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What We Gather
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Seminars and Colloquia
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Iryna ZamuruievaMariia Shynkarenko
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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The ‘Authoritarian International’
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Seminars and Colloquia
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Ludger HagedornMartin KrygierRicardo Pagliuso Regatieri
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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A Brief History of Ukrainian Art: Wartime Introduction
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Seminars and Colloquia
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Lizaveta GermanMariia ShynkarenkoPolina Baitsym
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Governance of Forced Migration in South Asia
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Seminars and Colloquia
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Ayşe ÇağlarSabyasachi Basu Ray Chaudhury
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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WhatsApp Israel?
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Seminars and Colloquia
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Avrum BurgLudger Hagedorn
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Fluid Zones of Hegemony
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Seminars and Colloquia
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Ayşe ÇağlarEzgican Özdemir
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Europe’s Futures Colloquium
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Seminars and Colloquia
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Ivan VejvodaOana Popescu-ZamfirWojciech Przybylski
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Manufactured Alienation
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Seminars and Colloquia
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Adam RamsayIvan KrastevIvan Vejvoda
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Europe’s Futures Colloquium IV
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Seminars and Colloquia
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Bernd MarinLeszek Jazdzewski
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Series: Seminars and Colloquia
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Series: Seminars and Colloquia
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Marginalized (not only) in Times of Lockdown
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Seminars and Colloquia
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Alison SmaleLudger HagedornNoémi Kiss
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Series: Seminars and Colloquia
In recent months, culture and the arts have suffered severely under pandemic-related restrictions. While artists, freelancers, independent projects, and even publicly funded cultural institutions are struggling for economic survival, we easily overlook the fact that—also in “normal times”—the autonomy of culture is increasingly being called into question. With respect to the immediate effects of this political and economic pressure on the arts, there is a major divide between cultural centers and those operating on the periphery. Most heavily affected by the asymmetric consequences of these pressures are not the trend-setter elites in cultural centers, or the publicly funded (non-)artists on the semi-peripheries, but all those who do not move to the cultural capitals. That is, those who decide to uphold cultural projects on the periphery—where they are most direly needed. Within Europe, there is also a significant East-West divide, not only in terms of the distribution of funding, but also in regard to the autonomy of art. This talk dealt with the situation of cultural actors on the periphery, confronted with emigration, poverty, de-/nationalization, walls, borders, ghettos, diseases, regime changes, and a new intra-European colonization.
Read more
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Series: Seminars and Colloquia
In recent months, culture and the arts have suffered severely under pandemic-related restrictions. While artists, freelancers, independent projects, and even publicly funded cultural institutions are struggling for economic survival, we easily overlook the fact that—also in “normal times”—the autonomy of culture is increasingly being called into question. With respect to the immediate effects of this political and economic pressure on the arts, there is a major divide between cultural centers and those operating on the periphery. Most heavily affected by the asymmetric consequences of these pressures are not the trend-setter elites in cultural centers, or the publicly funded (non-)artists on the semi-peripheries, but all those who do not move to the cultural capitals. That is, those who decide to uphold cultural projects on the periphery—where they are most direly needed. Within Europe, there is also a significant East-West divide, not only in terms of the distribution of funding, but also in regard to the autonomy of art. This talk dealt with the situation of cultural actors on the periphery, confronted with emigration, poverty, de-/nationalization, walls, borders, ghettos, diseases, regime changes, and a new intra-European colonization.
Read more
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