Making artists work possible through international coproduction


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Making artists work possible through international coproduction

  1. 1. Sibiu, June 2012 Christel Simons/ Cultural +32 495 124 822
  2. 2.  Currently freelancer/ Projectweeks Culture & Development Visional Art and the Politics of Remembering Needcompany 1993 – 2012 (19 years) general manager and business manager of this international theatre company production work film & theatre Kaaitheater 1992 – 1993 (1 year)
  3. 3.  Build around Jan Lauwers & Grace Ellen Barkey, main artists International Multidisciplinary Ensemble Factory à la Warhol Flexible small structure Flemish
  4. 4.  AT De Keersmaeker Jan Fabre Jan Lauwers Wim Vandekeybus Alain Platel (Meg Stuart)? (Sidi Larbi Cherkaoui?)
  5. 5.  wave We take it for granted, this avant-garde art, this strange and challenging work of Flanders. But it was not always so. The rapid growth of festivals and networks facilitated the cross-fertilisation of new work. While home-grown talent was being nurtured, touring circuits and festivals were also bringing the international avant-garde to Belgian cities. Young dancers were influenced by the German neo-expressionists (such as Pina Bausch), American postmodern dance and Japanese butoh.
  6. 6.  The success of the Flemish Wave is due to talent, vision and Belgians visual arts culture, not to mention its surreal humour. But, equally, it owes its existence to the growth of a Flemish Wave of alternative management and production. A supportive infrastructure facilitated marginal works, while decentralisation of theatre spaces enhanced touring, dissemination and collaboration.
  7. 7.  Distribution has a Crucial effect on reputations.What is not distributed is not known and can not be well thought of or have historical Importance. The process is circular: what does not have good reputation will not be distributed. "
  8. 8.  sociologists Pascal Gielen and Rudi Laermans  Reading  03199801_01_0071.php
  9. 9.  ‘Identity’/ ‘New’ Aura contamination, both artistic as production wise International distribution Started in the fringe, to go to the center
  10. 10.  Off center (did not become an institution) Flemish but very international Aim: long term international coproduction with a ‘fixed’ group of coproducers But still dependent on flexible partners Festivals give new imput ◦ Festival d’Avignon France ◦ Salzburger Festspiele Austria ◦ Rührtriennale Germany
  11. 11.  The coproducers: Festival d’Avignon, Théâtre de la Ville/ Paris, Théâtre Garonne/ Toulouse, La Rose des Vents / Scène Nationale de Villeneuve dAscq, Brooklyn Academy of Music/ New York and welt in basel theaterfestival. With the cooperation of the Kaaitheater/ Brussels and the Flemish Community Commission of the Brussels Capital Region.
  12. 12.  Coproduced by Festival d’Avignon, Théâtre de la Ville (Paris), Théâtre Garonne (Toulouse), PACT Zollverein (Essen), Cankarjev Dom(Ljubljana) La Rose des Vents (Scène Nationale de Villeneuve d’Ascq), Automne en Normandie, La Filature (Scène Nationale de Mulhouse), Kaaitheater (Brussels), deSingel (A ntwerp).
  13. 13.  A Production by Needcompany and Salzburger Festspiele. Coproduction: Schauspielhaus Zurich, PACT Zollverein (Essen). With the collaboration of deSingel (Antwerp), La Rose des vents (Scène national de Villeneuve d’Ascq), Kaaitheater (Brussels).
  14. 14.  A Needcompany production. Coproduction: ImPulsTanz (Vienna), PACT Zollverein (Essen), künstlerhaus mousonturm (Frankfurt). With the collaboration of Kaaitheater (Brussels) With the support of the Flemish authorities.
  15. 15.  coproduction BIT Teatergarasjen (Bergen), in association with kunstencentrum BUDA (Kortrijk), 3D Square / HOWEST (Kortrijk), Syntra Hasselt, Kaaitheater (Brussels), with residencies in ImPulsTanz (Vienna), PACT Zollverein (Essen)
  16. 16.  Artist in residence Burgtheater Vienna -Art of Entertainment -Caligula -Market Place: in coproduction Burgtheater, Rührtriennale and Holland Festival (Maybe Sibiu would join, or Poznan/ Malta Festival)
  17. 17.  Balance between coproduction money and the touring possibilities Good mix between fixed partnerships and flexible ones Artistic freedom is important!
  18. 18.  Glocalised world: international/ regional Identity or Culture as part of tourism strategies? Ecology & sustainability Ethics & Politics Low & High Culture mix
  19. 19.  Everything is possible/fast: communication/ travel/… More international? /Or regional? ◦ Exemple: ◦ Singapore Arts Festival: no more money if it does not relate more to the Singapore audiences! ◦ Effect: international artists join local communities ◦ More exchanges?
  20. 20.  Flemish wave= identity Now Culture is more and more part of tourism strategies ◦ -City Marketing/Region Marketing: -Story of ‘Visit Flanders’: Newtopia/ Beaufort Biennale/ Manifesta/ TRACK -speech Ritsaert ten Cate 1997
  21. 21.  Can we permit ourselves to be so international? ◦ What is sustainable in the world of culture
  22. 22.  KunstenFestivaldesArts, Berlin Biennale, Newtopia What about Greece, Italy, Spain/ crisis? What about Europe & culture? What about theatre/ dance production in other parts of the world?
  23. 23.  Culture barbarians are the new elite ◦ Refering to a book of Alessandro Baricco: The Barbarians ◦ Triomph of the market? No funding for art any more? Only succes as proof for quality? ◦ Beware of neoliberal tendencies
  24. 24.  Flemish Wave model is still to consider, as the ‘aura contamination’, still works, both artistically as professionally Exchange aspect gives new energy to cultural scenes, to ideas, but also brings production value Consider ecology, politics, sustainability, and the fact that we are part of the tourist & heritage industy