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.
Darum ist Liefers' Kritik so wichtig!
This is why Liefer's critique is so imporant!
by Ralf Schuler (25 Apr 2021)
Original source: Bild
In his commentary, Schuler points to parallels between the actors' contributions to #allesdichtmachten and the strategies of dissidents in the GDR. The ironic exaggeration in Jan Josef Liefer's contribution in particular resembles that of a submissive party obeisance, which at the same time undermines the party line. With this East German perspective in mind, Schuler points out: "Perhaps in the end it really is the biographical background that makes people more sensitive to the mechanisms of conformity pressure, which today no longer emanate from a repressiv e state apparatus, but more and more often from a political-media group dynamic."
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tag #allesdichtmachten DDR Gruppendynamik Schauspieler*innen 1989 Performing Arts/ Cinema Kommentar
»Diese Selbstverständlichkeit ist passé!« . Neustart des Musiklebens
»This matter of course is passé!« . Restart of the musical life
by Marie König, Frauke Roth (15 Feb 2021)
Original source: Deutschlandfunk
Although an opening prospect is not yet in sight, but subscribers are already waiting impatiently for the start of concerts at the Dresden Philharmonic. How the upcoming concerts might look, however, is still unclear. At the moment, no tickets are being sold, as the experience of last year has created a great deal of uncertainty for everyone involved. Nevertheless, the artistic director of the Dresden Philharmonic, Marie König, is looking positively into the future. Not only does her house have an excellent ventilation system, but last fall also showed that visitors are taking advantage of the event dates on offer. If a checkerboard pattern could be offered to the audience, then the sense of community that is created at a concert could also be re-established.
As a long-term consequence for the concert business, she sees that the belief in planning security - both in terms of performances and for tours - has been permanently shaken. The long planning cycles that existed before the crisis will no longer exist after the crisis. There will also be increased attention to the fact that events where many people come together in small spaces will not take place for a while. In Dresden, for example, the concert introduction will no longer be offered as a face-to-face event, but as a podcast. Read More Read Less
As a long-term consequence for the concert business, she sees that the belief in planning security - both in terms of performances and for tours - has been permanently shaken. The long planning cycles that existed before the crisis will no longer exist after the crisis. There will also be increased attention to the fact that events where many people come together in small spaces will not take place for a while. In Dresden, for example, the concert introduction will no longer be offered as a face-to-face event, but as a podcast. Read More Read Less
tag Lockdown Öffnung Programmplanung Schachbrettmuster Dresdner Philharmonie gemeinschaftliches Erlebnis Music Interview
Kulturaufstand in Frankreich . Eine Stunde Theater trotz Lockdown
Cultural Uprising in France . One hour theatrer despite lockdown
by Eberhard Spreng, Eckhard Roelcke (30 Jan 2021)
Original source: Deutschlandfunk Kultur
The mayor of Marseille Benoît Payan, together with other cities and independent theaters, has called for civil disobedience: Theaters should play for one hour in the afternoon. The initiative »Théatres Ouverts« originally comes from smaller theaters. The mayor of Marseille, Benoît Payan, took up the initiative and thus ensured a large public. In Avignon, where the initiative originated, the short-term opening of the theater was prevented by the police. In other places, poems were read or tango danced.
The contribution of Beno&i circ;t Payan is the announcement of a manifesto that advocates the opening of theaters. The idea is to play mainly outdoors in the south of France to minimize the risk of contagion. The »hour of disobedience« is directed primarily against the government in Paris and here above all against President Emmanuel Macron, who currently pays little attention to culture. However, the attitude of Benoît Payan is very ambivalent, since in the middle of the week he was still urging to follow the rules to contain the pandemic due to the increase in infections.
The contribution of Beno&i circ;t Payan is the announcement of a manifesto that advocates the opening of theaters. The idea is to play mainly outdoors in the south of France to minimize the risk of contagion. The »hour of disobedience« is directed primarily against the government in Paris and here above all against President Emmanuel Macron, who currently pays little attention to culture. However, the attitude of Benoît Payan is very ambivalent, since in the middle of the week he was still urging to follow the rules to contain the pandemic due to the increase in infections.
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tag Theater Freie Szene ziviler Ungehorsam Théatres Ouverts Benoît Payan Performing Arts/ Cinema Interview
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
Der deutsche Staat verachtet Selbstständige und Kreative
The German state is contemptuous of self-employed and creative people
by Sascha Lobo (09 Dec 2020)
Original source: Der Spiegel
Why do solo self-employed people receive so little support from the GroKo during the crisis? This is the question that author and strategy consultant Sascha Lobo addresses in his column. Based on an interview with the SPD politician and Lower Saxony's Minister President Stephan Weil, in which he pointed out that Corona aid is a means of solidarity. Since the self-employed have not paid into any unemployment insurance so far, they are now dependent on transfer payments from the state. For this reason, he calls in the interview for compulsory insurance for the se lf-employed.
What sounds plausible at first glance turns out, on closer inspection, to be an attempt to curb self-employment in Germany. In principle, the self-employed make an important contribution to the community of solidarity. For years, one-third of the pension fund has been replenished with tax revenues, since the pension insurance would otherwise be bankrupt. In other words, the self-employed pay for a benefit that they themselves do not receive. Unemployment insurance for the self-employed has been discussed time and again since the turn of the millennium, but it has never been implemented. The failure to include non-permanent employees in social systems is now being used to the opposite effect, however, as the solo self-employed in particular are being accused of taking advantage of transfer payments - i.e. benefits without receiving anything in return. The fact that the self-employed are also taxpayers is tacitly passed over. Even the comment by Finance Minister Olaf Scholz that the solo self-employed, who have been particularly hard hit by the pandemic, are being supported with all their might is no more than lip service. They are being offered a total of 5,000 euros until next summer to cushion their massive sales losses. November aid is only available to self-employed workers who are directly affected. But because the self-employed in particular are diversely positioned, they quickly fall below the 80 percent threshold, which means that if they have generated less sales with companies directly or indirectly affected by Lockdown, they will not receive any assistance. Yet it is precisely the solo self-employed who drive the economy forward with innovations and, under certain circumstances, lay the foundation for large companies. But it is only when the self-employed generate permanent jobs that they receive recognition from the state in the form of billions in aid, state loans or short-time work.
Lobo uses the example of author and director Anika Decker to show how little the work of creatives and the self-employed is respected. She wrote the book for the mega-successful film »Keinohrhasen« (No Ears), but was not given a share of the success by the production company. The commercializing company has now been sentenced to pay for the author's creative work, but the example shows how little creativity is valued in Germany.
Why does self-employment still have the reputation in Germany of being unsound and somehow unserious? Permanent employment, on the other hand, is considered sacred? One important reason is that too many self-employed people could bring down our social security systems. From 50 percent tax contribution to the pension fund, the self-employed could overturn the pension system, since it violates the equal treatment system of the German constitution. Thus, they will probably not be offered a worthy instrument for old-age security in the future either, and instead they will have to accept accusations of unsolidarity. Read More Read Less
What sounds plausible at first glance turns out, on closer inspection, to be an attempt to curb self-employment in Germany. In principle, the self-employed make an important contribution to the community of solidarity. For years, one-third of the pension fund has been replenished with tax revenues, since the pension insurance would otherwise be bankrupt. In other words, the self-employed pay for a benefit that they themselves do not receive. Unemployment insurance for the self-employed has been discussed time and again since the turn of the millennium, but it has never been implemented. The failure to include non-permanent employees in social systems is now being used to the opposite effect, however, as the solo self-employed in particular are being accused of taking advantage of transfer payments - i.e. benefits without receiving anything in return. The fact that the self-employed are also taxpayers is tacitly passed over. Even the comment by Finance Minister Olaf Scholz that the solo self-employed, who have been particularly hard hit by the pandemic, are being supported with all their might is no more than lip service. They are being offered a total of 5,000 euros until next summer to cushion their massive sales losses. November aid is only available to self-employed workers who are directly affected. But because the self-employed in particular are diversely positioned, they quickly fall below the 80 percent threshold, which means that if they have generated less sales with companies directly or indirectly affected by Lockdown, they will not receive any assistance. Yet it is precisely the solo self-employed who drive the economy forward with innovations and, under certain circumstances, lay the foundation for large companies. But it is only when the self-employed generate permanent jobs that they receive recognition from the state in the form of billions in aid, state loans or short-time work.
Lobo uses the example of author and director Anika Decker to show how little the work of creatives and the self-employed is respected. She wrote the book for the mega-successful film »Keinohrhasen« (No Ears), but was not given a share of the success by the production company. The commercializing company has now been sentenced to pay for the author's creative work, but the example shows how little creativity is valued in Germany.
Why does self-employment still have the reputation in Germany of being unsound and somehow unserious? Permanent employment, on the other hand, is considered sacred? One important reason is that too many self-employed people could bring down our social security systems. From 50 percent tax contribution to the pension fund, the self-employed could overturn the pension system, since it violates the equal treatment system of the German constitution. Thus, they will probably not be offered a worthy instrument for old-age security in the future either, and instead they will have to accept accusations of unsolidarity. Read More Read Less
tag Festanstellung Stephan Weil Solidarität Solo-Selbständige Arbeitslosenversicherung Olaf Scholz Novemberhilfe Wertschätzung Konzerne All sections Statement
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
Was braucht es, um wieder Kontrolle über die Pandemie zu bekommen?
What does it take to regain control of the pandemic?
by Gunter Gebauer, Julius Stucke (24 Oct 2020)
Original source: Deutschlandfunk
In an interview with Deutschlandfunk radio, philosopher Gunter Gebauer asks the question of what significance culture still has today. A lot can be accessed and consumed within our own four walls. The way out is therefore no longer so important. The crisis could thus also result in a clear-cut, based on reduced demand. Many cultural workers already have to look at how they earn their living. Gebauer reports, for example, about an opera director who gives rhetoric courses. The concern Gebauer expresses is not only that these many drop-outs will not come back, but that the demand for culture will decline fundamentally because people have become accustomed to everyday life without cultural events. Interestingly, Gebauer does not ask what effects this will have on our economy, since he contradicts Julian Nida-Rümelin's thesis that we are in a situation similar to that of 1945, in which the country would have clearly oriented itself towards the Deutschmark and the economy.
Another topic is the appearance of the punk band »Die Ärzte« in the Germany's major news program »Tagesthemen« on Friday evening. Julius Stucke, moderating the interview with Gebauer, criticizes that the dramatic situation of the industry could not really be conveyed seriously during the program because everything appeared so »neat«. Gebauer contradicts this, because he considered the power of punk culture, which the three musicians brought to the stage, as important to convey the seriousness of the situation. The philosopher felt that it was particularly important that the ›old hands‹ stood up for all the employees in the background in order to point out their situation. Read More Read Less
Another topic is the appearance of the punk band »Die Ärzte« in the Germany's major news program »Tagesthemen« on Friday evening. Julius Stucke, moderating the interview with Gebauer, criticizes that the dramatic situation of the industry could not really be conveyed seriously during the program because everything appeared so »neat«. Gebauer contradicts this, because he considered the power of punk culture, which the three musicians brought to the stage, as important to convey the seriousness of the situation. The philosopher felt that it was particularly important that the ›old hands‹ stood up for all the employees in the background in order to point out their situation. Read More Read Less
tag Aufstehn für Kultur stiller Tod Streaming Krise als Chance Solo-Selbständige Die Ärzte Tagesthemen Punk Julian Nida-Rümelin All sections Gespräch
Kleine und mittlere Theater sind existenziell bedroht . Corona-Maßnahmen in NRW
Small and medium-sized theaters are existentially threatened . Corona measures in North Rhine-Westphalia
by Marc Grandmontagne, Marietta Schwarz (15 Oct 2020)
Original source: Deutschlandfunk Kultur
A decree of the Ministry of Health severely limits the number of participants for events in North Rhine-Westphalia. With immediate effect, only 250 participants or a maximum of 20 percent capacity are permitted. This decree will hit the venues hard at the beginning of the season, as the complete events now have to be rescheduled. Smaller venues, such as the Kommödchen in Düsseldorf, have already announced that they will close again for the time being. The head of the German Stage Association, Marc Grandmontagne, considers the decree to be completely misguided. So far, no infection in a theater is known. All houses have a thoroughly worked out hygiene concept. Due to the modern ventilation technology in the large houses, the danger of infection is minimal. Up to now, under these circumstances it would have been possible in NRW to seat 100 percent of the seats. Since the audience currently still wants a safe distance, 50 percent of the seats were usually occupied. So there is no objective reason for the new decree.
The Ministry of Culture in NRW has not yet issued a statement on the decree. Grandmontagne is calling for better coordination between the players. Since the Ministry of Culture supports the smaller houses in particular, he does not assume that the decree was coordinated in advance.
Grandmontagne is particularly concerned about the signal that the decree sends out to the cultural workers themselves. Tiredness and exhaustion is noticeable in the industry. Not being able to carry out one's own profession normally in the long term has psychological consequences. Nevertheless, it must be remembered that the development of the pandemic is due to our own behavior. Here the cultural industry has been very consistent and responsible so far, and has gained a lot of experience. This whole experience can now serve as a basis for future strategies. Read More Read Less
The Ministry of Culture in NRW has not yet issued a statement on the decree. Grandmontagne is calling for better coordination between the players. Since the Ministry of Culture supports the smaller houses in particular, he does not assume that the decree was coordinated in advance.
Grandmontagne is particularly concerned about the signal that the decree sends out to the cultural workers themselves. Tiredness and exhaustion is noticeable in the industry. Not being able to carry out one's own profession normally in the long term has psychological consequences. Nevertheless, it must be remembered that the development of the pandemic is due to our own behavior. Here the cultural industry has been very consistent and responsible so far, and has gained a lot of experience. This whole experience can now serve as a basis for future strategies. Read More Read Less
tag Theater NRW psychische Belastung Hygieneregeln Gesundheitsministerium Performing Arts/ Cinema Gespräch
The arts sector is already suffering . This year's budget just pours salt on the wound
by Leya Reid (08 Oct 2020)
Original source: The Guardian
It is a simple calculation according to the Australia Institute: Every Australian million dollars invested in the arts creates nine jobs. In construction, that same investment generates just 0.9 to 1.3 jobs. But obviously the Liberal-National Coalition government is ignoring this calculus in its recent fiscal strategy and does not include an increased support for the arts industry as first and worst hit sector by Covid 19. So no “jobs, jobs, jobs” as promised by treasurer Josh Frydenberg – at least not for the creative industries – but permanent i ncome reductions for the high-income earners. Concrete suggestions, such as those articulated in June by the National Association for the Visual Arts in an open letter, remain unheard.
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tag Australien Wirtschaftsfaktor offener Brief Steuererleichterung 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.
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