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Maidan Square in Kiev, Ukraine, is empty except for some people rushing across to their different morning activities, and a piano painted in Ukraine colours standing lonely on the side.
A wooden board has been put up with photographs of the victims from the Maidan revolution last February (2014), that ended with an overthrown Ukrainan government; the old president fleeing to Russia; Russia with military forces taking over Crimea as well as the Eastern parts of Ukraine, where fights are still going on. The photographs on board are getting worn out by sitting in the rain and wind, photographs of men; one with his cat, another young boy looking seriously in to the camera, another a man standing the middle of the demonstration giving a quick glance in the direction of the photographer.
Sunday 26 of October is the election, but here on the Maidan we don’t see any evidence of this upcoming event. The on-going crisis in the East with Russia is, though, in the mind of everyone I meet.
On the conference Cultural Policy in Europe today: Finance, management, audience development arranged by the Eastern Partnership, culture is in focus and big hopes are put in to the culture field. Minister of Culture, Yevhen Nyshchuk, opens the seminar by emphasizing culture as the key for growth and development in Ukraine and Europe.
Walter Zampieri, Head of Unit, Culture Policy and Intercultural dialogue at the Directorate General for Education and Culture at the European Commission stresses the same and put extra emphasis behind his words by giving figures. Culture and Creative Industries encompass around 4% of GDP in Europe. This is an important field in Europe today.
Ukraine is eager to build relations with the EU, an agenda has finally been signed that will guarantee cooperation. Culture and Creative Industries are one of the areas where money will be spent and efforts put in.
But can culture play this role? And can it just be instrumental? Doesn’t artistic value and quality need to be at the core of any such discussions?
One of the speakers, Mr Luciano Gloor, got the chance to answer a question posed by a man in film business that was wondering how to meet what he saw as propaganda done by the Russians, and if perhaps film could be a tool?
The answer was straightforward and clear: As soon as you forget your passion and artistic values in producing your art, it will also become propaganda. And propaganda is not and never will be interesting.
The audience will immediately see through any such attempt and judge you as others are judged that only commit to use art as propaganda.
Cooperation, not competition was this year’s theme for the network Trans Europe Halles’ yearly conference in Plzen, Czech Republic on October 9-12.
But the main topic and worry during this conference was the fact that the network lost its European network support from European Union.
The European Union was set up in 1945 after the Great Wars with the aim to through cooperation build a peaceful Europe. Mobility has therefore been central for the European Commission as a way to facilitate people to meet.
The European networks within culture have played an important role in this regard. People have been meeting over old closed borders, across political differences or old rival countries. On a network meeting recently with Encatc, the European Network for Cultural Administration Training Centres, Russian and Ukrainian participants discussed art management and its development in the midst of the Ukrainian crises. East meet West, North meet South, and across. It goes back to Socrates (469-399 BC) and his idea of the value of the Socratic discussion where arguments meet and a learning process can start.
These are significant meetings and their importance should not be under estimated. The European Union should continue support a wide variety of European networks.
They have made their home their creative space. From the house situated in the small village of Kaykino, with the forest around the corner, a big garden space for sculptures, and the outhouses with great potential for future ideas, project manager (and former fashion designer) Olga and sculptor Viktor Gracheva have created a space from which they run their artistic and cultural projects as well as exchanges and seminars.
Their home turns into an inspiring and warm space for discussions in a second, and on October 23–27 this is taking place. Their mission is to try to with art and culture turn the negative trend in the villages of Begunitsy and Kaykino, situated around 100 km outside of St Petersburg.
The villages have long struggled with a negative population trend; young people leave the countryside to move to the cities. Agriculture is declining, unemployment is high. There is a need to find new development tools to end this negative spiral.
This and lots more was discussed during the Creative Camp Kaykino where Swedish sculptor and owner of Stonezone Lukas Arons attended, as well as local municipal Commissioner and the Cultural Secretary of Munkedal Municipality in Sweden participated. Nätverkstan was also there.
The chairman of the Committee of Culture in Region Västra Götaland, Alex Bergström, together with vice chairman Lars Nordström, proudly presented the decision in the committee of establishing a fund for essays. The fund will give up to 500.000 SEK for essays published in a cultural journal. The fund is unique in Sweden.
The other new initiative is support for translation of literature written by immigrant authors living in Sweden.
The region has also decided to become a region for refuge authors and artists and has become a member of ICORN (International cities of refuge network).
Chairman of the Writer’s Centre in West Sweden, Carl Forsberg, saw this as an important development and possibility for the small, often economically restrained, cultural journals and for authors.
The seminar was moderated by David Karlsson, chairman of Nätverkstan.
When Theatre Goose on a String started in 1968 it played an important role in the resistance movement against communism in what then was Czechoslovakia. By sneaking in one or two words of the revolution into the performances on stage, the audience and the actors came to play different roles in strengthening the struggle in the real life drama.
Society has changed dramatically since then. Czechoslovakia has become Czech Republic and Slovakia. Communism has ended. The theatre has had to find its role in this new context. And more changes are to wait.
The platform Centre for Experimental Theatre consists of three theatre stages: Theatre Goose on a string, Theatre On the table, and HaDivadlo. They play together around 600 performances (theatre plays, events, festivals, readings) per year for full houses. Of the budget of 2 million euros per year, two thirds (2/3) comes from the city of Brno, the rest is through other income sources such as ticket sales, tours, projects. Sponsoring is zero.
They seem to be one of the few theatre’s of today having full capacity ensembles, with around 150 actors full-time employed. But changes are expected.
In Prague, changes have already happened. The formation of the theatre had to change from a benefit organisation (and thereby owned by the city) to a contracted one. This means that funding is not secured any more and every five years they have to compete with other theatres to get the grants. This has also meant that the actors have lost their jobs to become contractors.
The Centre for Experimental Theatre see the same development in Brno around the corner, and “there is no way to prepare for this”, as our guide Ondrej Navratil tells us. Conversation with the municipality is going on, as so many other cultural organizations they struggle with describing their value and to explain for the event- and tourist focused politicians, that an independent theatre is important.
But the show must go on. In the evening Amadeus, based on the film by the same name by Milos Forman (1984) is on stage. Amadeus’ hysterical laughter fills the auditorium as he enters the stage. He runs it, stops suddenly, looks around over a salon packed with people, and runs laughing out as the play starts. Another full house at the theatre.
The study visit was part of the 22nd Encatc Conference in Brno, Czech Republic, on 17–19 of September 2014.
Shock-waves are going through at least 87% of the population in Sweden that did NOT vote for the Sweden Democrats. A new historical political situation started already in the last election four years ago, but was fortfied 2014 with a rasist party as the third biggest political party in Sweden.
The Sweden Democrats is the only political party with quite a thorough cultural policy and it has one name: cultural heritage. Swedish cultural heritage.
In 2010 we saw what this could mean in practice when a Sweden Democrat argued in the regional parliament of Västra Götaland (West Sweden) to take away from the cultural plan anything that had to do with multicultural or intercultural work.
Yesterday the big news was a tweet from a top Sweden Democrat politician, Kent Ekeroth, concerning the evening paper Expressen and the refusal to let them in to cover their election night. Other media let Expressen use their reports instead and the Sweden Democrat politicians was to know that media coverage can’t be stopped. The reply from Kent Ekeroth was in a tweet saying ”haha. In time we will”.
This is what the reality will look like if this political party get to take the decisions.
Each year in beginning of Fall after everyone is back from vacation, the staff at Nätverkstan gather to discuss what we do, why we do it, if we do the right things, and future strategies to continue take an active and proactive role in the cultural scene.
Discussions are high-ended, open, critical, and with wide perspectives. We work in workshops as well as share presentations and knowledge. This year David Karlsson presented the contextual view-point from the board; Mikael Löfgren talked about his newly written report on value within arts (in Swedish: Inga undantag), written for a network of Art Exhibition Spaces named Klister and inspired by the british consultant Sarah Thelwall‘s report Size Matters; and Karin Dalborg who gave a summary on environmental scanning and the result from a staff workshop earlier this year.
It’s also about inspiration and sharing; it’s the only time when (nearly) all staff members are gathered at one spot for a lunch-to-lunch meeting outside of Göteborg.
It’s both valuable and fun; useful as well as playing around and just enjoy. This year the Kick-off, as we call it, was at Slussen, one of our favorite spots for these meetings.
Two of the participants in the latest Creative Entrepreneurship Program run by the GoDown Arts Centre in Nairobi come from Slum-Drummers, a community-based organization that wants to share musical talent to engage and encourage young people in the slum areas.
Many of the ten members of Slum-Drummers are themselves former street children and have been trained in music by an Italian artist since 2005.
They perform and work specifically with activities for street children, the drums they use are designed and produced by the group from recycled materials which are also sold for income; plastic containers, cans of air refreshener, cooking pots, broom sticks, plastic pipes and other things become drums, drum sticks, kalimbas.
The organization has been partly supported by the Italian organization Gruppo per le Relazioni Transculturali (GRT) and now they are phasing out the funding. It is part of their strategy, a representative from GRT tells us, to work away from dependency. From January 1 2015 they are supposed to be standing on their own two feet, generate their own income – an enormous challenge for the group.
Slum-Drummers have identified areas where they need more knowledge to be able to sustain themselves: finance literacy, marketing and communication, entrepreneurship, and group identity as the main training needs.
The GRT says it’s necessary to move away from dependency, and either the group make it or not.
The situation is both complex and difficult.
Firstly, the whole question of the situation for street children is multidimensional and difficult. No efforts have, I am told, been done to try to grasp the full situation: the structural level as well as the individual, the community level and the families.
Slum-Drummers and other such projects take the initiative and do make a difference. In a dance-project some years ago, run by dancer and choreographer Isaac Karanj where they encouraged street kids to join dance classes instead of hanging around the dangers of the street, some of the now grown-up former street kids are performing dancers. In the meeting with Slum-Drummers several of the members point out that the music and the group have saved their lives.
The value generated should be unquestionable. It could be counted as public value, social value, and cultural value. It is definitely a value for the individual. Or if you will, economic value: the children that get the chance to get off the street and sustain a living are a less economic burden for society.
Secondly, The Kenya government shows low, if any, interest in putting sustainable programs and incentives in place. Corruption is still a problem. Where the state doesn’t take responsibility, civil society and international organizations will.
Thirdly, project money are short-term, and the international community is tied with political decisions in their home countries who follow a sort of ”trend”-budgeting. A project can’t go on forever and GRT in this case is quite conscious and responsible about this and phasing out slowly, giving tools, support, and capacity-building.
Forthly, international organizations do struggle with the dependency-situation. At some point the dependency need to be challenged and cut. At least this is the argument.
But it can also appear cynical. Resources are not distributed equally in this world. Having resources also mean having power: power of economic resources as well as decision-making. Structures and possibilities are different.
An Italian NGO in Kenya will survive. A local organization where the international funding stops have very few other alternatives.
Roads are wet as we drive out of Nairobi towards Red Hill Art Gallery in Limuru between Banana Hill and Ngecha Village. Rain is hanging in the air and we see the dark skies of thunder threatening in the distance over the green hills and farmlands.
Some years ago the most prominent art gallery, Ramoma, closed down and at the time it seemed like the exhibition possibilities for contemporary artists were becoming very few. But things are changing. The number of visual artists are growing, and there is a confidence in the art scene which is new. There is also quite a few interesting art spaces around Nairobi.
Red Hill Art Gallery is a fairly new space for exhibiting art and started around two years ago by Hellmuth and Erica Rossler-Musch, two former ”healthworkers” as they described themselves, with a great interest in art. During their twenty-five years in different countries in Africa they have collected art work from the most important artists in that region. A dream has been to start a gallery to show their collection, but also to support up-coming artists, and give a possibility to exhibit.
We get a tour among art works from artists such as Jak Katarikawe, Joel Oswago, Kivuthi Mbuno, Rosemary Karuga, Annabelle Wanjiku, and many more.
After the tour we have a cup of tea in the lush green garden, the rain has started to poor around us making a smattering sound as it hits the parasoll, and the conversation is about contemporary art in Nairobi, the scene, the possibilities, the challenges.
In the car back to town heading towards the next gallery, One Off Gallery, the discussion continues.
Art work in the photo by Richard Kimathi. More galleries are Circle Art Agency, Kuona Trust, Banana Hill Gallery, and of course The GoDown Arts Centre.
The lake Ljusnaren is quiet, laying still, perhaps waiting for the afternoon’s big drama being played right here, in the woods outside the city of Kopparberg: Guiseppe Verdi’s crime passionnel Otello.
People arrive in cars and buses. Some have taken the direct train from Stockholm and step right out on the ground and walk slowly in the warm afternoon towards the entrance of the large wooden saw mill.
”I imagine that it would be like being in the body of a violin” says director William Relton in an interview about the acoustic. It’s a warm and very clear acoustic in the mill, he describes it, and perfect for opera.
It’s also what seems to have inspired opera-singer Sten Niclasson when he ran into the closed-down saw mill. The acoustic was impressive; the place, right on the edge of the lake Ljusnaren in Bergslagen, inspiring; and the mill in all its granduor and size as if made for opera. Not least the train rail connecting the mill directly to Stockholm, was all factors that landed the idea of exchanging wood for opera.
Opera på skäret, a summer opera festival, started in 2004 after long hours of work and discussions with local municipality, the region, and different funders. In 2014 the neighbouring municipality Örebro decided to raise the yearly amount invested in the festival.
As so many municipalities around Sweden, also Ljusnarsbergs municipality is trying to deal with a declining population, lack of jobs, young people moving to the large cities, and a challenging economic situation. Art and culture, Creative Industries, becomes a light in the dark with hope for attractiveness of people’s interest for living, establishing, and visiting.
The 795 seats are not filled this afternoon, but nearly enough. Many people from near and long away have found their way to the opera on the edge to follow Otello‘s way to his ruin driven by only one thing: jelousy.
Nätverkstan did together with Sture Carlsson an analysis of another opera in Sweden in 2014: Wermland Opera. The book can be found here.
Joshua Tree in Mojave Desert in California is said to be a real magnet for artists. The specific nature, light, calmness and wilderness attract artists from all over the world and if you are lucky, you could get on one of the Artist-In-Residence (AIR) programs offered. Imagine a house in the desert, a studio to work in, and vaste surroundings to be productive in…
American artist Noah Purifoy (1917–2004) was one of these artists, based in Los Angeles but decided to move to Joshua Tree in 1989. He is said to be one of the most profound Assemblage sculptors, was a founding member of the California Arts Council, founding member of Watts Towers Arts Center in the 1960s, and an administrator of the Artist in Communities Programs.
If you come to Joshua Tree, drive till the end of the paved Yucca Mesa Road, continue the dirt road, take a left on another dirt road, you finally see the small sign welcoming you to Noah’s Art Site, kept by Noah Purifoy Outdoor Desert Art Museum of Assemblage Sculpture.
Take a right and you are there. Noah Purifoy spent thirteen years to fill the ten acres of desert with his art work of assemblage sculptures of all types of materials. Around fifty pieces of work is placed around in the sand, among hot dry winds and wild chipmunks building their nests in the few bushes around.
You can see his work Earth Piece (1999) where he uses material from the ground, and From the point of view of the little people (1994) a work that is the result of his interest in how nature participates in and is intricate to the creative process and perhaps also from his own up-growing with a family of thirteen people in a two room flat.
In the mountain you see amazing granite rock formations, and the thoughts go to the granite rocks of the West Coast in Sweden, where artists have settled to work with stone sculpting, among many other materials, and as Noah Purifoy’s museum, struggle with being visable in the outskirts of the big cities.
For the West Coast of Sweden Artist Collective Workshop visit here. For Artists-In-Residence programs in Joshua Tree, visit here and here. If you are visiting the Noah Purifoy Outdoor Museum, make an appointment before hand on the website!
”There is a shift in the balance of power”, says Tyler Stonebreaker, founder of Creative Space, ”Political boundaries are becoming less relevant. Instead it’s where the audience is”. And Los Angeles, described as one of three hubs of the creative industries in the USA, has this.
”We have content”, as Tyler Stonebreaker puts it, and sips on his Macchiato at Stumptown Coffee on South Santa Fe Avenue in the Arts District. The Coffee brewery is one of the projects Creative Space has been working with, helping them establish in L.A.
The Arts District has grown to become a thriving interesting hub for cultural and creative businesses in the past twenty years or so.
It’s an area that has changed over time from the middle of 1800s when it was the largest producer of wine in California; to become citrus groves and home for filmmaker DW Griffith who filmed parts of the first Hollywood films here; to by World War II becoming factories for the rail freight industry.
In 1960s and 70s artists moved in to the then abandoned industry buildings, something acknowledged by the City of Los Angeles who in 1981 passed the Artist in Residence (AIR) program which let artists live and work in these buildings.
We know this story. It’s seen in so many places around the world: abandoned factory and industry buildings turning into hubs, clusters, artistic residencies, that if rightly nurtured by the public officials can become an important drive for economy. Or at least that’s what politicians hope for. Thriving cities and regions that will be able to take up the competition of interest from tourists, being the place where people choose to live, and where entrepreneurs and the big enterprises decide to settle.
But can you decide to nurture this development? Or is it better for governmental authorities to keep their hands off and let things grow on their own?
British consultant Paul Owens once described art and culture growing like algae. They grow where you least suspect them to, where you don’t even would like them to grow, and they can’t really be nurtured. The best is to just keep hands off and let it grow as wild – and sometimes unwanted – as any weed.
It’s contradictory and for municipality and regional politicians and officials today’s million dollar question: How do you best nurture cultural and creative industries?
In the later years the interest for cultural and creative industries has grown in Los Angeles and a sense that these industries and their economic potential needs to be acknowledged more. The Otis report on the Creative Economy (2013) shows that one out of seven jobs in Los Angeles County and Orange County are related to Creative industries, it’s 1,4 million jobs in the state of California that are within the Creative Industries, and 7,4% of California’s Gross State Product.
Read also the report ”LA Creates. Supporting the Creative Economy in Los Angeles” by Keith McNutt: LA CREATES.
The Slöjd Incubator, the incubator for handicraft started as a pilot project by the public authority the National Swedish Handicraft Council, has now finished it’s first round.
Hopefully the pilot project will be prolonged. Participants were very happy to have a chance to develop their ideas around their art and how to live on their art, and the process has been working well as a complement to their university studies within in art, design, and craft.
Ten participants now finished the process and on the final seminar a few of them got a chance to tell their experience for a larger invited audience. On this seminar Nätverkstan presented it’s survey and final report on the incubator.
Getting funding for renting facilities during a project period or to build shared spaces is getting harder and harder. Your project should preferably be run with excellent content, but no physical spaces.
There seem to be an idea among funding authorities that sharing spaces, need for offices and physical meeting places have ended. In these digital times you may as well sit at a café or at home, have meetings on skype, through facebook groups or twitter.
Eventhough this of course suits some people, we see a parallell trend that is showing the opposite; the need for meeting and sharing physical spaces.
In Göteborg we have several examples, and not only those build up from the 70s-90s. People gather to find solutions for expensive equipment and places to meet and work all the time.
But just to start with the 70s, Konstnärernas Kollektivverkstad Göteborg (Collective Workshop for Artists) was formed in 1974 with the aim to share heavy equipment, ceramic ovens, facilities for metal, wood, graphic art for professional artists. You find several of these collective workshops around Sweden. These are still up and running.
Medialab in Lagerhuset started in 1998 to share hard- and software, printers, video editing equipment, and work spaces. Other initiatives are ABF Medialab for study groups, Frilagret for young people, Collaboratory, the DIY days which is all about sharing knowledge, ideas, and spaces, the newly started CopyPaste. Several of these initiatives just decided to work together in the network Göteborgs Makerlabs. Just to mention a few.
The lastest in the row is newly opened Kompani 415 in Kviberg which is about the same thing. An empty house in need of some renovation that has been taken over by an association to provide working spaces, studios, and rentable rooms for people within arts and culture. So that people can meet, talk, discuss, and share.
Who has stated that we see an end of sharing?
The final semester of the two-year International Culture Project Management Training Program, Kulturverkstan, youdo an internship at an cultural och social organization, or run your own project. The internship is prepared thoroughly with planning classes and where you decide a theme or question you would like to look into during the internship.
This adds up to a public presentation in the end of the semester with invited guests, discussion partners and (or) opponents. This year’s addition of the presentations held the same high quality as last year, with interesting topics such as Cultural Heritage and Digitization; Food Trucks’ introduction to Göteborg; Art, status, and conditions; The concept
of class – is this still relevant?; Alternative forms of exhibitions; and many more (read more here).
The last thing to do is Wednseday’s graduation party and then we will meet 35 new excellent Cultural Project Managers out there!
Jögge Sundqvist calls himself a sloyder. Not a handicraft artist, not a carver, definitely not an artist (he doesn’t have the education or language for that, he tells us), but a sloyder. From the Swedish word ”slöjd”. Slöjd is something in between, its own genre, he says.
We listen to his story in a gallery in the Artistic Campus in Umeå (one of the two European Cultural Capitals of 2014). The Campus is situated right by the Ume River, next to the fairly new Bildmuseet, a centre for contemporary art, and it’s the last workshop with exhibition and a method seminar for the Slöjd Incubator.
The incubator has been running as a pilot since August last year and have a specific focus on handicraft and slöjd. Ten participants from areas of handicraft, slöjd, design have followed the incubator process with the aim of identifying the entrepreneurial side of their idea and skills, their purpose, and way forward.
These two days they have their last large work of putting together an exhibition and an event, ”A taste of Slöjd”, where their work meet the public.
Jögge Sundqvist, one of the speakers on the method seminar, alongside with speakers such as business founder Jeff Melnyk, artist and professor Swetlana Heger, and chair of Nätverkstan, David Karlsson.
And perhaps Jögge Sandström’s story of how is father found his way to become a well-known and respected craftsman is the best way to sum up the whole event and the process the partipants have gone through.
When Jögge’s father grew up he loved to draw and paint horses on paper. One day his father asked him why he didn’t make the same horse in carved wood instead? He thought about this and replied that he didn’t know how to. And his father replied that it’s simple:
”You just have to take everything away that is not horse.”
The Slöjd Incubator is run as a pilot project by The National Swedish Handicraft Council during August 2013–June 2014. It’s financed by the Swedish Agency for Economic and Regional Growth. Nätverkstan will do a small research of the incubator process that has taken place, what it has led to, the context of incubators, and the need for such a specific incubator such as one on handicraft. A report is due in middle of June.
Within a week, three seminars has taken place in Göteborg and Stockholm with the ambition to bring knowledge and perspectives on cultural policy, cultural and creative industries, and the myth of the creative city.
To begin with the last.
Justin O’Connor, Professor at Monash University in Australia and the authority on cultural and creative industries, did a quick stop in Göteborg on his way to Stockholm to talk about Cultural Economy and Cultural Citizenship. Beyond the Creative City. Göteborg is one of all the European cities being promoted as the ”creative” city and the ”most creative region” in Sweden, eagerly cheered by the American economic’s Professor Richard Florida during his visit in 2006 when he identified Göteborg and Sweden to be a role-model of creativity and innovation.
Interesting since at the same time Göteborg is one of the most segregated cities in Europe, something that seemed to have slipped away from the Professor’s research.
Justin O’Connor said three things to be important:
1) Reinstall the value of art and culture and move away from ”creativity”,
2) Don’t run away from economics! Culture is part of the economy. Don’t leave it for others to handle and do not escape by saying economy is only for Neo-liberalists, and
3) The public space is for all. It’s time to reinstall Cultural Citizenship.
Cultural and Creative industries was in focus in Stockholm when Professors Justin O’Connor and Birgit Mandel, from Hildesheim University in Germany, discussed CCI – and beyond. Are we seeing the end of CCI? Or is it time for a revived understanding of the concept? Where are the artists in the discussion of CCI?
And the message was clear: Drop ”creativity”. This has only messed up the discussion. Go back to cultural economy. Discuss and define economy from the perspective of the arts and culture.
And today, lastly, a day with focus on cultural policy on the regional level of Region Västra Götaland tossing and turning on Whose Culture? Whose Plans? Whose Money? The seminar ended with politicians answering questions on what they think is the most important cultural policy question that they will bring to this year’s election. Participation, inclusive culture, culture to children and youngsters, integration was some of the answers.
The most important words, though, were said by Poetry Slam Winner Nino Mick, who summarized hen’s impressions during the day in a poetic reading that went straight into the heart.
The Göteborg event with Justin O’Connor is found here.
The invitation to the seminar in Stockholm: KN_Seminarieinbjudan_pdf.
The Cultural Policy day here.
Two of the leading authorities on cultural industries, Justin O’Connor from Monash University (Australia) and Birgit Mandel from Hildesheim University (Germany) are visiting Stockholm and the Arts Grants Committee on Tuesday (April 29) for an open seminar on the future of CCI.
A few years ago, Konstnärsnämnden (The Swedish Arts Grants Committee) published the anthology “Artists and the Arts Industries” with a view to highlighting cultural Industries from the artists’ viewpoint.
Previously, these industries had mainly been described and elaborated by economists and cultural geograph ers, by business developers and public officials. With the help of five foreign and Swedish professors, artists and cultural critics, a deeper perspective was adopted: Did for instance the discussion on creative industries have an impact on the arts field itself – and if so, how? In what respects was the discussion relevant to the artists?
Are we witnessing the end of cultural and creative industries or are we at the beginning of some thing new? If you are in Stockholm, or happen to pass – join the discussion!
Invitation to the seminar is here: Seminarinvitation.pdf.
It’s complex and easy to get entagled along never-ending blind discussion- alleys with no emergency exit. The result being that the important discussion on cultural entrepreneurship and the possibilities for artists to live on their art is lost.
Nätverkstan, with author David Karlsson, has together with Region Västra Götaland tried to untangle some of these knots by producing this Questions&Facts booklet.
It’s formed as a quick guide with focus on cultural entrepreneurship. Not art. Not business. But art and business.
Download here: How_long_is_a_piece_of_string.pdf
Professor Justin O’Connor will soon host Göteborg and Stockholm discussing cultural and creative industries and the myth of the creative city.
In 2007, Professor Justin O’Connor wrote the report The cultural and creative industries: a review of the literature for the University of Leeds that might be useful background for the eager participant.
Are we in the moment of time where a need for ”a refusal of creativity and its illusions in a spirit Adorno would recognise” and maybe ”creativity” is the problem? Will the underlying tensions in the cultural industries between capitalism and cultural value call for another understanding of the concept?
Read more here: oconnor_justin_cultural-creative-industries-15.pdf.
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