Chances of crises
Blog/Round Table/Networking
initiated by Tatjana Fell in cooperation with Kerstin Karge & Carsten Horn
The effects of the current financial crisis on the art and culture industry have already left their visible traces in a field that is already permanently economically unstable and characterized by precarious work situations for artists.Should we regard this as our reality? Or can we – especially now – do something?
We would like to look at the topic from a perspective of possibilities and potential through workshops and discussion rounds. Following initial stocktaking, we now want to facilitate exchange and networking between artists, cultural practitioners and project spaces in order to ultimately arrive at new forms of cooperation and political articulation.
>>> >>> >>> >>> Upcoming actions 2010:
During a series of public Studio Visits, project spaces and initiatives will present their concept, their working methods and their premises and invite you to get to know them, network and discuss.
Afterwards there will be the opportunity to take part in workshops.
The project rooms provide a subsequent workshop program that is assigned to the interests, questions and respective focal points of the project rooms.
Initiatives and spaces that are interested in participating in the Studio Visits are asked to send us an e-mail for coordination and inclusion in the newsletter and mailing list at info@arttransponder.net.
STUDIO VISITS: January 31, 2010 >> artlaboratory (dates to be announced)
…more information about the project
…blog: http://arttransponder.blogspot.com
Project photos
Chances of crises – Conference & Roundtable photos
What is “time?”
A movement, a relation to space, a universal structure, relational diversity, a “now,” which more than ever, is continuously “hopping?” Is really everything a matter of time?
How is it possible to understand the production of time within subjective perception, to find hidden moments beyond the experience structured for us, to question the time concepts by which we evaluate?
Reviews
Project spaces: Crisis is actually always
Konstantin Lannert / zitty 10.09.09 …to the online article
It creaked and squeaked. The felt-tip pens quickly slid across a wall of the arttransponder project space and transformed it into a plan. Tatjana Fell, Carsten Horn and Kerstin Karge from the arttransponder exhibition venue had invited people to a workshop on the future of Berlin project spaces. Under the title “Chances of Crisis – Movements from an Unstable Field”, a report was presented on 27. and August 28, speakers talked about Internet forums and bartering rings, and representatives of Berlin project spaces presented their locations. Ingrid Wagner, Coordinator for Projects and Scholarships at the Senate Chancellery for Cultural Affairs, was also present and soon became the focus of the discussion.
“After we noticed that more and more spaces were having to close, we wanted to do something,” said Tatjana Fell from arttransponder. “There are around 40 such places in Berlin, but everyone knows little about the others.” Project spaces offer artists the opportunity to realize their ideas without sales pressure or interference from a gallery owner. It takes a lot of idealism and time to run a place like this: As a rule, organizers or artists are left to foot the bill. And so it was also important to discuss how the crisis is affecting project spaces and how we could move forward together. “There’s always a crisis in Berlin,” said Jonas Möhring from 123comics, an association of four comic artists. “But now people simply talk more often about their own crisis-ridden existence.” Matthias Einhoff from Skulpturenpark Berlin_Zentrum reported that a crisis also creates new opportunities: “Our exhibition grounds are located on a brownfield site. The property belongs to eight owners who have different plans. They are all on hold at the moment. As long as the crisis continues, the sculpture park is safe.”
Project spaces often show works that are in process, not a closed work by one artist. This makes access to public funding more difficult, Fell complained. “We can only act if you approach us,” replied Ingrid Wagner. Her suggestion to set up a jour fixe in her office was enthusiastically received. Christian de Lutz from Art Laboratory also pointed out a custom in his home city: “In New York, it’s normal to donate to project spaces, whether after a visit or at the end of the year. It doesn’t matter whether it’s 15 or 500 dollars: Everyone gives as much as they can”. In Berlin, he says, this proposal has so far only met with ridicule.
Even though the workshop ended with this reproach, what remained was what the felt-tip pens had written on the wall: The participants want to set up a joint internet platform for project spaces and meet regularly at the Senate Chancellery. Above all, the players can now look to the future together. The creaking and squeaking has only just begun.
The crisis always creates new input in art
The crisis creates new input in the arts – artists discuss ways out of the crisis
– such as bartering rings or “Kochscheine” – Tobias Singer / TAZ 28.08.09 ...to the online article
ART Cultural workers discuss ways out of the crisis – such as bartering rings or “cooking vouchers”
The word of the year 2008 has worked its way into the cultural sector: The financial crisis is here. But instead of proceeding according to the ostrich principle, Berlin cultural professionals gathered for two days of discussion in the premises of the Arttransponder association under the title “Chances of Crisis – Movement from an Unstable Field”. The first day focused on networking and financing.
Sofia Nicolas presented a European online platform for artists: labforculture.org.
The artist works there as a web editor. The platform gives artists the opportunity to use a search engine to find networks, scientific institutions, government contact points and EU funding programs. In addition, each user can create their own profile. This cross-border approach is supported as a partnership initiative by the European Cultural Foundation.
After this insight into European funding opportunities, Johannes Burr from the exchange platform “Berlinerpool” promotes an international exchange ring for artists. The model is already known in the social sector. Burr would like to implement this idea internationally: “An artist can swap his studio in Istanbul for one in Berlin, a projector can be exchanged for the design of a website.” Each good is given a point value. “The value could be based on a real currency or real working time.”
The financial system of artist Doris Koch has been in existence for ten years in a small circle: the “Kochscheine”. A Koch certificate is purchased for 30 euros; this is a paper with a date stamp and signature signed by Koch, a voucher. These vouchers can be used to purchase “indices”, shares in art projects carried out by the initiator herself. The cooking vouchers expire after one year, which gives you an incentive to redeem them. This “art action” should not only promote art, but also bring people together, says Koch. There are currently 50 Kochschein holders, with 1,260 bills in circulation. “In contrast to the real financial market, no Kochschein bubble has ever burst”, the artist asserts.
Lucia Miarka, a member of the audience, thinks the idea of a swap shop is basically a good one, but she asks: “What am I supposed to live on in the end, do I have to join a food swap ring?”