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.
Große Säle, wenig Plätze: Lohnt sich das ganze Theater? . Corona-Schutzbedingungen
Large halls, few seats: Is the whole theater worth it? . Corona protection conditions
by Marc Grandmontagne, Anne Schneider, Karin Fischer (05 Sep 2020)
Original source: Deutschlandfunk
The format "Streitkultur" at the German radio station Deutschlandfunk juxtaposes two opposing positions, which are represented in the dialogue. The aim is to give listeners the opportunity to examine a complex topic from different angles and then form their own opinions. The question of the current situation of the theaters in Germany offered little potential for debate for the two guests of the program - Anne Schneider, managing director of the Federal Association of the Free Performing Arts, theater director and festival organizer, and Marc Grandmontagne, man aging director of the German Stage Association (Deutscher Bühnenverein). Both agreed that the German theaters need to close ranks at the moment in order to jointly point out their situation and maintain public support.
The discussion thus offered insights into the current situation at the theaters. The demand of the Bühnenverein to allow the cast to follow the chessboard pattern in the theaters, since the danger of infection is demonstrably very low at cultural events with fixed seats, was also presented, as was the plight of the privately run houses. The funds to be distributed within the framework of the Neustart Kultur program will mainly benefit the non-publicly run institutions - however, many program areas have not yet been advertised, since the allocation of funds and the budgetary review of their use still have to be clarified.
Marc Grandmontagne pointed out that one should not be mistaken about the fact that Corona has hardly created any new problems, but rather acts as a catalyst that has brought to light the precarious conditions in many theaters and venues. The situation will not become any easier in the coming years when the public budgets are empty. Nevertheless, one must not forget that culture is a central task of the state. Public institutions such as day-care centers, swimming pools or municipal theaters must not be played off against each other because they are all important for society, its development and cohesion. In addition, no budget can be consolidated at the expense of culture. Rather, the potential that these facilities offer should be used and even unusual approaches should be pursued to shape the future. Read More Read Less
The discussion thus offered insights into the current situation at the theaters. The demand of the Bühnenverein to allow the cast to follow the chessboard pattern in the theaters, since the danger of infection is demonstrably very low at cultural events with fixed seats, was also presented, as was the plight of the privately run houses. The funds to be distributed within the framework of the Neustart Kultur program will mainly benefit the non-publicly run institutions - however, many program areas have not yet been advertised, since the allocation of funds and the budgetary review of their use still have to be clarified.
Marc Grandmontagne pointed out that one should not be mistaken about the fact that Corona has hardly created any new problems, but rather acts as a catalyst that has brought to light the precarious conditions in many theaters and venues. The situation will not become any easier in the coming years when the public budgets are empty. Nevertheless, one must not forget that culture is a central task of the state. Public institutions such as day-care centers, swimming pools or municipal theaters must not be played off against each other because they are all important for society, its development and cohesion. In addition, no budget can be consolidated at the expense of culture. Rather, the potential that these facilities offer should be used and even unusual approaches should be pursued to shape the future. Read More Read Less
tag Theater Schachbrettmuster Streaming Neustart Kultur Kulturförderung Systemrelevanz Performing Arts/ Cinema Interview
Kinos in Not . Betreiber fordern finanzielle Hilfen – und blicken neidisch nach Bayern
Cinemas in need . operators demand financial aid - and look enviously to Bavaria
by Tim Spark (05 Sep 2020)
Original source: Handelsblatt
The film industry is suffering from the Corona crisis. Above all, German cinema operators do not see how they can maintain their program offerings in the long term. Michael Pawlowski, co-partner of the Filmpalast Group, reports a 50 percent drop in visitors in North Rhine-Westphalia. In federal states with stricter visitor regulations - in NRW only one seat has to be vacated - the decline is even more serious. This means that cinema operations are currently being run from reserves, as the revenues are not sufficient to cover them.
This is the situation that 68 med ium-sized, family-run movie theaters have to address in an open letter to Monika Grütters. The cinema operators need financial support and a relaxation of the hygiene rules. Since the movie theaters are well ventilated and the visitors do not speak during the screening, the risk of infection is lower in the cinema than in the office, according to a study by the Hermann Rietschel Institute of the Technical University of Berlin.
But it is not only the rules of distance that make life difficult for cinema operators. Film distributors are currently holding back on film releases because the number of visitors is currently not very attractive.
Although the German Minister of State for Culture has already released funds to support cinemas, these funds are tied to conversion, modernization and equipment measures and are therefore not helping to save the cinemas in the current liquidity squeeze.
In Bavaria, there is currently an aid program in place that compensates cinema operators for every visitor they have less than last year. In the other federal states, this model is seen as an opportunity to at least cover the fixed costs of the cinemas and prevent a cinema from dying out. Read More Read Less
This is the situation that 68 med ium-sized, family-run movie theaters have to address in an open letter to Monika Grütters. The cinema operators need financial support and a relaxation of the hygiene rules. Since the movie theaters are well ventilated and the visitors do not speak during the screening, the risk of infection is lower in the cinema than in the office, according to a study by the Hermann Rietschel Institute of the Technical University of Berlin.
But it is not only the rules of distance that make life difficult for cinema operators. Film distributors are currently holding back on film releases because the number of visitors is currently not very attractive.
Although the German Minister of State for Culture has already released funds to support cinemas, these funds are tied to conversion, modernization and equipment measures and are therefore not helping to save the cinemas in the current liquidity squeeze.
In Bavaria, there is currently an aid program in place that compensates cinema operators for every visitor they have less than last year. In the other federal states, this model is seen as an opportunity to at least cover the fixed costs of the cinemas and prevent a cinema from dying out. Read More Read Less
tag Kinobetreiber Filmwirtschaft Neustart Kultur Filmproduktion Monika Grütters Hygieneregeln Performing Arts/ Cinema Bericht
»Das ist kein Neustart, das ist der Tod auf Raten« . Konzertveranstalter und Corona
»This is not a fresh start, this is living on borrowed time« . concert organizers and Corona
by Benjamin Fischer (17 Aug 2020)
Original source: Frankfurter Allgemeine Zeitung
Stephan Thanscheidt is co-head of FKP Scorpio. The company, with around 350 employees in 11 countries, is not only one of the largest festival organizers in Europe, but last year the company hosted around 3000 concerts by more or less well-known musicians - including superstars such as Ed Sheeran and David Guetta. Thanscheidt is primarily responsible for the organization of the festivals. In the summer, he usually spends more time at festivals than at his desk. This is important in order to keep a feel for the wishes and expectations of the visitors.
In March and April, FKP Scorpio continued to plan the summer events. Although there was already a bad feeling during the lockdown, but without a long-term cancellation by the authorities, the company had no choice but to postpone the festivals for the time being in order not to lose insurance coverage. This was an enormous effort, as events and the corresponding tickets had to be rebooked time and again. The advertising was reissued, only to announce the next postponement.
The industry, which even during the economic crisis of 2009 had hardly any loss of revenue, now faces completely new challenges. Short-time work and home offices have been completely unknown until now. Although there are regular digital meetings, it is difficult to realize joint creative work. Especially for the ten trainees, the situation is more than unsatisfactory, as they are currently only getting to know parts of the planned areas of responsibility.
In the summer, the industry has prepared itself for a standstill until Christmas. If no events are possible next year either, many companies are on the verge of closure. Although the public and politicians have the impression at the moment that the drive-in cinema concerts or other events will bring money back into the coffers, according to Thanscheidt, this is not a matter of income to be taken seriously, but rather of "living on borrowed time". FKP Scorpio has been running a solid business in recent years and can still fall back on reserves. If, however, no festivals with normal capacity can be held next year, FKP Scorpio will also be in trouble. Read More Read Less
In March and April, FKP Scorpio continued to plan the summer events. Although there was already a bad feeling during the lockdown, but without a long-term cancellation by the authorities, the company had no choice but to postpone the festivals for the time being in order not to lose insurance coverage. This was an enormous effort, as events and the corresponding tickets had to be rebooked time and again. The advertising was reissued, only to announce the next postponement.
The industry, which even during the economic crisis of 2009 had hardly any loss of revenue, now faces completely new challenges. Short-time work and home offices have been completely unknown until now. Although there are regular digital meetings, it is difficult to realize joint creative work. Especially for the ten trainees, the situation is more than unsatisfactory, as they are currently only getting to know parts of the planned areas of responsibility.
In the summer, the industry has prepared itself for a standstill until Christmas. If no events are possible next year either, many companies are on the verge of closure. Although the public and politicians have the impression at the moment that the drive-in cinema concerts or other events will bring money back into the coffers, according to Thanscheidt, this is not a matter of income to be taken seriously, but rather of "living on borrowed time". FKP Scorpio has been running a solid business in recent years and can still fall back on reserves. If, however, no festivals with normal capacity can be held next year, FKP Scorpio will also be in trouble. Read More Read Less
tag Konzertveranstalter Festivals Versicherung Planungssicherheit Exit-Strategie Auszubildende Music Beitrag
»Auch Kunst ist systemrelevant« . Kultur in der Corona-Krise
»Art is also a systemically relevant« . Culture during Corona crisis
by Katharina von Tschurtschenthaler (13 Aug 2020)
Original source: tagesschau
Since 6 weeks the Hamburg Tivoli-Theater at the Reeperbahn is playing again. However, a lot of things are different than in pre-Corona times. Every house has to present its own hygiene concept and needs to have it approved. At the Tivoli, currently only 250 instead of 630 tickets per performance can be sold. But in contrast to the successful Hamburg musicals, which are still unable to perform, at least the operation is secured here. Support from Hamburg's cultural authority makes it possible for the Tivoli to make ends meet despite the lack of income. Nevertheless, t heatre boss Corny Littmann is disappointed that the importance of culture in Corona times has not really been discussed. The focus was on Lufthansa and daycare centres.
The team is happy to be able to perform again. Singers are doing admission controls or take over the moderation of the evening. After four months without engagement every job is accepted. But what is still missing is interaction with the audience. They are happy that they can attend cultural events again. Read More Read Less
The team is happy to be able to perform again. Singers are doing admission controls or take over the moderation of the evening. After four months without engagement every job is accepted. But what is still missing is interaction with the audience. They are happy that they can attend cultural events again. Read More Read Less
tag Tivoli-Theater Hygieneregeln Bilanz Kulturförderung Hamburg Musical Performing Arts/ Cinema Bericht
Lost Art . Measuring COVID-19’s devastating impact on America’s creative economy
by Richard Florida, Michael Seman (11 Aug 2020)
Original source: Brookings Report
This Brookings Institution report, written by the economists Seman and Richard Florida, analyses the economic situation in the cultural industry of the USA in the period of April 1 to July 31, 2020. It estimates nationwide losses for the creative industries to be $150 billion, on everything from tickets and concert merchandise to paintings and music lessons. Of the 50 states, California will be hit hardest in terms of absolute losses for creative industries and occupations, New York City will be the hardest-hit metropolitan area. The fine and performing arts industries w ill be hit hardest loosing 50% of all jobs and more than a quarter of all lost sales nationwide. Nevertheless the authors of the detailed 30 pages report see an opportunity for communities to shift to locally sourced culture.
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tag USA New York Kalifornien Schließungen Arbeitsplatzverlust Federal Art Project lokales Publikum Umsatzeinbruch All sections Studie
Es sieht düster aus, bilanziert die Schweizer Museumsbranche . Corona-Folgen für Museen
It looks rather gloomy, concludes the Swiss museum industry . Consequences of Corona for museums
by brik/kusv (10 Aug 2020)
Original source: Radio SRF 2 Kultur
"It's terrible what you just see and hear informally," says Tobia Bezzola, President of the Swiss Association of Museum Professionals ICOM, commenting on the situation of museums in Switzerland. There has been a 50 to 80 percent drop in visitor frequency. Site location, type of funding and the proportion of inter-regional visitors are currently determining the extent of the losses. Using the example of the Museum of Science Kulturama in Zurich, the Museo d'arte della Svizzera Italiana MASI and the Museum of Natural History St. Gallen, the article illust rates the concerns of museum directors in Switzerland. At present, they are able to cope with the operation with the help of reserves and the support of the cantons, but if the crisis lasts longer, job cuts and a reduction of the cultural program must be taken into consideration.
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tag Museen Besucherzahlen Finanzen öffentliche Finanzierung Claudia Rütsche Tobia Bezzola Toni Bürgin Visual Arts/Design Bericht
Durchs Raster gefallen . Kulturschaffende in Coronakrise
Fallen through the cracks . the arts community during Corona crisis
by Sabine Seifert (29 Jul 2020)
Original source: taz
Three months after an initial conversation about her personal situation as an artist during the lockdown, Sabine Seifert meets again with a singer, a visual artist, an actor and a museum educator to talk with them about their experiences during the Corona crisis.
The working conditions for the artists are still all but optimal, as the hygiene rules for all cultural fields of work entail restrictions. Many people appreciate the social network that is provided in Germany. Emergency aid and basic security have helped them to survive the last few months financ ially. However, applications for basic security have only increased by about a quarter. Due to the bad aura of basic security called Hartz IV, many people were reluctant to apply.
Even the applications for solo self-employed persons do not take into account the living and working conditions of artists even after three months. Seifert critically observes that in many federal states the cost of living may not be regarded as operating costs, but also the fact that in the second round applications may only be made by tax or accountants is completely ignoring the reality of small and medium-sized enterprises. Although the profession of an artist is fundamentally associated with uncertainty, the general conditions have currently changed radically. No one can predict with certainty how the pandemic will develop. When again which event format will be possible.
Olaf Zimmermann, Managing Director of the German Cultural Council, points out that the working structures on the cultural market have changed in recent years. Although there are fewer artists, there are more solo self-employed people in the field of cultural education, management and technology. Cultural policy has failed to counteract the precarious structures that have emerged here. Basically, according to Olaf Zimmermann, one should think about whether the classic concept of the entrepreneur still applies to artists and cultural workers - especially since they make an important contribution to society. Read More Read Less
Even the applications for solo self-employed persons do not take into account the living and working conditions of artists even after three months. Seifert critically observes that in many federal states the cost of living may not be regarded as operating costs, but also the fact that in the second round applications may only be made by tax or accountants is completely ignoring the reality of small and medium-sized enterprises. Although the profession of an artist is fundamentally associated with uncertainty, the general conditions have currently changed radically. No one can predict with certainty how the pandemic will develop. When again which event format will be possible.
Olaf Zimmermann, Managing Director of the German Cultural Council, points out that the working structures on the cultural market have changed in recent years. Although there are fewer artists, there are more solo self-employed people in the field of cultural education, management and technology. Cultural policy has failed to counteract the precarious structures that have emerged here. Basically, according to Olaf Zimmermann, one should think about whether the classic concept of the entrepreneur still applies to artists and cultural workers - especially since they make an important contribution to society. Read More Read Less
tag Soforthilfe Grundsicherung Solidarität Verdi bbk Elisabeth Anschütz Sascha Oliver Bauer Ka Bomhardt Wilko Reinhold Olaf Zimmermann All sections Bericht
»Was in Berlin passiert, ist ziemlich einmalig« . Corona-Hilfe für Klubkultur
»What's happening in Berlin is quite unique« . Corona aid for club culture
by Laura Aha (20 Jul 2020)
Original source: Spiegel
Clubs were the first cultural institutions to close, and they will most likely be the last to be allowed to reopen. In Berlin alone, 140 clubs and as many club event agencies employ around 9000 people. In Berlin, Senator for Culture Klaus Lederer has launched a 30 million euro aid package for clubs. Cologne and Hamburg have also granted support to the scene at a very early stage. The situation is different in cities that have not yet promoted pop culture. Here, clubs are falling through the ranks of the various support models and are fighting for recognition as cultural institutions. Currently, the open-air season is making it possible to compensate somewhat for the slump in sales. But the scene needs a long-term strategy to avoid falling victim to the crisis.
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tag Clubszene Berlin Soforthilfe Konjunkturpaket Klaus Lederer Music Bericht
Vorhang auf! . Spielstart: Anti-Corona-Konzepte deutscher Theater
Open the Curtain! . Start of Season: Anti-Corona concepts of German Theatres
by Verena Greb, Nadine Wojcik (19 Jul 2020)
Original source: Deutsche Welle
Dismantled seats, Plexiglas panes, hand disinfection, separate entrances and exits: The operation at the theaters is to start again, but this requires hygiene concepts to protect the audience from being infected by droplets. Each theatre is currently developing its own concepts. What they all have in common is that a maximum of a quarter of the previous tickets can be offered.
Special tests were carried out in Augsburg and Berlin. With the help of machines and fans, hydrogen peroxide is nebulized over large areas in the halls. The Berliner Ensemble reports that th e naturally degradable disinfectant can kill 99 percent of viruses and bacteria. In the future, the technology will therefore not only be used for the halls, but also for toilets and entrance areas.
Meanwhile, a theater course has been developed at the Munich Residenztheater. The visitors are guided in groups of four through different stations in the building where the individual scenes are performed. However, it is problematic that not only the audience has to be kept at a distance, but also the actors must not get too close to each other.
Therefore, the schedules for the new season have been revised in all buildings, and extremely physical productions have been cancelled, as have those with many different roles.
Even though the theaters are slowly awakening from their state of shock, fundamental doubts remain about cultural policy: Why do the theaters have different regulations than German aviation? What significance does culture have? The survival of the large theaters is ensured by Corona cultural aid. If this is not sufficient, the federal states will help out in the long term. For the small theaters, which cannot keep buoy up with their limited number of seats, things do not look so rosy. They now have to decide whether to extend the Corona break. The curtain may have fallen here forever. Read More Read Less
Special tests were carried out in Augsburg and Berlin. With the help of machines and fans, hydrogen peroxide is nebulized over large areas in the halls. The Berliner Ensemble reports that th e naturally degradable disinfectant can kill 99 percent of viruses and bacteria. In the future, the technology will therefore not only be used for the halls, but also for toilets and entrance areas.
Meanwhile, a theater course has been developed at the Munich Residenztheater. The visitors are guided in groups of four through different stations in the building where the individual scenes are performed. However, it is problematic that not only the audience has to be kept at a distance, but also the actors must not get too close to each other.
Therefore, the schedules for the new season have been revised in all buildings, and extremely physical productions have been cancelled, as have those with many different roles.
Even though the theaters are slowly awakening from their state of shock, fundamental doubts remain about cultural policy: Why do the theaters have different regulations than German aviation? What significance does culture have? The survival of the large theaters is ensured by Corona cultural aid. If this is not sufficient, the federal states will help out in the long term. For the small theaters, which cannot keep buoy up with their limited number of seats, things do not look so rosy. They now have to decide whether to extend the Corona break. The curtain may have fallen here forever. Read More Read Less
tag Spielzeit Theater Hygieneregeln Wasserstoffperoxid Freie Szene Kulturförderung Performing Arts/ Cinema Bericht
Martin Meyers Buch »Corona« – die Pandemie wird Literatur
Martin Meyer's book "Corona" - the pandemic becomes literature
by Christoph Leibold, Martin Meyer (19 Jul 2020)
Original source: BR24
The Swiss journalist and longtime NZZ columnist Martin Meyer has published with »Corona« one of the first Corona novels at Kein & Aber publisher. The text was developed from an idea during the lockdown. For the author, the subject of Corona is particularly interesting - as he describes it in an interview - because it asks basic questions and throws the individual back on his or her own ego. The examination of such existential situations is a characteristic of literature.
The old main character Matteo is also in a lockdown. The name of the dis ease that made the state of emergency necessary is not mentioned. Matteo reads epidemic literature to deal with his situation. The literature from the Bible to Albert Camus leads to philosophical activity. Martin Meyer understands the fact that the novel itself is entitled »Corona« as a reference to man as the pride of creation (in German: crown of creation). But the crown, according to Meyer, can also be seen as a crown of thorns, considering how fragile human existence is.
Asked whether literature does not need distance from an event in order to be able to reflect on it, Meyer makes a different claim. Literature can also emerge from personal affection. Read More Read Less
The old main character Matteo is also in a lockdown. The name of the dis ease that made the state of emergency necessary is not mentioned. Matteo reads epidemic literature to deal with his situation. The literature from the Bible to Albert Camus leads to philosophical activity. Martin Meyer understands the fact that the novel itself is entitled »Corona« as a reference to man as the pride of creation (in German: crown of creation). But the crown, according to Meyer, can also be seen as a crown of thorns, considering how fragile human existence is.
Asked whether literature does not need distance from an event in order to be able to reflect on it, Meyer makes a different claim. Literature can also emerge from personal affection. Read More Read Less
