Quo vadis ars?
The situation in the cultural sector has been
described and discussed in numerous interviews, corona diaries,
comments and reports in the past few weeks. Our annotated
collection
of currently 193 sources
gathers voices from different sectors and media.
This creates a picture of the cultural landscape in crisis,
whose temporal transformation can be explored interactively
via a dedicated
tag cloud.
#allesdichtmachen: Die infektiösen Folgen der Infodemie
#allesdichtmachen: Die infectious consequences of the infodemic
by Markus Gabriel (26 Apr 2021)
Original source: Frankfurter Rundschau
The philosopher misses too much the humanities that reflect media and artistic discourses such as those triggered by the actors' videos of #allesdichtmachen. He sees the quality of artistic statements precisely in addressing mechanisms and stereotypes in relation to Corona. Instead of classifying and analysing, he accuses the media of being too willing to let social media such as "some arbitrary Twitter account lead the thought process" - infodemics as twittocracy.
tag #allesdichtmachten Jan Josef Liefers Ulrike Folkerts Twittokratie Infodemie Schauspieler*innen Philosophie Performing Arts/ Cinema Statement
Darum ist Liefers' Kritik so wichtig!
This is why Liefer's critique is so imporant!
by Ralf Schuler (25 Apr 2021)
Original source: Bild
In his commentary, Schuler points to parallels between the actors' contributions to #allesdichtmachten and the strategies of dissidents in the GDR. The ironic exaggeration in Jan Josef Liefer's contribution in particular resembles that of a submissive party obeisance, which at the same time undermines the party line. With this East German perspective in mind, Schuler points out: "Perhaps in the end it really is the biographical background that makes people more sensitive to the mechanisms of conformity pressure, which today no longer emanate from a repressiv e state apparatus, but more and more often from a political-media group dynamic."
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tag #allesdichtmachten DDR Gruppendynamik Schauspieler*innen 1989 Performing Arts/ Cinema Kommentar
Der deutsche Staat verachtet Selbstständige und Kreative
The German state is contemptuous of self-employed and creative people
by Sascha Lobo (09 Dec 2020)
Original source: Der Spiegel
Why do solo self-employed people receive so little support from the GroKo during the crisis? This is the question that author and strategy consultant Sascha Lobo addresses in his column. Based on an interview with the SPD politician and Lower Saxony's Minister President Stephan Weil, in which he pointed out that Corona aid is a means of solidarity. Since the self-employed have not paid into any unemployment insurance so far, they are now dependent on transfer payments from the state. For this reason, he calls in the interview for compulsory insurance for the se lf-employed.
What sounds plausible at first glance turns out, on closer inspection, to be an attempt to curb self-employment in Germany. In principle, the self-employed make an important contribution to the community of solidarity. For years, one-third of the pension fund has been replenished with tax revenues, since the pension insurance would otherwise be bankrupt. In other words, the self-employed pay for a benefit that they themselves do not receive. Unemployment insurance for the self-employed has been discussed time and again since the turn of the millennium, but it has never been implemented. The failure to include non-permanent employees in social systems is now being used to the opposite effect, however, as the solo self-employed in particular are being accused of taking advantage of transfer payments - i.e. benefits without receiving anything in return. The fact that the self-employed are also taxpayers is tacitly passed over. Even the comment by Finance Minister Olaf Scholz that the solo self-employed, who have been particularly hard hit by the pandemic, are being supported with all their might is no more than lip service. They are being offered a total of 5,000 euros until next summer to cushion their massive sales losses. November aid is only available to self-employed workers who are directly affected. But because the self-employed in particular are diversely positioned, they quickly fall below the 80 percent threshold, which means that if they have generated less sales with companies directly or indirectly affected by Lockdown, they will not receive any assistance. Yet it is precisely the solo self-employed who drive the economy forward with innovations and, under certain circumstances, lay the foundation for large companies. But it is only when the self-employed generate permanent jobs that they receive recognition from the state in the form of billions in aid, state loans or short-time work.
Lobo uses the example of author and director Anika Decker to show how little the work of creatives and the self-employed is respected. She wrote the book for the mega-successful film »Keinohrhasen« (No Ears), but was not given a share of the success by the production company. The commercializing company has now been sentenced to pay for the author's creative work, but the example shows how little creativity is valued in Germany.
Why does self-employment still have the reputation in Germany of being unsound and somehow unserious? Permanent employment, on the other hand, is considered sacred? One important reason is that too many self-employed people could bring down our social security systems. From 50 percent tax contribution to the pension fund, the self-employed could overturn the pension system, since it violates the equal treatment system of the German constitution. Thus, they will probably not be offered a worthy instrument for old-age security in the future either, and instead they will have to accept accusations of unsolidarity. Read More Read Less
What sounds plausible at first glance turns out, on closer inspection, to be an attempt to curb self-employment in Germany. In principle, the self-employed make an important contribution to the community of solidarity. For years, one-third of the pension fund has been replenished with tax revenues, since the pension insurance would otherwise be bankrupt. In other words, the self-employed pay for a benefit that they themselves do not receive. Unemployment insurance for the self-employed has been discussed time and again since the turn of the millennium, but it has never been implemented. The failure to include non-permanent employees in social systems is now being used to the opposite effect, however, as the solo self-employed in particular are being accused of taking advantage of transfer payments - i.e. benefits without receiving anything in return. The fact that the self-employed are also taxpayers is tacitly passed over. Even the comment by Finance Minister Olaf Scholz that the solo self-employed, who have been particularly hard hit by the pandemic, are being supported with all their might is no more than lip service. They are being offered a total of 5,000 euros until next summer to cushion their massive sales losses. November aid is only available to self-employed workers who are directly affected. But because the self-employed in particular are diversely positioned, they quickly fall below the 80 percent threshold, which means that if they have generated less sales with companies directly or indirectly affected by Lockdown, they will not receive any assistance. Yet it is precisely the solo self-employed who drive the economy forward with innovations and, under certain circumstances, lay the foundation for large companies. But it is only when the self-employed generate permanent jobs that they receive recognition from the state in the form of billions in aid, state loans or short-time work.
Lobo uses the example of author and director Anika Decker to show how little the work of creatives and the self-employed is respected. She wrote the book for the mega-successful film »Keinohrhasen« (No Ears), but was not given a share of the success by the production company. The commercializing company has now been sentenced to pay for the author's creative work, but the example shows how little creativity is valued in Germany.
Why does self-employment still have the reputation in Germany of being unsound and somehow unserious? Permanent employment, on the other hand, is considered sacred? One important reason is that too many self-employed people could bring down our social security systems. From 50 percent tax contribution to the pension fund, the self-employed could overturn the pension system, since it violates the equal treatment system of the German constitution. Thus, they will probably not be offered a worthy instrument for old-age security in the future either, and instead they will have to accept accusations of unsolidarity. Read More Read Less
tag Festanstellung Stephan Weil Solidarität Solo-Selbständige Arbeitslosenversicherung Olaf Scholz Novemberhilfe Wertschätzung Konzerne All sections Statement
Kulturzeit extra: Theater im Lockdown
Kulturzeit extra: Theatres during lockdown
by Vivian Pekovic (Moderation) (18 Nov 2020)
Original source: Kulturzeit
The German TV program Kulturzeit focusses in this issue on the situation of the theaters during lockdown. The first contribution inspects the situation at the Volksbühne in Berlin. There, the project »Spielplanänderung« (Change of play program) aimed to bring back to the stage unjustly forgotten plays by important authors. But now the theatre is not only fighting for the authors, but also for not being forgotten as institution. The actors not only play, but also discuss the role of the theater. What bothers them about the political discussion is the disrespectful tone, because they all agree that the theater offers an important outlet for society. It is the place for a discourse on topics that are discussed by a broad audience. They consider it a luxury to be allowed to rehearse, yet the current situation costs a lot of energy - especially since for many actors who do not have a permanent contract with a theater, the income breaks off. The demand that the theaters be allowed to reopen soon is not only demanded by cultural workers, but also by the Senator for Culture in Berlin, Klaus Lederer.
The theater critic and author Simon Strauß developed the program for the ›Change of program‹. He points out that it is currently dangerous to over-adapt as theater and to play down one's own status. Subsidies and the standing of the theater as a psychological and humane institution could be lost.
An important experience for the actor Lars Eidinger was not being allowed to play for seven months. During this time he realized that for him, working on stage is the creative center of his work. For him, the central characteristic of theater is immediacy, which no other medium can achieve. However, he sees the theater not as a moral institution, but rather as a free space in which one does not have to distinguish between good and evil.
However, there are also voices that demand that theater professionals use the crisis to reflect on their own position. Simon Strauß is one of these voices. He would like to see the creative people emerge from the crisis with a new form of consciousness. For the theaters this means, among other things, revising play programs, making them more diverse. But new formats must be developed on stage. He sees streaming only as a substitute, a consolation for the time until the houses can play again. For him theaters make an important contribution to the psychological edification of people with their immediacy, with their way of raising questions. This has to be defended self-confidently against politics, especially in view of upcoming budget cuts. Theater - as Strauß puts it - is more than systemically relevant, it is »decisive«.
In addition to the theaters, however, other cultural institutions are also threatened by the crisis. Although it is still allowed to perform in Switzerland, many institutions survive mainly because of their parallel cafe and bar operation. The few spectators who are admitted to a performance make it almost impossible to work economically.
One of the few cultural institutions that are allowed to open in Germany are the galleries. They enable the artists at least not to be completely forgotten - after all, they not only suffer from the threat to their existence, but also from not being allowed to show their works. Nevertheless, it is also difficult for galleries to assert themselves on the market at the moment, because new groups of buyers cannot be addressed at present. So the question here is also how art and culture can be valued and rewarded as an essential good for society in the future.
Read More Read Lesstag November-Lockdown Theater Krise als Chance Unmittelbarkeit Streaming Simon Strauß Lars Eidinger Volksbühne Galerien Quo vadis ars Performing Arts/ Cinema Kultursendung
»Wir sollten uns nicht hyperüberschätzen« . Amelie Deuflhard zum Theater-Lockdown
»We should not hyper-overestimate ourselves« . Amelie Deuflhard about the theatre lockdown
by Amelie Deuflhard, Vladimir Balzer (05 Nov 2020)
Original source: Deutschlandfunk Kultur
Planning reliability is what cultural institutions need most urgently at the moment. The employees at many institutions continue to work, but the feeling of producing into a void is a great burden for many. Amelie Deuflhard, artistic director of the 'Kampnagel' theatre in Hamburg, does not want to follow the suggestion of the artistic director of the Schaubühne, Thomas Ostermeier. Just in solidarity with the free theaters, the houses must continue to be played in, even if the situation is uncertain. Nevertheless, she would also like planning reliability, bec ause if a closure beyond November was already determined now, then the houses could consider alternative concepts for their spaces and use the closure for conceptual considerations. Although Deuflhard believes that many theaters in Germany are on the right track, she nevertheless warns that the theater in the present time still appeals to the educated middle classes. Developing new concepts here, also leaving the traditional spaces, addressing target groups and working on the diversification of the theater are some of the tasks that could be tackled. She even goes to that lenghts in times of crisis as to suggest other meaningful tasks for the theater staff - reading aloud in nursing homes, helping out at the health department.
Of course, the state-subsidized institutions in the present are much more likely to allow a positive view of the future than privately run institutions and solo self-employed persons. The precarious employments of the freelancers are also on Deuflhard's imaginary to-do list for crisis closure. Here, however, politics would also have to get involved and consider how to provide rescue for this group to help them survive such a crisis. Here, an unconditional basic income or a solidarity fund are just two ways of stabilizing the sector so that it does not collapse again if a new crisis occurs. It should also be borne in mind that bureaucracy can be reduced as much as possible.
Finally, she points out that all international cooperation is currently frozen. This means that not only an important form of cultural exchange is missing, in many countries there is also no support for artists during the crisis. Read More Read Less
Of course, the state-subsidized institutions in the present are much more likely to allow a positive view of the future than privately run institutions and solo self-employed persons. The precarious employments of the freelancers are also on Deuflhard's imaginary to-do list for crisis closure. Here, however, politics would also have to get involved and consider how to provide rescue for this group to help them survive such a crisis. Here, an unconditional basic income or a solidarity fund are just two ways of stabilizing the sector so that it does not collapse again if a new crisis occurs. It should also be borne in mind that bureaucracy can be reduced as much as possible.
Finally, she points out that all international cooperation is currently frozen. This means that not only an important form of cultural exchange is missing, in many countries there is also no support for artists during the crisis. Read More Read Less
tag Theater Planungssicherheit Privilegien Kultur als Chance Grundeinkommen Demokratisierung Solo-Selbständige Performing Arts/ Cinema Gespräch
Bildet Banden! . Warum der zweite Lockdown für Theater und Künstler*innen wie eine Ohrfeige wirkt
Create gangs! . Why the second lockdown is like a slap in the face for theater and artists
by Georg Kasch (28 Oct 2020)
Original source: Nachtkritik
The location of the theaters is desperate. Not only is a second lockdown imposed on them, they are also classified as "entertainment«, are in a row with gyms, betting shops and brothels. And this despite the fact that the theaters behaved so exemplarily during the lockdown. With streamings they entertained their audience, developed hygiene concepts, and replanned the new season three times. And now?, asks Gerog Kasch in his commentary. The houses have to close their doors again, although even virologists do not consider this step necessary. Can the closure rea lly be justified by the fact that the audience, after the consequent separation, meets in the stalls after the performance to discuss the evening?
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
tag November-Lockdown Unterhaltung Hygienekonzepte Bestandssicherung Grundeinkommen Bauernopfer Krise als Chance Streaming Performing Arts/ Cinema Kommentar
Theater, Opern- und Konzerthäuser sind keine Infektionsorte
Theaters, opera houses and concert halls are not places of infection
by Deutscher Bühnenverein (27 Oct 2020)
Original source: Deutscher Bühnenverein
In an urgent letter, Ulrich Khuon as President and Marc Grandmontagne as Managing Director of the German Stage Association address the German Chancellor Angela Merkel and the State Premiers. As they have already pointed out several times in the media over the past few days, they once again underline that, for physical reasons, mass contagion in theaters, opera houses and concert halls is not possible. They therefore ask that a reasonable decision is taken during the consultations of the Ministerial Conference and that the venues do not close. These are indispensable cult ural spaces for society. Therefore, it is not only important not to lose the trust of the public that has just been regained, but also to save small and medium-sized institutions from ruin.
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tag Hygienekonzepte Ansteckungsgefahr Schließungen Verhältnismäßigkeit Gefährdung der Kulturnation Performing Arts/ Cinema Offener Brief
Bayerische Theater entsetzt über neue Corona-Regeln
Bavarian theaters appalled by new corona regulations
by Christoph Leibold (22 Oct 2020)
Original source: BR24
Following the announcement last week in North Rhine-Westphalia of a limit on the number of spectators for theaters due to rising corona infections, Bavaria is now following suit. Bavarian State Premier Markus Söder announced that regardless of the size of a house, when an incidence rate of 100 infections per 100,000 inhabitants is reached, only 50 participants will be allowed to attend a cultural event.
In Bavaria's theaters, the outcry is great. Up to now, the rules of distance have been generously adhered to, and every house has a well-developed hygiene concept. In Bavaria, too, there are no infectious diseases among visitors to cultural events. Instead of recognizing this success, the new decree destroys it. Those involved in culture accuse the State Chancellery of not having gained an impression of the situation in the houses so far. Even the »representatives of the cultural scene« apparently involved in the decision could not be identified so far. No director of the large Bavarian theaters was asked to comment. So it is not surprising that the director of the Kammerspiele, Barbara Mundel, accuses the state premier of »purely symbolic politics« at the expense of the cultural institutions. For these institutions, the new decree is tantamount to a new lockdown. Another aspect that Mundel addresses should not be forgotten in the current situation: Theater and other open spaces of art offer the opportunity for exchange and reflection. This is the place to reflect on the consequences of the Corona crisis for our society. Read More Read Less
In Bavaria's theaters, the outcry is great. Up to now, the rules of distance have been generously adhered to, and every house has a well-developed hygiene concept. In Bavaria, too, there are no infectious diseases among visitors to cultural events. Instead of recognizing this success, the new decree destroys it. Those involved in culture accuse the State Chancellery of not having gained an impression of the situation in the houses so far. Even the »representatives of the cultural scene« apparently involved in the decision could not be identified so far. No director of the large Bavarian theaters was asked to comment. So it is not surprising that the director of the Kammerspiele, Barbara Mundel, accuses the state premier of »purely symbolic politics« at the expense of the cultural institutions. For these institutions, the new decree is tantamount to a new lockdown. Another aspect that Mundel addresses should not be forgotten in the current situation: Theater and other open spaces of art offer the opportunity for exchange and reflection. This is the place to reflect on the consequences of the Corona crisis for our society. Read More Read Less
tag Theater Inzidenzwert Hygieneregeln Bayern Markus Söder Performing Arts/ Cinema Bericht
Corona-Pandemie: »Kultur merkwürdigerweise in dieser Krise marginalisiert«
Corona Pandemic: »Culture strangely marginalized during this crisis«
by Julian Nida-Rümelin, Änne Seidel (18 Oct 2020)
Original source: Deutschlandfunk
»Aufstehn für Kultur« [stand up for culture] is an appeal for a demonstration in Munich. The goal is to address as many people interested in culture as possible and to motivate them to participate in the demonstration. The importance of this is explained by one of the initiators, political scientist, philosopher and former Minister of State for Culture Julian Nida-Rümelin, in an interview with the German radio station Deutschlandfunk.
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
tag Grundeinkommen stiller Tod Systemrelevanz Aufstehn für Kultur Lockdown 1929 Depression Kulturstaat All sections Gespräch
The arts sector is already suffering . This year's budget just pours salt on the wound
by Leya Reid (08 Oct 2020)
Original source: The Guardian
It is a simple calculation according to the Australia Institute: Every Australian million dollars invested in the arts creates nine jobs. In construction, that same investment generates just 0.9 to 1.3 jobs. But obviously the Liberal-National Coalition government is ignoring this calculus in its recent fiscal strategy and does not include an increased support for the arts industry as first and worst hit sector by Covid 19. So no “jobs, jobs, jobs” as promised by treasurer Josh Frydenberg – at least not for the creative industries – but permanent i ncome reductions for the high-income earners. Concrete suggestions, such as those articulated in June by the National Association for the Visual Arts in an open letter, remain unheard.
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