Sandra Fernández Isardo
Trabajando en cultura y comunicación.
Interview with Jen Chapman, head of comms, FACT Liverpool. Hi Jen, what can you tell me about FACT and your role there?
FACT is dedicated to bringing people, art and technology together, and though plenty of organisations are interested in one or two of these areas, the combination of all three makes our work quite special. Most people who work in the arts will say that no two days are ever the same. FACT (the Foundation for Art and Creative Technology) is certainly no exception. An average day includes researching future exhibitions, films or projects, and meeting other members of the team or stakeholders to cook up some interesting promotional angles.
We’re a small team, so we’re all very hands-on: speaking to press, tweeting, checking in with distributors, designing posters, building e-newsletters, uploading blogs and discussing any patterns we find in our analytics. How do digital platforms and social media impact what you do? Do traditional methods of marketing still hold value in today’s connected world of emails? 100% yes! RSC head of digital development: tech must inform creativity, not trump it. Hi Sarah, what can you tell me about the Royal Shakespeare Company and your role there?
The Royal Shakespeare Company (RSC) creates theatre at its best, made in Stratford-upon-Avon and shared around the world. Everyone at the RSC – from the actors and armourers to the musicians and technicians – plays a part in creating the world you see on stage. All our productions start at our Stratford workshops and theatres, before we bring them to the widest possible audience through our touring, residencies, live broadcasts and online activity. So wherever you experience the RSC, you experience work made in Shakespeare’s home town. As head of digital development, I create new artistic digital initiatives and partnerships. Your session at today’s Digital Utopias event will be about designing performance. Digital is not just online and virtual; it’s also personal and everyday. We also recently produced a prototype theatre book with creative duo Davy and Kristin McGuire, funded by React. La cultura como motor de desarrollo. La cultura genera siete millones de puestos de trabajo en Europa, una cifra mayor que si sumáramos todos los empleos creados por las telecomunicaciones, la industria química y la automoción.
Se sitúa así como el tercer sector con más empleo directo de Europa. Además, factura anualmente 535.900 millones de euros. Lo dice un reciente estudio encargado por las sociedades de autores europeas. Estos datos (hay otros muchos estudios de conclusiones similares) reflejan que el sector cultural contribuye de manera cada vez más importante al desarrollo económico. Que la cultura genere empleos y que esos trabajos posibiliten que las personas vivan dignamente es algo bueno. El discurso actual gira principalmente alrededor de la economía como posibilitadora de que las cosas puedan ser o como causa de que no sean. La creatividad parece ser el santo grial en la sociedad del emprendimiento Pese a todo, el aprendizaje de la lengua no parece hoy en día una prioridad.
Is Our Art Equal to the Challenges of Our Times? - NYTimes.com. Photo A.
O. Scott and a panel of cultural figures ponder whether and how artists should address social issues like race and class through their work. Mr. Scott’s essay is below; the panel discussion is here. Ever since the financial crisis of 2008, I’ve been waiting for “The Grapes of Wrath.” For the past few years, like a lot of other people, I’ve been preoccupied — sometimes to the point of obsession, lost sleep, free-floating dread and active despair — by the economic state of the world. Strictly speaking, none of this has much to do with my designated area of professional expertise, which could reasonably be defined as writing about the stuff that people seek out to escape such worries and anxieties. Hans Ulrich Obrist, the Curator Who Never Sleeps. Hans Ulrich Obrist is a curator at the Serpentine, a gallery in London’s Kensington Gardens that was once a teahouse and is now firmly established as a center for contemporary art.
A few years ago, ArtReview named him the most powerful figure in the field, but Obrist, a forty-six-year-old Swiss, seems less to stand atop the art world than to race around, up, over, and through it. On weekdays, he works at the Serpentine offices; there are meetings over budgets and fund-raising, and Obrist, with his fellow-director, Julia Peyton-Jones, selects artists to exhibit and helps them shape their shows. When I visited him in London in late August, two exhibitions that he had organized were up: “512 hours,” a “durational performance” piece by Marina Abramović, and a show of computer-generated video art by Ed Atkins. But on weekends Obrist becomes who he truly is: a traveller. Another thing that Obrist loves to do is talk. In interviews, Obrist’s volubility is paired with a deep deference.