Articles

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.

BONN/GLASGOW – 26.02.2013. The European Music Council (EMC) together with the Scottish Music Centre are organizing the 2013 European Forum on Music which will take place from 18 – 21 April 2013 in Glasgow, Scotland, UK. Glasgow as the host city has a strong history of regeneration through music and culture, which started in 1991, when the city celebrated the title of European Capital of Culture. What lessons can be learnt from Glasgow, and can these be applied to the broader European context which is currently being challenged by the financial, economic and social crisis that is affecting an increasing number of Europe’s populace.

 

The aim of this latest edition of the European Forum on Music will be to explore what role music and culture can play in this situation and to discuss latest trends and developments of the music sector in Europe.

TANDEM–Cultural Managers Exchange Turkey–European Union aims at establishing long- term partnerships between cultural organisations from Turkey and the EU countries. Following the steps of the first TANDEM Turkey-EU round, conducted in 2011-2012, it is targeted on en- gaging participants in an intense international collaboration process, which includes realisation of a shared interdisciplinary project, linked to their cultural expertise.

 

TANDEM is an initiative of the European Cultural Foundation (Amsterdam), MitOst (Berlin), Anadolu Kültür (Istanbul), and supported by Stiftung Mercator (Essen)

Jazz musicians are often regarded as chronic loners, as individualists who fully concentrate on their art and work in ever-changing formations.  However, to make that possible they need a fully functional, and in the best case, an internationally organized artistic network.  In our latest newsletter, we exclusively publish a case study by Prof. Martin Lücke from Munich, which offers insight into how a European-wide partnership can look in practice.

 

One of the most experienced authors in arts management, Alvin H. ("Skip") Reiss, recently wrote an essay for ArtsReach.com about the cultural building boom. Perhaps you will be impressed as we were about the number and financial dimension of arts investment projects around the world. There are two questions for us related with this issue: how to decide whether it is reasonable to renovate or to build new? And secondly where the protagonists have fairly considered for the costs for operating and curating the venues?