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A study from the Arts Grant Committee (2010) showed that women within art generally have lower income than their male colleagues. Men’s part of income also increases with higher income figures.
At the same time, women within the art field are more highly educated than their male colleagues, and in comparison with women in the population as a whole.
Looking at income the following are shown.
Visual art have the lowest salaries and are dominated by women, while music has the next highest median income level – and to 70% consists of men. Theatre seems to be the most gender balanced art form with the highest median income level, but also the art form with highest differences in salary due to gender.
A lot more needs to be done when it comes to equality within art and culture, something that the New York-based group Guerrilla Girls have picked up. The following art piece could be seen at this year’s GIBCA (Göteborg International Biennial for Contemporary Art).
So stand tall, fellow Guerrilla Ladies, and don’t let gender and equal rights slip away unnoticed!
Arts Grant Committee, Artists’ Income from a Gender Equality Perspective (Part 2, 2010)
Tayga is an experimental platform for people within arts and cultural in central St Petersburg.
A group of artists managed to convince the landlord to let artists use this large empty building for art production, meeting-places, and networking, instead of leaving it empty and rundown. Art studios, a small shop, meeting rooms, a garden for music and other events, media, video showroom etc have been built up since then. And the deal is simple: The artists pay low rent to keep the facilities in shape.
One of the artists work with video art and mapping in the artistic collective Tundra. Sasha Sinitza has worked with different projects with Tundra, for example they did the interesting piece Void to try to visualize emptiness.
Mapping is becoming more and more interesting and the Tundra has explored this art form to the full extend, showing work both in a four-wall room with four projectors simultaneously working, and on buildings outside.
When Judy Ogana takes the floor to welcome us all, the warmth and pride shines in her face. In the audience are friends, colleagues and partners from East Africa and abroad gathered to celebrate the 10 year anniversary of the GoDown Arts Centre in Nairobi together with her, Joy Mboya, and the rest of the staff.
The story of the Godown is impressive, and as Joy Mboya takes us through the vision, steps, ideas, persistence, you realize that this is what running a cultural organization is about: the awareness of the context and society you are part of and your role in it; the dedication for building a strong, vivid, interesting cultural scene; empowerment with capacity-building on the grass-root level; participation, sharing, and networking.
Joy Mboya lifts a few aspects that has been especially important in the GoDown success, which she describes as ”some steps of victory and some steps of challenges”:
1. Getting a space; a multidisciplinary center for the local art and cultural scene in the local community
2. The regional linkages with colleagues in East Africa
3. The strategic plan 2005-2007 as a tool which also set the aim to create a public, innovative, dynamic, and vibrant space
4. Training and development, mobility, exchange, and exposure
5. A strong community orientation
6. Being a mirror of society. The post-election violence in 2007 was a starting-point where the exhibition Kenya Burnings was important. The need for artists to look back and reflect on what’s happening in society.
7. Sustainability and capacity-building focus on artist livelihood
8. Discourse and research
9. The role of cultural spaces in urban living
10. The Creative Entrepreneurship Programme
After the celebrations and the outline of the GoDown Arts Centre’s history and important steps, the East Africa Arts Summit continued discussions with focus on how networking, sharing knowledge, and building a strong art and cultural scene on a regional level could be enhanced.
Nätverkstan and the GoDown Arts Center have been cooperating on capacity-building since 2009, support has been mainly from the Swedish Institute Creative Force programme.
After about one and half hours with bus from St Petersburg on the highway towards Estonia we arrive in the small town of Kaykino. Here Olga Gracheva, former fashion designer and now project manager and business consultant, and Victor Grachev, a sculptor, have decided to live and be part of working for a lively and interesting society in rural areas.
Their home is their project. From the house and garden cultural projects are created, ideas developed, and sculptures formed by artistic hands in material such as stone, wood, metal.
And they involve their neighbours, the children’s culture school, the Agriculture College, and others in Kaykino. It’s about involvement and creating possibilities, because the simple fact is that agriculture is dying and young people move to the big cities.
During a four day visit to St Petersburg, we spend a lot of time discussing what this means. We meet with the Art Academy (Stieglitz), Kuryokhin Center, and the Children’s Culture School in Kaykino as well as the Agriculture College.
The visit was initiated by NGO Creative Project Kaykino in St Petersburg and is supported by the Nordic Culture Fund and included invited guests from Not Quite, Tou Scene (Stavanger), StoneZone, and Nätverkstan. The visit ended with a seminar with invited authorities, a report will be written as the end of this exchange project. A former post you find here.
Kulturchock packed the suitcases with Swedish cultural journals and travelled to Helsinki Book Fair that just took place.
On the airport they met the first (that we have seen) print-on-demand machine for buying periodicals and journals, Meganews. It’s time to check what the deal is and how cultural journals can be part of this very modern way of buying journals.
Sarah Thelwall, a UK consultant on cultural entrepreneurship, took a deep dive into small arts organizations’ difficulties to communicate the value they contribute to society – a value that is rarely counted in profit or money, but in other things.
It’s a difficulty art organizations over the world can recognize.
Put any cultural organization next to statistic measurements, economic outcome, and evaluations with a quantative focus, and culture comes short. So how do you measure intrinsic value?
Many of us within culture are already initiated, we know the value but come short in describing it. It’s like the Swedish artist Staffan Hjalmarsson once said about the lack of measurement methods for culture,: it’s five squares of sorrow. It referred to a report by the Region Västra Götaland where the consultants had evaluated the work within the region’s five focus areas. The other focus areas had facts and figures, but culture glowed all empty and became according to Hjalmarsson: Five squares of sorrow.
Riksutställningar, The Swedish Exhibition Agency, decided to pick up this dilemma of showing the value of culture and has put focus on this during 2013 in seminars and discussions.They have invited Sarah Thelwall to talk about her report and discuss with others in two larger events: Supermarket 2013 in February and now Samtidskonstdagarna in Göteborg on October 18–20.
She wrote the report on commission of Common Practice, an organization based in London and with the aim to focus on small art organizations’ situation.
Riksutställningar translated, in cooperation with Nätverkstan, some of her work into Swedish in a book that just came from the printing presses. Everything to bring light and perspectives on the continuous discussion on describing the value of art for others than those already initiated.
Read also this blogpost on the same book (in Swedish).
Take the tram fifteen minutes from the center of Göteborg – and you arrive in the periphery. At least that’s how many feel if you live in suburbs or areas around the city center. Hammarkullen is one such area outside Göteborg and where many initiatives have started with the aim of bringing the art, culture, and social work done in the area into the spotlight.
Ten Russian visitors representing culture, art, business, and the authorities in St Petersburg is on a tour in Göteborg and Region Västra Götaland with the aim of discussing the role of art, culture, and social work in the rural areas and to address the question of the center versus periphery.
One stop has been meeting people in the area of Hammarkullen, with visits to different initiatives such as Hammarkullen365, Folkets Hus, and the local radio. Another Nätverkstan located in the city center, and then visits to the artistic workshop for sculpture, textile, ceramics, to artist Lukas Arons and his sculpture precincts, and Gerlesborgsskolan (School of Gerlesborg) along the coast-line. And today the visit is to the artistic collective Not Quite in the very small town of Fengersfors, a two and a half hours drive NorthEastly from Göteborg.
The visit was initiated by NGO Creative Project Kaykino in St Petersburg and is supported by the Nordic Culture Fund. Next step is to Stavanger in Norway, and the project ends with a seminar in St Petersburg in November.
See here a former post on the topic of center vs periphery.
Today the Scene for Literature opened, or the Literature House, as Madeleine Bergmark put it in her opening speech of the inauguration in Lagerhuset (Warehouse).
The road to a new literary scene in Göteborg has been bumpy and particularly around where it should be located. Should a new house be built or is it a better idea to let it rest among already existing initiatives? And if so, with which existing scene? Glances were sent to Norway, where an ambitious new House for Literature in Oslo was opened in 2007.
In 2011 Ingrid Elam, a well-known literature critic in Sweden, got the assignment from the Administration of Culture in the City of Göteborg to investigate the possibilities of establishing a House for Literature in Göteborg.
The reason was that the conditions for literature are changing in a rapid pace and establishing a scene for literature seemed like a proper cultural policy action (also on state level this was done in 2012, a public investigation called Läsandets kultur, Culture of Reading).
Ingrid Elam came to four different suggestions, where two of them was weighing pros and cons of building a new house or building on already existing initiatives with focus on the independent and small-scale literary scene.
Lagerhuset (Warehouse), an old warehouse in central Göteborg right by the canal, for many felt like the natural location for a scene for literature. The building is already part of a vivid small-scale and independent cultural and literary scene housing several cultural journals and small publishing houses; a larger membership-based production space for journals; the Poetry Festival; education; and in the ground floor the scene for young creators, Frilagret. It’s a house that since 1999 host small cultural organizations with focus on cultural journals and literature.
It was also one of Ingrid Elam’s four suggestions, although not the main proposal. The Cultural Committee decided to place the House for Literature in an already existing structure: Lagerhuset. The House is organizationally under the City Library, they got two trial years and 1 million SEK (approximately 116000 euro) per year. Then the idea is that the independent scene in Göteborg takes over.
Last week and week-end the yearly literary event in Göteborg took place; The Nordic Book Fair.
As always, Nätverkstan was there with our cultural journals in focus. The audience magnet was no surprise. We had the honour of having the two journalists, Johan Persson and Martin Schibbye, in the stand talking about there newly released book from 438 days in Ethiopian prison.
It’s sometimes awakening to look at your own organization with critical eyes to see what will crystallize. Are we doing interesting things or just reproducing old stuff?
The risk is always to start reproducing and react, rather than producing and be proactive as the organization is passing the pioneer times to the more stable middle-age. Although ”stable” is not the most proper word within the cultural field; a field surrounded by uncertainties, flexibility, and changing political strands. But nevertheless. Self-criticism can be useful.
On the Nätverkstan Kick-off this year, the gathering of all staff-members to kick-start after vacations, this was on the agenda.
What norms and assumptions exist within the organization that effect how we work, who we work with, and what we do? The perspective was norm-criticism which means that we focus on the structure, rather than individuals. We look at power, which means questioning the norms that exist which influence our judgement on what is considered normal and therefore unreflected is considered desirable.
Around ten different norms where put up on large charts of paper, and we then discussed what is behind these norms? Are they true or not? What visible effects might they have? Is that good or bad?
Useful times spent with a great group of people at the magic Kärlingesunds Gård last week.
Learn more of Nätverkstan here: NV_English_2013.pdf.
A weekend in Göteborg full of films, seminars, discussions, and art works on the water situation in the world. The inauguration film Friday night, Like Fireflies, a film describing the consequences and human tragedies due to privatization of water resources in Chile, was the first of many important voices shown Friday through Sunday.
The festival, Voices from the Waters, is an initiative from Bangalore Film Society and has been running parallel in Göteborg this year with Nätverkstan, Världskulturmuseet (Museum of World Culture), Sjöfartsmuseet Akvariet (Maritime Museum & Aquarium) and funding from Region Västra Götaland.
Today was the final day and the festival ended with a debate on the situation of water with EU Parliamentarian Isabella Lövin, and researchers Henrik Svedäng and Sverker Jagers.
First gathering of the Culture Incubator after Summer breaks started today with focus on relationship building and marketing your project idea. Invited guest was freelancer David Andréas, now working as Art Director at an agency in Göteborg.
The Cultural Incubator is a project run by Nätverkstan, which is part of the larger project called Projekt Utveckling Nordost (Development North East), and aims to support people with ideas. The selected eighteen people come in with their ideas and over a six month period they get a chance to develop these to be more sustainable.
The project started in beginning of the year, and the development of each of the different ideas is really exciting. In November all projects are presenting their ideas for a larger audience of decision makers, representatives from the authorities, and other stakeholders.
Read more here.
With his interest in territory and cultural heritage, artistic director Christophe Guiho wanted to create an organization with this specific focus. Territoires Imaginaires started in July 2012, is based in Nantes (France), and around one year later the project La Nuit des Pêcheries took place.
The idea is simple and inviting. Along the Atlantic coast on the west coast of France you find small private fishing huts, pêcheries, placed on poles a bit out in the water due to the tide. The huts are private and walking a bit out on the bridge, you are met by a locked door. For the owner it’s an enjoyable asset, overlooking the ocean where you quietly roll down the fishing nets and wait for your catch. The public in general has no access and usually these huts have been inherited within the families. No new ones are aloud to be put up.
With the project, Christophe Guiho wanted to make this heritage sitting along the coastline accessible and opened up for the public. He worked together with artists to make art installations in each of six fishing huts.
More than 1500 people gathered on the opening night on the hills overlooking the huts, enjoying music event and visiting the art installations. He did this project with little money and with mainly his own drive, energy, and a successful project as payment.
Another project in Nantes over the summer is Le Voyage Nantes, run between June to September and with a much larger budget. During 2013 Nantes is The Green Capital and to celebrate this, the city has decided to each summer fill the city and its surroundings with artistic interventions.
Over forty interventions in just the city of Nantes, with artists such as Daniel Buren, La Machine, Jean Jullien, Mathias Delplanque, and Chinese artist Huang Yong Ping. A green line is put in the pavement and is easy to follow around the city and Ile-de-Nantes to find each of these grand, imaginary, humoristic, and serious interventions. It’s by no means touched up, many pieces poses relevant questions and raises reflections.
And for the city of Nantes this has become a success. Visitors are many, and children and adults can enjoy the happening such as joining the enormous elephant created by La Machine for a tour on Ile-de-Nantes.
Yet critical voices are heard. It doesn’t have to be a contradiction between a city’s will to create big events and the on-going small-scale cultural organizations’ every-day struggle to create art with little money in their pockets. Unfortunately it often is.
A wise cultural policy that both enjoy the small-scale initiatives and the large events is wanted!
On a three day seminar in Stockholm at Museum of Modern Art in 2007 to celebrate a hundred years since philosopher Hannah Arendt’s birth, the book on Eichmann in Jerusalem and the banality of evil was not mentioned, journalist and critic Ingrid Elam noticed in her review of the seminar in daily Dagens Nyheter. It was not until someone in the audience asked the key speaker, philosopher Agnes Heller, that this work was discussed. It was all good reasons for this; the focus was on Arendt’s other important work.
Yet, reading Eichmann in Jerusalem (1963) it’s difficult not to stay with her theories and reflect on their importance. They not only say something about the times in Europe during the Nazi era, they describe an on-going civil dilemma between bureaucratization and people.
Two things are especially terrifying and still today relevant.
One is the systematic way the in which the bureaucracy was built around, first emigration of the Jewish people from Germany, later the ”final solution” to send Jews to death centers. The language used to describe this wasn’t a mass-murderer’s, Hannah Arendt reflects, it was instead in terms such of ”programs” organizationally put under ”administration and economy”. Hitler and his men managed to build a bureaucracy in which the language around the ”final solution” was not immediately offensive or against people’s normal conscience. Finally, it seemed like a necessity, like an objective question that needed a solution.
The other is how she described Eichmann. He was not a monstrous murderer; he was not even particularly evil. She de-demonized him and he stands out neither as a diabolic character or a fanatic. He is just a dull bureaucrat with no ideas and a complete lack of critical thinking. He follows orders and is trying to do his job the best he can, wanting to climb to more important jobs and positions within the structure.
Since Arendt wrote this book in 1960s, even since the seminar in 2007, the European society has changed.
The economic crisis have had devastating effects in many countries with high unemployment rates and raise of poverty as a result. Art and culture has seen substantial cuts, of which effects for society we haven’t yet seen. Where will critical thinking be practiced?
Racist parties around Europe are filling seats in parliaments, some of them with roots in neo-Nazism. They changed their shaved heads to slick hairstyles and proper suits to better fit in to the political corridors. Their language is changing to not being immediately offensive and therefore suit a larger group of the population. Their main point on the agenda is limiting immigration, keeping a nation ”traditional” concerning everything from habits, culture and people.
As Ingrid Elam writes in her article (DN 15/1 2007), If Arendt had lived today she would have written about how today’s stateless people and refugees are handled by very ordinary people.
Hanna Arendt wrote the book ”Eichmann in Jerusalem” in 1963 and it is a collection of a series of articles written when she was covering the trial on Nazi Adolf Eichmann for the journal The New Yorker in Jerusalem in 1961. The book is translated into Swedish and published by Daidalos in 1996.
Article by Ingrid Elam in Dagens Nyheter (DN) on 15 of January 2007 can be found here.
In this year’s Göteborg International Film Festival (January 2013) they showed the film on Hannah Arendt by director Margarethe von Trotta.
American artist Andrea Geyer did an interesting piece on the trial with Hannah Arendt’s book as main base, Criminal Case 40/61: Reverb, 2009, which was shown, among other places, at Göteborg Konsthall in 2010.
It takes a bit of driving around to find Centro Andaluz de Arte Contemoráneo, (CAAC) which is a bit strange since it is an old monastery and a quite specific place. It’s situated in the centre of Seville, but still outside. As the gallerist Julio Criado put it during our visit in his gallery later the same day: It’s actually very central but often perceived as being outside of the city.
It’s on the other side of the river Guadalquivir and in the very same area that 1992 hosted the Universal Exposition of Seville (Expo ’92), an Expo of 215 hectares land and with 41 million visitors between April to October. The signs left now are – what seems for us as we drive around looking for the monastery – empty buildings and fenced areas. And behind white steel rods around the monastery and its gardens, we finally find it.
CAAC opened in 1998 in Monasterio de Santa María de las Cuevas with the aim of being a place devoted for Andalusian contemporary art. Art tradition in Seville, we are told, is that many artists are painters and within the Baroque tradition. The 80s is described as an interesting period in Seville, where the art scene (at least this is one way of understanding this period) hooked on to the era and buzz around film-maker Pedro Almodóvar and his often both provocative and controversial films on topics around sex and violence, religion and people in the margins of society. CAAC is aiming to put such an art discussion back on the agenda.
Walking around the garden, you see this ambition in the interesting, humouristic, and yet serious art interventions placed around the precincts. The Bus stop by Pedro Mora, Alicia by Cristina Lucas, and As a monument to the Artist by Curro Gonzales, are among some of them; the last one being an ironic commentary on the controversy around artists since Romanticism – and a very current such. In the temporary exhibition inside, Chilean performance artist Lotty Rosenfeld, stands out.
Luisa Espino, Coordinator of Exhibitions, tells us about the ambitious program, with temporary and permanent exhibitions, educational programs, music and art in the garden, seminars and conferences, and not least the publications 11 to 21 on the themes of the conferences and exhibitions.
Unfortunately CAAC has seen severe cuts in funding due to the Spanish economic situation that makes it difficult to keep the high ambition. The publications have, as a consequence, been closed down. For now, that is. The hopes are to be able to pick it up again. But the cuts are a bit like stepping back in time. A bit like being back on square one where it all started.
Gallerist and owner of the Gallery Alarconcridao, Julio Criado, talks about the art situation from another perspective.
Interestingly, the gallery is just one street from the famous bull arena in central Seville, Plaza de Toros de la Maestranza. Cultural heritage right next door to the new upcoming artists. Julio Criado sees an art market in change, where you have to find other ways than the traditional to find the buyers and the market. Also the artistic scene is changing, where a fairly traditional art education is not educating the most interesting artists. Instead he finds the most interesting work done by artists educated within other disciplines.
The first photo: Alicia by Cristina Lucas. The second: As a monument to the Artist by Curro Gonzales. Listen to the fanfare in the last piece here: artist fanfare. The last piece is the Bus Stop by Pedro Mora.
”We” in this blog are a group of five educators, consultants, and actor within art, entrepreneurship, art management from Germany, Austria, UK and Sweden, who formed a small think tank a few years ago to meet once a year and exchange experiences and ideas. This year a smaller group of three of us met in Seville on July 12–16. During the meetings we discuss, have workshops, exchange ideas, meet people within arts and culture, and just enjoy ourselves.
The last issue of the Economist (June 15–21st) brings up the topic of the tremendous cuts in art funding that we’ve seen in UK the last few years.
The viewpoint in the article is from Baltic Centre for Contemporary Art in Gateshead, an art centre opened in 2002 in one of the abandoned mills along the river Tyne in NorthEast England. The Baltic was a former flour mill opened in the 1950s and closed in 1981. The transformation to a significant art center was led by (Swedish) founding director Sune Nordgren and cost 50 million pounds, money coming from mainly the National Lottery Fund, Arts Council, the region, and European Union.
We’ve seen it in many places all around Europe and elsewhere; industrial ruins become art centres, galleries, art studios, incubators within arts and culture.
The Italian Professor of Cultural Economics (IULM University, Milan), Pier Luigi Sacco, calls this process by a name: Culture-led local development processes or System-Wide Cultural Districts. He uses Newcastle as one example of culture-led local development processes in is his paper Culture as an Engine of Local Development Processes: System-Wide Cultural Districts (2008).
P L Sacco argues that art and culture is an important base for local development. If the right energy and mix of cross-boarder cooperation from the cultural scene, business community, authorities, and money are there, a positive local development can take place.
But as the article in Economist notes, it’s hard to measure the payback of money spent on art and culture, and it’s difficult to justify art spending to the larger group of tax payers.
”The truth is that the economic value of art is often as hard to quantify as its social or aesthetic benefits. That makes it vulnerable to cuts in tough times”, the article argues.
UK is one of the European countries that has cut the art budget with as much as, some figures note, 40%. This means less money to artists within all artforms, closing down many of the regional offices promoting art and culture, less money to the Art Council, and so forth. Regrettable but perhaps inevitable, Economist states. Money needs to be secured from other funding resources, mainly private.
It’s a problem on many levels. The lack of methods to properly measure effects of art and culture is one. Another is funding. Experiences show that private funding might be easier to find for building icon buildings, but is not a reliable source of income for production of art.
If new large cultural icons such as Baltic Centre for Contemporary Art are to be able to bring tourists and have an effect on the overall economy, and in time pay back the investment to the local community; visual and conceptual artists, film-makers, handicraft artists, designers, musicians, poets, and others are needed to fill these large buildings with content.
Whose responsibility are their working conditions?
In Nairobi, Kenya, meeting with the people from the GoDown Art Centre and now developing step two of the educational programme ”Reaping the value out of your artistic creativity”.
GoDown Art Centre and Nätverkstan have cooperated since 2009 on workshops and developing ideas of how to build a capacity-building programme for artists and cultural entrepreneurs in East Africa. Professional artists from different art forms, university professors, directors, managers, and others from the cultural scene have been involved in building the content of the programme so that it will fill the needs found by the sector in the context of East Africa.
In the developing process Sian Prime at Goldsmiths University has been involved, also Kenya Polytechnic University in Nairobi, British Council, and Swedish Institute.
The result has been tested in two pilot programmes of 10 weeks that were run in 2012, each with around
30 emerging and professional artists in each group. And now we are gathering again to continue the journey of developing step 2 of the programme.
And I can’t help but think of the article in the new issue of the Art journal Paletten in Sweden about a week before leaving for Kenya. The article is arguing that all talk of entrepreneurship within the art is a sign of instrumentalization and the economization of the art, a result of this are courses on art and entrepreneurship at the university.
It’s necessary to always argue for the role of art and culture in society, and rightly being critical to some processes and initiatives. But to wipe away all efforts on trying to find useful ways to tackle artist’s reality as freelancers and how to deal with their livelihood as neo-liberalism is a little far-fetched. It can only be said by someone who doesn’t have to worry about money.
The reality in Kenya (and Sweden) is that you have to try to find ways to balance your artistic practice with income so bills can be paid and food put on the table. Some do this by trying to live on their art, some do this by finding bread jobs and pursuing the artistic practice and career on their free time. Solutions are many.
It’s not about becoming just like any other business, instead it’s the opposite. It’s about putting efforts into finding ways forward that works within the artistic field and for your artistic practice.
Reading the evaluations from the two pilots, participants seem to agree.
Department of Finance invite each year board members and CEOs of state owned companies to a half-day board conference on different current topics. Today this year’s conference was held at Dramaten (Royal Dramatic Theatre) on the pressing issue of ”Sustainable business” with prominent guests as Al Gore, David Blood, and Petter Stordalen, and an introduction by Minister of Market Finance, Peter Norman.
According to the Swedish state’s definition of ”sustainable business” it includes how companies work with human rights, employment conditions, environment, anti-corruption, business ethics, diversity, and equality.
And apparently all of us board members in different state-owned boards are doing an excellent job.
This was pointed out by all speakers, with the exception of Petter Stordalen, who eagerly and passionately was claiming that we could all start our sustainable work today. Now! But for the rest it was more of a clap on the shoulder and reassurances that ”you are all doing such a good job!” looking out of the audience.
”I am happy with the support I get from the state”, two of the participants in the last panel claimed. With a cosy self-confidence the two CEOs answered the moderator’s questions on how they work sustainable, challenges they meet and how they solve them, and if they are satisfied with the support from their owner, the state. And they are happy with the support, both reassured.
And you wonder how is that possible?
How is it possible to scratch each other’s backs and claim satisfaction, when companies in the world, which also includes Swedish companies (state and privately owned), are still violating human rights? When climate goals are not reached? When children are used in child labour? When textile workers die in Bangladesh due to lousy working conditions? When women and children are sexually abused?
Shouldn’t the questions instead be: What are we all doing wrong? What is it we are NOT doing so that these violations can continue? What is it we are NOT doing but SHOULD do to fulfill the ambitions with sustainable business?
This tricky question has been under research in France lately, ending in a nearly five hundred pages long report with around eighty concrete propositions, reaching from loans to employment.
On May 13 Pierre Lescure, normally director of Théâtre de Marigny and the last nine months President of the mission Acte 2 de l’exception culturelle, handed over his report Contribution to cultural policy in the digital era to Président Hollande.
”60–80% of the suggestions are followed by effects on regulation to make sure a movement is started”, says Lescure.
In heart of the research is how to preserve the intellectual property rights for authors in the digital era, but he is not in favour of a ”global license” fee that will finance the creative work. ”Internet doesn’t demand more or less regulation, but another type of regulation” it’s said.
Instead the suggestion from Lescure is to find a solution that is financing the ”ecosystem”, which in concrete terms means going back to the operators and Internet providers. Shift from the old tax-system to a new one, which would be a tax on the total turnover of the operators of Internet. The money from the tax should be put on an account with the aim to help cultural industries in the transition to the digital era.
Read more here.
The last semester at Kulturverkstan, the two-year International Culture Project Management Programme, the students do an internship at an institution, organization or project which they have identified as interesting from a learning perspective.
During their internship, they also identify a question or focus area which they research. The topics range from the sustainable society, citizen dialogue, equality and gender in cultural life, the relation between an intense working situation and the every day life, work and motive, and much more.
Coming back to Kulturverkstan, they write a final report as well as have an open presentation to discuss their topics with invited guests and audience. The discussions are rich both in depth and learning aspects and it’s a time of the year that has become a must if you’re interested in keeping up-to-date in important discussions in the cultural scene.
Read more here and if you happen to be in Göteborg – slip into one of the seminars!
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