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.
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.
Sydney Theatre Companys Greening the Wharf Project is a showcase project with regard to environmental measures in a theatre.
When taking over as artistic directors of the Sydney Theatre Company (STC), a not-for-profit organisation, in 2008, Cate Blanchett and Andrew Upton committed to plan and put into practice large-scale environmental measures for the theatre. Thus, the sustainability approach of the STC, that had comprised social and economic measures, was to be completed.
Music China, Asia Pacifics leading music event, ended on a positive note with the recording breaking number of participants reaffirming the fairs position as the professional choice for reaching the burgeoning Asian market. The show was held from 11 14 October at the Shanghai New International Expo Centre, Shanghai China. Filling 86,500 sqm of exhibition space were 1,606 suppliers of musical instruments and related products from 30 countries and regions, including 11 pavilions representing Belgium, the Czech Republic, France, Germany, Italy, Japan, the Netherlands, Scandinavia, Spain, Taiwan and the United Kingdom.
Commenting on the largest ever visitor numbers, Mr Evan Sha, General Manager, Messe Frankfurt (Shanghai) Co Ltd said: "This year we attracted 60,172 visitors from around the world who can depend on Music Chinas offerings of high quality products and unique networking opportunities to further their business objectives. They also had the chance to learn more about the industry through our comprehensive fringe programmes, as well as being entertained by live demonstrations and indoor and outdoor concerts."
The fifth Atelier for Young Festival Managers (Ljubljana, Slovenia, 14-21 October 2012), initiated by the European Festivals Association (EFA) and hosted by the Ljubljana Festival, brought together 32 participants from 21 countries and seven renowned festival managers from all over the world. The Atelier LJUBLJANA 2012 was kicked off with an inspiring keynote speech by Australian festival director Robyn Archer and a greeting by Zoran Jankovi, Mayor of the City of Ljubljana; it was concluded with an exclusive lecture by festival icon Gerard Mortier and a welcome address by Dr. Danilo Trk, President of the Republic of Slovenia. Throughout the 7-day training programme, a diversity of working formats allowed for thought-provoking exchanges and establishing sustainable ties for the future.
Despite, or maybe because of global economic challenges, with greater implications in Europe and North America, the 2012 International Fundraising Congress held in the Netherlands this October was the most successful ever. First timers and old hands left the NH Leeuwenhorst Hotel with much to think about. With so many non-profits trying to do more and better with less money, many sessions were oversubscribed and the general feeling was overwhelmingly positive about the quality of the presentations.
The Museums Associations 2012 survey into cuts to museum services has laid bare the devastating impact that budget reductions are continuing to have across the UK. Out of 114 museum services and individual institutions that responded, 51% reported a cut to their budgets and almost a quarter have been forced to reduce public access by closing whole sites or parts of sites permanently or temporarily. 11% have closed whole sites permanently. 42% of respondents said there have been cuts to staff, with almost a fifth saying staffing levels were down 25% or more. Of the respondents that have experienced cuts in 2011 and 2012, over a third have seen a cumulative reduction of more than 35%.
Manuel Scheidegger and Janosch Asen are Berlin-based entrepreneurs who have developed a revolutionary technique that is changing the way people browse the web. Their recently developed tool allows people to creatively mix various web-sources into a single stream of animated content, which can then be shared with others to sit back and enjoy or actively browse. Viewers, for the first time, have the choice of leaning back and watching web-content mixed together like a movie, or they can dive inside and browse whatever catches their eye with a simple mouse-click. The two call this process "Creative Browsing". Their idea stems from a bold vision: a web rebuilt by people, where you dont surf with tabs or boring blue links, but through creative projects catered to your interests.
From intimate children's theatre, to abstract dance performed against a bare mountain backdrop - by way of cutting-edge immersive theatre - Made in Scotland is a programme which finds the best Scottish theatre and dance, shows it off at the Edinburgh Festival Fringe and then helps it to travel the world.
The Made in Scotland programme is a neat solution to twin problems at the Fringe. It allows international bookers to find quality touring material in the sprawling event, while it gives Scottish theatre and dance companies a place to be seen. Jointly, the Federation of Scottish Theatre, the Edinburgh Festival Fringe Society and Creative Scotland have successfully developed Made in Scotland as an annual project since 2009.
The City of Flows is connected to global networks. What does this mean for todays cities? How do global networks manifest themselves in everyday life? And how are limited analog spaces reflected in the potentially unlimited realm of the virtual?
All the worlds a crises? The real estate bubble, government depts, economic weakness and/or bank runs ... Many people are cheesed of those bad news. Is the art sector the last paradise? Yes and no. Yes, because the arts and creative sector is a value on its own, and a driving force for the growth of regions and countries. No, because many cultural institutions come under economic pressure so far.
In this scenario, isnt it time to give impulses for the future? We will do so with our special "Positive Impulses" this month. Even from Greece, where last month at the 3rd Kufstein Summer School young professionals worked on in- novation strategies in the arts. The aim was to reflect about the role of arts management within an economic crisis like now in, but not limited to Greece. We publish the summary paper exclusively in this newsletter issue.
The European Festivals Association (EFA) celebrated its 60th anniversary with a Jubilee Gala from 23-25 May 2012 in Bergen, Norway. Debate was shaped by 180 participants from 46 countries and regions in the world, by delegates from sister festival networks from Africa, Asia and the Arab region, by Alumni of the Atelier for Young Festival Managers, and by politicians of EU, national and local levels.
Topics such as innovation, business and audience participation in digital times are feeding into the Bergen Agenda which is to characterise EFAs work in the years to come. Furthermore, the Association released its Jubilee publication and first film entitled 60 Years On: Festivals and the World and admitted five new members. The gathering saw many festive highlights including an artistic closing moment with Carte Blanche.
How to strategically use the EU support programmes, including Structural Funds, to foster the potential of culture for local, regional and national development and the spill-over effects on the wider economy? The objective of the Policy Handbook is to better sensitize local, regional and national authorities as well as the cultural community of the potential of cultural and creative industries in boosting regional and local development. The Handbook intends to help them in formulating local, regional and national strategies for cultural and creative industries. It also aims to serve as a tool for the planning and implementation of a strategic use of the EU support programmes, including the Structural Funds, to foster the potential of culture for local, regional, national development and the spill-over effects on the wider economy.
At this years European Museum of the Year Award (EMYA) Ceremony, which took place at the Penafiel Municipal Museum in Portugal on 19 May, the EMYA Judging Panel was delighted to announce the Museo de Madinat al-Zahra in Cordoba in Spain as the European Museum of the Year 2012 for its outstanding achievements for public quality and excellence.
The Museum represents a visual memory of the mixed and diverse past of Andalucia aiming to build a bridge between different cultures in contemporary Europe. Together with the partially recovered and restored archaeological site it represents a magnificent, complex city, its supporting infrastructure, buildings and gardens, as well as the social organisation and everyday life of its 10,000 inhabitants.
KUHNYA has introduced the participants of the course Cultural Entrepreneurship' in Tomsk to several cultural entrepreneurs in Siberia. They offered their know-how to the younger generation with cultural initiatives in Novosibirsk, Kemerovo and Tomsk.
When you enter Tomsk the first thing that strikes you is an enormous billboard right opposite the building of the City Administration on Lenin Prospekt. No political slogans but Tom Waits. It is the street advertising of "Underground" a jazz café, restaurant and music store opened by Oleg Usenko in 2004. This nice piece of informal culture has of course provoked a new name for Tomsk : Tomsk Waitsk. Since inviting jazz musicians to Siberia is too expensive for one private night club, Oleg and his partners arrange Siberian tours of famous jazz bands to Novosibirsk and Krasnoyarsk. They have toured Mark Terner, Igor Bril, Daniel Kramer and Vladimir Chekassin.
The National Endowment for the Arts announces a new literature review, Audience Impact Study Literature Review.While there is ample qualitative and anecdotal data on how people and communities are transformed by the arts, there is little research that quantifies the emotional impact of the arts.It's a challenge to analyze this subtle topic. How do you define the way that art affects people? By the happiness they express? By the rewards they derive? By their physiological response?Furthermore, how do you measure this emotional impact? This review looks at dozens of existing studies that attempt to answer these elusive questions. Ultimately, this review will help inform the design of a survey that will capture reliable data on this seemingly indefinable subject.
Today one hears a great deal about the so-called knowledge- based economy. Yet in economic theory such an economy is a contradiction in terms - an oxymoron. Knowledge is a public good, a good for which a natural market does not and cannot exist. A contrast with a private good is in order.
A private good is excludable and rivalrous in consumption. If one owns a car one has lock and key to exclude others from using it. And when one drives the car no one else can drive it, that is, driving is rivalrous. A gross example is an apple. I buy it excluding you from that particular apple and you cannot eat it after I have - rivalrous.
In 2012, ENCATC celebrates the 20th anniversary of its foundation with a broad range of activities and events. Throughout the whole year 2012, ENCATC will join forces with its members and main partners to celebrate, debate and reflect on Creative Industries, Cultural diplomacy and networks.
The Centre for Cultural Management, with support from the European Cultural Foundation, launches Ukrainian Cultural Network to establish culture in a leadership role in the development of Ukraine and to increase the role of culture in the life of its citizens.
Ukrainian ultural Network is an association of cultural managers, artists, active consumers of culture and all who care.
We are deeply convinced that culture is a determining factor for the society and each of us in particular in order to build and develop a strong Ukrainian state. With the help of our innovative ideas and actions we seek to expand the scope of cultural activities and provoke changes that will enable culture to play an important role not only in moral terms but also in economic and social.
Looking through the pages of this latest IFPI Digital Music Report, you see a striking paradox: on one hand, there is the innovation and drive of a business that has led the way for creative industries in adapting to the digital age; on the other hand, the extraordinarily difficult environment in which these changes are taking place. This is the ninth report that we at IFPI have produced documenting the evolution of the digital music sector worldwide. It has been a challenging and often painful transition, but as we enter 2012, there are reasons for real optimism. The digital music business has now reached out to encompass the globe. The largest international legitimate digital music services are present today in no fewer than 58 countries this number has more than doubled in the last twelve months.