Edition No. 133 of Arts Management Quarterly is dedicated to Arts Managers in Foreign Regions. Working in a foreign cultural context can open up a lot of potentials and new perspectives for arts managers. But it can also entail difficulties. Therefore, this issue reflects on internationalisation in the cultural sector from the point of view of arts and cultural managers from different regions of the world and fields of practice.
This book focuses on the relevance of the arts and of artistic practices in the actual integration of refugees into the social fabric - a topic which is relatively neglected both in media and political discourse.
Les artistes étrangers participent activement à la richesse de la diversité musicale française et au rayonnement d'une partie importante du secteur des musiques actuelles. Afin de mieux reconnaitre et valoriser la place de l'import d'artistes étrangers en France et aussi l'importance des artistes de toutes les origines dans l'export des productions françaises, le réseau des musiques du monde Zone Franche a mené une"enquête flash" auprès de ses adhérents en juin et juillet 2019. Découvrez le rapport ainsi que les chiffres clefs de cette enquête.
The ITI yearbook 2018 is addressing the issue of the condition and perspectives of artistic cooperation. Festival curators, ensemble directors and networkers report from their experience with international work. Contributors are among others: Chang Nai Wen, Martine Dennewald, Annika Hampel, Günther Heeg, Marta Keil, Krystel Khoury, Jens Van Lathem, Kerstin Ortmeier, Iulia PopoviciZoë Svendsen and Anmol Vellani.
The special issue of Interartive on Walking Art / Walking Aesthetics aims at the presentation of papers and art projects that examine or use walking as a contemporary art practice. Since the Situationists, walking has become a widespread contemporary art practice that has at least two aspects: the one is that of a way of experiencing the environment and the body and possibly create artworks from the attained experiences (art of walking). The other aspect is walking art as an independent art medium; a way to initiate works that are autonomously defined and create artworks (walking art). The papers and projects that have been submitted to this special issue reflect on issues that cover various aspects of both the art of walking and the walking art issues.
This session in IETM Munich brought together performing arts producers and their structures from different countries to share examples of cooperation, good practices and explain their business models and structures. This report summarises the findings from the three roundtables held during the session on hierarchical models within producing organisations, the relationship between the artist and the producer, and stories of success and failure regarding international cooperation.
A new study in the journal Science has revealed an overwhelming correlation: artists who show work in a prestigious gallery or institution early on in their career have a much greater chance of carving out a successful one. The network map also shows dense and isolated regional clustering in countries in Europe, Asia, South America and Australia which suggests that these communities share artists mainly within their geographical region. The paper concludes by suggesting tactics to level the playing field and mitigate the impact of an artist’s network.
'Working internationally and collaboratively is not rocket science. It requires hard work, interest and long hours. It is sometimes infuriating, often puzzling, but also rewarding. We have chosen to work collaboratively and internationally because we are curious and strongly believe larger networks can lead to new possibilities for individual artists and enable development of their artistry. Co-produced, co-funded, co-created productions strengthen the art community by bringing new work opportunities, parameters and models. It widens the horizon of everyone involved. This we say with confidence after 15-20 years in the business. Leading to not only successful and complicated but also failed projects, on our roster'. Read this practical and resourceful guide by ÁSA RICHARDSDÓTTIR and LENE BANG HENNINGSEN.
This publication (edited by XTRAX and coordinated by Circostrada) delivers the dynamic conclusions of all the sessions, reported by the five facilitators: Josephine Burns, Anaïs Biaux, Bettina Linstrum, Marie Le Sourd and Susan Haedicke. (La publication est aussi disponible en français)
The present volume covers and reflects on several crucial issues that shape the contemporary age, and provides some new and fresh perspectives about the challenges of mobility.
AIR Array: Perspectives on Artist in Residence Programmes is a compilation of content developed during the event AIR ARRAY: Meeting of Artist in Residence Programmes and Mobility Workshop for Artists which was held at Matadero Madrid and Casa de Velázquez - Académie de France à Madrid in March 2015. The publication features summaries of activities which took place over the three days of the event as well as essays further exploring the key issues raised.
The main goal of this project led by Mercat de les Flors in Barcelona was to support development, mobility and exchange for dance artists. This cooperation project followed the principles of the European Dancehouse Network (EDN), the umbrella organisation for most of the module-dance project partners. Delve into this inspiring and well-done publication!
The 2012 - 2015 activities of keðja, the Nordic-Baltic EU supported project for the contemporary dance field was evaluated by Mary Ann DeVlieg and Judith Staines. Find the evaluation report online.
The magazine features articles, interviews and a discussion forum that offer an extensive range of views. Some of these are optimistic while others challenge or criticise the raison d’être and the workings of a network devoted to art creation and the meaning of the word “networking” within the contemporary art system.
ECF has prepared the publication "10 Years STEP Beyond Travel Grants (2003-2013)" offering an overview of the past, present and future of ECF’s flagship mobility grants programme, as well as giving a voice to some of the cultural change-makers involved.
"I am at Gate C 63. In the International Terminal at Newark Airport. New York to Dubai / and from Dubai to Iraq." Read the touching article by Jessica Litwak, Theatre Without Borders (OTM member).
Learn from the extensive international experience of Battery Dance Company through this online platform, The Cultural Diplomacy Toolkit! It will help you avoid doing the same mistakes experienced by Battery Dance Company, and will motivate you to think differently about the meaning of bilateral engagement and what the arts can achieve.
In the frame of its EU-funded project META, the IN SITU network has developed "Europeans abroad", aiming to create bridges with artistic and cultural partners outside Europe in the form of residencies or co-productions. Read about their experiences!
Discover more about the mobility experiences of the Korea-Finland Connection coordinated by the Korean Arts Management Service (KAMS) and Dance Info Finland (DIF) in 2010-2012, through this report by Mary Ann DeVlieg and Judith Staines.
A great contribution to the subject of art and mobility with numerous articles and references to understand the multiple aspects of artists' mobility. More than 15 articles and an online exhibition not to be missed!