The Minister for Culture and Science in NRW has warned that culture must be careful not to always demand a special treatment. The scene should not >move too far out of the social consensus,< she said. What on earth is the offense of the scene? Max Moor(08 Nov 20)
Absurd. There is no meadow, no pub, no shop, no subway and no cabinet as far apart as the Philharmonie. Egbert Tholl(25 Jun 20)
Galleries such as Pace, Gagosian (which furloughed its part-time staffers in April), and David Zwirner (which laid off nearly 40 employees this month) all took in between $2 million and $5 million. (07 Jul 20)
There is a concern that there will be less opportunity to give presents because of fewer celebrations. However, confidence is based on the fact that customers more often choose cheap gift books than expensive skis in times of crisis. Michael Wurmitzer(09 Nov 20)
Our cultural life was not in the best condition even before the pandemic [...]. I fear that their long-term consequences are not yet clear to us in the least. The great [...] event culture will rise again. But what will become of all the more specific initiatives, venues, artists, less mainstream? Andreas Staier(04 Nov 20)
It is incomprehensible to us why it is possible to keep DIY stores, car showrooms and other stores open, but museums, which have the same or more generous areas for corona-friendly public traffic, are closed. Deutsche Museumsdirektoren(01 Nov 20)
It is painful to have to witness this unequal treatment and, despite requests and pleas, not to be heard by the appropriate corridors of power. Anne-Sophie Mutter(20 Oct 20)
Why do we need the cinema? [...] It is about experiencing the increasingly rare protected offline space. Somewhere we have to come back to ourselves, be unreachable and relocate ourselves in our bodies, in the presence of aliveness. Edgar Reitz(04 Jun 20)
But if the theaters are really interested in acting as the social laboratory as which they like to see themselves, then they could use the pandemic stop as a pause for reflection to negotiate their own future. Björn Bicker(20 Jul 20)
It is true that the event industry as a whole needs urgent help, survival aid. The distress is enormous. Tom Koperek(22 Jun 20)
"United We Stream" won't help us to rescue the clubs. Just for Berlin, 10 million per month are needed for personnel, rent, leasing contracts, etc. to save the venues. Lutz Leichsenring(28 May 20)
As far as gross value concerned, we have added value that is only surpassed by the automotive industry. We have more than the chemical industry, we have more than the financial service providers. In 2018, we generated in our sector more than 100 billion euros in gross value added. Noam Zur(29 May 20)
The fact that critical contemporary art of all things leaves a lousy carbon footprint is deeply absurd. A new museum culture could slow down the carousel, if only because in future either the works travel or the viewers do. Not both. Catrin Lorch(05 Jul 20)
[...] first the business life and then we can take care of sports and culture. I find that such a purely populist statement, which is after all said by a prime minister who is one of the leading figures in the management of the Corona crisis. That does pull the plug. Ulrich Khuon(07 Sep 20)
So much creative energy has been pent up everywhere during the pandemic, and now it's time to put it to good use! Gerald Mertens(02 Feb 21)
This almost sounds like a self-abandonment of classical book culture. Corona doesn't seem to be the only virus the industry is suffering from. If in the end a virus called anxiety causes even greater damage, that would be fatal. Paul Jandl(17 Jul 20)
If we want to survive this crisis reasonably in the cultural sector, then there must be additional subsidies for a specific culture fund. Olaf Zimmermann(25 May 20)
In my view, there is no cultural shortage in children's rooms. A free reading by authors brings no added value to entertainment. Salah Naoura(25 Mar 20)
The digital life, an aid in times of distress, will not be able to replace our need for a home. Not satisfying our thirst for shelter. Carmen-Francesca Banciu(20 Nov 20)
The true state religion in this country is to have permanent positions. This explains the Corona special regulations and billions in aid. In the case of the self-employed, the state acts as if they themselves are to blame for the lack of orders. Sascha Lobo(09 Dec 20)
At the moment there are mainly panic reactions. I don't see any issues negotiated yet. Cornelia Fiedler(22 May 20)
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. Louwrens Langevoort(29 Oct 20)
What is needed are the open spaces of art that make exchange and reflection possible - including on how Corona is changing our society. Barbara Mundel(22 Oct 20)
We had a certainty that concerts would take place, that trips could be made, that tours would take place [...]. All that is really really shaken, shattered, you could say. Marie König(15 Feb 21)
Nobody has to come up with investigations anymore, really. Or do they after all? Exactly with this? With the investigation of what happens and what remains when a community experiences a collective heartbreak, a general disaster? Simone Buchholz(28 Oct 20)
A logistical adventure is currently taking place in the rehearsal rooms: routing people with masks to the rooms, then let them play without masks, but with the distances that they must not exceed. Michael Schmitz-Aufterbeck(31 May 20)
Despite the arts sector being the first and worst hit sector, and likely the last to recover, the budget fails to provide a roadmap for the sector based on bold, strategic vision and long-term recovery. Leya Reid(08 Oct 20)
Nevertheless, culture is indispensable, and therein lies its paradox: it is always both a total luxury product and an elementary medium in which a community agrees on what it considers important or unimportant Dirk Peitz(05 Jun 20)
The Leipzig Book Fair will be all the more sorely missed this year as a forum and a place of self-exploration for an industry whose identity crisis is becoming increasingly apparent. Helmut Böttiger(29 Jan 21)
We are already in our fourth month. There is no longer any hope for the goodwill of the real estate industry. Lutz Leichsenring(20 Jul 20)
When I hear this relentlessly rigorous Karl Lauterbach, I would like to recommend Juli Zeh's novel »Corpus Delicti« and a little grain of the author's sense of freedom. Arno Orzessek(25 May 20)
The Chancellor and the heads of state are obviously interested in making it really bang loudly so that even the last one understands that the summer with its freedoms is over. The theaters are only one of several pawn sacrifices. Georg Kasch(28 Oct 20)
It is about raising awareness that the artistic values ??that are created are more than aesthetics. They are basically life-sustaining spaces of reflection and scope for society as a whole. Ulrich Khuon(19 Apr 20)
Art is like air. When it's there and it's good, we don't perceive it. If it were gone, we would notice it. Stephanie Lexer(31 May 20)
The crisis reveals that many self-employed people do not have a business model that can cope with any change from a normal situation. [...] The attitude that crisis and old-age provision for the creative people is a problem for later has no future. Dieter Haselbach, Pius Knüsel(27 Jul 20)
Both, we have lost many jobs. So we had an idea: There's an issue out there, we have time, we're off now. Thomas Victor(23 May 20)
Just the idea that school classes would follow mathematics lessons in the peace and quiet of a museum for months, receive social studies from Joseph Beuys and discuss history in the stalls of a [...] theater hall - what an outrageous gain. Catrin Lorch(11 Nov 20)
It would be ironic if TV streaming services were to make lockdown millions while the very source of our acting, producing, writing and directing talent pool was allowed to die. Sam Mendes(05 Jun 20)
And then I worry about all my colleagues and friends who work as freelancers. Nobody knows what should happen to them when concerts simply no longer take place. Geoffry Wharton(12 Mar 20)
There will also be a new appreciation for how precious each seat is. Because then there are fewer houses in the country that play, fewer performances, fewer places. Theater tickets will be the hot shit in Berlin! Oliver Reese(23 May 20)
Grönemeyer considers cultural workers to be civil servants of a public enterprise on behalf of the nation's services for the public. Rainer Hank(15 Nov 20)
We want to write a manifesto to the president, all of us, thousands of Marseillians, to make it clear that there is no reason at all to sacrifice culture in this situation. Benoît Payan(30 Jan 21)
Never has the book, never has literature been so valuable, so important, as a place of escape, as a retreat, as a source of new, different thoughts - and for a long time the symptoms of economic crisis have not been as threatening as in 2020. Gerrit Bartels(08 Oct 20)
It is true that the many millions [...] are also intended to »award new contracts to freelancers and solo self-employed persons«, as the »Neustart« programme states. It remains to be seen whether this measure will really account for the lion's share in the end or whether it will be invested in Plexiglas panes for everyone. Ingo Arend(08 Jul 20)
When I look at how solo artists are doing: There are many of them who have no income and have to live with short-term support again and again [...], then I think we should perhaps use this break to think a little bit about the future. Amelie Deuflhard(05 Nov 20)
I could imagine that Frankfurt would do well to think about it right now: How can this trade fair be changed? I think it would be a mistake to simply assume that you can carry on as usual. Elisabeth Ruge(13 Oct 20)
Now everyone is surprised that the great cheers about the reopened museums are missing. Many visitors are still sceptical. Many museums had hoped for completely different numbers than they can now present. Wolfgang Ullrich(14 Jul 20)
If we assume that more and more rich people want to buy social status, charisma, and appreciation with art, there are no sales worries for the art markets, rather supply problems. Christian Herchenröder(17 Dec 20)
If it were purchases, it would be good, if it were other aids, it is at least welcome. I see it positively and also find it great that Mrs. Grütters is directing money towards galleries. But as I said, purchases would be sustainable. Rupert Pfab(27 Sep 20)
I think that even if the shields were to be released in the fall and the audience would willingly think them away, that would not be possible. I see what I see. With masks it would be funny, you hardly see the actor, you don't really hear him. Jan Bosse(26 May 20)
Then, however, Hesse, as the federal pioneer, opened up before all the other states again at once. Announced on Friday it was fact on Monday. Nobody could get up that fast. Theatres are tankers, complex, interlinked systems. Manuel Brug(20 May 20)
I just think things out: I have looked at the plans from the WHO, from the Federal Government. Then I researched everywhere and made a story out of it, and now that story is about to become reality. Klaus-Peter Wolf(06 Mar 20)
Will the ticket inspectors measure the temperature of visitors in the future? Jörg Häntzschel(19 May 20)
Wouldn't the time be right for a special solidarity payment for the wealthiest in this probably harsh autumn and an impending full lockdown? Herbert Grönemeyer(04 Nov 20)
The employer's contribution to the artists' social security fund KSK is paid not only by the state, but also by the companies in the art and culture industry with their duties. Since the cultural industry has come to a standstill, these are now missing, and the existence of the artists' social security fund is endangered. Brigitte Werneburg(09 Nov 20)
Currently we are all experiencing a shortage of the big movies. But perhaps this is an opportunity for the European film industry, but also for Europe as a whole: to establish a new form of communication about films. Carlo Chatrian(17 Sep 20)
The play that our stages have to play right now is called: »Struggle for survival« – not only of artists, but of an enlightened and open society [...]. Axel Brüggemann(27 Oct 20)
If we are honest, the question of what costs what is no longer an issue. [...] The thing that is really depressing the population at the moment is that we have these limitations when it comes to social contacts. Olaf Zimmermann(26 Oct 20)
This creative industry most recently achieved a value added of 253 billion euros, accounting for 4.4 percent of the EU's gross domestic product. In short, it ranks as "a European heavyweight. Stefan Weiss(26 Jan 21)
I surmise that this time, if it ever comes to an end, if we can overcome this pandemic, we will all emerge traumatized. I don't think it's something you can simply terminate. Lars Eidinger(18 Nov 20)
A final climax, a bright final chord - and then? No cheering. No bravos. Only dead silence after a sensationally good concert, a strong plea for New Music and an appeal for more music in lonely times. And I am close to tears. Rattle still quietly says "Bless you. Thank you so much." - and releases you into silence. Jens Lehmann(13 Mar 20)
It's a curious situation we have right now. For example, if I live as an artist in Hamburg, then I'm lucky. If I live a few kilometres away in Lower Saxony, then I've had bad luck. Olaf Zimmermann(12 Jun 20)
The Corona crisis remains the great art obstacle to classical music. In the USA everything lies idle until January. In Paris, everything is falling apart anyway. In Germany a kind of classical allotment garden is blooming. Manuel Brug(20 Jun 20)
The film industry in Austria stands for an economic output of approximately 1.4 billion. We are now running for our economic life and for this survival a state default liability related to Corona is essential. Oliver Auspitz(16 May 20)
They only know entrepreneurs with employees and obviously do not know at all how we work and what we need after we have been banned from the profession. Nadine M.(07 Jun 20)
What really worries me is that in public discourse, especially in the leading media, [...] very, very little art and culture has appeared. That means both the question: How are you? How do you work? And also: How do you, dear artists, think about this situation? What is your contribution? Stephan Behrmann(02 Oct 20)
[...] Wednesday's package of federal and state resolutions, on the other hand, pushes culture into the annex, which lists the closure orders still in force, between "restaurants, bars, clubs" and "prostitution facilities", between beer and brothels. Andreas Kilb(18 Apr 20)
The Corona virus crisis revealed clearly that very many artists are not safeguarded and that it is more than ever necessary for artists to be able to insure themselves against unemployment, for example. Caroline Richards(17 Jun 20)
For everything that is not subsidized in the field of classical music, the prospects look extremely dismal at the moment. Karsten Witt(08 May 20)
We all hoped so much that business would restart in autumn, but now no one can come from China or America. And the Spanish or French collectors will also drop out. Esther Schipper(11 Sep 20)
It was difficult to get a view, to see or to read corona-distant, even non-corona topics, but with the first easings this is slowly changing again. But now Corona literature snapshots? Gerrit Bartels(06 May 20)
At the moment my job here in the theater is to actually take care of the inner life. Not mine, but that of the many staff members, because it feels very different than in March, when we were in a phase of the emerging spring [...]. Karin Beier(29 Sep 20)
We are an important part of the economic cycle: we pay an unbelievable amount during the year to art shippers, art fairs, construction teams, to the Artists' Social Welfare Fund.... Rupert Pfab, Galerist(28 Apr 20)
We think all the time, what can we actually do to positively influence the situation and that is frighteningly little. Farin Urlaub, Die Ärzte(23 Oct 20)
Perhaps the cultural shutdown also comprises some good points, in so far as one can learn to appreciate Benjamin's “unique appearance of a distance as close as it may be”. Unlike kitchen art an aura cannot be simulated by definition »simply at home«. Richard Kämmerlings(27 Apr 20)
So far there is not a single proven infection in a theater [...]. In this respect, this is not at all a place that is suitable to meet the rising incidence value. Marc Grandmontagne(15 Oct 20)
I would like to see a more relaxed view on the risks of life. After all, we don't take away the driving license of every second driver because he is a potential cause of accidents. Matthias Goerne(13 Sep 20)
The protection of life is - in the truest sense of the word - not a killer argument to legitimise arbitrary, limitless restrictions on other freedoms. Christian Hillgruber(09 Dec 20)
There won't be any viewers crowding into a sold-out house close to each other and glowing with joy, and that's not because of the quality of the program. Nicolas Stemann(11 May 20)
The criteria for evaluating art in the digital world are missing. Just because something is done digitally doesn't mean it is the hot shit. Anika Meier(02 Jun 20)
Being profitable would be the wrong expression. But in fact, we're getting there. We receive support from the Hamburg Department of Culture and therefore we keep afloat. Corny Littmann(13 Aug 20)
We need to enter into resistance. We are going to invade churches, shopping malls, auction houses... and we will put on shows! Samuel Churin(15 Dec 20)
The aids that have been applied are all very unfortunate because they mostly do not apply at all to the professional model of freelance actors, freelance artists. Jochen Schölch(29 Dec 20)
Many people no longer want to accept the situation. If it continues, the consequences for human coexistence and social peace will be almost incalculable. Alexander Skipis(23 Feb 21)
It's hard to remember a time when culture in this country was considered so dangerous that it had to be locked away and banned from public space. Roman Bucheli(30 Dec 20)
I lose a lot of my potential audience. And as someone who doesn't have a regular readership, that's not the best thing. Jasmin Schreiber(06 Apr 20)
We were closed with restaurants and bars, but they’ve been open for a while, and it’s actually safer to be in a theater because you keep your mask on. Catherine Russell(26 Oct 20)
The past few years have already seen pushback against the art world’s gross socio-economic inequities [...]. Even before Covid, it was high time for a reset. Jane Kallir(22 Jun 20)
Rather, the bitter impression that the significance of culture is so low, despite your lip service in recent months, that the first solution to the rising number of infections seems to be: »Is this art? Then let's get rid of it!« GMD- und Chefdirigent*innenkonferenz(02 Nov 20)
In music, the audience is part of the communication. Clapping, reacting, empathizing is a crucial part of a live experience. It is very difficult to reproduce this digitally via livestream. Dr. Pop(08 May 20)
As soon as it becomes the rule to override fundamental constitutional rights at will with every new challenge, democracy is damaged. Dieter Hallervorden(09 Nov 20)
The real and the beautiful is often created under precarious conditions. So far, hardly anyone has been interested in this. This should make the audience and the press blush of embarrassment.. Gero Schließ(30 May 20)
In houses like Baden-Baden and the Berlin Philharmonic, the air conditioning is just as good, and the economic hardship is just as great. If airplanes are allowed to be packed, then so are the concert halls. This requires equal treatment. Reinhard J. Brembeck(22 May 20)
Artists and cultural institutions have no lobby and had to serve as "soft targets" for measures that politicians had not dared to implement elsewhere. Nicolas Freund(05 Jul 20)
You can fly in a full plane, travel in a bus, but people don't trust us to follow the rules and instead people celebrate in the park. Erik Kühn(02 Oct 20)
The tone in the social networks is becoming increasingly bitter. After all, private aid initiatives have formed. Eva-Maria Magel(22 Apr 20)
The answer to the virus can only be that charity goes viral. And if that sounds too pious to someone, he simply calls it solidarity, which is contagious. Pastor Sieghard Wilm(01 Nov 20)
You may call it kitschy or embarrassingly pathetic: But the soul of many people needs some solace in the pre-Christmas season. Solace with music, with concerts, with theaters, with musicals, with art. Culture helps to survive the most emotionally challenging time of the year. Maria Ossowski(26 Nov 20)
This year is a complete write-off, and if it continues like this, then at least for me I can no longer work as a freelance writer, if no money comes in through book sales and readings, then I have no income. Michael Stavarič(25 Sep 20)
And so films are shot all over the republic, with sometimes quite different restrictions ranging from very strict to rather lax. And also with double standards: On the set, we pay attention to distances. After the shooting is over, we meet in the beer garden without masks. Jörg Seewald(16 Jul 20)
Is it inconceivable to put artists in a position to bridge the next eight, nine, maybe even twelve months without slipping into total depression because of unintentional and undeserved misery? Anne-Sophie Mutter [u.a.](19 Apr 20)
I'm really worried that when we open again, not everyone will be there because people have decided to do something else after this long stretch. Carsten Brosda(11 Feb 21)
There is much debate about why this disease now? What logic is behind it, what morality? Towards the end of your book and after reading Albert Camus' »The Plague«, Matteo comes to the conclusion that there is no morality that can be drawn from such epidemics. Christoph Leibold(19 Jul 20)
In Austria, the cultural nation, the following obviously applies: politicians and cultural bureaucracies are waiting for suggestions, organizers are waiting for guidelines. One could despair of this sluggishness if there weren't folk musicians, church musicians and counterexamples. Hedwig Kainberger(02 Jun 20)
For freelance musicians, the federal government has made it much easier to apply for basic social care, also known as 'Hartz IV'. But many find it humiliating to go to the job center. Eva Blaskewitz(02 Jun 20)
This is a different mode, but also a chance to present art in a completely different and contemporary way to art aficionados. Wolfgang Ullrich(17 Mar 20)
Now that the Book Fair has been subjected to this ordeal, it is clear what this unique, crazy, sensory event has always been: always too crowded, always too loud, always too expensive, always a risk. But at the same time, it is also a fascinating place to negotiate spirit and goods [...]. Sandra Kegel(04 Jul 20)
If we high-frequency culture users were a political party, we would fail at the five per cent hurdle in every election. Peter Grabowski(01 Feb 21)
Recently, Jens Spahn also warned against events. He meant private celebrations, but he said: events. After that our advance ticket sales collapsed because people thought it was too dangerous to go to the theatre. Wiebke Eymess(23 Sep 20)
There is no protection for workers in the United States, which is why there are mass layoffs in the art world, in galleries and museums. Vincenzo de Bellis(03 Jun 20)
I think it is also simply too rigid how culture is treated. Gunter Gebauer(24 Oct 20)
Of course I would like us to [...] sing again soon. But I also know that when we sing, when we speak, aerosol clouds are created. And I think it's important that this is now being scientifically investigated. Kerstin Rosenfeldt(03 Jul 20)
However, when the going gets tough, people pretend that self-employment was above all self-realisation and nobody could expect society to take responsibility for it now. Jagoda Marinic(12 Jun 20)
The balance sheet is of course devastating. After almost six months of lockdown, three months of really bad business, we have a 70 percent drop in sales. Christine Berg(20 Dec 20)
In the Corona crisis we experience a strange recourse to images. But pictures do not help us to understand the situation from a distance, neither in Bergamo nor in New York. Daniel Kehlmann(06 May 20)
The 2020 budget is more uncertain than any budget I have ever experienced. Claudia Rütsche(10 Aug 20)
Events of the ten signing Houses of Literature were attended by around 70,000 visitors last year with around 1,400 dates with approximately 3,000 contributors. Die zehn Häuser der Literatur(11 May 20)
How can the art world react to the fact that the institutions are so geared towards tourism and large exhibitions. Daniel Birnbaum(30 Apr 20)
I would just like to see that the contribution that we make to the containment of Covid-19 is not rendered moot by keeping, say, the ski resorts open. Nicolas Stemann(22 Dec 20)
I am not given enough thought about the economic consequences of these step-by-step decisions. The entire sector is insecure, paralyzed, there is no basic timetable for what is possible under what conditions and when. Julius Frack(15 May 20)
Theaters, opera houses and concert halls have been proven not to be places of infection. Their excessive restriction therefore does not contribute to the containment of the occurrence of infection, and is therefore disproportionate. Deutscher Bühnenverein(27 Oct 20)
It's interesting that we keep an eye on the theatre repertoire business when we all have time for completely different artistic activities and formats. Nicolas Stemann(29 Jan 21)
Artists give away their work for free on the net. This reinforces the impression that this is a hobby. They like to do it and everybody is allowed to participate. Helmut Mauró(02 May 20)
The precarious conditions under which so many freelancers work in the cultural sector must be reconsidered in future funding policy. Ulrike Groos(07 Jul 20)
I know famous accompanying musicians, who usually stand with the biggest German stars on the biggest stages of our country, who are now sitting at the supermarket checkout. Heinz Rudolf Kunze(17 Sep 20)
Singing in closed rooms is prohibited, period. Maria Ossowski(29 Jun 20)
The bottom line is that "Neustart Kultur" [Restart Culture] is nevertheless only a small program, a drop in the ocean, on which especially private artists are threatened with thirst. Anne Sailer(24 Aug 20)
It is the core challenge of publishers and at the same time the magic of our work to bring the market and the art together. It is a deeply social process. Tom Kraushaar(27 Mar 20)
While some are looking for the vaccine and others are discussing whether it is actually a good thing, we at least provide in theatre a vaccine against mental incrustation and aberration. Nicolas Stemann(25 May 20)
We don't let autumn take us away. Books are more important than ever. Joe Lendle(12 May 20)
During the Frankfurt Book Fair, there is always such a rapid rise in the level of debates in German media - and this is another reason why the silence this week is so spooky. Felix Stephan(17 Oct 20)
Art dealers must hope that [...] they will not already be suffering the cathartic side effects of the pandemic. This would not only be an economic damage, but also a cultural damage. Museums do not have the monopoly on the basic supply of art. Marcus Woeller(19 Apr 20)
Give back culture to the Bavarian people! Unfortunately, State Premier Söder and Minister of Culture and Science Sibler react completely ignorantly and arrogantly. Dr. Axel Schertel(07 Jul 20)
On top of all that, the Arts Council’s funding requirements now place “relevance” over “excellence” as the highest goal of British theater. Helen Lewis(12 May 20)
Our work stands for diversity and freedom of opinion, for knowledge and pluralism, for emotional, intellectual and cultural exchange, innovation in thinking and the intellectual creation of new - and sometimes better - worlds. Netzwerk Autorenrechte(05 Jun 20)
Not hugging, not touching, moving at least one and a half metres away from the neighbour - for people who consciously communicate with their bodies every day, this is a maximum penalty. Dorion Weickmann(12 May 20)
On the other hand, the Book Fair is a place of lived freedom of opinion and publication. This is also an important pillar of the Frankfurt Book Fair and this pillar will be there. Alexander Skipis(08 Sep 20)
Has the fear of the virus, in the words of Erich Fromm, long since mutated into a »fear of freedom«? René Schlott(08 Feb 21)
To shape better policies, national and subnational governments need more and better evidence on the economic and social impact of cultural and creative sectors. OECD(07 Sep 20)
Everything that is fun and innovative will then disappear. Or it will be bought up by big companies and streamlined until all events look the same. Julia Gudzent(21 Sep 20)
[...] perhaps that will be the essence of after-pandemic criticism. More personal, more to the point, more empathetic, more open and less formulaic. Philip Kennicott(29 Nov 20)
These freelance photographers, along with many other freelancers, are probably the poorest pigs in the corona crisis. Yes, there is a lot to photograph. But the commissions are missing. Steffen Grimberg(07 May 20)
Nevertheless, artists should not be allowed to commit themselves to the role of the poor creative in the quiet closet. You should occasionally make it clear to your audience that good art is a scarce good that costs something. Elke Buhr(08 Apr 20)
In 2019 there were almost 800 film releases, this year we might not even get 200, and even worse, we're not getting the films we need to attract an audience. Michael Pawlowski(05 Sep 20)
Already in the almost six weeks of the current closure time between March 11 and April 19, the Residenz Theatre will lose revenues of an estimated 650,000 euros. Tobi Müller(08 Apr 20)
A general strike up to a hunger strike would literally show how much the culture, namely the creative people, are starved. Peter Weibel(28 Apr 20)
Artists, especially those who are not permanently employed, have to improvise permanently, have to do things they are not qualified for, they all almost become entrepreneurs as independent artists. Julian Nida-Rümelin(18 Oct 20)
With little funding, a lot could be done in the freelance sector - but there is a catch: This would officially recognize that there is a two-tier system in classical music. Frederik Hanssen(16 Nov 20)
»The show must go on, no matter how difficult it is.« It's an overused expression, but I think it's the essence of theater. Hideki Noda(05 Mar 20)
It is not new that our analog concept of the creative person around the book has become more challenging. But Corona is dramatically accelerating the development here. This poses a considerable problem for us. Ulrich Wellhöfer(02 Apr 20)
If I find the measures inconsistent, arbitrary and not effective enough, however, how will the rioters and haters in the web feel? Dorothea Marcus(31 Oct 20)
What is actually needed in parallel is an instrument for short-time work for the artists. Heike Herold(04 Jul 20)
Nobody is completely submerged, swimming against the current is exhausting, but sometimes clever thoughts go through your head. Sabine Seifert(29 Jul 20)
We are also there to hold up the mirror to society and to initiate discussions. But if everyone has to eke out a living with side jobs, there can be no more social criticism in the future. Petra Tobies(08 Aug 20)
The frustration and with freelancers also the fear are nevertheless understandable. But culture needs better ideas about itself. Better arguments for what it is there for. And for what it is not. Culture, for example, is not there for everyone. Tobi Müller(29 Oct 20)
While permanent employees would receive short-time work compensation, the loss of earnings of artists would be "completely negated". In many cases, at least. Karin Finkenzeller(14 Jun 20)
In doing so, it is time to give the small, local events as the ecological garden prior to intensive agriculture, [...] the individual artist prior to the culture industry employee the focus and empathy they have long lost. Karl-Werner Joerg(26 Dec 20)
Creative industries will lose an estimated 2.7 million jobs and more than $150 billion in sales of goods and services, amounting to nearly a third of creative-industry jobs and almost 10% of annual sales. Richard Florida & Michael Seman(11 Aug 20)
In 2020, we still had the income from 2019, in which Corona played no role at all. But that means that in 2021 we will have the full loss of the German Performing Rights Society (GEMA) payment, because in 2020 only a fraction of the concerts were performed. Christiane Albiez(03 Feb 21)
I had actually written another book. When the virus came, he snuck in there relatively quickly. Then I thought, what does he want here. He wanted to get in there. Lola Randl(28 Aug 20)
For me, this will be the first Christmas in 20 years without performances, without children's laughter and without mulled wine with colleagues. Kerstin Dathe(26 Nov 20)
If there was ever a time that the world needed artists, it is now. In the aftermath of the virus, when the world is rebuilding itself, the cities have to step up. Hans Ulrich Obrist(05 May 20)
Now it's about not complaining, but still offering theater in all its facets - if you let us. At the moment we are allowed to do so, and now we have to show that it is right. Uwe Lohr(13 Sep 20)
That is strange. I was just at the ticket office, and people don't want to give their tickets back at all, they prefer to see the schedule for December already. They push it into the theater, and yet I think there is a weaning effect in the long run. Christian Stückl(02 Nov 20)
When we show up, nobody is seeing us. When we don't show up,we won't be missed. Maren Kroymann(14 May 20)
It is the very own task of the management of a state theater to guarantee the operation of the play in compliance with all applicable laws and regulations. Angela Dorn(26 Sep 20)
The plans for the next season had to be completely revised and reorganized in the last weeks. But we have succeeded [...] in developing new visions for this coming, extraordinary season. Oliver Reese(19 Jul 20)
The infection rate that we now see going up has nothing to do with civilized events like concerts, cabaret, theater and that drives the artists crazy! Volkmar Halbleib(28 Sep 20)
The decision affects the wrong people, it touche them to the quick, it is destructive, because culture is not relevant to the system, this term from the financial crisis is only annoying. Culture is relevant to existence, it is relevant to life. Maria Ossowski(29 Oct 20)
Instead of giving up the current season under political constraint or in anticipatory obedience, the task is to finally pull the strings again. Marco Frei, Christian Wildhagen(01 May 20)
The combination of streaming services and pandemic actually presents a unique danger situation. Netflix's stock price skyrocketed while movie theatres are on artificial respiration. Andreas Busche(28 Dec 20)
I have seldom seen the audience so grateful, everyone was incredibly happy that there are cultural offers again, and it became clear: literature is a nutrient. Heike Strecker(19 Jun 20)
We don't know yet how long the Corona period will last. If older actors are systematically not cast, this could result in age discrimination. Heinrich Schafmeister(17 Jun 20)
The pandemic has not only negatively impacted the creative sector in Africa, but it has also exposed its shortcomings. Ribio Nzeza Bunketi Buse(28 Dec 20)
The current chapter of the Leipzig Trade Fair: For now, a vaccination center is moving into the halls. The hope remains: There will be good times again. Martin Hoferick(29 Jan 21)
It’s hard not to feel abandoned by American society as an arts worker. Georgina Pazcoguin(23 Sep 20)
If so many who work in the private and publicly funded art business can currently survive only with aid packages, something is wrong with the entire system. Something has to change radically here. Iris Dressler(23 May 20)
What would have to happen? You now have the opportunity to rattle a few cages. Jörg Biesler(02 Aug 20)
Well. Does culture suddenly no longer have to explain that it is not a luxury that you only have to worry about once survival is assured? Kolja Reichert(25 Apr 20)
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
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
Diese Normalität darf nicht zurückkehren . Am Sinn für tatsächliche Relevanz herrscht im Kulturbetrieb erschreckender Mangel This normality must not return . There is a frightening lack of a sense of actual relevance in the culture industry
With a persistently high incidence value, Yilmaz Dziewior, the director of the Museum Ludwig, expressed the assumption in a mid-January interview on Deutschlandfunk that the museums will reopen in mid-February. In his commentary, Peter Grabowski takes this statement as an opportunity to reflect on the overconfidence of cultural workers in Germany. Democracy is not in danger just because the public is not allowed into museums and theatres. These are leisure facilities. Central social issues have long since ceased to be negotiated in a leading role in cultural institutions . Social media and the mass media play a much more central role in discourse here. Therefore, Grabowski calls on cultural practitioners to leave their ivory tower, acknowledge the reality of the pandemic and think about how cultural institutions can regain more relevance in society.Read MoreRead Less
The Leipzig Book Fair will not take place in 2021 either. Even the postponement to the beginning of May seems untenable for a major event. For the industry in transition, the cancellation is a painful loss, not only financially, because what is currently understood as literature and how it is talked about has changed noticeably. Today, literature is a small market segment of the so-called culture industry and is no longer a place of debate about aesthetic standards and socio-political issues. An indicator for this is the announcement of the WDR to go new ways in li terature reviews. The book fair would have offered publishers and authors a forum to exchange ideas about this structural crisis.Read MoreRead Less
While the theatres had still hoped to reopen soon with the announcement of a lockdown light in November, the date for the start of productions seems to have receded into the distant future. While many theatres were still working on new productions in November and December, rehearsals have now largely stopped. Frustration in the ensembles is growing, as it is even less foreseeable than in the spring when a return to normal operations will be possible. As at the beginning of the season in autumn, audiences can then expect a flurry of premieres, as the new productions are j ust waiting to be presented. Until then, on the one hand, crisis management is in demand at the theatres, which - according to many theatre managers - is basically part of their everyday business. On the other hand, Nicolas Stemann from the Schauspielhaus Zurich asks the justified question of whether one can continue to plan with a theatre repertoire operation or whether the houses should not use the current situation to try out new formats and a new kind of artistic activity. Read MoreRead Less
»Die freien Schauspieler sind überhaupt nicht abgesichert« . Metropoltheater München in der Coronakrise
by Jochen Schölch, Maja Ellmenreich (29 Dec 2020) Original source: Deutschlandfunk
Independent theatres are particularly affected by the crisis. The Metropoltheater itself, as Jochen Schölch, artistic director and founder of the Metropol, reported in an interview with Deutschlandfunk, will get through the crisis thanks to a grant from the city of Munich. Nevertheless, the theatre is currently short about 450,000 euros, which were financed from reserves from previous years. The shortfall is due to the fact that the theatre pays the actors, all of whom are only booked for individual productions, the equivalent of short-time allowance, to which actor s working on freelance contracts are not entitled. Since actors often switch between permanent employment and freelance contracts, they currently fall through the cracks of state aid. In addition to the city of Munich, the theatre is supported by non-refunded tickets and donations from the Friends of the Theatre.
Even though the theatre has come through the crisis well so far, the artistic director is still worried whether the audience will return to the theatre after the lockdown or whether they have become so accustomed to Netflix and the like that they will no longer leave the house to visit the theatre in the evening. The question of whether actors will still be available is also on his mind. Those who have the opportunity are currently signing a contract for a television series in order to be able to fall back on a permanent income.
In an online presentation with short, associative video clips, the Metropoltheater has reflected on what theatre after Corona could look like. There is no streaming offer, however, as they are convinced that theatre can only be experienced in analogue form. Read MoreRead Less
Schauspielhaus-Intendant Stemann: «Uns ist die Fähigkeit abhandengekommen, mit anderen Menschen mitzufühlen»
by Julia Stephan, Nicolas Stemann (22 Dec 2020) Original source: Tagblatt
Working creatively and productively with the resistances that the Corona crisis means for theater professionals, that is the trademark of Nicolas Stemann, the co-director of the Schauspielhaus Zürich. Already last spring, he accompanied life during the pandemic critically and humorously at the same time with columns for the Neue Zürcher Zeitung and the 'Corona Passion Plays'. In his home office he wrote songs for the Passion Plays, as it was not possible for him to discuss developments during the suspended rehearsals. Nevertheless, he also sees the nega tive sides of the pandemic. Workflows have to be rethought, premieres postponed, casts minimized, schedules rescheduled - of course, this also means a great burden. On the one hand, this increases the workload for many, and on the other hand, it is extremely stressful, especially for actors, if they cannot rehearse with a goal in mind. This is one of the reasons why the Schauspielhaus Zurich very successfully offers a live-streamed performance once a week.
It is important for Stemann to emphasize that the theaters consider the closure of the houses to be an important contribution to the fight against the pandemic. His only concern is that it may have too little impact by placing too few restrictions in other areas. With regard to the concerns and problems of people during the pandemic, he considers art and culture to be extremely important in order to negotiate the open questions together in a discussion space and to find an outlet for emotions. The fact that this is not available at the moment, but that instead emotions such as hatred and incomprehension are acted out in social networks, is for him one of the major problems of the theater closures.Read MoreRead Less
During the first Lockdown, the theatres mainly offered internal recordings of performances in streaming, but since November there has been an increase in plays that were explicitly developed for live streaming. These productions are linked to online payment models. Here, the audience can only watch a live stream after having purchased a ticket. This is increasingly important for theatre professionals. Not only does it prevent viewers from switching from theatre to theatre, as in the case of television, but above all the ticket purchase valorises the cultural experience. In addition, the theatres can cover at least part of their expenses. If, as in Leonie Böhm's ›Leonce und Leonce‹ at the Schauspielhaus Zurich, the director Leonie Böhm herself directs the six cameras and thus guides the view, then the theatre evening also promises an artistic concept. Pure documentaries with rigid camera work, on the other hand, fail the critics. The Deutsches Theater in Berlin is still cautious about live streaming, as audience numbers for productions that have to be paid for have dropped into the mid-three-digit range. The Sophiensäle in Berlin were also quite positive about live performances by the group Interrobang. However, even for events in the theatre here, the attendance figures are very reduced compared to streamings. Experimentation with streaming and hybrid forms, the theatre-makers agree, will continue to develop its own forms of presentation after the lockdown. In the crisis, streaming seems to offer theatre-makers a welcome field of experimentation to creatively find answers to the closed houses and to keep in touch with their audiences.Read MoreRead Less
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.
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 MoreRead Less
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
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 MoreRead Less
Jagt den Krimi in die Luft! . Literatur und Corona Blow up the thriller! . Literature and Corona
by Simone Buchholz (28 Oct 2020) Original source: Zeit
Crises freeze time for a moment and divide our experience into a before and after. One of the central tasks of art is to tell about such times of crisis. One genre for which the crisis is a core element is the crime fiction,novel, and so it is not surprising that the German crime novelist Simone Buchholz reflects on a new orientation of the genre in the weekly newspaper »Die Zeit«.
In order to finally gain a firm place in the genre of society novels, the crime fiction would have to throw overboard a whole range of its previous characteristics, above al l a simplistic narrative and the German idyll. Instead, the new crime fiction must shake at the genre's boundaries, leave every safe haven and devote itself to the completely unknown. Only the individual can be at the center of such a new novel. The characteristics that Buchholz now lists are the human striving for knowledge, his sense of solidarity and an idea of social cohesion. This reads as if Faust was crossed with Gretchen. The new crime fiction novel should also be a contemporary witness and, in addition to documenting the state of the crisis, it should also document how the crisis was withstood.
Is the genre abolishing itself? asks the experienced crime novelist at the end of her dream of a new crime fiction novel. We will know when her new novel is published.Read MoreRead Less
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
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.
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Faces & Locations
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.
The signet of facing arts joining the faces of STORM.
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.
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In this way we will show, that art is an important socio-economic factor of our society.
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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!
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
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Paco Croket for the tag cloud programming!
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