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.
»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
Leipziger Buchmesse abgesagt
Leipzig Book Fair canceled
by Martin Hoferick (29 Jan 2021)
Original source: Kulturzeit
A major event is currently hardly plannable and so it is not surprising that the director of the Leipzig Book Fair, Oliver Zille, announced this week with a heavy heart the cancellation of this year's fair. Precisely because Leipzig relies on so many forms of encounter, the fair is hardly safe to hold this year. A shift to the digital is out of question for the organizers, because here the personal encounter as a central element of the Leipzig fair cannot be adequately implemented. The format itself will definitely be retained in the coming years, the situation on th e book market is good despite the cancellation. Nevertheless, Andreas Rötzer from the publishing house Matthes und Seitz demands that support for the industry must be considered if other major events are cancelled in the course of the year. A vaccination center will now be set up in the exhibition halls this far.
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tag Buchmesse Buchbranche Digitalisierung Begegnung Großveranstaltungen Literature/ Text Bericht
Mathe im Museum . Corona und die Künste
Mathematics at the museum . Corona and the arts
by Catrin Lorch (11 Nov 2020)
Original source: Süddeutsche Zeitung
With the partial lockdown in November, solidarity in society begins to crumble. Politics is not innocent in this, since many cultural workers cannot understand the reason why cultural institutions in particular have to close, due to the excellent hygiene concepts. Instead of stylizing herself as a victim, the director of the Kunsthalle Bielefeld turns the tables and offers her spacious and well air-conditioned premises to schools as classrooms. Federal Minister of Education Anja Karliczek does not seem to be averse to the proposal to use out-of-school rooms for lessons, since in many places there are not sufficiently large and well air-conditioned classrooms available to give lessons.
The creativity with which the cultural sector is responding to the challenge of the crisis is still lacking in the political arena. This is how Catrin Lorch describes the New Deal, which provided artists and cultural workers in America with commissions during the depression of the 1930s and thus saved them from the crisis. She names artists such as Mark Rothko and Jackson Pollock, who became successful over the course of the century and would not have made it through the economic crisis without this support. Another advantage of government commissions at that time in the United States was that art and culture were received by a broad public and thus contributed to a national identity. Thus, a gesture of solidarity by the art institutions could not only encourage the state to become more sovereign, generous and creative, but at the same time counteract the current distribution struggles. Read More Read Less
The creativity with which the cultural sector is responding to the challenge of the crisis is still lacking in the political arena. This is how Catrin Lorch describes the New Deal, which provided artists and cultural workers in America with commissions during the depression of the 1930s and thus saved them from the crisis. She names artists such as Mark Rothko and Jackson Pollock, who became successful over the course of the century and would not have made it through the economic crisis without this support. Another advantage of government commissions at that time in the United States was that art and culture were received by a broad public and thus contributed to a national identity. Thus, a gesture of solidarity by the art institutions could not only encourage the state to become more sovereign, generous and creative, but at the same time counteract the current distribution struggles. Read More Read Less
tag New Deal Schule im Museum Künstlerförderung Solidarität Christina Végh Isabel Pfeiffer-Poensgen All sections Bericht
Kunst und Care-Arbeit . Fragwürdige Juryentscheidung
Art and Care Work . Questionable jury decision
by Brigitte Werneburg (09 Nov 2020)
Original source: taz
The Neustart Kultur program also offers scholarships for artists* with children under 7 years of age. The awarding was carried out by the Stiftung Kunstfonds, which also awards annual project scholarships. The benchmark - artistic quality in a nationwide comparison - also applied to the awarding of the scholarships in this special program of the German State Minister of Culture. Now the outcry is great, because more men than women were awarded this scholarship, although more women than men applied. Brigitte Werneburg, editor of the newspaper taz, asks if the awarding of the scholarships is now an expression of the fact that gender-equitable distribution of tasks has already been introduced in the visual arts. This does not seem to be the case when you have a look at the number of applications, in which women are far ahead with 60 percent. The feedback from the Stiftung Kunstfonds was disappointing for many, as the foundation referred to its statutes and the standard of artistic quality, since the grants awarded are not economic subsidies but project funding.
This raises the question of why women artists cannot compete with their male colleagues in terms of quality and whether the fact that one has a child under 7 years of age is an artistic criterion. According to the analysis of the taz article, the Kunstfonds Bonn Foundation does not seem suitable to award the scholarships within the framework of the rescue program Neustart Kultur, since they are now explicitly intended as economic aid.
However, the concluding considerations of the article are particularly worthy of consideration. Artists currently need economic aid. After all, they are not unemployed, but are engaged in gainful activity, which, however, is not permitted on the market at present. Hartz IV is in this situation no adequate offer - not only because the artists are getting into a bureaucratic wheelwork, in which they must attack their old age provision, participate in further training offers and must accept job offers. Much more important is that they are thus excluded from the artists' social security fund (KSK). This unique German system - in which the artists contribute like employees to health and pension insurance, while the employers' contributions are paid by art and culture companies and the state - is fundamentally endangered in the crisis, because when art and culture facilities are closed, there is no income. Read More Read Less
This raises the question of why women artists cannot compete with their male colleagues in terms of quality and whether the fact that one has a child under 7 years of age is an artistic criterion. According to the analysis of the taz article, the Kunstfonds Bonn Foundation does not seem suitable to award the scholarships within the framework of the rescue program Neustart Kultur, since they are now explicitly intended as economic aid.
However, the concluding considerations of the article are particularly worthy of consideration. Artists currently need economic aid. After all, they are not unemployed, but are engaged in gainful activity, which, however, is not permitted on the market at present. Hartz IV is in this situation no adequate offer - not only because the artists are getting into a bureaucratic wheelwork, in which they must attack their old age provision, participate in further training offers and must accept job offers. Much more important is that they are thus excluded from the artists' social security fund (KSK). This unique German system - in which the artists contribute like employees to health and pension insurance, while the employers' contributions are paid by art and culture companies and the state - is fundamentally endangered in the crisis, because when art and culture facilities are closed, there is no income. Read More Read Less
tag Neustart Kultur Stiftung Kunstfonds Stipendien Wirtschaftsbeihilfe Künstlersozialkasse Hartz IV Geschlechtergerechtigkeit Visual Arts/Design 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
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
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
»Als ob Kultur nur Bespaßung wäre« . Louwrens Langevoort über Corona-Maßnahmen
. Louwrens Langevoort about Corona measures
by Louwrens Langevoort, Carsten Beyer (29 Oct 2020)
Original source: Deutschlandfunk Kultur
That's the perversion of the whole story. We are not a swimming center. It's not like we can close in one day and on December 1st we open again and the audience is back.
The director of the Cologne Philharmonic has to cancel 30 events for November. Whether and when he will be allowed to reopen his house is still written in the stars. Since concerts require advance notice, he would have to know by now whether he will be allowed to play again on December 1, otherwise it would be impossible to organize a performance. Basically, a certain frustration is exp ressed in the conversation: even though Langevoort, as director of the Philharmonic, must expect the worst, he had hoped that the intensive advertising for the well-designed hygiene concepts in theaters, operas and concert halls, among others by the German Stage Association, would be noticed by politicians. The second lockdown for cultural institutions seems to him to be exaggerated, especially since he has the impression that politics does not do exactly that in those places where it would have to take consistent action. The fact that the Chancellor talks about having to reduce the total mass of encounters because of the incomprehensible chains of infection is completely understandable to him. Nevertheless, the disappointment is great - also about Markus Söder's statement that one does not want to offend anyone who has made an effort. The cultural industry feels that it suffers a snub in the face of current events.
Asked about the promised compensation payments, Langevoort is skeptical. Also in the spring support was promised. These were only implemented very slowly and many companies and solo self-employed persons did not benefit from them. He also points out that artists want to perform and not to become welfare recipients. In addition, the houses also see themselves as cultural institutions with an educational mission. They want to fulfill this mission even in times of pandemic. Read More Read Less
Asked about the promised compensation payments, Langevoort is skeptical. Also in the spring support was promised. These were only implemented very slowly and many companies and solo self-employed persons did not benefit from them. He also points out that artists want to perform and not to become welfare recipients. In addition, the houses also see themselves as cultural institutions with an educational mission. They want to fulfill this mission even in times of pandemic. Read More Read Less
tag Konzerthäuser Philharmonie Köln Soforthilfe November-Lockdown Planungssicherheit Angela Merkel Markus Söder Deutscher Bühnenverein Bauernopfer Music Interview
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
