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 188 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.


 

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.

Read More Read Less

tag Lockdown Systemrelevanz Katharsis
All sections Kommentar

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.

Read More Read Less

tag Musikverlage GEMA Planungssicherheit Chormusik Leihverkehr Kurzarbeit Neustart Kultur
Music Bericht

Auktionshäuser sind die Gewinner in der Krise
Auction houses are the winners in the crisis

by Christian Herchenröder (17 Dec 2020)
Original source: Handelsblatt

The corona-induced shrinkage of 30 to 40 percent is distributed differently among the players in the art market. While 2020 art fairs and galleries with virtual art fairs and exhibitions were only able to score with the public to a limited extent, the auction houses recorded strong sales increases with online-only auctions. In particular, they were able to encourage first-time buyers, especially from America and China, to bid for high-priced art, especially in the contemporary sector.

tag Kunstmarkt Galerien Auktionshäuser Online-Ausstellung Kunstmesse Rezession
Visual Arts/Design Bericht

Kulturzeit extra: Theater im Lockdown
Kulturzeit extra: Theatres during lockdown

by Vivian Pekovic (Moderation) (18 Nov 2020)
Original source: Kulturzeit

The German TV program Kulturzeit focusses in this issue on the situation of the theaters during lockdown. The first contribution inspects the situation at the Volksbühne in Berlin. There, the project »Spielplanänderung« (Change of play program) aimed to bring back to the stage unjustly forgotten plays by important authors. But now the theatre is not only fighting for the authors, but also for not being forgotten as institution. The actors not only play, but also discuss the role of the theater. What bothers them about the political discussion is the disrespectful tone, because they all agree that the theater offers an important outlet for society. It is the place for a discourse on topics that are discussed by a broad audience. They consider it a luxury to be allowed to rehearse, yet the current situation costs a lot of energy - especially since for many actors who do not have a permanent contract with a theater, the income breaks off. The demand that the theaters be allowed to reopen soon is not only demanded by cultural workers, but also by the Senator for Culture in Berlin, Klaus Lederer.

The theater critic and author Simon Strauß developed the program for the ›Change of program‹. He points out that it is currently dangerous to over-adapt as theater and to play down one's own status. Subsidies and the standing of the theater as a psychological and humane institution could be lost.

An important experience for the actor Lars Eidinger was not being allowed to play for seven months. During this time he realized that for him, working on stage is the creative center of his work. For him, the central characteristic of theater is immediacy, which no other medium can achieve. However, he sees the theater not as a moral institution, but rather as a free space in which one does not have to distinguish between good and evil.  

However, there are also voices that demand that theater professionals use the crisis to reflect on their own position. Simon Strauß is one of these voices. He would like to see the creative people emerge from the crisis with a new form of consciousness. For the theaters this means, among other things, revising play programs, making them more diverse. But new formats must be developed on stage. He sees streaming only as a substitute, a consolation for the time until the houses can play again. For him theaters make an important contribution to the psychological edification of people with their immediacy, with their way of raising questions. This has to be defended self-confidently against politics, especially in view of upcoming budget cuts. Theater - as Strauß puts it - is more than systemically relevant, it is »decisive«.

In addition to the theaters, however, other cultural institutions are also threatened by the crisis. Although it is still allowed to perform in Switzerland, many institutions survive mainly because of their parallel cafe and bar operation. The few spectators who are admitted to a performance make it almost impossible to work economically.

One of the few cultural institutions that are allowed to open in Germany are the galleries. They enable the artists at least not to be completely forgotten - after all, they not only suffer from the threat to their existence, but also from not being allowed to show their works. Nevertheless, it is also difficult for galleries to assert themselves on the market at the moment, because new groups of buyers cannot be addressed at present. So the question here is also how art and culture can be valued and rewarded as an essential good for society in the future.

Read More Read Less

tag November-Lockdown Theater Krise als Chance Unmittelbarkeit Streaming Simon Strauß Lars Eidinger Volksbühne Galerien Quo vadis ars
Performing Arts/ Cinema Kultursendung

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

tag Neustart Kultur Stiftung Kunstfonds Stipendien Wirtschaftsbeihilfe Künstlersozialkasse Hartz IV Geschlechtergerechtigkeit
Visual Arts/Design Bericht

Auch der Staat profitiert davon . Corona-Soforthilfe für Galerien
The state also benefits . Corona emergency aid for galleries

by Rupert Pfab, Gabi Wuttke (27 Sep 2020)
Original source: Deutschlandfunk Kultur

The Secretary of State for Culture Monika Grütters is going to provide 16 million Euros to support the galleries in the Neustart Kultur program. Only a part of this money will be used for purchases, whereas the larger part of the support will be used to support the work of galleries in the exhibition business, but also in the field of digitization. The Düsseldorf gallery owner Rupert Pfab is not convinced by the strategy of Monika Grütters. If galleries are to be supported in the current crisis, a reduction in the VAT rate would have the greatest effect. O verall, he considers purchases for the federal art collection to be sustainable. The works would go to museums and other public institutions, which would not only benefit the galleries and artists, but also the general public to whom these works are made accessible. The gallery owner, on the other hand, does not understand why the Federal Purchasing Commission can also buy directly from the artists, as this would circumvent the galleries as an important institution of the art market.

Read More Read Less

tag Galerien Kunsthandel Ankaufsetat Neustart Kultur Mehrwertsteuer Monika Grütters
Visual Arts/Design Interview

Wir sind ein Ökosystem . Krise des Kunstmarkts
We are an eco system . Crisis of the art market

by Deborah Schamoni, Esther Schipper, Catrin Lorch (11 Sep 2020)
Original source: Süddeutsche Zeitung

With the exception of Art Cologne, all major art fairs have been cancelled in 2020. On the occasion of the traditional gallery tours, which open the cultural autumn in Berlin, Cologne, Düsseldorf and Munich, gallery owners Esther Schipper and Deborah Schamoni are talking about the state of the industry in Corona Autumn.
The art trade is not down, but the situation is serious. Whereas international collectors traditionally attended the gallery openings in the fall, they are now largely attended by a local audience. With the collectors, not only is there a lack of income, but the concentration on local business also leads to a complete breakdown of the exchange at fairs. Whether the time left for written contacts can compensate for this will be seen in the near future. The gallery owners agree, however, that the losses cannot be compensated for by a virtual presence - be it their own homepage or the pages set up by the trade fairs. Although it would be possible to sell works by well-known artists, the newcomers have little chance of attracting attention.
On the other hand, the gallery owners are well aware that the art market will have to change in the coming years. Climate change and Corona will become a task for the art market in the coming months and years - even if the gallery owners have to admit that their artists have so far shown little consideration for the climate.
It is still uncertain whether the galleries can really be helped by government support. At the very least, this is an appreciation of the galleries' work. Although they view the funds earmarked for purchases in the Neustart Kultur program positively, they see a reduction in VAT on sales as a guarantee for the kind of sales boom the industry currently needs.

Read More Read Less

tag Kunstmarkt Kunstmessen Mehrwertsteuer Neustart Kultur Ankaufsetat Klimabilanz Art Cologne virtuelles Angebot
Visual Arts/Design Interview

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

tag Soforthilfe Grundsicherung Solidarität Verdi bbk Elisabeth Anschütz Sascha Oliver Bauer Ka Bomhardt Wilko Reinhold Olaf Zimmermann
All sections Bericht

Lieber Maler, male mir! . Diskussion über Kunst in Coronakrise
Dear painter, paint for me! . Discussion on art during Corona crisis

by Ingo Arend (08 Jul 2020)
Original source: TAZ

Under the title »Painting by Numbers - Art in the Corona Crisis«, the Green Party in the German Bundestag invited to a discussion about a group that currently plays hardly any role in the public discourse about the Cornona Crisis: the visual artists. At the moment, there is great concern that the money from the economic stimulus package will flow into the support of museums and cultural institutions, but that the artists themselves will go away empty-handed.
The author Ingo Arndt is somewhat irritated by the fact that in the discussion about possible s olutions to the precarious situation of  artists, the idea of a New Deal, which Hans Ulrich Obrist brought up in April, has not been taken up. A large-scale acquisition project for museums and public institutions launched by the German government could offer a way out of the crisis by commissioning visual artists.

 

Read More Read Less

tag Grundeinkommen Neustart Kultur Konjunkturpaket Die Grünen Lobby New Deal Erhard GrundlHans Ulrich Obrist
Visual Arts/Design Bericht

Jeff Koons, Gagosian Gallery, and Many Other Blue-Chip Art Operations Received Millions of Dollars in Government Stimulus Money

by Taylor Dafoe (07 Jul 2020)
Original source: artnet news

Art seems to be a different business in the US if you look to the public aid during the crisis not only for museums, but also for galleries and artist studios. According to the data released by the federal Treasury Department not only galleries as Pace, David Zwirner and Gagosian received millions but also the studios of Jeff Koons or Meow Wolff. The lists of who received how much is publically available. 

tag USA Galerien Soforthilfe Museum
Visual Arts/Design Bericht

A subtle vision welcomes visitors on the front page of facing arts: an animation of black and white artist portraits that have a questioning, challenging or just curious eye on the visitors. In the foreground changing quotes from the commented collection of articles »Quo vadis ars?« are sliding. These short highlights give an overview of the current discussion about the arts in times of Corona. The names of the cited persons link to the respective text in the review collection. Facing arts documents the diversity of the cultural landscape and at the same time opens up a discourse space reflecting the importance of the arts in the present.

Facing Arts - «Fear Eats the Soul»

Closed concert halls, theaters, museums, literary houses, libraries and cinemas are not only an expression of a society in a state of emergency, but also a sign of a crisis that is particularly hard on the creative industry. For artists, the closure of all public and private cultural institutions does not only mean a ban on work, which for most people goes hand in hand with an immense drop in sales. At the same time, the prescribed social distancing also means that personal exchange and interaction, as they are not only important for musicians, actors, writers and acrobats with colleagues, and the public, but also at the same time the development of new project ideas and thus the acquisition of new orders for the coming months is hardly possible. It is the crisis after the crisis that has l left many cultural professionals in a state of shock. With reference to Rainer Werner Fassbinder's film Angst essen Seele auf [engl. Ali: Fear Eats the Soul], the chairman of the German Cultural Council Olaf Zimmermann has found a fitting picture for the current situation. The aim of facing arts is to counteract this rigidity,

Artists showing their face – 25 times per second

In facing arts, the many hard-to-understand faces of creative artists in Germany and beyond condense. The projection thus creates a new form of publicity at a time when Article 8 of the German constitution is largely overridden and public demonstrations are not possible. Artists gather here virtually, not only to draw attention to their situation, but also to demonstrate their right to practice freely. In this way, the public also becomes aware of how large the anonymous number of solo soloists in the cultural sector actually is. 188,332 active artists are registered in Germany's Artists' Social Welfare Fund (KSK) alone.

Quo vadis ars? – »cultural« memory of the crisis

But speed does not only play a role in the facial animation, but also in public discourse. Who remembers at the beginning of June 2020 how the situation of the artists was assessed in March. What forecasts were made and which artistic genres are currently being given special consideration in the discussion, in other words, who is supported by the media and thus receives a voice and who does not? The commented collection of contributions "Quo vadis ars?" is intended to trace the development of the discussion. The question raised again and again about the function of art and culture in society can thus be answered.
In the quotations on the front page of facing arts, individual actors have their say. The short statements are taken from the collection of articles. Each time the page is called up, nine portraits and five quotations are called up at random. The animation with the black-and-white portraits in the background of the page is meant to arouse curiosity about the project facing arts and at the same time to make people think about the individual fates of the artists in the face animation collective.

Facing arts gives culture a face. Therefore everyone working artistically in the broader sense is invited to participate. At times when there is a debate about whether the cultural sector has a lobby, our goal is to show how many and how diverse we are.

Load up your portrait - becoming part of facing arts just takes two minutes

You can just use your cell phone or load up an existing portrait. It's important that you provide a frontal portrait without glasses in colour as for instance a passport photograph in a correspondent resolution. Image formats: PNG, JPG, JPEG; file size: max. 5 Mb.

Please use a picture without mask!
If you have further questions please consult the FAQ.

Thankyou clip

A small art work as little Thank You: For your participation you get a unique Thankyou clip, turning your face into a dynamic animation merging togehter with the faces of 49 colleagues.

Login

Already taking part - login to request your thank you clip:

Faces & Locations

Facing arts is supposed not only to be a web platform. To give the cultural landscape literally a face, facing arts will present the faces of the arts in public space. Every place is possible putting pictures in motion: from the cinema screen to tours in museums and galleries to large-scale projections in public space.


Facing science presented 2010 on the exhibition WeltWissen, Martin Gropius Bau, Berlin.

News

Twitter


The signet of facing arts joining the faces of STORM.

FAQs

The face projection or your thank-you clip is particularly impressive as all eye pairs are always in the same position. So viewers have the feeling to be "watched" by the projection. By marking the pupils yourself in your picture, you relieve us of this step and we can release your picture faster.


Your Thank-You-Clip is automatically generated with the preciding 49 images uploaded on the plattform. So your portrait will bei included in the clips of the next 49 persons submitting their portraits after you.


In order to attract interest for the situation of artists during the corona crisis it is important to communicate your project to a larger audience. So please share your Thank-You-Clip with other artists so they also can get part of the project. In this way we will show, that art is an important socio-economic factor of our society.


Please look if you have activated »cookies« in your browser's internet security settings. The website only uses session cookies which are automatically deleted by your browser when you left our webpage.


If you have registered more than one email address, please login with the email address you registered first. If you have forgotten your password, please use the function »forgot password«.


Make a post with your statement and a link to facing arts in one of your social media accounts and sent us the link via mail on storm[a]facingarts.net. We will check it and share it in our blog.
We are also very glad, if you will send us links to interesting press reports which are not listed jet in our blog!


If you have further questions don't hesitate to contact us. You find a contact form in the about section.

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!

Getting in touch

Get in touch

Write an email to
or use the following form to contact us:

Impressum


Adresse

Privacy Notice

Content
The content of this website has been carefully prepared and reviewed. However, it does not guarantee the accuracy, completeness or quality of the information provided, or that it is up-to-date. Liability claims against the publisher in respect of material or immaterial damage caused by the use or non-use of the information offered or by inaccurate or incomplete information are in principle ruled out provided that there is no provable culpable intent or gross negligence on the institute's part.
The publisher reserves the right to alter, amend or delete parts of the site or the entire offering, or to cease publication, without prior notice.

Links
Where the publisher provides direct or indirect references (i.e. links) to external websites, it is liable only if the publisher has precise knowledge of the content and if it is technically possible and reasonable for it to prevent use in the event that they contain unlawful content.
The publisher expressly states that the linked websites had no illegal content when the links were set up. It has no influence whatsoever on the current and future design of the linked sites and hereby distances itself expressly from any alterations to the content that were made after the links to those sites were set up.
The Publisher is not responsible for the content, availability, correctness or accuracy of the linked sites or of the offerings, links or advertisements therein. It is not liable for illegal, incorrect or incomplete content or in particular for damages arising from the use or non-use of the information provided on linked sites.

Copyright
In all publications, the publisher endeavours to comply with applicable copyrights. If, in spite of this, an infringement of copyright should occur, the publisher will after notification remove the relevant object from its publication or indicate the appropriate copyright. All brand names and trademarks mentioned within the Internet offering that are possibly protected by third parties are without limitation subject to the provisions of the law on trademarks and related signs and the property rights of the registered owners. The mere fact that they have been mentioned should not be taken to mean that trademarks are not protected by third-party rights.

Privacy Policy
The use of the internet pages of www.facingscience.net is possible without any indication of personal data; however, if a data subject wants to use the contact form or image upload form of our website, processing of personal data could become necessary. If the processing of personal data is necessary and there is no statutory basis for such processing, we generally obtain consent from the data subject.