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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.
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