active solidarity. Read More Read Less
Hallervorden, who characterizes himself as a rebel, is particularly pleased that he has received a great deal of recognition and approval from the audience. Disappointment is read between the lines when he confirms that although many colleagues wished him success in his application, there was very little active solidarity. Read More Read Less
tag Theater November-Lockdown Verhältnismäßigkeit Eilantrag Grundgesetz Kunstfreiheit Schlosspark Theater Performing Arts/ Cinema Interview
Corona zum Weihnachtsgeschäft: Wie es dem Buchhandel in der Krise geht
Corona for the Christmas business: How the book trade is doing in the crisis
by Michael Wurmitzer (09 Nov 2020)
Original source: Der Standard
Actually, the sales figures for the Austrianbook industry in Corona times look good. Following slumps of minus 41 and minus 65 percent in March and April respectively, the figures for the fall were actually slightly higher than the previous year. But if you take a closer look at the figures, like Helmut Zechner from the bookshop Heyn in Klagenfurt and Chairman of the Austrian Booksellers Association, the situation looks different. If you take the online giant Amazon out of the statistics, the bookstores are left with an annual minus of twelve percent. The can cellation of the Buch Wien book fair and the lockdown now give booksellers reason to fear the worst, as the industry in Austria generates a third of its annual sales in November and December. Contemporary literature in particular is now suffering from the lack of attention to new publications. It is difficult to say whether the lack of readings and events is actually the cause of the drop in sales. Small publishing houses in particular are making a living from live events, while the large corporations have currently stepped up their social media activities and are increasingly offering online readings. On the other hand, small publishers in particular have a more loyal core audience. In addition, many publishers have slimmed down their fall program considerably, while large bookstore chains like Thalia are increasingly focusing on hygiene concepts. Thalia even offers pick-up machines in Vienna to provide customer-friendly service during the crisis. The reduction in value-added tax is also currently a great help to the industry - although there are already indications that this will not be extended beyond the turn of the year. So the only thing that remains to be hoped for is a good Christmas business so that the book industry in Austria can get through the crisis well.
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tag Buchhandel Verlage Buchmesse Amazon Umsatz Weihnachtsgeschäft Hygienekonzept Literature/ Text Bericht
»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
Geld ist im Übermaß vorhanden . Corona-Hilfen für Künstler
Money is available in abundance . Corona aids for artists
by Herbert Grönemeyer (04 Nov 2020)
Original source: Zeit
The musician Herbert Grönemeyer reevaluates the »Unterhaltung« as German expression for entertainment, interpreting the term as "holding from below". Here people find help and confidence when they are sad or frustrated. But they can also express their joy. Due to the absence of live performances, the audience is deprived of this valve. No more refuge or substitute world. Reality remains and with it spaces for stupidity and crude theories. The soul of the society is endangered and consequently the social cohesion as a whole. The impa ct on the existence of the many workers who make live events possible in the first place is in this understanding only a symptom of the erosion of society. How to counteract this process? How to ensure that live events are possible again after the crisis? This is where Grönemeyer now becomes very concrete: These people must not be forced to touch their old-age provision. Help must be available to them quickly and without complications.
But how could this help look like? In this case Grönemeyer is not asking the state to help, but is suggesting an alternative: Just as in a natural catastrophe the family helps a person affected, so in the current crisis a sign of solidarity is needed. According to the musician, this should come from the 1.8 million millionaires in Germany.This gesture would not only help the cultural workers whose existence is threatened, but it would also strengthen social cohesion and counteract the division that has been observed for decades.
Interestingly, Grönemeyer's statement lacks a convincing argument: He would have to set a shining example of solidarity by making a generous donation - he too is one of Germany's millionaires.... Read More Read Less
But how could this help look like? In this case Grönemeyer is not asking the state to help, but is suggesting an alternative: Just as in a natural catastrophe the family helps a person affected, so in the current crisis a sign of solidarity is needed. According to the musician, this should come from the 1.8 million millionaires in Germany.This gesture would not only help the cultural workers whose existence is threatened, but it would also strengthen social cohesion and counteract the division that has been observed for decades.
Interestingly, Grönemeyer's statement lacks a convincing argument: He would have to set a shining example of solidarity by making a generous donation - he too is one of Germany's millionaires.... Read More Read Less
tag Kulturbetrieb Solidarität Millionäre Seele der Gesellschaft Zusammenhalt Liveevent Quo vadis ars All sections Kommentar
Stille mit Vorsatz . Verbale Aufrüstung schlägt nötige Differenzierung: zur Kritik der Kulturbranche am zweiten Shutdown
Silence with intent . Verbal armament beats necessary differentiation: on the culture industry's criticism of the second shutdown
by Hartmut Welscher, Christian Koch (04 Nov 2020)
Original source: VAN Magazin für klassische Musik
The fact that the November lockdown hits art and culture hard, even though excellent hygiene concepts were developed to protect the public, divides the cultural world in Germany. The displeasure was expressed in open letters and articles in newspapers and social media. Only a few balanced voices can be heard at present. Federal and state governments are not innocent of this situation, as they have caused displeasure by failing to provide adequate justification as to which cultural and economic sectors are to be closed and which may remain open. As was already the case in March, many cultural workers feel offended by politics being assigned to professions that are not systemically relevant. So they feel that their function for society is not valued. Many now joined the statement of the trumpeter Tim Brönner, who complained that the cultural industry had no lobby, and tried to make themselves heard. The verbal armament, however, conceals the fact that the pandemic constitutes a twofold threat to artists: in addition to the material threat, many of them increasingly find themselves in a crisis of identity when they are no longer allowed to perform or interact with an audience. And so artists are currently making themselves heard loud and clear, but are still unable to find their way around.This applies not only to culture, but also to politics, which is currently more likely to stumble forward than to steer the processes in a targeted manner. And so the authors feel uncomfortable when Finance Minister Olaf Scholz keeps granting new aid programs. Public funds are limited, and the first municipalities are already making cuts.
For the cultural industry, the question now is where the development is heading. There will hardly be a return to the status quo-especially since it was not a good one before the crisis. At the beginning of the pandemic, many musicians were happy to have escaped the »hamster wheel of global competition and competitive pressure«. Can't quantity leave the field to quality? In this way, the cultural sector could at the same time make its contribution to solving the ecological question. Read More Read Less
For the cultural industry, the question now is where the development is heading. There will hardly be a return to the status quo-especially since it was not a good one before the crisis. At the beginning of the pandemic, many musicians were happy to have escaped the »hamster wheel of global competition and competitive pressure«. Can't quantity leave the field to quality? In this way, the cultural sector could at the same time make its contribution to solving the ecological question. Read More Read Less
tag Klassik Musikbranche November-Lockdown Lagerbildung Lobby Sinnkrise Existenzkrise Quo vadis ars Stille Hamsterrad Music Bericht
»Wir brauchen mehr Klarheit« . Theaterintendant über Lockdown-Folgen
. Theater director about lockdown consequences
by Christian Stückl, Sabine Leucht (02 Nov 2020)
Original source: taz
Ten Bavarian theaters sought dialogue with the Bavarian Prime Minister Markus Söder last week. They did not receive an answer to their letter - whether this was only because the lockdown light was already in prospect remains open. Apart from Munich's Head of Cultural Affairs, nobody has reviewed the hygiene concepts of Munich's Volkstheater, as director Christian Stückl reports in an interview. Stückl sees the problem of the new lockdown on the one hand in the fact that the facilities which are not among the drivers of infection are now being close d. In contrast to the retail trade, culture is probably not loud enough when it comes to defending its interests. On the other hand, politicians seem to be relying on the fact that it is precisely the large institutions that are subsidized by the state and will therefore be less affected by the crisis. The fact that the many solo self-employed and the entire independent scene are in danger is often ignored.
The Munich ensembles have now asked the decision-makers for a debate on the proportionality of the measures. Whether this offer of discussion will be accepted is still open. But Stückl is already thinking aloud about whether otherwise a lawsuit would not be the right way forward.
As yet, the houses are not yet short of visitors, partly because of the reduced quotas. However, Stückl fears a de-familiarization effect if the facilities remain closed for longer. What is much worse, however, are the effects of the crisis on the artists. He reports on a conversation with a dancer who has only a few years to practice his art. If he can't dance in front of an audience now, there's no making up for it. Read More Read Less
The Munich ensembles have now asked the decision-makers for a debate on the proportionality of the measures. Whether this offer of discussion will be accepted is still open. But Stückl is already thinking aloud about whether otherwise a lawsuit would not be the right way forward.
As yet, the houses are not yet short of visitors, partly because of the reduced quotas. However, Stückl fears a de-familiarization effect if the facilities remain closed for longer. What is much worse, however, are the effects of the crisis on the artists. He reports on a conversation with a dancer who has only a few years to practice his art. If he can't dance in front of an audience now, there's no making up for it. Read More Read Less
tag Theater München Dialog mit der Politik Markus Söder November-Lockdown Verhältnismäßigkeit Lebensrelevanz Performing Arts/ Cinema Interview
Der Ton macht die Musik . Offener Brief der GMD- und Chefdirigent*innenkonferenz
It's not what you say, but how you say it. . Open letter of the conference of General Music Directors and Chief Conductors
by GMD- und Chefdirigent*innenkonferenz (02 Nov 2020)
Original source: concerti
The theaters and concert halls have lived up to their responsibility to the public with excellent hygiene concepts. The reward, however, is not solidarity, but the renewed "muting" of culture, decreed by a state that does not live up to its responsibility for pupils, who nevertheless travel in crowded buses and trains and are taught in poorly ventilated classrooms every day.
The GMD and the Chief Conductor's Conference is very angry, as the promises of support in recent months can only be understood as lip service in view of the recent lockdown and t he degradation to a recreational facility. The ruthlessness not so much towards the institutions as towards the people working in and for them, who are to some extent robbed of their identity, is very painful and cannot be compensated with money. Read More Read Less
The GMD and the Chief Conductor's Conference is very angry, as the promises of support in recent months can only be understood as lip service in view of the recent lockdown and t he degradation to a recreational facility. The ruthlessness not so much towards the institutions as towards the people working in and for them, who are to some extent robbed of their identity, is very painful and cannot be compensated with money. Read More Read Less
tag November-Lockdown Musikschulen Freizeiteinrichtungen Verantwortung Ausfallhonorare guter Ton Music Offener Brief
Stellungnahme der Kunstmuseen zur geplanten coronabedingten Schließung
Statement of the art museums on the planned closure due to corona
by Kunstmuseen (01 Nov 2020)
Original source: art-in.de
German museum directors, mainly from North Rhine-Westphalia, take a clear stand on the unexpected lockdown.For them, the closure of the museums, which they see primarily as educational institutions, is merely a »symbolic gesture« and ultimately a »wrong decision«, since museums are among the safest public places because of the measures taken.
tag Museen November-Lockdown Verhältnismäßigkeit Visual Arts/Design Statement
»Gottesdienst der Künste« im Thalia Theater
by Daniel Kaiser (01 Nov 2020)
Original source: NDR
Creative protests against the November lockdown started in Hamburg on November 1. Together with the two churches, Hamburg's cultural institutions celebrated a "cultural service" at the Thalia Theater. The structure of the service was recorded and imaginatively filled with artistic and religious content. Since the cultural institutions will be closed for the next few weeks, the religions, whose task it has always been to provide comfort and confidence in times of mourning, were now called upon. In his sermon, Sieghard Wilm pointed out that the virus should n ot drive people into loneliness, but rather should encourage them to be together and love their neighbor. In the intercessions, the Senator for Culture, Carsten Brosda, made his pleas to society - including the hope that the role of the arts would also be recognized in Bavaria and the Uckermark region. Criticism of politics was also expressed in other respects. The fact that cultural institutions were mentioned in the same breath as amusement parks and brothels hurt the pride of the scene. In Hamburg, anger, desperation, rebellion and comprehension were creatively transformed into a convincing artistic project. It is comforting to know that culture does not go into freeze mode, but uses its means to defend itself.
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