Newsletter 21Istanbul Symposium
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The congress is to be held over two days in the city of Metz (Lorraine, France), at the Arsenal. Thursday 27 and Friday 28 November 2003 will be the focal points for speeches, interventions and contributions from top-level researchers, professionals and artists from many countries across Europe. The fourth edition of the inter-professional contemporary-art congress will foreground the issues raised by French professionals in the European context. At a time when France is in the throws of a new phase ofdecentralisation, it is important to question the “French model” both with regard to artistic and cultural organisations, and to the economic, political and institutional mechanisms in Europe. All these issues and the work around them are shouldered by the different professions brought together within the Cipac: directors of art centres, museums, public collections and art schools, visual arts advisors, dealers, librarians and art-librarians, art critics, instructors in art schools, mediators, technical managers and contemporary-art restoration specialists. The Cipac will feature four central themes, which will be the focal points for the talks and debates in the course of the two-day congress on 27-28 November 2003. What are the frameworks for artistic co-operation in Europe ?Artists and other art professionals have initiated collaborative projects, experimented with mobility, and built tools to facilitate exchange within Europe. Various levels of government and the European Union have developed programmes as well as financial and legal instruments to encourage co-operative endeavours. What types of reasoning underlie these different frameworks? What effects have they had, and what stumbling blocks have they encountered? Do they truly encourage the emergence of a European art scene? Does the European artmarket, for instance, have any specific traits ? Artistic policies: challenges and responsibilitiesWe are witnessing large-scale transfers of decision-making and responsibilities toward European institutions and various levels of government. To what extent and in what way must the European Union and various levels of government integrate the different dimensions of research and creation into their respective development projects? How, for instance, is regional identity to be reconciled with co-operation? How, in the face of the realities of contemporary creation, can a dialogue be initiated, bringing together politicians, institutions and creators in order to redefine what is at stake in artistic policy-making ? What sort of art economy does Europe need ?An artistic project cannot exist independently of the modalities of its economic functioning. In order to promote the production, distribution, mediation and conservation of contemporary art, what are the best ways of developing co-operation between different professional fields, between the public and private sectors, between alternative and institutional spaces, between commercial and non-commercial networks ? Building the European professional frameworkCultural and artistic activity is based on the productive commitment of both personal resources (training, knowledge, mobility, innovation) and collective resources (facilities, financial support). What modalities are required to build up a working framework for professionals and artists in Europe –necessary to enable the recognition of a sector of activities, professionalism, exchanges and mobility ? This mobility is linked to the recognition of the skills of the professionals, as well as to the setting up of legal or fiscal frameworks for artists. General DelegateOlivier de Monpezat, directeur de l'école supérieure des beaux-arts de Metz Coordination Mathieu Ducoudray, coordinateur Cipac / congrès interprofessionnel de l'art contemporain
Tél. : + 33 (0)1 44 79 10 85 Web : www.cipac.net PresseHeymann, Renoult associées Tél : + 33 (0)1 44 61 76 76 Last updated : 10/16/2003 |
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© AICA 2003 |
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