Posts with tag Creativity

Cultural Journals on Lit de Parade

In December 2014 the cultural journals found themselves in the centre of the Swedish media debate.

The State Cultural Committee (Kulturutskottet) decided in a meeting just before christmas to cut the budget for the cultural journals with nearly 80%.  The debate was instant and agitated. The effect of the decision would be that the majority of cultural journals would have to close down. Qualified critical journalism and writing was in danger.

Cultural critics, journalists, writers, politicians from left to right, professional organizations and interest groups, were roaring writing articles, debating and arguing.

The debate showed the importance of these journals for the public debate.

At MEG 2015, the Media Days in Göteborg, the media elite in Sweden has gathered to discuss and debate. Nätverkstan with artist Helena Persson has commented on the role of the cultural journals and their near-death experience last December in a Lit de Parade for the journals: an installation called ”The Resurrection”.

It was followed by a seminar with editor and Nätverkstan Chair David Karlsson and journalist Siri Reuterstrand on ”The blue-collar workers in the public sphere – The role and importance of cultural journals”.

6 mars, 2015

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Again: Save the cultural journals!

Never before have cultural journals been in the centre of the debate in Swedish media.

After the decision of the State Cultural Committee (Kulturutskottet) to cut the budget of the cultural journals with nearly 80%, the debate has been roaring.

Everyone: Cultural critics, journalists, writers; politicians from left to right (yes, even colleagues to Chair of the Committee, Per Bill, in the Conservative party have raised furious voices); professional organizations and interest groups, are writing articles, debating and arguing.

The decision has still not been changed to save the cultural journals.

But the Culture Minister who after the new election in March 2015 decides to reintroduce or even raise the support for the journals can only win. For a very small sum of money, this minister will gain respect and will be remembered as the one who saved the public critical dialogue and debate in Sweden.

For just a few of the articles, read (in Swedish) here, here, here, here, and here.

16 december, 2014

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Save the cultural journals!

 

”A whole segment of critical debate is erased (…)” describes editor and critic Kim West in an article in Kunstkritikk where he writes about the outrage that hit Sweden on Friday (December 12th).

The coalition of Liberal-Conservatives is cutting the support for the rich variety of cultural journals in Sweden by around 80%. This means a whole art form is being closed down and killed. In one stroke of the red pen. No other European country has done the same.

This is possible due to the dramatic development in Swedish politics the last few weeks where the Sweden Democrats decided to vote for the opposition party’s budget, instead of the ruling left-wing coalition’s budget. This meant that the government’s budget didn’t win the election in parliament and therefore has to rule on the opposition party’s budget in waiting for the new election on March 22 2015.

And apparently the coalition of Liberal and Conservatives now take the chance to fulfil cuts of 365 million SEK in the cultural budget. 15 million SEK of these are being cut in one area specifically: cultural journals. The support for this area is 19 million SEK in total today, cutting 15 million SEK of these leaves 4 million SEK left.

This means that a whole sector is sentenced to a sure death.

Cultural journals are already living on the economic edge. Editors, writers, and critics are getting very low payment for their articles. These people are magicians who have dedicated their time to make sure that critical journalism and quality texts are still produced. The wide variety of critical and intensifying perspectives have been a pride in Swedish democracy. The Liberal-Conservatives showed on Friday how easily this could be ruined.

This is also done in a time when the media crisis is being discussed (just lately in three articles in the daily Göteborgs-Posten), newspapers are closing down their cultural pages, and critical and culture journalism is being severely threatened.

These times calls for action!

Sign this petition just to start with: Rädda Kulturtidskriftsstödet (Save the support for cultural journals).

14 december, 2014

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Snapshots Addis Ababa

Nätverkstan visited Addis Ababa, Ethiopia, recently to in cooperation with the Swedish-Ethiopian cultural organization Selam start look at capacity-building needs for the artistic scene.

Five days filled with meetings, interviews and a seminar on Cultural Leadership, the two-year International Cultural Project Management education Kulturverkstan, and the Creative Entrepreneurship Course in Nairobi, Kenya, run by The GoDown Arts Centre.

6 december, 2014

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Creative Economy at Arterial Network Conference

An art piece outside the Bibliothèque Nationale in Rabat (Morocco) called ”Digital” is reflecting on the new society. Old traditions meet the new knowledge and digital society.

The conference on African Creative Economy, held by Arterial network and Racine on November 12–16, was held in the big auditorium inside the library.

”It’s not one modernity”, said South African poet, writer and Professor Pitika Ntuli in an engaging and poethic speech: ”there are several parallel modernities”. ”It’s time for the African Cultural Renaissance”, he continued.

Several examples of a growing cultural scene is shown. In Nigeria the film industry (Nollywood) comes to 10% of GDP in a country with around 174 million inhabitants. In Senegal the music industry is thriving and growing. South Africa is showing important examples as well as visual arts and museums in Morocco.

The global value of Cultural and Creative Industries is said to be around 600 billion USD.

Africa’s share is less then 1%. This is the topic of the three conference days.

15 november, 2014

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A day at work…

Gävle Symphony Orchestra is rehearsing as we pass by the auditorium to meet up the next interviewee for our analysis. Soft music is slipping through the closed double-doors.

During November and December we have been asked to do an analysis of Gävle Symphony Orchestra and Concert Hall, and suggest future development scenarios.

We stop at the sound of the music and peek in through the loophole in the door to get a glimpse. The music is overwhelming, concentration tense.

This is just an ordinary day at work in the concert hall.

4 november, 2014

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Trans Europe Halles meeting

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.

Many networks, such as Eurozine, the network for European cultural journals, Trans Europe Halles, and others did not get their application through this year.

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.

19 oktober, 2014

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Their home and workspace in Kaykino

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 exchange was a continuation of a cooperation started in 2013. Read the program for the Creative Camp here: program engl. Also read here (Russian).

10 oktober, 2014

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Fund for essays in Västra Götaland

The Region Västra Götaland announced two cultural policy sensations on September 25 at Göteborg Book Fair, the largest Nordic book fair just taking place in the city.

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.

Watch here.

 

26 september, 2014

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Experimental theatre in Brno

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.

 

21 september, 2014

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Yearly two-day staff meeting at Nätverkstan

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.

5 september, 2014

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Contemporary Art Nairobi

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.

Visual artist Peterson Kamwathi is driving the car, and dancer, choreographer James Mweu, sit in the back and try to fill me in to the development of the Nairobi art scene.

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 Gallerythe 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.

23 augusti, 2014

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Desert AIR

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!

13 juli, 2014

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Hands off!

”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.

Information on Arts District is found here. Related blog posts here and here. Read also about artist P Nosa here and herePhoto of Tyler Stonebreaker is found here.

29 juni, 2014

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The Slöjd Incubator

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.

Find it attached here (in Swedish): Slöjdinkubator.pdf. Read another post on the Slöjd Incubator event in Umeå in May here.

22 juni, 2014

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End of Sharing?

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?

31 maj, 2014

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Final dazzling days of Kulturverkstan Class 2012…!


T
he 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!

 

26 maj, 2014

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Don’t run away!

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.

5 maj, 2014

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Artists & Arts Industries – the end of CCI?

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.

28 april, 2014

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CCI – A review of the literature

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.

20 april, 2014

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Authors

Lotta Lekvall
Director of Nätverkstan, a Cultural Organisation in Sweden. Nätverkstan provides services …

Cultural and Social Entrepreneurship

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