The Asia-Europe Foundation (ASEF), the European Festivals Association (EFA), and LASALLE College of the Arts, Singapore are delighted to announce the launch of Serving Artists Serves the Public: Programming Arts Festivals in Asia and Europe.
This e-publication talks about the opportunities and challenges of programming arts festivals in Asia and Europe, through a compilation of 13 articles written by renowned contributors. They include Ms Robyn ARCHER, the multi-faceted Australian artist; Mr Hugo DE GREEF, theatre director and Advisor to the Minister of Culture for the Flemish Community; Ms Kathrin DEVENTER, Secretary General of EFA; Ms Katelijn VERSTRAETE, Director, Arts & Creative Industries (East Asia), British Council; and Ms Audrey WONG, Singapore’s first Nominated Member of Parliament (NMP) for its arts community. Their articles are a useful reflection on the social role of local and international festivals, as well as the need for capacity building among young festival managers.
This project is a follow-up to the Atelier for Young Festival Managers held in May 2011 in Singapore.
Do US-American Opera Houses operate more efficiently than German ones? Mounir Mahmalat, who studied at the Northeastern University in Boston, USA, as well as in Dusseldorf, Germany, investigated on the basis of twelve opera houses in both countries, if German institutions might take an example on US-American performing arts organizations who are said to operate in a more entrepreneurial manner. You can read this case study exclusively in our latest issue of the Arts Management Newsletter, the bi-mohthly magazine for the global perspective on arts and business.
Furthermore we can provide inside views with two totally different interviews. Our correspondent Kira Potowski met Koh Won-seok, an art curator in Seoul, who actually work for the new Arko Art Center in the capitol of South Korea. He takes our attention to a number of smaller Asian countries with art markets, which grow along the economic boom. Nikos Tsouchlos, the artistic adviser of the most important concert hall in Greece, underlines the current situation and role of the arts in a country, which suffer massively from the continuing economic and financial crunch. But Tsouchlos describes in the interview with Sven Scherz-Schade, how new practices can flourish and the roles of sociability and sharing are being re-examined.
CuratorLab is an international self-directed curatorial course dedicated to the advancement of curatorial practices based on research in the arts, crafts and design. It is designed to offer time to conduct research and to explore new directions and ideas in order to develop artistic or theoretical work while linking academic study to cultural projects.
The program offers the participants the possibility to develop and realize one individual or collaborative project in the form of a public presentation, i.e. exhibition, lecture series, publication, screenings, seminar, for which CuratorLab provides professional feedback and practical support as well as a moderate research/production budget. The final form, and where it will be presented, is decided by each participant in dialogue with his or her personal advisor.
4th KUFSTEIN SUMMER SCHOOL FOR ARTS MANAGEMENT 2013
May 12 – 18, 2013 | Palea Epidavros | Greece
May 12 – 18, 2013 | Palea Epidavros | Greece
Strategies of Cultural Management for Representation and Cooperation of Art Institutions and Artists across Europe
Cultural activities are one of the best opportunities for countries to create a strong identity within the process of globalization. On the other hand we can observe that the focus on a monocultural understanding of national cultural identity is no longer a contemporary approach to developing the diversity of artistic innovations in different European countries. Especially the massive changes within the processes of migration and international artistic transfers make this perspective very relevant. Many cities and regions all over Europe are currently looking in the context of cultural tourism for a cultural profile which attracts not only the inhabitants of a single country but also a wider audience. How can we avoid the gaps of monocultural national approaches in the field of cultural actions?
Its location is and will continue to be Berlin: SHOWTECH, the International Trade Show and Conference for Theatre, Film and Event, will again be held in the German capital in 2015.
By deciding on a venue, SHOWTECH organiser Reed Exhibitions Deutschland puts an end to the discussions and irritations caused by the announcement of another event or trade show for the theatre technology sector to be held at the Berlin Exhibition Centre in future.
The new SHOWTECH venue will be Tempelhof Airport from 19 to 21 May 2015 - "one of the most interesting and exciting event locations there is", says Hans-Joachim Erbel, CEO of SHOWTECH organiser Reed Exhibitions Deutschland. Since the acquisition of the SHOWTECH rights acquired from Messe Berlin in 2002, Reed Exhibitions has been the sole owner of all brand and event hosting rights. Since this time, SHOWTECH has evolved into the leading international event of the industry. This is also emphasised by top ratings for exhibitor and visitor satisfaction.
Kim Inseon has been working for more than 15 years now in the Korean Art Scene and is specialized in Visual Arts. Inseon Kim worked for LOOP, an alternative art space after studying art history in New York. She got her experience from working in many galleries and curating the Busan Biennale, previously called PICAF – Pusan International Contemporary Art Festival. Here Inseon Kim intended to present contemporary art in a more accessible way to the general public. Before opening her own alternative space and working as an art consultant for collectors, private companies and the Korean government, Inseon Kim worked in the Daelim Contemporary Art Museum, which is to promote excellence and achievement in the artistic community of the Seoul City area.
More than a year now, that Inseon Kim is directing her own space which provides a field for young artists and their development. She wants to allow the shift of the artist´s focus from commercial driven activities to purely experimental ones. In her opinion especially emerging artists strike to set high prices on their works and exhibit in commercial galleries to become attractive to collectors. However, at the same time young artists fear the commercialization of their art work as well as the limitation the art market sets them. Willing n Dealing therefore does not only offer consultancy but also a space to experiment with art and develop artistic careers.
The aim of the CATCH FORUM on April 6th in Prague is to bring attention to the important field of handicap from the perspective of creative use of emerging media technologies. It has been designed as a catalyst of creative and critical response to handicap, with a main focus on the potential of new technologies in supporting artistic, cultural and social inclusion of the disabled.
Vienna, May 16-17
Theatre, evolving from the earliest dawn of man as an expression of the inner self, is one of the oldest cultural and social institutions in our human history. Theatre is a reflection of the society it serves, acting as critic, teacher, compatriot, clown and cohort. Despite the abundance of other media channels, theatre remains the very heart of the human condition. And yet, theatres are also a deeply invested effort from far more people than the performers on stage. Theatres are the collective effort of personnel, strategies, technology, logistics and plain hard work. The theatre as a business unit is crucial to the theatre as a cultural institution.
As the 21st century begins to unfold, it is ushering in a new era. A new vision of Theatre is emerging and taking shape on the stage, and also behind the curtains, at desks, on computer screens, and in the media. It enjoys an expansion of international collaboration and is affected by, and feeds off the development of global tourism.
Vienna/Berlin: The visionary violinist Daniel Hope will hold the opening keynote at Classical:NEXT 2013 in Vienna. The following three days will feature speakers including Will Hope (UK), director of label relations at Spotify, John Kieser (Canada/US), general manager San Francisco Symphony, Christopher Gruits (US), Carnegie Hall, Marshall Marcus (UK), of the youth orchestra network Sistema Europe, and many more.
Classical:NEXT 2013 will see 43 experts coming from 18 countries - from Canada to China and Australia - gathering to design the future of classical music together with hundreds of delegates at the Austrian Museum of Applied Arts / Contemporary Art (the MAK). The overall framework: A positive new outlook on classical music. Which is an attitude the jury took on for their selection, as opera producer and jury member Beth Morrison (US) states:
"We have curated speakers and performances that firmly look forward into our new century through innovation within the canon, new compositional forms, and through initiatives that promote our connectivity to one another and access to music for all."
Their job profile differs from that of an artist, as well as from those in the fields of cultural mediation and arts education. In their work, cultural managers correlate ideals, viewing patterns and perceptions with social issues and with aesthetic canons, while at the same time they plan and steer the actual production processes. Cultural managers organize the space for culture.
The webinar series "Cultural Management" deals with the work of cultural managers and provides knowledge about fundraising, sponsoring and budget planning in the field of cultural management.
“Culture needs management” – So far, the Goethe-Institut has advanced the professional skills of cultural managers from 57 countries. In the scope of the advanced training courses, internships build the foundations for long-term cooperation with institutions.