Visible Data 3/2012

Visible Data financing culture 2011—2012

Czech Republic Hungary Netherlands Poland Serbia Slovak Republic

www.visibledata.info

special issue

Culture Policies, Activities

Savings 300 billion

Culture Policies Partner organizations on how cultural policy work in their home countries. → pages 2

Mediamatic 0,00066 billion

Organic Data Visualization Data visualization, intelligent design and art.

Amsterdam’s cultural life with slime-mold. → page 6

Public Funding Designers and artists who researched specific problems regarding financing of culture in the local, Serbian context. → page 13

Art 0,49 billion

Visible Culture Guerilla Local problems in Bratislava and Bratislava self-governing region. Topics that resonate

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

in public, go public.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

→ page 16

www.mediamatic.net/stupid

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Culture Policies _ The Netherlands

www.visibledata.info

3

Culture Policies 1918—2011: A Century of Politics, Culture, and Cultural Policy in the Netherlands In 1918 the Ministry of Education, Arts, and Sciences is founded. The word policy has not entered the arena yet; instead we speak of government aid. Pillarization (the political segregation of Dutch society based on religion and ideology) is charging forth at full speed, and the Netherlands is learning to cope with new techniques for information dissemination available to the country since the turn of the century. These techniques – film, radio – signal the coming of mass or entertainment society, and are met with suspicion. Although the various pillars try to keep their adherents from all that is harmful and wicked, the upholding of morality is seen as a task for the government. In 1926 the Cinema Law is passed, followed by a mandate in 1930 that states the government can impose preventive censorship on radio broadcasts – a right that is called on frequently in the 30s. It is in this period from 1918 to 1938, the Interbellum, that the cultural policy as we know it now, is founded.

After a failed attempt to establish a national radio association, the Airtime Mandate (1930) dictates how much airtime the four largest radio associations, AVRO, KRO, NCRV, and Vara, are to receive. This is not only a prime example of the pillarization of the Netherlands, but also of the character of the cultural policy: diverse and localized.

A remarkable side note is that one of the first steps undertaken by the German occupation, was the establishing of De Nederlandse Omroep (The Netherlands Broadcasting). DNO was dismantled shortly after the liberation, allowing the four broadcasting associations to continue their separate paths. However, another development did set through: while before the German occupation radio associations were completely dependent upon funds obtained through membership fees, during the occupation radio became a government expenditure.

The relationship between municipality and the state also became clear during the Interbellum. While provincial funds were nowhere to be seen, larger cities willingly subsidized theatre halls. Theatre, surely, formed a welcome source of income for municipalities. Orchestras, libraries, and to a certain extent also city museums (between 1920 and 1940 the Netherlands gained more than 100 museums), were confronted with matching subsidies: if the municipality or province invested in culture, central government would too. In 1920 the municipality of Amsterdam invested in a support fund for visual artists, and in 1935 the Facility Fund was erected, providing temporary financial support to visual artists and composers. While the state did contribute to these funds, most of the money was provided by municipalities and affiliated artist unions. Local responsibility and cultural awareness preceded state accountability.

That was – until the German invasion. During the occupation the broadcasting budget became a state matter: everyone who owned a radio payed an obligatory broadcast contribution. The founding of the Nederlandsche Kultuurkamer (Netherlands Culture Chamber) resulted in a national employment agreement for affiliated musicians and stage actors. Lastly, cinema, theatre, and dance were added to the state expenditures.

State support had its disadvantages though: there was quite a lot of censorship, and not only did the state meddle substantially more in cultural affairs, it also acted as propagandist. Artists rebelled, and plans were formed for a nationwide Arts Council.

The council was to attain a similar standing as the parliament. In 1947 the Council was put into effect. Despite high hopes, it fulfilled merely an advisory role in the field of artistic assessment.

The trend kickstarted during the occupation, continued after the liberation. Gerardus van der Leeuw, the first postwar minister of Education, Arts and Sciences, maintained the same culture budget as during the occupation. Van der Leeuwen had payed close attention to how culture had been instrumentalized by Nazi Germany, and realized that culture not only served a national interest, but also constituted a national interest. A cultural policy was implemented that transcended pillars. The sciences were cut loose from culture (in 1965 the ministry was divided into the Ministry of Education and Sciences, and the Ministry of Culture, Recreation and Social Work), and the arts were

www.visibledata.info

Culture Policies _ Serbia

From Self-Organizing Towards Progressive Cultural Policies embedded into the field of ‘after-school curriculum’. Culture was to free the Netherlands from the postwar moral and cultural wasteland it found itself in.

In the 60s and 70s more and more public money was spent on cultural heritage and the arts, facilities considered essential to a social state. The diverse character of the cultural policy we detected in the 1930s, had shifted from becoming manifest in its acceptance of the various pillars, to manifesting itself through a focus on a diversity of lifestyles, subcultures, and minority groups. The cultural policy is a policy of dissemination; community projects become central. The number of subsidized symphony orchestras, (youth) theatre groups, and dance companies increases exponentially. Between 1910 and 1946 state expenditures on culture multiply tenfold. Between 1950 and 1975 that amount doubles every five years. In 2002 politicians urge the state to set apart 1% of the state budget for culture. Seven years later the expenditures for culture and media amount to a total of 1.8 billion euros, hitting the 1% target. Of that amount, 533 million is set aside for cultural subsidies, amounting to 0,3% of the state budget.

Then, in the 2010 elections, right-wing parties VVD (People’s Party for Freedom and Democracy) and PVV (Party for Freedom) emerge as the royal victors. It takes until the end of September to reach a governing agreement, and once finalized it presents the arts with a grim prospect: in the period up to 2012, the cultural sector will be cut by 200 million euros. The VAT on cultural services is set to be raised from 6 percent to 19 percent, and the artist employment aid WWIK will be terminated as of 2012. The shadow cabinet objects. For many parties the arts are still an inherent part of a healthy society, and should therefore be exempt from market forces. ‘A creative society challenges people to keep developing,’ according to the SP (Socialist Party). ‘Art and culture can signal new hope and creativity’. The ChristianUnion argues the arts play a role in the forming of a ‘community identity’ and that ‘contemporary art and culture should perform a central role in society’. For D66 (Democrats ‘66) quality is the highest priority; art and culture makes up ‘the DNA of the society D66 envisions’. The cultural sector is shocked and outraged. According to The Council of Culture, art provides inspiration and insights ‘into the meaning of life’. Art makes ‘an invaluable contribution to future prosperity and welfare’. But above al, and completely in line with the history of the Dutch cultural policy, they state: ‘Every culture is hybrid and pluralistic. People play different roles in society, and to those roles belong different stories’. But what does the ruling government say?

The government argues the arts should be more autonomous, meaning less dependent on state funding. Also, there is not enough attention for the audience, and for entrepreneurship. Artists and cultural institutions should acquire a larger part of their income themselves. More independence would mean more flexibility and power. Over 50 percent of the cuts will be made to the basic cultural infrastructure. These are the institutions and funds that receive direct funding from the state. Many organizations and institutions will, at once, lose a big part of their income, which makes reorganizing difficult, if not impossible. With this in mind, the Council for Culture has proposed the cuts be made in phases. It advised to review the cuts every year, in order to see if the cultural industry thrives in a free market. Additionally, the Council advised to build in a transitional period of two years to avoid irreparable damage. Since this approach doesn’t fit into the government’s four-year system, and leads to an increase in administrative costs, the government has disregarded this advice. The new infrastructure will be implemented on 1 January 2013. This gives cultural institutions a year to make the necessary changes.

The government believes that the basic cultural infrastructure should be smaller, and that the development of talent, innovation, and small-scale initiatives should be secured through the funds. Small initiatives will be forced to work together, with the danger of them becoming less flexible, less decisive, less innovative. The ‘excellent’ institutions, the large, established museums, will not only be spared, but will receive longer-term subsidies. In order to keep receiving their subsidy, museums own income will have to make up 17,5 percent of their total budget. If this target is not reached, they will no longer receive funding for public activities. The funding that remains will have to go to the conservation and management of their collections.

The Council for Culture had the difficult task of developing a future scenario for each sector. Despite their brave attempt, the government has chosen for a different interpretation of the cuts. Production is considered most important. Institutes for support and development are going to be cut exponentially, some institutes losing their funding altogether. Furthermore, the government will merge a number of funds. Funding for architecture, design, and new media, now in the hands of three different funds, will be united in one large fund for the Creative Industries. The creative industries will still

receive funding because they contribute to economic development.

Over the last few years, the Council has brought to the fore some of the problems present in the subsidized cultural sector. One of the main problems was the fragmentation of the sector, leading to a lack of effectivity and impact. Ten years ago, the, then, Secretary of State, noted that the ‘dominance of specialists and the safe haven of subsidy have hampered the dynamics in the subsidized culture’.

However, not only economist have hinted at the drawbacks of excessive dependence on subsidies, and the accompanying low-risk environment; the cultural sector itself has argued more than once for more efficiency and cooperation, and has expressed the wish for a larger degree of entrepreneurship. Indeed, reinventing oneself and rethinking one’s position can only lead to better output. According to the government, merely addressing these problems isn’t sufficient – they have to be tackled.

The government states it is thinking about the future of the creative sector, imagining one that is entrepreneurial and innovative. A cultural sector that is as creative in achieving and holding onto a new audience as it is in offering quality. However, although the state claims to want to stimulate entrepreneurship, its actions seem to speak otherwise. For instance, the VAT on cultural services like theatre tickets will be raised from 6 percent to 19 percent. This and other measures hinder cultural entrepreneurship and impede incentives.

VVD and PVV strategically portray the country as being divided into a left, cultural elite on the one hand, and the ‘commoners’ on the other. The latter can finally, after years of oppression, voice their opinion. Populism is skyrocketing and the polarization of society increasing. Despite the attempts to disable the cultural sector, however, new opportunities will arise, collaborations formed, and ideas executed. When nothing is possible, everything is possible.

The diversification of cultural production has been changed into a corporatization of culture that is based on private interest and subsumption of sociality as such. “This cultural production strategy is significantly turning to the political right”1. It has become an orthodoxy to think of culture and economy as operating together in a very general sense – this is blatantly expressed in arts and business funding opportunities for cultural activity, as well as in so-called “enterprise culture”2, but more and more in cultural production as such. The process of regulating cultural policies is actually an integral part of the capitalist apparatus. Still, in the landscape of regulated European cultural policies and mostly capital-led cultural production, art and culture need to re-gain their role of legitimizing general social values.

Text by Evelyn Austin and Marjoleine Timmer (pro-

In the field of arts and culture, there should be more concrete examples of individualinstitutional structural cooperation, which is fostered from both sides. Inevitably this discussion would have to include artists, independent art initiatives, art and cultural institutions, educational institutions, and media representatives, as well as social, economic and political researchers, in order to raise massive public debate about this matter.

However, before that discussion can take place, a certain level of self-organizing has to be achieved, since during the 1990s, the state based association of artists from socialist Yugoslavia eroded into formal, non-functional and “existing just on paper” organizations.

ject managers from Mediamatic, www.mediamatic.nl)

Site-Specific Conflict Policies It seems like in Serbia, there are awkward similarities between the attitude towards cultural production present in the predatory breakthrough of neoliberal capitalism and the state’s awareness of the necessity of a good and functional cultural policy. There is a concrete example of conflict led politics and copyright law penetration into the region that is visible within the process of European Union integration on May the 1st 2004. “The copyright industry has claimed that some East European countries have an economic interest in copyright infringement and that they do not have the will to enforce Intellectual Property laws that will be damaging to them economically.” That was the excuse for the EU to finish a new intellectual property directive by accession time, “so that East European countries won’t have an opportunity to participate in its design”3. We should start from the point of view that copyright regulations, ownership and the modes of the distribution of cultural products is a centrally important part of the regulation of the cultural field and they should be discussed.

pieces of the cake” to hundreds of institutions, in order to maintain the status quo.

In contrast to that, the major structural funds will still be provided through international public funds based on extremely regulated cultural policies. Still, there are examples and there is the conviction that a certain level of self-organization and self-management of artists-individuals around similar, recognized interests could present foundations for much stronger associations that could significantly influence mainstream policies.

Recently, there have been many proposals for a more specific tactic of “anti-culture” or subversive art and cultural production that also has a good chance of being universally understood. It seems that it is “no longer enough to incorporate some actualities in the artistic statements, than rather to detonate, challenge those actualities”5.

References 1 Joost Smiers, “Arts Under Pressure, Promoting Cultural

In Serbia, the cultural field is often neglected without the need to reconsider any of the existing aspects of commercial or non-profit cultural production. On the other hand, social, educational and economic programs are progressing much faster, gaining the role of more important, legitimate and more relevant aspects of contemporary society.

In Serbia, economic reforms are run through cooperation with the IMF (International Monetary Fund) and similar organizations that partly secure “financial stability, facilitate international trade and promote high employment and sustainable economic growth”4. It’s very difficult to expect that in the cultural field, anything other than a well regulated “enterprise culture” would be welcome.

Diversity in the Age of Globalization”, 2003.

2 Geoff Cox, Joasia Krysa & Anya Lewin, Introduction to “The (Digital) Culture Industry”, Economising Culture, DATA browser 01, 2004.

3 “Creative Commoners and the Dystopia of Control”, interview with Alan Toner, in Munich, February 2004 / published in the reader “Trans_European Picnic: The Art and Media of Accession”, kuda.read series of kuda.org, 2004.

4 Part of the definition of the filed of work of IMF,

Almost all state funded and independent cultural organizations in Serbia primarily operate with a microscopic impact and on a short-term basis with regard to mutual cooperation, collaborative production, funding and international networks. There are some independent cultural institutions whose primary activity is art production, but which deal at the same time with rather informal ways of art production and education, successfully connecting those two fields. On the other hand, these institutions are actually performing the role one would expect of state funded institutions, but they stay precarious and culturally and economically marginalized.

http://www.imf.org/ 5 Esther Leslie, “Globalica: Communism, Culture and the Commodity”, Economising Culture, DATA browser 01, 2004.

The text is part of more extensive research published in “European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding for Contemporary Art in Europe”, IASPIS, Stockholm and eipcp, Vienna, 2005. http://eipcp.net/policies/2015/curcic/en

In order to influence the future planning of more structural cultural policies, there is a need for more constructive cooperation between independent organizations and governmental agencies. In the past, this cooperation was realized occasionally and on a short-term bases, with a lack of a more structural cooperation. This model of cooperation/support is feasible and viable, if there are common interests and an awareness of its importance, necessity and potential.

Many, Self-Organized Voices It is difficult to predict the future modes of artistic and cultural funding in Serbia. A guess is that state finances will stay slightly planned and based on the inertia of giving “small

Text by Branka Ćurčić (a member of kuda.org, New Media Center from Novi Sad, Serbia. www.kuda.org)

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www.visibledata.info

Culture Policies _ Slovakia, Hungary, Poland

The Emptying Out of Notions: Notion One – A Decent Politics

The scary Nothing from the Neverending Story, a famous movie of the eighties, has been frightening me since my teenage years. Emptiness is a phenomenon that has chased about the modern Western Civilization since it stepped away from its cradle. Empty spaces arouse anxiety in us. Manufacturing various items and covering surfaces with patterns are ways to cope with our horror vacui. In general, we consider emptying out to be a negative phenomenon when it comes to values, meanings or senses.

During the 20th century, there was an ambivalent attitude towards the Emptiness in the Western Civilization – attempts were made consistently to impair and ironize the values of its predecessors. The Emptiness was appealing to people in a sense of freedom – there has been enough patterns and fandangle, getting rid of all the adornments was so refreshing. However, they were still conscious of the Phantom of the Emptiness waiting patiently in the underground of the Opera to pick his reward when his time was to come. Getting over the horror vacui can be a vehicle of cultural movement – a source of cultural products and situations – but it can also lead our evolutionary way to a homo consumericus.

A certain part within the history of the Emptiness is a notion that’s been temporarily or locally emptied out even before their meaning was supported in reality. These are the terms so often used (or overused?) by specialists and the media. Maybe, they are only insufficiently supported by particular examples or actions. As the general public is unable to make any sense of them, they have become totally vague and void. In Slovakia, the “Cultural Politics” has become one of those notions. Although notorious, the notion itself is half-empty and its credit has been on the decline all the time. A similar fate as the “Cultural Politics” has been faced by another somewhat more general notion – the ”vision” (When having visions you are considered a crackpot today) or the “advancement” (What century are you living in?). On the way to become emptied out and even before realizing all the absolutely essential things that simply must be done, the notion of “public space” and I think the “creative industry” too, are soon to be included.

Why is it so that the institutions of the public administration in Slovakia are so little interested in the Cultural Politics? Discussions on the necessity of conceptual Cultural Politics the culture-makers have constantly tried to induce are perceived as cliché. Long before any real dialogue and cooperation began… According to Zora Jaurová, a political culture specialist, even a conscious unwillingness of government to support culture can be considered a type of political culture. However, let’s state the rules first and don’t pretend there is one single politician who wants to support culture! The evidence speaks clearly – the Cultural Politics at governmental and regional levels in our country has failed. Politicians don’t have any visions and don’t believe in any development. They are just looking for more words they can add into their rhetoric and will carry on using repeatedly until they become empty once again.

Dystrophic thoughts of the future are something I am familiar with. I am a child of the Western civilization not living in a quiet empty room with a window to the East. Maybe this is why I’m afraid of seeing empty cultural facilities in the future… cities with no vivid places where people can meet in order to enjoy and build culture. Private parts of cities owned by mega-corporations smartly imitating public spaces in order to entice the public with the commodities they offer. The efforts of the very same subjects to “beautify” public spaces are in fact advertisements intended to draw attention to them.

If we let useful notions become emptied out, refuse or will be unable to support their meaning, then they will instantly be seized by someone power-ambitious who will keep using and exploiting them… until the words poison everyone.

Culture Policy Culture Policy in Hungary in Poland After the political turn in 1989–1990, the shaping of cultural policy in Hungary was based on two main sources: the national traditions from before Communism and modern western examples. The establishment of the agency for financing cultural projects called the National Cultural Fund (NKA, 1993) was an important sign of change. During the first few years, this transition took place amidst great economic difficulties. By the time, the change of system had been completed and the new setup was consolidated, world-wide recession prevented the government from spending more on culture. The protracted process of joining the European Union – which took place in May 2004 – was a major factor in shaping cultural policy in Hungary.

During the past decade, public cultural spending was usually above the European average.The continued marked trend of decentralization was manifested with growth in the cultural spending of local governments; between 2002 and 2007 it grew by about 80%, when the cumulated inflation was less than 40%. Within public spending on culture, the proportion between central and local governments became 1:3.

Against this favorable background, however, a huge deficit accumulated in the state budget (as well as in the balance of trade and payments). This led to a set of revisions since 2006. As one of the first steps, the culture ministry which was a separate entity between 1998 and 2006 (the Ministry for National Cultural Heritage) merged once again with the Ministry of Education (2006–2010). In the latest restructuring, the highest level of cultural administration became a state secretariat in the Ministry of National Resources in 2010. Reorganization and fusion of institutions, as well as staff cuts, took place in the entire public system of culture. The records of the State Treasury indicate a slight relative decrease in the share of the state budget allocated to culture in the first few years.

On the other hand, after modest investments in culture through the Phare program, devised for financial assistance by the European Union to would be member countries; as well as from the EU-supported 1st National Development Plan in 2004–2006, the New Hungary Development Plan – the national framework program for 2007–2013 – financed through the European Structural Funds, contains important cultural investment and human development components exploiting the educational potential of culture. By the end of 2010 most of these projects were under way.

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www.visibledata.info

Activities _ Overview

Visible Data Activities During this presentation viewers (mostly

presented visualizations of national, regional

graphic designers and cultural activists) could

and municipal budgets for culture from 2011 in

see the works of one of the best studios of in-

Slovakia, Serbia, Netherlands, Hungary, Poland

formation design. The discussion following the

and Czech Republic created by graphic design-

presentation was mostly about the using and

ers and artists from the stated countries. Third

misusing of data with controversial content.

Culture politics in Poland in many places, especially in small towns is still based on structures imposed, dictated when Poland was deeply stuck in Socialist Realism. The only one and true vision, simple, not innovative, etc., rigid rules were treating culture institutions, and it’s hard to get out of narrow-minded visions.

Although, people working in culture institutions see the problem and try to get out of the frames their fight seems to be lost. Many general managers, general directors are afraid of change, unfavorable to new solutions, new ideas, creativity of their employees. They don’t want to hear out their employees. Plus there appear problems with clerks, bureaucracy, tons of papers, filling the right/wrong forms, deadlines and lack of understanding from different sides (authorities, community, other employees, etc.).

The problem is lack of money for the projects, renovations, development, research, proper conditions of storage, efficient promotion, etc.

People working in culture want to learn more, know more, they want to improve themselves and the way the culture institutions work. There is a lot of passion – maybe that’s why there are created postgraduate studies, studies’ specializations, courses, just to teach how to manage the culture and it’s institutions.

I have the feeling that Poland doesn’t appreciate what it has, it’s not quite aware of the potential, possibilities and talents of Polish artists, managers, etc. But on the other hand there’s a lot going on in music, new media, film, theater and other art fields and it’s definitely noticed in the world. And that’s encouraging, because culture is alive no matter what happens, and it seems like it defends itself, because people who work in it care about it a lot.

It would be easier if the authorities understood their point of view and support properly their actions.

There is another thing: commercialization and omnipresent consumption which kill inner needs, which make people to live fast and shallow lives and to forget about spiritual needs. It’s the problem of the whole modern world – and it’s all about finding a niche to get to the recipient and disseminate culture.

Text by Angelika Gromotka (a PR manager of Asso-

Text by Mária Rišková (theorist, cultural worker and member of 13 kubikov,

Text by Péter Inkei and János Zoltán Szabó (members

ciation of Applied Graphic Designers of Poland – STGU,

organization from Bratislava, Slovakia. www.13m3.sk

of initiative Cultural Policies, culturalpolicies.net)

www.stgu.pl) and Magdalena Sówka

Workshop Visible Data

part of the exhibition presented the website www.visibledata.info, which is one of the main

Place: Academy of Fine Art and Design, Ka-

Exhibition Financialization and Cultural Policies

towice, Poland Mentors: Katarina Lukić

Place: Macut Gallery (SPENS), Novi Sad, Ser-

sualizations are generated by choosing specific

Balážiková (SK), Martin Mistrík (SK) Date:

bia Date: December 7, 2011 – January 15, 2012

data sets and design and so can be used by the

June 29, 2011 Organization: Open Design

Organization and curator: Institute for

public. → page 27

Studio, STGU – Association of Applied Graphic

Flexible Cultures and Technologies – Napon

Designers Participants: Polish students of

Exhibiting authors: Marina Armuš (RS),

graphic design, culture activists

outputs of this international project where vi-

Marko Brkić (RS), Miloš Ćosović (RS), Miroslav Dajč (RS), Predrag Nikolić (RS), Dimitrije

This Workshop was first in the series of

Workshop Visible Data: Public Funding

workshops during the project in 2011. During

Place: Youth Center CK13, Novi Sad, Serbia

Radmanovac (RS)

the workshop with participants, Open Design

Mentor: Katarina Lukić Balážiková (SK),

Studio and Polish partner STGU discussed

www.opendesignstudio.net Date: Septem-

The Financialization and Cultural Policies

cultural policies and how Polish designers

ber 19 – 21, 2011 Organization: Institute for

Exhibition had been a part of the long term

could participate in the project. They pre-

flexible cultures and technologies – Napon

project Visible Data that explores possible

Public discussion Follow the Money Trail

sented their works related to information

Participants: students of graphic design

models of structuring the data in the field

Place: Cultural center REX, Belgrade, Serbia

design and all participants discussed the

and new media from Novi Sad and Belgrade

of culture financing and non-profit sector.

Speakers: Branko Čečen (RS), Jasna Filipović

The exhibition presented works of designers

(RS), Ivana Stevanović (RS) Moderator: Rade

During these tree days students, young de-

and artists who presented their views on the

Đurić (RS) Date: December 17, 2011 Organi-

signers and artists from Serbia had created

issues of budget policies and influence on

zation: Institute for Flexible Cultures and

a series of analyses and graphic visualisa-

culture policies. → page 12

Technologies – Napon, Transparency Serbia

possibilities of different kinds of visualizations of the project.

Pajtić (RS), Hristina Papadopulos (RS), Ivana

tions of the information on budget distribu-

Workshop Visible Data

tion for The Republic of Serbia, AP Vojvodina

This Discussion was about the financial and

and the city of Novi Sad for the year 2011.

budget politics in culture. Adoption of an

They were creating new visualizations and

annual budget is the most important deci-

info-graphics on these data sets with the aim

sion of a state but in addition to the concern

being to reflect actual problems and issues of

that the laws on budgetary allocation pass

cultural policy in Serbia. → page 13

verification of the ruling majority, the con-

Place: KC Dunaj, Bratislava, Slovakia Men-

tent of the budget is analyzed very little, and the public has almost no insight into

– Catalogtree, www.catalogtree.nl Date:

Exhibition Visible Data, financing culture

November 14 – 17, 2011 Organization:

Place: Gallery PF01, Bratislava, Slovakia Date:

analysis and interpretation of budget items.

Open Design Studio Participants: graphic

December 13, 2011 – January 31, 2012 Orga-

How does the budgetary allocation work in

designers and students of graphic design

nization and curator: Open Design Studio

the cultural sector? → page 12

from Slovakia, Poland and Czech Republic

Exhibiting authors: M. Armuš (RS), A. Bárdy

tor: Daniel Gross (NL), Joris Maltha (NL)

the distribution of budget, especially in the

(HU), M. Brkić (RS), E. Čániová (SK), M. Chmiel (CZ), M. Ćosović (RS), M. Dajč (RS), Ex Lovers

ed series of posters on researched data with an

Public discussion Public Secrecy – Case of Commisions

aim of reflecting actual problems in financing

Place: Youth Center CK13, Novi Sad, Serbia

G. Hangyás (HU), M. Hendriks (NL), H. Hudáková

of culture in Slovakia. Results were exhibited

Speakers: Aleksandar Bede (RS), Cvjetan

(SK), A. Jabłonowska (PL), M. Jenča (SK),

in Bratislava at the Visible Data Exhibition and

Daniela (RS), Ivana Inđin (RS), Zoran Pantelić

M. Kacperek (PL), J. Kočár (SK), L. Kijonka (CZ),

were be presented in a form of guerrilla cam-

(RS) Moderator: Kristian Lukić (RS) Date:

D. Korzekwa (PL), K. Lukić Balážiková (SK),

paigns for the public in the city of Bratislava

December 7, 2011 Organization: Institute for

R. Mackovič (SK), D. Malek (PL), J. Mašita (CZ),

during this exhibition. → page 16

flexible cultures and technologies – Napon

A. Masiukiewicz (PL), B. Matis (SK), V. Meli-

During these four days participants had creat-

(CZ), A. van Gijlswijk (NL), Á. Gryllus (HU),

cherová (SK), Boris Meluš (SK), M. Mistrík (SK),

Workshop Bio Data Visualization – Mapping Amsterdam’s cultural life with slime-mold

The discussion was about an unwritten rule

T. Niemiec (PL), P. Nikolić (RS), I. Palečková

Place: Mediamatic Bank, Amsterdam, Neth-

of majority of fund commissions from the

(SK), H. Papadopulos (GR/RS), B. Pospischil

erlands Guests: Sonja Bäumel and Maurizio

budget for culture and the nonprofit sector

(PL), I. Radmanovac (RS), M. Rusin (PL),

Montalti Date: June 13, 2012 Organization:

are not to publish the names of the committee

A. Salomon (PL), L. Segečová (SK), L. Šimková

Mediamatic Foundation

who allocate the funds. According to laws, the

(SK), J. Toman a B. Toman Tylová (CZ)

Commission should be public but does not

Workshop was hosted by artists Sonja Bäumel

specify clearly the mechanisms of how the

The main concept of the exhibition was to

and Maurizio Montalti at Mediamatic, partici-

Presentation Visible Data

public gets familiar with the Commission.

reflect the lack of interest in cultural policy in

pants had engaged with slime-mold and made

Place: KC Dunaj, Bratislava, Slovakia Speak-

The main question was: how to connect the

Slovakia. One part of the exhibition presented

use of it§s cognitive skills in order to discover

ers: Daniel Gross (NL), Joris Maltha (NL) – Cat-

public and non-profit sectors with an inde-

individual visions on and visualizations of var-

new patterns in the city and create an organic

alogtree, www.catalogtree.nl Date: November

pendent scene in order to be more democratic

ious data showing actual problems in Bratisla-

map of Amsterdam’s cultural life. Workshop

15, 2011 Organization: Open Design Studio

and transparent and to improve the work of

va and Slovakia regarding culture financing

was re-exploring and re-connecting Amster-

committees. → page 12

and cultural policy. Second part of exhibition

dam’s cultural hubs. → page 6

6

www.visibledata.info

Activities _ The Netherlands

Organic Data Visualization: Mapping Amsterdam’s cultural life with slime-mold Workshop Data visualization, intelligent design and art. During the Bio Data Visualization Workshop hosted by artists Sonja Bäumel and Maurizio Montalti at Mediamatic, participants engaged with slime-mold and made use of its cognitive skills in order to discover new patterns in the city, and create an organic map of Amsterdam’s cultural life. Re-exploring and re-connecting Amsterdam’s cultural hubs.

Data visualizations are changing the way people find and experience stories, the world of data taking on ever-changing shapes and characters. They help communicate complex ideas in clear, compact and beautiful way, take data and present it in visual shorthand.

Data visualizations are usually made by usage of elaborated software programs and statistics. What happens when we exchange the computer program to an intelligent organism? Slime-molds are neither plants nor animals; their development cycle is unique.

In it’s growth process the slime-mold is able to locate the smartest route between food sources and spread out accordingly. At the University of West-England, researchers constructed an agar-map of the UK by placing oat flakes according to the geographical locations of the nine most populous cities in the UK. After introducing a slime-mold colony to the map, the organism started developing patterns which, surprisingly, aligned with the existing motorway design; however, with some variations. But how does it do this without a brain to process information? Researchers have not yet answered this intriguing question.

Amsterdam is made up of a myriad of elements: canals, homes, bike paths, train tracks, old shipping yards, bridges, and so forth. A beautiful and exciting place but sometimes it’s difficult to find the shortest way to where you want to go, even if you’ve lived in the city for ages. At this workshop we employed the slime-mold to map out the larger network of cultural hubs in the city, illuminating the shortest paths from one to another.

An organic map of Amsterdam’s cultural life in slime.

By placing the slime-mold’s favorite food, oat flakes, on those locations we wanted to connect on a map of Amsterdam made of agar, we intended to let the slime-mold find the ideal routes between them. In order to prevent other organisms from interrupting the slime-mold’s growth process, it was necessary to work in a clean room. Luckily we built one for the Paddestoelen Paradijs exhibition. A clean room is a a space with a controlled level of contamination. That means it has very, very few particles in the air like dust. Participants wore white overalls, corresponding masks, gloves and plastic shoecovers, all to make sure none of their germs escaped into the area. Pedestrians walking by on the Vijzelstraat were very intrigued and highly amused by the sight, frequently stopping to peak inside. Meanwhile, participants got to play in their new, professional attire with different surfaces and food sources and lab gadgets. At the end of the day they had made their own, intelligent map of cultural Amsterdam.

For this workshop we used a vinyl cut-out shaped like the map of Amsterdam and stuck it to the bottom of a number of petri-dishes. Next time we will probably use a 3D printer and ‘print’ the agar in the shape of the map of Amsterdam in order to make the visualizations more accurate. For this, we are working together with the Fablab of our cultural partner Waag Society.

Text by Pilar Puig and Evelyn Austin

Workshop guests & authors of other visualizations

manent confrontation with scientific data and

Publishers, Phaidon Press, Vanabbe Museum and

facts which she often generates by herself in

Boijmans Van Beuningen Museum.

experiments and in research labs. She is driven

Grootens has won numerous prizes for his de-

by a fundamental fascination for organic life

signs, among them the ‘Goldene Letter’ and

and coexistence in our planet.

two Gold Medals in the Best Book Design from

Sonja’s captivation for the human body made

all over the World competition in Leipzig. In

her to study fashion design at the Fashion In-

2009 he was awarded the Netherlands’ most

stitute of Vienna. After graduating in 2004 she

prestigious design award – the Rotterdam De-

worked for two years in the trend and design

sign Prize. A monograph about his work titled

department of an international jewellery com-

‘I swear I use no art at all’ was published by 010

pany before she found the perfect supplemen-

Publishers in 2010.

tary education to follow and work on her own

Grootens is programme leader of the research

visions at the master program of the Design

programme Information Design at Design Acad-

Academy Eindhoven.

emy Eindhoven’s Master course. He has also

Since then she has been totally focused on her

lectured and conducted workshops at various

own projects which were exhibited at the Mu-

institutions in Asia, Europe and North America.

seum of Natural History of Vienna, at the Mi-

Joost Grootens is a member of AGI (Alliance

lano Salone del Mobile or the Textielmuseum

Graphique Internationale).

Tilburg/Netherlands. Her works had also been the basic impulse for documentary films (ORF/ ARTE: Trailer: BioArt – Kunst aus dem Labor,

Marco Hendriks (NL)

Terra Mater) to which she actively contributed.

Marco is an Interaction & Information Media

In order to be able to give a pure view on the

Design senior at the Art Academy of Arnhem

essence of things Sonja Bäumel doesn’t want to

Artez. During his internship at Mediamatic in

refer to any existing definitions of body, fash-

Amsterdam, he was asked to join this project

ion or beauty so to question alleged existing

as one of the young designers.

facts without prejudice. Her works, driven by

www.marcohendriksportfolio.nl

perfectionism and executed with meticulous research, always leave space for the unexpected and often pose new questions because she allows

Maurizio Montalti (IT)

the things to live.

Maurizio Montalti (founder and director of “Officina Corpuscoli”) is a multidisciplinary designer, researcher, artist, and engineer interested in life

Maurits de Bruijn (NL)

and in bigger and smaller insights about it. He

Maurits de Bruijn is a graphic designer working

believes in the role of the designer as a bridge

primarily in the field of new media (web design,

between different fields of action: particularly

application design and cd–rom design). In 1996

science, art, society, industry...

he graduated from Willem de Kooning Art School

His work touches relevant design issues, such

in Rotterdam as graphic designer and has been

as the role which design could play in a biotech

working as freelancer since then. He teaches

revolution in relation to sustainability, and to

information design and computation design at

the novel possibilities that this marriage of dis-

The Arnhem Academy of Art and Design.

ciplines could create in a future society.

As designer he likes to experiment and discover

The fascination for the micro-scale, together

new design solutions for dynamic content. He

with his holistic vision of the world as a macro-

always completely engineers his designs and

organism and a strong belief in symbiotic rela-

he is convinced that design ideas can be found

tionships are some of his main drives. Through

in both front-end (interface, look and feel) and

these explorations one of his primary aims is

back-end (scripting, engineering). Therefore,

to question common behavior and to provoke

he has worked through all the necessary pro-

critical thinking in regards to what we take

gramming languages, such as JavaScript, php/

for granted.

mySQL, Flash ActionScript, Director Lingo and

In such way, he uses design as a tool and a strat-

of course, HTML.

egy for questioning culture.

His methodology consists of creating deep, analytical research, both theoretical and practi-

Abel van Gijlswijk (NL)

cal (hands-on), in order to be able to find novel

Abel is a visionary from unexplored northern

inspirations, creating new perspectives and

parts of Amsterdam. He is employed as graphic

unprecedented thoughts, which, through the

designer at Mediamatic, one of Amsterdam’s

use of multiple communicative media, will end

leading cultural foundations. Besides that, Abel

up as innovative design outcomes.

is the capo of the notorious Dutch post-avant-ga-

After graduating in 2010 at the IM Master course

rage-punkband ‘THE DON’T TOUCH MY CROQUE

(Conceptual Design in Context) at the DAE –De-

MONSIERS’.

sign Academy Eindhoven, he founded “Officina

Sonja Bäumel (AT)

Corpuscoli”, a multidisciplinary studio, providing

Sonja Bäumel’s work includes art objects, living

Creative Consultancy and developing both Con-

7

Activities _ The Netherlands

Workshop guests Sonja Bäumel (AT) Maurizio Montalti (IT) Bio Data Visualization of Amsterdam’s Cultural Heart Data visualization is closely related to, yet different from information and statistical graphics and scientific visualizations. Frits Post, head of the Scientific Visualization research group at Technical University Delft, states it unites the field of the scientific and information visualizations. None of the data visualizations, however, has combined the two fields in such a way as this project.

Two weeks after the workshop participants gathered again to examine the results of the experiments carried out during the workshop. It turned out that even with the white suits, gloves, masks and other aseptic measures taken to keep organisms from growing and competing with the slime-mold, some bacteria slipped through at some point of the process, and altered the slime-mold’s development.

According to Friedman (2008) the “main goal of data visualization is to communicate information clearly and effectively through graphical means. To convey ideas effectively, both aesthetic form and functionality need to go hand in hand, providing insights into a rather sparse and complex data set by communicating its key-aspects in more intuitive way. Yet designers often fail to achieve a balance between form and function, creating gorgeous data visualizations which fail to serve their main purpose — to communicate information.”Slime-mold is, in all it’s simpleness, an ideal medium with which to visualize these different kinds of data.

Aesthetics is of course a matter of taste, yet the visualization is undoubtedly clear in mapping Amsterdam’s cultural heart.

Participants prepared two maps of Amsterdam. One of them was contaminated and is now a mosaic of textures and colors formed by the different microorganisms.

The other, however, remained bacteriafree, letting the slime-mold to grow according to the shortest routes from oat flake to oat flake. A time-lapse was made recording the development of the slimemold; it is amazing to watch the way the organism grows and explores, expanding in wave-like, yellow pulses that branch out in search of food. This time-lapse is now exhibited, together with the agarmaps, at Mediamatic’s exhibition space Mediamatic Bank, and can be viewed online on http://vimeo.com/mediamaticvimeo/bio-data-visualisation-cs and bio-data-visualisation-hq.

paintings, films, material research, costumes

Joost Grootens (RS)

ceptual and Commercial works, often being in-

and product design. In her work she mediates

Joost Grootens studied architectural design at Ger-

spired by living systems and organisms. Amongst

between art and science, fashion and science,

rit Rietveld Academy in Amsterdam. As a graphic

other places, Maurizio’s work has been exhibited

design and science, between clothes and body,

designer he is self-taught. His studio designs books

at the Triennale Design Museum (Milan, 2011),

1 Frits H. Post, Gregory M. Nielson and Georges-Pierre

between fiction and facts.

in the fields of architecture, urban space and art,

Audax Textiel Museum (Tilburg, 2011), Naturalis

Bonneau (2002). Data Visualization: The State of the Art.

Sonja Bäumel is inspired by interdisciplinary

specializing on atlases, designing both the maps

(Leiden, 2011), Mediamatic (Amsterdam, 2012).

Research paper TU delft, 2002.

basic research, especially by current develop-

and the books themselves. Among his clients there

Officina Corpuscoli is currently based in Am-

2 Friedman (2008) “Data Visualization and Infographics”

ments in biology. Her works evolve from per-

are 010 Publishers, Nai Publishers, Lars Müller

sterdam, the Netherlands.

in: Graphics, Monday Inspiration, January 14th, 2008

www.visibledata.info

8

Activities _ The Netherlands

www.visibledata.info

9

Author of other visualizations Joost Grootens (NL)

Author of other visualizations Abel van Gijlswijk (NL)

Untitled

Are the budget cuts necessary or just plain stupid?

Visualizations show dramatic relations between financing of culture and other sectors and reflect dramatic budget cuts done by current government in 2011 in Netherlands. In 2011 the Netherlands gave € 490 million from the state overall budget to support the cultural infrastructure. That sounds like a lot but it is only a third of what Netherlands spent on holidays. It’s 1,5% of the annual costs of the State Pension and only 0,2% of the country’s total Budget. Visualizations are part of political guerilla campaign done

by Dutch art and media organization Mediamatic in 2011 as reflection on this dramatic decisions.

The Budget 235 billion

www.visibledata.info

Activities _ The Netherlands

Homeowner Tax Benefits 11 billion

European Union 6,2 billion

War 8,5 billion

Mediamatic 0,00066 billion

Mediamatic 0,00066 billion

Mediamatic 0,00066 billion

Art 0,49 billion

Art 0,49 billion

Art 0,49 billion

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

www.mediamatic.net/stupid

www.mediamatic.net/stupid

www.mediamatic.net/stupid

Eating, boozing & smoking 45,6 billion

Holidays 1,5 billion

Mediamatic 0,00066 billion

Art 0,49 billion

Mediamatic 0,00066 billion

Art 0,49 billion

Mediamatic 0,00066 billion

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater.

www.mediamatic.net/stupid

www.mediamatic.net/stupid

JSF 7,6 billion

Art 0,49 billion

Mediamatic 0,00066 billion

Art 0,49 billion

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater. www.mediamatic.net/stupid

The Dutch budget for arts & culture institutions is relatively small. The above average cuts will produce below average results.

This is an infographic from a series made by Abel, Niels and Willem at Mediamatic. Based on an idea by Ruben Pater. www.mediamatic.net/stupid

10

www.visibledata.info

Activities _ The Netherlands

11

www.visibledata.info

Activities _ The Netherlands

Author of other v sua zat ons Marco Hendriks NL

Author of other v sua zat ons Maurits de Bruijn NL

Disappearing cultural blocks Th s v sua zat on shows the amount of money that s go ng to each of the proects by transparency The co ors represent a the d fferent abe s that are used And the graph c g ves a c ear v ew o what s happen ng I stored the data n a gr d to make s easy to read and see the who e p cture at once Th s one s w th text because I wanted to et see what pro ect s gett ng what amount In th s graph c I turned a the amount nto b ocks but f you ook c ose y you w see that a ot of them are d sappear ng The graph c was programmed w th Process ng

Rijksbegroting (9; 2,3 *<3;<<9 Informat on des gn and nformat on aesthet cs as u t mate form of transparency have become the ho y gra of modern entertainmentindustrie besloeg in 2008 ruim 67.000 voltijdbanen, dit is 2009â&#x20AC;&#x201C;2012 =LYIYLKLU PUaL[ *\S[\\Y 2\UZ[LU po t cs The backs de sCultuursubsidies that th s very aesmeer dan een derde van het totale arbeidsvolume in de culturele sector c Het arbeidsvolume in deze deelsector bleef tussen 2004 en 2008 nagenoeg thet cs can a so be used as a strateg c and stabiel. De werkgelegenheid in de creatieve zzakelijke dienstverlening besloeg een derde van de sector en steeg in d de periode 2004-2008 mett 18% decept ve too by over- nformat on that cou d even be used n a se f-affirmat ve Figuur 2.4 and se f- ust fy ng manner I wou d Culturele banenthat als percentage van de ke to ca nfo-camouďŹ&#x201A;age werkgelegenheid in Europa (2005) The d agrams used n th s v sua zat on Minder waar het kan, kan b waar h he et moet, are a k nds of quant ďŹ cat ons that are beter een pleidooi vo oor een ander nd used to map the cu tura ďŹ e d n adm n s- roll van ded overhheidid trat ve terms that str ve far beyond what art s or shou d be about cur os ty Th s m smatch rather po utes the cu tura debate than contr butes to t

9 RZILNYV[ UN

Met cultuursubsidies wordt een Basisinfrastructuur (BIS) van culturele voorzieningen in de verschillende sectoren ondersteund. In de periode 2009â&#x20AC;&#x201C;2012 worden binnen deze BIS subsidies (lang- en vierjarig) verstrekt aan:

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Figuur 4.7 6 L N 2\UZ LU Gemeentelijkke uitgaven aan kunst en cultuur in euroâ&#x20AC;&#x2122;s (x 1 mln) 2008

n e na onaa Cu uu be e d Kuns en

> /L[ RHIPUL[ aL[ TPKKLSLU PU VT KL KLLSUHTL ]HU RPUKLYLU LU QVUNLYLU HHU cultuur te vergroten. Op basis van de regeling ÂŤversterking cultuureducatie in het WYPTHPY VUKLY^PQZÂ&#x2021; PZ LY ]VVY SLLYSPUNLU PU OL[ ZJOVVSQHHY Â&#x2039; â&#x201A;Ź WLY leerling beschikbaar. Deze regeling bevordert dat scholen hun visie op de functie ]HU J\S[\\YLK\JH[PL PU OL[ SLZWYVNYHTTH ]LYKLY VU[^PRRLSLU LU KLaL ]PZPL PU ZHTLU^LYRPUN TL[ O\U J\S[\YLSL VTNL]PUN PU LLU ZHTLUOHUNLUK NLOLLS ]HU cultuureducatieve activiteiten vertalen. In het voortgezet onderwijs Aan is het vak De Status Van de lezer: V De Notitie Â&#x2020;J\S[\YLSL LU R\UZ[aPUUPNL ]VYTPUNÂ&#x2021; VUKLYKLLS ]HU OL[ J\YYPJ\S\T +HHYUHHZ[ krijgen alle leerlingen in het voortgezet onderwijs in het schooljaar Bij 2011â&#x20AC;&#x201C;2012 deze ontvangt u de discussienotitie eMinder waar het kan, beter waar het moet, een pleidooi LLU J\S[\\YRHHY[ VT J\S[\YLSL HJ[P]P[LP[LU [L R\UULU ILaVLRLU (HU KL RHHY[ PZ LLU voor een ander er e rol van de over erhr eid dâ&#x20AC;&#x2122;. tegoed gekoppeld van â&#x201A;Ź 5H OL[ ZJOVVSQHHY Â&#x2039; aPQU LY

( JO LJ \\

6 L N 2\UZ LU V L NL UZ \TLU LU WW

Wij onderkennen dat het risico bestaat dat onze voorstellen> wor worn gebruikt om bezuinigingsplannen

I Het Pleidooi: De Vissie e In 8 Punten

door te voeren. Zo vinden wij het niet chic dat door de sector geuite algehele zor gen bij de manier waarop r de bezuinigingen wor or den doorrgevoerd door de staatssecretaris publiekelijk wor oren gebruikt

> vinden wij het belangrijker om als argument r om zijn plannen versneld door te voeren. Desalniettemin

Nede erland beschikt ovve er een divers cultureel aanbod van hoogw waaar dige e

deze visie te presenteren en met de sector te bespreken om zo te werken aan een toekomstbestendig

kwaliteit. De culturele e ssector or is ee een bloeiende, expanderende beed drijfsstak

cultuurbeleid.

De in een achttal punten beschreven visie is het resultaat van een intensieve gedachtewisseling

met e een grrote interrnatio onale le uitstr uitstraling en een brede maatschap pp pelijkke

aan en met de Tafel van Zes, het sectorbrede overlegplatform dat sinds de zomer van 2010 bestaat.

Brancheorrganisaties, belangenverenigingen, kunstenaarssor ganisaties, fondsen en sectorinstituten

Wij zijn ervan overtuigd dat deze visie en de voorstellen voor een ander cultuurbeleid kunnen

uit de cultuursector hebben samen over de toekomst nagedacht.

bijdragen aan een krachtige, dynamische cultuursector in Nederland, die op de toekomst is toegerust

oriĂŤntatie. De maatsch haappelijke pelijke inbedding in ng van kunst k is vandaag gd de dag d maniffester dan ooit en n de invloed van cultuur ltuur op de sociale sociale, ciale, iale economi ec econ no omissche,

en die geworteld is in een samenleving die de waar aar de van cultuur voor haar functioneren (h)erkent.

De overwegingen die tot deze visie hebben geleid vindt u in de bijlage. Deze overwegingen zijn

politieke en fysieke om mgeving ving en op wetenschap, tenscha onderwijs erwijs en e re eligie e is

misschien niet voor alle partners even relevant, zij hebben wel tot de gezamenlijke ker kerunten

evide ent. Door or digitalis digita sering, g, globalisering globa g en een stijgend nd ople opleidin ngsn niveau

geleid.

Het kabinet heeft op 10 juni 2011 de brief ÂŤMeer dan kwaliteit: een nieuwe visie op cultuurbeleidÂť ingediend waarin het nieuwe cultuurstelsel voor de periode Â&#x2039; ^VYK[ ILZJOYL]LU 2HTLYZ[\R UY

neemt de differentiatie e in i prroductie en consumptie van cultuur toe. oe

De zes partijen vertegenwoor or digd aan de Tafel van Zes bieden het resultaat ter discussie aan

Daarbij staan D aan n de d publieke ke en en private budgetten ud dge sterkk onder ond druk.

vanuit de gedeelde overtuiging dat deze integrale visie een goed uitgangspunt biedt voor het uitwerken van een nieuw cultuurbeleid. De komende tijd zal er met makers, oranisaties, publiek, de overheid en andere bettr okkenen bij de cultuur* in Nederland intensief over deze voorstellen

De ccultuursector speelt alertt in o op deze ontwikkelingen, maa maar deze

worden r gesprroken. In deze discussie zal worrden onderzocht of de maatregelen en instrumenten die wij voorstellen de juiste zijn om een toekomstgericht cultuurbeleid vorm te geven.

I h d Inhoud:

De Status Van V De Notitie

Wij zijn ons ervan bewust dat het bezuinigingsplan dat het Kabinet in petto heeft het denken en

I

D Visie De Vi ie In I 8 Punten P t

discussiĂŤren over hervormingen van de sector er nstig onder druk zet. De plannen van het Kabinet

H t Pl Het Pleidooi: id i

II De overwegingen:: Naar Ee en Nieuw Cultuurbeleid l b l d werken k in een ander der e werreld ld h pub het blliekk belang b l voor orp ijkpunte en drie dom meinen

ingrijpende veranderingen vragen ook om een nieuw cultuurbeleid en

Aan de lezer:

een andere rol van de overheid. De cultuursector heeft behoefte aan

zijn bovenal ingegeven door bezuinigingsmotieven en niet door een hervormingsagenda voor de brede culturele secto or . Zolang het verwezenlijken van een vooraf bepaalde ďŹ nanciĂŤle doelstelling

voorop r staat is een serieuze, zelfkritische dialoog met de politiek over een duurzame toekomst van de sector nauwelijks mogelijk. Met de publieke middelen die de overheid voor de komende jaren beschikbaar wil stellen kan de overheid geen fectief ef cultuurbeleid voeren en bijt de hond in zijn

een ďŹ&#x201A;exibel overheidsbeleid dat ruimte biedt aan nieuwe pr pructie- en presentatievormen, samenwerkingsverbanden en onder dermerschap.

De culturele sector orrganiseert een duidelijk aanspreekpunt voor

eigen staart: p pluriformiteit, toegankelijkheid en innovatie van cultuur zijn niet te e ar liseren.

partner zijn bij het vormgeven van een ander ermeer op samenwerking

Maar ook bij proportionele bezuinigingen staat de cultuur ingrijpende keuzes te wachten en zal het nodig zijn om, vanuit de kennis en verantwoor or delijkheid van de sector or,r aan te geven wat er bij

* â&#x20AC;&#x2DC;cultuurâ&#x20AC;&#x2122; wordt r gebruikt als verzamelnaam van kunst en cultuur urwaaronder bijvoorbeeld ook

Figuur 2.5 Creatie in Kunsten, Erfgoed en Media en Entertainment als percentage van de totale werkgelegenheid in Europa (2009)

MT RO CY PL PT EE LT EL ES IT SK SI BE HU BG UK LV CZ FR LU DE DK IE AT NL SE FI

The downfall of culture Th s v sua zat on shows the amount of money that s go ng to each of the proects by transperancy and s ze The co or s aga n chosen for ts effect The graph c s c ear and easy to read And that what I was go ng for w th th s graph c The text be ow s to make t even more c ear where the graph cs starts and stops Th s one was nsp red by the c ass c way of makng nfograph cs The downfa means that cu ture s dy ng as you can see n the graph c ser es The graph c was programmed w th Process ng

CH NO IS HR

0,0

)LL KLU VV KL VL VTZ

cultuurbeleid de parameters die de toegang tot overheidsďŹ nanciering regelen, aangescherpt en

3LLZ VV LU UN Figuur 4.8 Provinciale uitgaven aan kunst en cultuur in euroâ&#x20AC;&#x2122;s (x 1 mln) 2008

B b o hee e n euw ng

verďŹ jnd. De drempel (e (en da daarmee de onderlinge concurrentie) wor hogerr

1

2

Bro on: Cultural Statistics, Eurostat 2007.

LLZNLOHUK JHW LU

7 VN HTTH LLZIL V KL UN

3

Bijlage

6) Buiten de basisinfrastructuur wor ordt het instrumentarium voor ďŹ nanciering van kunstenaars en

De 8 Punten

Het huidige beleid gaat uit van v n een piramidemodel, waarin het merendeel van de overh ov he eidsinspanningen

II De over wegingen:: Naar Een Nieuw Cultuurbeleid

zich richt op de top. Dit model mod dell sluit steeds slechter aan bij g gr ote rte veranderingen gen in de kunstprak kkun nsttpraktijk tijk ijk en

organisaties ďŹ&#x201A;exibeler en divers. Ondersteuning van het primaire prces, van prroductie tot

>

toegankelijkheid en het stimulleren van innovatie van kunst en cultuuruitingen. Het publiek

onder meer de fondsen zal een ďŹ&#x201A;exibel repertoire aan ďŹ nanciering wor den ingezet: van kort-

belang van cultuurbeleid is daarin veranker. veran er

en langlopende (vieer of meerjarige) ďŹ nanciering en opdrachten tot garanties, leningen en

biedt niet langer voldoende pe erspectief voor een betekenisvolle omgang met het hede he end daagse se publiek.

er e werreld werken in werken in een ander een ander ere Cultuur 1 in het middelpunt wereld r

afname, staat voor orop. Ook hier wor den vraag en aanbod meer in evenwicht gebracht.. V

1) Cultuurbeleid richt zich altijd o op het bewaken van de pluriformiteit, het garander ern van de

Wij zijn daarom op zoek geg gaaan naar een cultuurbeleid waarbinnen meer ruimte is vvoo or d de kraacht van de sector,r namelijk haar cre c eativiteit, en waarbinnen de ambities en interventies rventies van va de e overrheid realistischer en effectiever zijn.

Kunst staat niet op zichzelf maar is altijd verweven met wetenschap, onderwijs en religie en met haar

microkredieten. V Via het faciliteren van ondernemerschap, r crowdfunding gen ďŹ scale faciliteiten wordt r het maatschappelijk bereik en coďŹ nanciering ver eroot. er r 2) De D noodzaak d k om scherpe h keuzes k te t maken k neemt toe. Daarbij staat het publieke belang voo voor

sociale, economische, politieke en fysieke omgeving. De maatschappelijke inbedding van kunst is

De brede maatschappelijke orriĂŤntatie, die de sector zo eigen is, wor woreen uitgangspunt tgangspun van v n het

vandaag de dag wellicht manifester dan ooit te voren. De invloed van kunst op tal van terreinen is

cultuurbeleid. In het overheidssbeleid (bijvoorbeeld subsidiever bsidiever vereliling) moet het publiek publie bel b lang, waar w

evident.

de legitimiteit van cultuurbe ele eid op is gebaseereen eer zwaarder r gew wicht krijgen. en. Bij het maake en van keuzes wegen toegankelijkh heiid, pluriformiteit en innovatie vatie het zzwaarst. Daarmee aarmee kan het h t Nede erlandse

Bij d de b beoordeling rd l van plannen l wegen de d meerwaaa aar de aar (ten opzichte van het gehele bestaande

cultuurbeleid ook beter aansslu uiten op ontwik ontwikkelingen elders in EEur urpa3.

Digitalisering en sociale media, het hogere opleidingsniveau, globalisering en migratie - door deze

7) Via programmaaâ&#x20AC;&#x2122;s realiseert de rijksoverheid speciďŹ eke beleidsdoelen, altijd samen met publieke,

aanbod), het aandeelhouderschap (zijn er relevant relevante partners betrken) etr en de mate van

ontwikkelingen is de prroductie-, distributie- en communicatiestructuur op alle terreinen ver gaand

creativiteit (originaliteit en eigenzinnigheid) het zw zwaarst. De beoor oor deling worrdt naast peer

private, sectorale of sociale partners. o Vorbeelden van programma r aâ&#x20AC;&#x2122;s zijn cultuureducatie,

review wgebaseer erd op meer objectieve criteria en bre edere expertise, bijvoorbeeld op het terrein

speciďŹ eke exportpro r motie, cultuur en media, het ontwikkelen van onder er nemerschap, goed

van communicatie en innovatie.

werkgeverschap, mecenaat en leiderschap. Een pr ogramma wodt r ingesteld voor een bepaalde

veranderrd. Kunst is daarbij ĂŠĂŠn van de innoverende en transformerende krachten. Deze nieuwe

Een andere r ol van de overheid

context maakt een grote en steeds groeiende rijkdom aan betekenissen van kunst en cultuur mogelijk.

De historische gegror eide vverrdel d ling van verantwoor verant ordelijkheden heden tuss tussen overheden eden vraagt vraag om om een actualisering. actua ctualisering alisering Kunst heeft te tegenwo ge enwo enwoo oorg or dig g immers imme ers vaak zowel wel een (in (inter)-nationale (inter) nationale onale als ee een lo lokale okale functie ffunctie.

Ook om productie en afname me e beter b in elkaars verlengde te kunnen plaatsen moeten de e na n nationale en

Cultuur is op een nieuwe, fascinerende manier (mondiaal) in het middelpunt van de belangstelling

tijd. W aar nodig voor een effectieve uitvoering wor or den ondersteunende functies meerjarig door

aandere overheden de en zo zoveel mogelijk gez gezamenlijk ezam aandeelhouder elho hou worn in alle schakels sch cha van de keten, en, n

2 komen te staan. Cultuur worrdt geacht de economische krachten van een land ver gaand te bepalen n

de rijksoverheid geďŹ nancier erd.

van talentontwikkeling ton ntwiik tot productie ductie e en afname.

Etnische conďŹ&#x201A;icten maken duidelijk dat culturele verschillen belangrijker zijn gewor wor oren dan ideologische 3) Om een groter r maatschappelijk bereik te stimuleren gaat de rijksoverh rijksoverheid partnerschappen aan

wedijverr. De angst en onzekerheid die door de snel toenemende pluriformiteit wor den opgerroepen

met andere overheden overheden, marktmarkt en sectorpartijen, sectorpartijen p j p private ďŹ nanciers en maatschappelijke m pp j e ornisaties, 8) Door afstemming, samenwerking en bundeling van ďŹ nanciering en van ondersteunende taken

vrijwilligersvrijwilligers ij illi en amateurinitiatieven. t i iti ti

en functies worrdt de efďŹ ciency verrgrroot. Per discipline worrdt gekeken welke functies nodig zijn.

maakt de ambivalente ol r van cultuur zichtbaar: zij kan maatschappelijke verschillen overbruggen,

Om de maatschappelijke waar arde van cultuur ur en d de stem van hett publiek pub b een plaats ts te eg geven e stimuleertt

maar ook op de spits drijven. Cultuur wordt r daarrdoorr, of we het willen of niet, maatschappelijk en

de overheid meer dan nu via de vraag. g. He Het et o ooreel or over het aanbod wor or dt in de toek toekomst ko minder op

politiek steeds relevanter e

peer review p walleen gebaseer er en worrdt dichter c bij de samenleving gebracht. Artistieke kwaliteit is de e vanzelfsprekende eerste voorwaar are maar worrdt onderrdeel van een brede er , op pluriformiteit gericht,

balans te bereiken tussen vraag en aanbod werkt de rijksoverheid in de gehele keten van de

De Tafel van Zes:

sector samen met de andere overheden en richt zij zich meer op vraagstimulering. Ook de cultuursector zelf zal meer inv investeren in het stimuleren van de vraag.alentontwikkeling .T

0,5

wordt r binnen de keten geo oganise or eerrd.

1,0

1,5

Gitta Luiten, namens de publieke Cultuurfondsen

2,0

onderwijs, de omgeving (mode, design en arhitectuur) en de entertainmentindustrie een sterk

Versteegh, name enssVereniging voor kunst, cultuur en erfgoed Kunsten â&#x20AC;&#x2DC;92 Marianne V Joke Hubert, namens FNV KIEM en de Federatie van Kunstenaarsverenigingen Henk Scholten, namens de Sectorinstituten Siebe W Weide, namens de Federatie Cultuur

expanderende bedrijfstak met een grte interrnationale uitstraling. De dif ifferentiatie in prroductie e en

publiek is enorm toegenomen. De hoeveelheid geld die de sector genereert is de afgelopen decennia

Bron: Cultuur in de EU27: Cultural statistics in the spotlight, Eurostat 2011.

een uitzonderlijk publiek belang en een onomstreden meerwaar. aar Deze instellingen hebben

Bert Holvast, namens De Cultuurformatie

een nationale en vaak ook inter ernationale betekenis en zijn ook altijd geworteld in de eigen

In het (subsidie)instrumentarium van de overheid wor or dt nadrukkelijker ruimte gemaakt voor

een onderrnemende houding van kunstenaars en culturele ganisaties. or Barrières voor onder er emerschap mersccha

sterk gestegen; dat geldt zowel voor publieke en private inkomsten en bestedingen als voor

in wet- en regelgeving wor or den weggenomen. Goed opdrachtgever ver - en werkgeverschap is nodig dig voor vo een

publieksinkomsten.

fatsoenlijk beloningsbeleid voor werknemers en voor de snel gr griende groep r zzp-ers.

Ook de relatie met het publiek is geĂŤvolueer er d. De mondige burrger is steeds minder geneigd zich

Voor het publiek belang

door een overheid of elite voor te laten schrijven wat â&#x20AC;&#x2DC;hogeâ&#x20AC;&#x2122; of â&#x20AC;&#x2DC;lageâ&#x20AC;&#x2122; kunst is. De cultuurparticipatie

De invloed van de overheid op de kunsten is niet gr oot. Maar het efffect van overheidssubsidies op

is daarmee sterk verander erd. Als consument neemt de bu urger van nu de vrijheid om zelf actief vorm

de pluriformiteit, toegankelijkheid en vitaliteit van de culturele sector is immens en fundamenteel.

te geven aan cultuu. u Leefstijlen en identiteiten wisselen razendsnel en onvoorspelbaar ur aarwaliteit en

Een principieel uitgangspunt is dat de overheid monopolies bestrijdt, kwetsbare cultuuruitingen

artistieke betekenis zijn ook voor door orgewinterrde cultuurprrofessionals geen eenduidige of absolute

beschermt en diversiteit stimuleert.

Bron: CBS: Statline 2008.

begrippen meer e

stad of regio. Het gaat om instellingen met een meervoudige opdracht die in staat zijn krachtig

Culturele organisaties r die subsidie ontvangen krijgen in de toekomst meer mogelijkheden en een

te investeren in hun publiek belang. Deze instellingen wo or den langjarig geďŹ nancier er en

U L UH VUHH *\ \\ IL L K 3L L LU LU 17 B b o he en

6 L N 3L L LU LU ) I V OL LU

periodiek gevisiteed er door een onafhankelijke commissie. Een onafhankelijk advies geeft een oordeel r over de samenhang, pluriformiteit mite t e en n ttoegankelijkheid oegankke ijkhe d vvan nd de eB BIS IS als a ge geheel. he

4

kwaliteitsoorrdeel.

De culturele sector is, met haar verwevenheid met, de kennis- en informatiesector ctor ,tor de media, het

4) Marktontwikkeling M kt t ikk li is i voor de d (gesubsidieede) ( b idi er e) cultuur van cruciaal belang. bela Om een betere

5) In een basisinfrastructuur ďŹ ďŹ nanciert de rijksoverheid culturele/pr prducerende instellingen met

C ea e e ndus e

gericht cultuurbeleid.

erfgoed en de creatieve industrie

deze keuzes h het zwaarst moet wegen. Op de keper beschouwd wor den in het door ons geschetste

=L I LKLU U L *\ \\ 3L L LU LU B b o he en

Bron: CBS: Statline 2008.

overheden en maatschappelijke partners en wil zo een gelijkwaar aarge

grotere r verantwoo ordelijkheid om succesvolle verbindingen aan te gaan met maatschappelijke partners.

=L I LKLU U L *\ \\ *\ \ LL , NVLK

Musea hu s es ng

Om het publieke belang zichtbaar te maken en beter naar politiek en publiek te kunnen verantwoor oorn wordt r hun functioneren mede beoor or deeld op hun maatschappelijk bereik en betekenis, in plaats van

vorige eeuw w. Sindsdien is de wereld ingrijpend verander er d, net als de kunstpraktijk en de culturele sector o

vooral op bezoekcijfers. Om de pluriformiteit te bewaken woren or aanvragen getoetst op hun meer ee

Deze ingrijpende veranderingen vragen om een ander cultuurbeleid en een ander nde erl van de overheid.

waarde wa arde r voor vo oo or het het bes bestaande ande aanbod. anbod.

5

Figuur 4.9 Rijksuitgaven aan kunst en cultuur x mln, 2010

Een nieuwe kijk op cultuurbeleid

Het cultuurbeleid en het overheidsinstrumentarium voor cultuur stammen uit de jaren tachtig van de

6

59

7

Figuur 6.6 Opbouw van de totale baten van cultuurproducerende BIS-instellingen in 2009 in n %

De overheid kan deze dez (marktcorrigerende)ol r alleen spelen als de politiek bereid is voldo voldoende geld

Er is meer van hetzelfde en aanbod dat kleinere ere doe doelgr grepen trekt, worrdt door de markt niet goed

Alleen als het moet

te invest investeren investe in kunst en cultuur ur.rW ij hebben een duurzaam stelsel voor ogen datt kan g grer ien en

bediend. De onafhankelijkheid van veel cultuur uur en m mediaprducten pr is bovendien steeds

Samengevat wor or dt de d rrol ol van de overheid in het culturele domein domein:

krimpen onder invloed van de beschikbare (publieke en private) mi middelen. de elen De e vvoorwaarn oorwaa aaaarn en

minder verzeke verzekerrd door complexe inte interrn nationale ationale ale eigendomsverhoudingen. eigendomsverhoudingen eige W il de rijkdom aan

Cultuur staat in het et hart van de samenleving samenleving. Cultuur draagt bij aan de sam samenhang samenhang, d de identiteit

verrichting. hting. Beoor Beoordelingen gen zullen p plaatsvinden i d op b inden basis van nprrofessionaleview r w: experts op allerlei ei

uitgangspunten van dit ďŹ&#x201A;exibele stelsel wor oren hierronder geschetst en toegelicht..

kleinschaligheid en diversiteit overleven, dan n vraagt dat om m buuste r orrganisatievormen en

en het democratisch functioner ner en van Nederland. Om dat publieke belang te waarbor bor gen bewaakt

terrein (communicatie, (commun innovatie, nnovatie, e economie mie en cultu cultuur) vellen l iin wiss len wisselende i samenstel samenstelling een n

andere ďŹ nancieringsmodellen.

de oveheid r de pluriformiteit van cultur ur ele uitingen, garandeert de (geograďŹ sche) toegankelijkheid

oordeel r el over het totale plan van een ee culturele urele instel instelling.

dt het oordeel r over artistieke uitingen in de toekomst niet meer alleen opeer review d maar voor d, v een n belangrij belangrijk deel ook op te objectiveren veren eige eigenschappen pen van pr presentattie of

daarvan, stimuleert de ontwikkeling en draagt zor g voor het behoud en de ontsluiting van de

het publiek belang voor orop

Democratische waarden De mondige burger

Tegelijkertijd kertijd is e er ook biij het grrote publiekk en ook o op interrnet een permanent perm t verlangen naar gidsen, g

geschiedenis van het land en zijn bewoners.

Voor overheidsinterventies is het publiek belang V ang altijd alt hett doel. Net N als in andere sectoren moet het

kenners rs die de w weg wijzen. en. Dat begrip be krijgt ijgt echter een veel el ruimer id idee van n de gidsfu gidsfunctie die niet

Werd de cultuur tot voor kort begrepen als een piramide met een d duidelijk ide elij te identiďŹ ceren entiďŹ ce kwaliteits-

ook in het cultuurbeleid in de eerste plaats gaan aan om het bewake bewaken of bevor vorren van democratische

Cultuurbeleid voor de toekomst moet gebruik maken van verschillende instrumenten die zijn

top en een brede basis, nu dringt zich veel meer het beeld op van een horizontale le cultu cultuur uur u urur gers

waarden. r Die waarrden moeten helder wor orden benoemd benoe en herken herkenbaar zijn in alle interventies van de

toegesneden op de doelstellingen en die het publiek belang manifest maken. Subsidies zijn soms

vinden elkaar in steeds wisselende, wereldwijde en veelal virtuele gemeenschappen. ppen. B Burs ur richten

overheid. V Voor het cultuurbeleid van de toekomst omst zijn z dat plurifo pluriformiteit, toegankelijkheid en

geschikt, maar ook investeringen, ďŹ scale mogelijkheden en ondersteunende instrumenten zijn

Vraagstimulering en marktcorrectie

hun leven naar eigen idee in en volgen daarbij niet langer de door een â&#x20AC;&#x2DC;eliteâ&#x20AC;&#x2122; opgelegde gelegd normen,

innovatie en ontwikkeling.

effectief. f Door verschillende instrumenten te gebruiken kan de overheid dfectiever ef aansluiten bij de

Om cultuuruitingen ltuuruiting toegankelijk gankelijk te t houden en voor ee een breed d publiek e en om de e pluriform pluriformiteit te e

dynamische cultuurpraktijk. Het uitgangspunt blijft dat de overheid alleen ingrijpt als het moet:

bewaken ken kan marktcorrectie ma ectie nood noodzakelijkk zijn. Bij vo voorkeur door over overheidsinterventies terventies die

wanneer de pluriformiteit, toegankelijkheid of de innovatie in het gedrang komen.

aansluiten iten bij de functie die â&#x20AC;&#x2DC;podia â&#x20AC;&#x2DC;podiaâ&#x20AC;&#x2122; aâ&#x20AC;&#x2122;vervullen len als kno knooppunten ten tussen aanbod d en publie publiek.

waarden r en ambities, maar kiezen zelf autoriteiten die ze een (tijdelijke) gidsfunctie ctie toekenne toe n.

Mensen zijn cultureel actief in zelfgekozen gemeenschappen en ontlenen lenen daaraan an med mede hun identit identiteit.

De samenleving amenle g is uitgaande g van democratische sche waaar den (vrijheid rijheid van meningsuiting, g g onafhankelijke j

De burger r is afwisselend consument en prducent en dat heeft een explosief xplosi fect ef op de cconsum mptie

informatievoorziening matiev en meningsvorming) gebaat bij een n plurif pluriform aanbod van cultuuruitingen. De

meer uitsluitend die van n de verheven verhev critiicus is.

De kkeuzes D uzes die po podia d maken k (in de meest brede ken b zin vvan h het woor w or d) spele en immers i ers in het ssameng gaan

en de productie r van de cultuur.r De traditionele distributiekanalen hebben niet langer nger he het monopolie

van pluriformiteit, uriformitei toegankelijkheid ankelijkhei en publiek ubliek belang belan een cruciale c eol.r Zij Z kopp pelen profe essionelle

ijkpunten

op de toegang tot de afzetmarkt, met als gevolg een zeerroot, gr divers en dynamisch ch aanbod. aanb Gesubsidieerrd aanbod en de markt werken steeds meer samen en het onderscheid eid verv vervaagt. V

Historisch is er een verdeling r gegroeid r waarin de landelijke overheid zich binnen de keten vooral

het publieke domein van de cultuur heeft deze horizontalisering ote gr gevolgen.

bezighoudt met productie en andere overheden (m.u.v ..vde vier grote steden) het accent leggen op

Het commerrciĂŤle en het publieke geďŹ nanc g ciere er aanbo od plooien oien daar over ov elkaar aar heen en overa overaaanbod

(regionale) spreiding en via de instandhouding van accommodaties op pogrammering pr en presentatie

wordt r door de markt m geĂŤ ĂŤlimineer er d. Daarom m stimulee stimuleert de overheid verheid me meer dan voorheen vvia de vraag: v

Veelvormigheid van de sector

van cultuuruitingen. Deze verd r eling van verantwoor ordelijkheden is mede de oorzaak van een (te) grte

bijvoorbeeld rbeeld door doo ďŹ nanciering ciering van pr prgrammering mmering e en presentatie, entatie, maar ma ook via het faci faciliteren van van anowd n

De productie en distributie van cultuur is blijvend verander. er Culturele contentt kan kaan razendsnel in

kloof tussen de verschillende schakels in de keten en moet daar aar om waar mogelijk worrden losgelaten.

fundingen ďŹ scale maatre egelen.

grote r hoeveelheden wor or den opgeslagen, bewerkt, verspreid en her gebruikt. er kt.. C Commer om rcialisering se erin leidt

tot andere keuzes en mogelijkheden en gaat samen met een n gr toename ame vvan het aanbod. am anbod

Om productie en afname beter in elkaars verlengde te kunnen plaatsen zou het goed zijn wanneer

Het stimuleren van de vraag wor ordt belangrijkerr Maar als de kosten niet structureel uit de eigen

landelijke en lokale overheden zich gezamenlijk verantwoor delijk or weten voor alle schakels van de

inkomsten en n kunnen ku worrden n ged gedekt ge en instandhouding ndh dho gewenst nstt is, zal de overheid eiid h het aanbod direct rec ect

keten, in plaats van ieder afzonderlijk voor ĂŠĂŠn van de schakels. Dat past ook bij een praktijk waarin

stimuleren. uleren Dat geldt da daar aar waar w sprake iss vvan an een duidelijkk pub publiek belang en n ee een aantoonbar b r

cultuurr uitingen steeds meer een lokale functie combineren met een (inter)nationale positie.

meerwaar eerrw rde ten opzichte pziicht van het bestaande sta taan aanbod.

Die to toegankelijkheid is, zeker ker iin n een tijd van globalisering, sering, ring vvoorwaare are voor ar vo (het behoud) eho ho van

De overheid stimuleert in de nieuwe situatie meer dan nu via de vraag. Cultuuruitingen die nu

Inter nationale verbindingen

Deze ontwikkelingen gaan gepaaar d met individualisering, ividua uali demograďŹ sche e en n rruimtelijke jke ke ve veranderingen

betrokkenheid b r van burrge gers ers b bij de identiteit van onze nze e ssamenleving. a ng. g D De over ver heid er he heeft eef daarom r een

direct worden r gesubsidiee erd kunnen in de toekomst mogelijk geďŹ nancier er worrden door een

Cultuur geeft gee Nederland d int inter ntern r ationaal aanzien, nzzien en maar ook economisch con ono beschouwd levert de

en met een politiek speelveld dat minder er do door instituties en meer doo door d de publieke ieke e opinie wo wor

belangrijke taak in het ((faciliteren van) behoud ud d en d de ontsluiting uitiing van de ma mate materiĂŤle en immateriĂŤle

combinatie van publieks- inkomsten en pr pogramma- of prrojectďŹ nanciering.

Nederlandse artistieke ke e aaa aanwezigheid int inter nte eraationaal winstt o op. p IInzet op presentaties van Nederlandse

beheerst. De cultuursector heeft alert rt e en assertief op deze ontwikkelingen tw ke ingespeeld. ngessp De nieuwe

geschiedenis van n he het land en zijn bewoners. ers

Internationalisering zorrgt voor grroeiende globale markten, nieuwsgierigheid wsg gierrig en n ui uitw uitwisseling twi g vvan an

cultuur,r maar ook voor zorrg om het verrdwijnen van Nederlandse ndse ttradities, histo historisch tori besef sef en symbolen. olen n.

Het kiezen en bewaren van (im)materieel erfgoed, dat belangrijker elan ang wor worin or in n de d vorming ng van ng va collectieve tiev eve

Een bijzonder ond der aspect betreft de toegankelijkheid eg gank van kennis over ver e en de reďŹ&#x201A;ectie ect ctie op de e eigen gen en

identiteiten, worrdt steeds ingewikkelder e

de gedeelde ge edee e geschiedenis en cult culturele tur waarn aar voor de toekomst ekom ms (â&#x20AC;&#x2DC;rentmeesterschapâ&#x20AC;&#x2122;). meest me pâ&#x20AC;&#x2122;).

cultuur in het buitenland buiten enla wor

mogelijkheden zijn ingezet voor andere vormen van prductie, tie, e, distributie d e en e p publieksbereik, zowel fysiek als virtueel. Een nieuwe generatie makers or

, NVLK LU 9\ T L

kennis (via de pro ogramm meu,r curato or of criticus) ticus) aan een e lokaal, aal, regiona regionaal of (inter)nationaal nter)nation pub bliek.

Samenwerking in de keten

De samenleving amen ontwikkelt zich pe permanent. erm Dat vraagt v om een en voortdurende v aanpassing van

De grenzen van de markt

7 V LJ LU LU U L UH VUH L e p ch ngen

hett culturele cu ult domein: nieuwe we inzi inzichten, publieken u ek en technologieĂŤn ublie ech hno leiden tot nieuwe vormen

onze tijd almaar horizontaler wor ordend karakter van cultuurr. De vanzelfsprekendheid waarmee

van va an productie, r distributie, be bereik en publieke ubliek betekenis. ke enis D De overheid stimuleert en faciliteert

de overheid en de pr pofessionals r traditioneel bepaalden wat wel en wat niet ondersteuning vernt,

daarom r m innovatie en ontwikkeling ont ntw t g bi binn binnen het cculturele ultu u domein bij makers en instellingen.

Maar deze ontwikkelingen werpen ook okk nieu ni nieuwe vragen gen no op. Het publieke deel van de sector verliest

Nederland heeft intern r ationaal een gr gote r naam als het gaat om culturele prestaties en infrastructuur uuret fondssysteem wor ordt internationaal vaak als voorbeeld gezien. anuit V artistiek en economisch oogpunt is

daarmee en andere belangen en andere dan uitsluitend intrinsieke eigenschappen van artistieke

>

10

het van belang daarin te blijven investeren.

11

Figuur 6.7 Verhoudingen structurele V subsidie van ministerie OCW C, gemeenten en provincies aan cultuurproducerende BIS-instellingen in 2009 in n %

Bron: Begroting ministerie van OCW O geven. Beide partijen wor orden gestimuleer erd om verwachtingen en prestaties te toetsen aan een breder

langjarig geďŹ nancie er d en periodiek gevisitee erd door een onafhankelijke commissie. Een n onafhankelijk

De overheid heeft een belangrijke taak in het aanbieden van goed kunstonderwijs. Dat gebeurt

kader.r Het komt tegemoet aan het publieke belang van de opdrachtgever en aan het belang van de

advies geeft een oor or deel over de samenhang, pluriformiteit en toegankelijkheid van de d BIS als geheel.

primair via het kunstvakonderwijs. Voor een goede talentontwikkeling nĂĄ de opleiding is een stevige

maker (of de organisatie). r Bij opdrachten door private partijen maakt het bovendien het maatschappelijk

De politiek besluit (T (Tweede kamer (Tweede er,rPr ovinciale Staten en Gemeenteraad).

Gemeenteraad)

1

2

T alentontwikkeling

In de BIS zijn zeven publieke cultuurfondsen opgenomen: de Mondriaan Stichting, het Fonds Beeldende Kunsten,ormgeving V en Bouwkunst sthet Fonds Podiumkunsten, sten, het Letterenfonds, Le het Filmfonds, het Stimuleringsdrie d i domeinen fonds voor Architectuur en het Fonds Cultuurparticipatie. Zij dragen bij aan dynamiek y in het rijksbeleid en ondersteunen projecten, individuele kunstenaars en culturele instellingen die nu niet rechtstreeks onder de BIS vallen. Het instrumentarium van de fondsen varieert sterk en sluit in principe aan bij de kenmerken en behoeftes van de eigen sector ctoaast r de fondsen ondersteunt het Rijk negen sectorinstituten, die zich bezighouden met (inter)nationale vertegenwoordiging en promotie van de sector ctore educatie- en informatiefunctie, erfgoedtaken, documentatie en archivering, afstemming en coĂśrdinatie. Sectorinstituten verstrekken in tegenstelling tot de fondsen geen subsidies. Het primaire doel van de sectorinstituten is het versterken van het functioneren van de sector als geheel en dus niet alleen de gesubsidieerde instellingen. De functie van fondsen en sector ct instituten onderscheidt zich van de brancheorganisaties, die zich (ook) richten op belangenbehartiging. aandeelhouderschap zichtbaar arDaar Daarom kan de overheid subsidies voortaan ook als opdracht verstrek e

inbedding in de culturele praktijk een voorwaare. ar Dat is ook een veraantwoor antwoodelijkheid ordelijkheid van de makers

( JO L LU

ontwikkelingen. Grenzen tussen hoge en lage cultuur vervagen, het artistieke oorel verandert nolr spelen bij de afweging van wat overheidssteun verent. presentaties gaan meer en meer een

9

duurzame verbindingen te leggen.

kan niet op veel waarrdering rekenen en gaat ook deels voorbij aan nieuwe omstandigheden en

terrein en: wie waarborg r t het publieke liek eke b belang? g? Hett ccultuuraanbod is weliswaar oot, gr maar de pluriforrmiteit wordt r bedreigd wanneer eerr de markt verstoor erst stoo or d raakt door monopolies of commer er ciĂŤle grenzen.

8

als het gaat gaaat om nieuw geĂŻnteresseer eer de publiek, ekk, m media e en distributiewijzen is het zaak cultureel

Een hiĂŤrarchisch r onderscheid in culturele uitingen en waar aren sluit steeds minder aan op het in

( JOLV VN L

opa internationaal r terrein verliest ten

faveure van snel snel el opkomende o economieĂŤn. on Juistt in tij tijden van globalisering en enorme ontwikkelingen gen

De sector publiek beoordeeld

disciplinaire samenwerking

4VU\TLU LU

is sterk toegenomen en instellingen begeven zich h ste steeds teed vakerr bui buiten ite de eigen muren.

Voetnoten â&#x20AC;&#x2DC;cu ultuurâ&#x20AC;&#x2122; word rdt gebruikt uikt als verzamelnaam ver naam van kkunst en n cultuur urwaaaronder er bijvoorbe bijvoorbeeld ook erfgoed fgoed en d de creatieve ieve indust industrie

en de sector zelf. De rol van talentontwikkeling is per discipline verschillend chillend en moet in samenhang

ken en zal het opdrachtgeverschap p g p breed wor oren gestimulee o g gestimuleer erd d. Kunstenaars moeten de gelegenheid g g

Ondersteuning buiten de BIS

met andere functies in de keten (zoals pr oductie en presentatie) wor oren bezien. bezi

krijgen en om zelf geformuleer gefor erde projec prrojec ojecten cten en onderzoekk te ontwikkelen mits dat een meerwa meerwaar ade heeft aar

Buiten de basisinfrastructuur wor ordt de verantwoodelijkheid r van de rijksoverheid voor de pluriformiteit

and d creative industries ies van 27 april 2010 010 waarin aangeg geven wor or hoe de culturele industriie kan

of van uitzonderlijk belang is o of kan worrden.

gerealiseed er door meerjarige en ďŹ&#x201A;exibele ďŹ nanciering van bijvoorbeeld ojecten pr en prrogrammaâ&#x20AC;&#x2122; aâ&#x20AC;&#x2122;. V ia

bijdragen bijd dragen aa aan d de Li Lissabonstrategie ssabonstrat b t t i voor oor meer g gr grii en werkgelegenheid. erkgelegen k l h id

Cultuureducatie

Behalve via het kunstvakonderwijs investeert de overheid ook op an ndere manieren in het o opbouwen van culturele competenties van de bur ur gerr. V ia cultuureducatie en amateurkunst komen meer mensen

Zie e onder an andere he et groenboe ek van de Eurropese e Commissie missie Unlocking Unloc the he potential potentia of cultural

onder meer de fondsen zal het repertoire aan ondersteuning van kunstenaars en nganisaties or worden r

3

The e British A Arts Council ncil â&#x20AC;&#x2DC;Achieving â&#x20AC;&#x2DC;Achiev great eat arts for everyone; one; a strategic strate frame me work fo for the artsâ&#x20AC;&#x2122;.

vergr r root: van kort- en langlopende ďŹ nanciering en opdrachten tot garanties, leningen en micredieten.

4

Onder nder podia verstaan an we een breed scala aan or o granisaties es die kuns kunst en cultuur tuur presenteren prese aan een

Nieuwe, vraaggestuude ur instrumenten die zijn toegesneden op de functie van knooppunten

in aanraking met cultuurr Dat vergroot r niet alleen de toegankelijkheiid en betekenis van cultuur in de d

De betrokkenheid betrrokkenheid van de overheid bij de culturele sector krijgt vorm binnen drie domeinen. Bij

(bijvoorbeeld ďŹ nanciering van programmering) worden r ontwikkeld. Via het faciliteren van

samenleving, maar draagt ook op andere wijze bij aan het publiek belang: van cultuur wor worn mensen

elk van die domeinen gaat het om het bevo or deren ren van pluriformiteit pluriformiteit, toegankelijkheid en innovatie

ondernemerschap r en ncrrowdfunding ng gn ďŹ scale instrumenten wor ordt het maatschappelijk bereik en

slimmer.r

en is maatschappelijk h l k aandeelhouderschap d lh d h een van de d voorwaa voorwaar aa n. Binnen alle aar ll d domeinen is

coďŹ nanciering verrgroot.

publiek: ubliek: van musea tot schouw schouwbugen, ur , van bioscopen biosc tot ot uitgevers, uitgever van tijdschriften ijdschrifte tot fesstivals.

5

Onder nder het cu culturele prroduct wo ordt or r t verstaan staan het rresultaat at van een culturele, c le, creatiev creatieve of artistieke prestatie: estatie: bijvoorbeeld bijv eld een kunstwerk ku k, een noman r n, een voorstelling, oorstelling een ontwerp ntwerp of een com mpositie.

partnerschap tussen nationale en andere overheden van belang. Cultuuruitingen hebben immers steeds meer een inte steed intenationale er nationale, ionale, nationale en regionale/lokale functie functie.

De inhoud en kwaliteit van de cultuureducatie is de afgelopen jaren n verwaarloosd: de nadruk lag

op randvoorwaard r en, planning en coĂśrrdinatie. Met het decentralisere en van bevoegdheden is er in het

Tegelijk kunnen veel cultuuruitingen economisch en praktisch alleen tot stand komen en door het publiek worden r herkend wanneer er sprake is van voldoende continuĂŻteit. Onderzocht moet worn

rijke werkveld van de cultuureducatie een (te) gr grte diversiteit aan doelen en p prg grammaâ&#x20AC;&#x2122; aâ&#x20AC;&#x2122; ontstaan.

Het hedendaagse g brede karakter van de culturele sector vraagt g om interventies en partnerschap p p van

of er vormen van ondersteuning zijn (bijvoorbeeld dmatching grants nts ) die voorzien in de gewenste con n

Ieder kind heeft recht op cultuurronderwijs waar de aandacht uitgaat naar de ker er het kind, het vak, va

de overheid die ver erder d r er strekken dan alleen het beleidsdepartement Cultuur uur ur OCW CW werkt met FinanciĂŤn

tinuĂŻteit maar effectiever zijn voor een goede doorstr str oming in de keten en uitnodigend voor andere partijen

de klas, de school. Het is nodig dat cultuurr- en onderwijswereld samen een prgramma ontwerpen en

samen bij het ďŹ scaal instrumentarium en de vaste boekenprijs; met EL&I bij innovatie en in het

om zich met instellingen te verbinden. Ook vier er - en meerjarige aanbodsubsidies blijven mogelijk.

uitvoeren voor een duurzame en structurele aanpak van het cultuur uur nderwijs. r

economische instrumentarium; met Buitenlandse Zaken in het inter ter nationaal cultuurbeleid en de EU; EU;;

Onder nemen en innoveren

festivals, distributeurs, opdrachtgevers en andere spelers). Bij alle beslissingen spelen pluriformiteit,

Het gaat daarbij vooral om het articuleren van het publiek belang en n om het creĂŤren van maatschap maatsch ch

Reacties op dit document kunt u sturen aan:

De ďŹ&#x201A;exibele ondersteuning is toegankelijk voor de hele culturele sector (makers, pr prucenten, podia,

en met Media M di bij ďŹ lm ďŹ l en documentaires. d i Deze D inte i er edepartementale l partnerschappen h kkrijgen ij met name vorm orm in het domein Prrogrammaâ&#x20AC;&#x2122; aâ&#x20AC;&#x2122;.

Van culturele makers en orrganisaties wordt, r meer dan voorheen, een onder er nemende emende houding verwacht. verwacht

met Justitie bij auteursrecht en ANBI-status, met Onderwijs bij het vakonderwijs en cultuureduc cultuureducatie d i

Gittaa LLuiten, ui e de publieke iekke Cultuurfondsen Cu en n

toegankelijkheid, en meerwaar ar de een belangrijke ol. r Om ook hier het ondernemerschap en

g.luiten@mondriaanfoundation.nl g .lluit aanfou

maatschappelijk aandeelhouderschap te garanderen zal nooit 100% wor den geďŹ nancierd. r Daarbij wordt

pelijk aandeelhouderschap en bereik. Daarbij biedt â&#x20AC;&#x2DC;de marktâ&#x20AC;&#x2122; inspiratie: nieuwe toepassingen kunnen

Basisinfrastructuur (BIS)

wel rekening gehouden met een reĂŤle ver verencapaciteit van experimentele en innovatieve cultuuruitin t

vaak een nuttige o r l in de sector spelen. Innoveren kan alleen door te experimenteren en door risicoâ&#x20AC;&#x2122; c

In een basisinfrastructuur ďŹ nanciert de rijksoverheid instellingen met een uitzonderlijk publiek belang

gen. De ondersteuning van makers vindt waar mogelijk plaats via een opdrachten- en presentatiebeleid.

te nemen: met vallen en opstaan. Subsidies zijn daarvoor vaak niet ďŹ&#x201A;exibel ďŹ&#x201A; genoeg. Daar om aar zijn ook

en een onomstreden meerwaar ar de. De BIS is het domein voor culturele/pr producerende r instellingen die

wwaar mogelijk vervangen door of aangevuld met objectieve verrichtingen, Ook hier wordt peer review

andere instrumenten nodig.

bereid en in staat zijn krachtig te investeren in hun publieke belang en maatschappelijk aandeelhouder u

afgeleide oor ordelen van knooppunten en nprrofessionaleview r w

Marianne ne V Versteegh, erst ,Vereniging iging gK Kunsten â&#x20AC;&#x2DC;92 2 marianneversteegh@kunsten92.nl anne ku unst ste

ing met maatschappelijke partijen. De overheid kan zo de kritische beginfase faciliteren. Deze invester s

j.hubert@fnv-kiem.nl @ nv-kkie

Ter vergr r roting van het maatschappelijk aandeelhouderschap worn nieuwe instrumenten ontwikkeld, twikkke bijvoorbeeld op het terrein van voorďŹ nanciering (leningen), investeringen en bij het stimuleren van

ingen hebben een nmultiplier ereffect cttvoor de cultuurr, maatschappelijke organisaties en het bedrijfsleven:

Instellingen in de BIS hebben een meervoudige opdracht. Centraal daarin staat het primairee puct pr p uct

private investeringen in de cultuu ur . In samenwerking met private fondsen en banken kan bijvoorbeeld

de creatieve sector is tenslotte een belangrijke motor van innovatie.. Een investeringssubsidie is altijd

(collectioneren, presenteren, pr p prduceren, oduceren, uceren, spelen) en de mate waarin publiek w wor ort bereikt. kt Alle

een gezamenlijk waarbor or gfonds worrden opgericht zoals ook in andere maatschappelijke sectoren

eenmalig en tijdelijk: wanneer het resultaat op eigen benen kan staaan, trekt de overheid zich terug.

instellingen nstellingen in de BIS besteden daar daaraast ar naast aandacht aan educatie en aan het bereiken van kinderen en

bestaat.

Beloning en opdrachtgeverschap

inte nationalisering ondenemen. inter onderr emen. Over het totaal van de â&#x20AC;&#x2DC;meervoudige opdrachtâ&#x20AC;&#x2122; maakt de instelling

Er is in Nederland geen behoefte aan een oppermachtige Arts Council. Maar de onderlinge samenwerking

Bij een pluriform aanbod staat het culturele pr prductt5, centraal. Makerss moeten daarvoor reĂŤel woren orren

prestatieafspraken fsp met de overheid. overheid

tussen de fondsen is nodig en gr greiende.Verdere afstemming, samenwerking en bundeling van functies

beloond - zonder hen zou er helemaal geen cultuur zijn. Overheidsin nterventies richten zich daa daar aam op aar

Instellingen in de BIS hebben altijd een nationale en vaak ook een intnationale inter ter nationale er betekenis, maar zijn

ligt voor de hand. Deze afstemming moet plaatsvinden in samenhang met hetgelijkbare ver onderzoek

het faciliteren en stimuleren van een pluriforme pr oductie, gekoppeld d aan de publieke presentatie van

ook stevig g geworteld g in de eigen g stad of regio. g Daar aarm draagt g het Rijk j de centrale verantwoo verantwoor orelijkheid j

dat bij de ondersteunende instellingen wor ort voorrgesteld.Lean and mean an nis daarbij het motto.

het werk, een fatsoenlijke betaling en een zor or gvuldige omgang met auteursrechtelijke uteursrechtelijke teursrechte veroedingen. oedingen

voor de BIS, maar deelt het die in de praktijk met steden en/of regioâ&#x20AC;&#x2122; ioâ&#x20AC;&#x2122;MedeďŹ nanciering van instellingen

Een opdrachtsituatie is een goede vorm om de belangen van de maker en van de subsidiĂŤnt vorm te

in n de BIS BIS door lokale en/of provinciale r overheden ligt dan ook voor de hand.

Henk Scholten, de Sectorinstituten hscholten@tin.nl Siebe Weide, W de Federatie Cultuur

jongeren en kunnen ook activiteiten op het gebied van bijvoorbeeld talentontwikkeling, innovatie en

OCW subsidie in figuur 6.5 is inclusief OCW bijdrage ten behoeve ve van huur sweide@museumvereniging.nl

Bert Holvast, de Cultuurformatie b. holvast@cultuurformatie.nl

maart 2011

Het onderscheid tussen langjarige en vierjarige ďŹ nanciering ver dwijnt. Instellingen in de BIS worrden

12

62 | Cultuur in Beeld

+

= amoun o money

13

Joke Hubert, FNV NV KIEM KI en de Federatie derrat van Kunstenaarsverenigingen tenaaar

schap. Dat blijkt onder meer uit het feit dat deze instellingen een belangrijk aandeel van hun omzet uit eigen g inkomsten halen. halen

Eenmalige investeringen kunnen helpen om nieuwe ideeĂŤn te ontwikkelen, wikkelen, bij voorkeur in samenwer samenwerk we

14

16

112| Cultuur in Beeld

12

www.visibledata.info

Activities _ Serbia

13

Financialization and Cultural Policies

Public Secrecy Follow the – Case of Money Commisions Trail

Visible Data: Public Funding

Exhibition

Discussion

Workshop

Discussion

The workshop “Visible Data” in Youth Center CK13 that was organized from 19th till 21st of September, gathered designers and artists who researched specific problems regarding financing of culture in the local context.

The beginning of the workshop was shifted for later period and short introduction from the seminar program was introduced. Participants had a chance to find out more about transparency issues (short lecture by Kristian Lukić) and the project time-frame and ideas (brief presentation by Marina Lauš).

The mentor of the workshop, Katarína Lukić Balažiková, presented initial info about data visualization followed by some visual examples. After the initial session the work was continued Untitled Folderin more informal manner.

First day of the workshop was spent on identifying the main problems with transparency issues on local level, some of the possible strategies and actions to it. All participants took an active role in identifying the problems with transparency on local level they have encountered so far. From this two small-scale campaigns on transparency issues emerged, first one dealing with overspending of budget and the second one dealing with non-transparency of commissions. During the second and third day participants worked in smaller groups, designing the initial solution for pure data visualizations and smaller diagrams of transparency issues.

The workshop was attended by 10 participants in total, however, some of them did small scale field research for their visual solutions thus were not attending the workshop all the time. At the end of the workshop participants were provided with deadlines for visualization creation. Some of the participants have chosen to work on their budget visualizations and some also have chosen to conduct additional research and create visualizations of some specific problems in culture financing in the local context like Marina Armuš and Miroslav Dajč.

At the end of the workshop the reader for workshop participants was created and distributed to participants. The content of the reader was oriented towards offering help and guidelines for workshop participants during the working period. It contained the guidelines for creating the visualizations, the deadlines list, visual material from the workshop, contact and all other necessary information.

Text by NAPON

www.visibledata.info

Activities _ Serbia

Workshop participants Marina Armuš (RS) Marina lives and works in Novi Sad as a freelancer in the field of art and design. She finished bachelor studies of Graphic Communications at Academy of Arts in Novi Sad. During her studies she participated in many projects, exhibitions, Biennials of students’ posters and photography.

She prefers such design projects as illustrating and photo collaging but is also interested in the progress of the world of multimedia art.

Miroslav Dajč (RS) Miroslav is a designer and an artist born in Novi Sad. He studied at elementary and secondary school and the Academy of Fine Arts in Novi Sad, he is living in Petrovaradin. He works as a new media artist, designer and photographer.

14

Activities _ Serbia

www.visibledata.info

15

Marina Armuš (RS)

Miroslav Dajč (RS)

Invisible juries!

The graphic shows the complex process of gathering information about the names of the jury that decides financing and co-financing in the budget of Municipality of Novi Sad in the sector of culture since is not possible to find these information on the official website of the Municipality.

Let’s clean Serbia of overspending!

In 2009 and 2010 Ministry Environment and Spatial Planning spent 475.000 EUR for PR activity “Let’s clean Serbia”.

Graphic shows what activities could be undertaken if this money would be given to randomly chosen NGO’s for concrete activities. The amount of 475.000 EUR is thus partitioned in 12 parts for 12 NGO’s that in that case would have 39.583 EUR each for one year.

Activities _ Serbia

www.visibledata.info

16

www.visibledata.info

Activities _ Slovakia

Visible Data Bratislava Workshop

Elena Čániová (SK)

He attended some workshops and collective ex-

Currently, he’s focused on complex projects, as

Elena is studying at Visual Communication De-

hibitions (Animate, Teddy-bear,Visible data, SNG

exhibitions or campaigns. Besides designing,

partment at Academy of Fine Arts and Design in

now!) in Slovakia and abroad. He lives between

he organizes several activities connected with

Bratislava. She graduated at Secondary School

Bratislava and Alzbetin Dvor.

graphic design, visual culture or multidisci-

of Applied Arts at Department of Graphics in

plinary approach. Nowadays, he lives and works

Košice. She took part in many artistic workshops

In our part of project, we decided to study the local problems in Bratislava and Bratislava self-governing region. Therefore we had chosen topics that resonate in public – culture in public TV, the efficiency of state culture institutions, distribution of money and overspending in sector of culture, financing of specific “post-socialistic leftover” culture centers or problematic attempts to establish Kunsthalle in Bratislava in last 20 years. These topics were consulted with people from activist initiatives that are already active for couple of years, dealing with cultural policy and data transparency. After that researchers that we invited into the project searched for relevant data that we needed to prove and illustrate these topics and problems.

Here, the data mining was more complicated than while searching the state, regional and municipal culture budgets.

It was difficult to define what we want to highlight and what topics to chose as the most critical from the decent number of already existing problems. At that stage, the key was to formulate exactly the right theme into the right quantitative data so the infographics function as meaningful stories. At the same time we faced problems due to our inexperience – the exact wording of the definition of a research assignment, as well as traceability of the data in such short time frame.

But ultimately, the material that we had collected, managed to create quality results – data visualizations in form of posters created by the students and graduates from Visual communication Department of Academy of Fine Art and Design from Bratislava, Moholy Nagy Design University from Budapest and Academy of Fine Arts from Katowice during the workshop under leadership of Daniel Grosso and Malthe Joris from Catalogtree.

Text by Open Design Studio

Workshop participants & authors of other visualizations Anna Bárdy (HU)

in Bratislava, Slovakia.

in Slovakia. In addition to graphics design, she

Katarína Lukić Balážiková (SK)

works with illustrations, drawings and graphics.

Katarina is freelance graphic designer, research-

In her work, she often joins design and elements

er and ArtD student at Visual Communication

Veronika Melicherová (SK)

from her artwork.

Department at the Academy of Fine Arts and De-

Veronika is fresh graduate of Visual Communi-

sign in Bratislava, where she earned a Master’s

cation Department at Academy of Fine Arts and

degree in Graphic Design in 2006. Her doctoral

Design in Bratislava. At the present time she

Gergely Hangyás (HU)

thesis and practice investigates contemporary

is interested in information and social design,

Gergely achieved his BA degree at the Graphic

critical practice withing graphic design practice.

critical thinking. Her fianal thesis is design for

Design Department of Institute of Applied Arts

She is co-founder of the Open Design Studio,

interactive webpage – mapping of transport op-

in Sopron. He had participated in multiple ten-

which was founded in 2007 in Bratislava, non-

portunities for wheelchair users in Bratislava

ders and has experience in all classic fields of

profit organization which main aim is to present

and proposed a critical view about barriers in

the profession – magazine, poster, book, brand-

graphic design as an open platform for devel-

the physical and social environment. She stands

ing and package design and typography. Re-

opment of critical practice by organzing work-

for the opinion that tools and activities of visual

cently he is studying MA in graphic design at

shops, exhibitions, lectures, talks or individual

communication have problem solving capacity

Moholy–Nagy University of Art and Design. Cur-

projects. Currently she is living and working in

in the public space.

rently he is working as a smart phone developer,

Bratislava, Slovakia. www.krowka.net

designing the user interfaces of applications

Martin Mistrík (SK)

and also finds interesting and useful to gather experiences from other professions. He has been

Roman Mackovič (SK)

Bratislava based graphic designer who earned

working as a freelancer for three years.

Roman is studying in MediaLab, at Visual Com-

his Master’s degree in Graphic Design at the

munication Department at the Academy of Fine

Academy of Fine Arts and Design in Bratislava

Arts and Design in Bratislava. He also attended a

and studied international fellowships at Univer-

Hana Hudáková (SK)

study exchange at the Estonian Academy of Arts

sity of Art and Design (Helsinki) and Academy

Hana Hudakova is currently studying masters

in Tallinn. He is currently interested mainly in

of Fine Arts (Ljubljana). His work was awarded

degree course in Visual Communications at

the field of new media and multimedia. Roman

the Slovak National Prize for Design and by

AFAD. Last year she was awarded Bachelor of

thinks that goals of data-visualisations are an

Creative Contest in Milan. Besides cultureori-

Arts degree at Dublin Institute of Technology,

efficient way to express abstract information,

ented work he is an active co-founder of OPEN

Ireland. Every design problem is a challenge she

to attract public attention and to provide much

DESIGN STUDIO, co-founder of the project Beat

likes to take on and I enjoy collaborating with

easier access and understanding of complex

The Billboard, and an inseparable visual part of

talented people. This is one of the reasons she

data. Roman is the author of logotype and visual

the gastronomic project Wafličky. Recently he

joined team working on Visible data in 2011.

identity of the town of Martin, which is a cultur-

established his own company ZELENÁ LÚKA. His

She won several competitions such as Artifact

al centre of Slovaks. www.romanmackovic.com

life motto “everything is possible” is crucial to

in Ireland and has been Highly Commended

his work. www.zelenaluka.sk

by the Institute of Designers in Ireland at the IDI Graduate Design Awards 2011. Her work has

Alicja Masiukiewicz (PL)

also been exhibited in the Irish Pavilion at the

Alicja is student of Printmaking and Graphic

Ivana Palečková (SK)

Shanghai Expo 2010. Apart from that she can

Design at Academy of Fine Arts and Design in

Ivana is studying at the Academy of Fine Arts

solve a Rubik’s cube, she is allergic to bee stings

Wrocław. She attended study exchange at Acad-

and Design in Bratislava. She is currently in

and likes Dr Who. www.hana.hudak.info

emy of Fine Arts and Design in Bratislava in 2011.

the 6th semester and is attending the Visual

She works in more fields of graphic design – game

Communication Department. Before the stud-

board project, packaging, poster design and visual

ies at Academy of Fine Arts she has completed

Anna Jablonowska-Holý (PL)

identities. Recemtly she works on branding and

the 4 year program at the Bratislava School of

Anna was born in Warsaw (PL), has studied

video clip for polish music band The Tweenings.

Applied Arts. Ivana is currently working on the

product design in Cracow and has finished her

visual identity for the Trnava Poster Triennial –

master degree at Visual Communication De-

international poster competition held annually

partment at Academy of Fine Arts and Design

Jakub Mašita (CZ)

in Slovakia. Besides that she cooperates with

in Bratislava (SK) in 2011. Now she is Brussels-

Jakub is studying in Graphic Design at Visual

Slovak Theater Institute, where she creates dif-

based designer with a lot of new ideas on her

Communication Department of Jan Evangelista

ferent types of visual communication materials.

mind. She liked the workshop Visible Data with

Purkyne in Usti nad Labem. He also attended

Catalogtree because of their intelligent approach

a study exchange at Academy of Fine Arts and

to projects and how visualize data and deal with

Design in Bratislava and Academy of Arts, Ar-

Lubica Segečová (SK)

information overload. Anna still believes that

chitecture and Design in Prague. Currently he is

Lubica was awarded Bachelor at the Department

designers can help save the world, you can see

interested mainly in the field of new media and

of Visual Communication and Master at the

that in her diploma work www.tugd.info which

typography. jakub.masita@gmail.com

Department of Product Design at the Academy

was shown in DMY Berlin 2012.

of Fine Art and Design in Bratislava. She was

Anna is a graphic designer born in Budapest. She

awarded the Rector of the AFAD Prize 2011 for her

is currently studying for a Master’s degree at

Branislav Matis (SK)

final master project. She is the co-founder of the

the Graphic Design Department of Moholy-Nagy

Juraj Kočár (SK)

Braňo is a freelance graphic designer and a Phd.

informal group “Design on wheels”(2006 – 2009)

University of Art and Design in Budapest, Hun-

Juraj is student of visual communication, cur-

Student at AFAD in Bratislava. He si active in

which was awarded National prize for design in

gary. She is a freelancer in the field of graphic

rently finnishing bachleor degree and is plan-

wide range of projects, including the designs for

2009. In 2011 together with Silva Lovasova and

design and currently works as an interns at

ning to continue studying the Master‘s degree

the commercial sphere, various cultural proj-

Sylvia Jokelová she founded an art-design studio

a Budapest-based design studio.

at The Department of Visual Communication at

ects and projects focused on design activism.

“Trivjednom” (Three in one). Ľubica currently

Academy of Fine Arts and Design in Bratislava.

He has designed various magazines and books.

works as graphic and product designer.

17

Activities _ Slovakia

www.visibledata.info

18

www.visibledata.info

Activities _ Slovakia

19

www.visibledata.info

Activities _ Slovakia

DOTAèNĂ? SYSTĂ&#x2030;M BRATISLAVSKĂ&#x2030;HO SAMOSPRĂ VNEHO KRAJA 36 000 â&#x201A;Ź

Workshop participants Anna Jablonowska-HolĂ˝ (PL) Roman MackoviÄ? (SK) Lubica SegeÄ?ovĂĄ (SK)

TVOJE NĂ KLADY NA PRĂ?PRAVU Ĺ˝IADOSTI O GRANT 375 â&#x201A;Ź

Want to do culture in Bratislava? â&#x20AC;&#x153;If you want to do an independent culture in Bratislava, you got to know your options. We have visualized three systems which can be used for funding of independent culture in Bratislava â&#x20AC;&#x201C; grant system of the Ministry of Culture, grant system for the Bratislava region and grant system of Bratislava. To make decisions easier, graphs indicate the time consuming bureaucracy of systems, calculated according to average wages in Bratislava.â&#x20AC;?

GRANTOVĂ? SYSTĂ&#x2030;M MINISTERSTVA KULTĂ&#x161;RY SR 14 861 200 â&#x201A;Ź*

Workshop participants Gergely HangyĂĄs (HU) Hana HudĂĄkovĂĄ (SK) Alicja Masiukiewicz (PL)

TVOJ PRIEMERNĂ? ZĂ?SKANĂ? GRANT 1 160 â&#x201A;Ź

TY CHCEĹ ROBIġ KULTĂ&#x161;RU V BRATISLAVE? GRANTOVĂ? SYSTĂ&#x2030;M MINISTERSTVA KULTĂ&#x161;RY SR

VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO

DOTAèNĂ? SYSTĂ&#x2030;M BRATISLAVSKĂ&#x2030;HO SAMOSPRĂ VNEHO KRAJA

DOTAèNĂ? SYSTĂ&#x2030;M MESTA BRATISLAVA ARS BRATISLAVENSIS

ZDROJ: ROZPIS ROZPOèTU NA ROK 2011 V PROGRAMOVEJ Ĺ TRUKTĂ&#x161;RE. MATERIĂ LY MK SR â&#x20AC;&#x201C; DOSTUPNĂ&#x2030; NA POĹ˝IADANIE. WWW.CULTURE.GOV.SK, WWW.REGION-BSK.SK, WWW.BRATISLAVA.SK, Ă&#x161;DAJE ZĂ?SKANĂ&#x2030; Z VEREJNĂ&#x2030;HO PRIESKUMU.

Š ANNA JABÄ&#x161;ONOWSKA-HOLĂ?, Ä&#x2013;UBICA SEGEèOVĂ , ROMAN MACKOVIè, 2011

DOTAèNĂ? SYSTĂ&#x2030;M MESTA BRATISLAVA ARS BRATISLAVENSIS 78 900 â&#x201A;Ź

TVOJE NĂ KLADY NA PRĂ?PRAVU Ĺ˝IADOSTI O GRANT 150 â&#x201A;Ź

TVOJE NĂ KLADY NA PRĂ?PRAVU Ĺ˝IADOSTI O GRANT 435 â&#x201A;Ź

TVOJ PRIEMERNĂ? ZĂ?SKANĂ? GRANT 3 272 â&#x201A;Ź

TY CHCEĹ ROBIġ KULTĂ&#x161;RU V BRATISLAVE? GRANTOVĂ? SYSTĂ&#x2030;M MINISTERSTVA KULTĂ&#x161;RY SR

DOTAèNĂ? SYSTĂ&#x2030;M BRATISLAVSKĂ&#x2030;HO SAMOSPRĂ VNEHO KRAJA

DOTAèNĂ? SYSTĂ&#x2030;M MESTA BRATISLAVA ARS BRATISLAVENSIS

TY CHCEĹ ROBIġ KULTĂ&#x161;RU V BRATISLAVE? GRANTOVĂ? SYSTĂ&#x2030;M MINISTERSTVA KULTĂ&#x161;RY SR

VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO

ZDROJ: ROZPIS ROZPOèTU NA ROK 2011 V PROGRAMOVEJ Ĺ TRUKTĂ&#x161;RE. MATERIĂ LY MK SR â&#x20AC;&#x201C; DOSTUPNĂ&#x2030; NA POĹ˝IADANIE. WWW.CULTURE.GOV.SK, WWW.REGION-BSK.SK, WWW.BRATISLAVA.SK, Ă&#x161;DAJE ZĂ?SKANĂ&#x2030; Z VEREJNĂ&#x2030;HO PRIESKUMU.

TVOJ PRIEMERNĂ? ZĂ?SKANĂ? GRANT 1000 â&#x201A;Ź

* UVEDENĂ SUMA NEZAHÄŠÄ A PROGRAM MIMORIADNE KULTĂ&#x161;RNE AKTIVITY V RĂ MCI GS (NĂ RODNĂ? CINTORĂ?N V MARTINE) A PROGRAM EURĂ&#x201C;PSKE HLAVNĂ&#x2030; MESTO KULTĂ&#x161;RY (KOĹ ICE).

DOTAèNĂ? SYSTĂ&#x2030;M BRATISLAVSKĂ&#x2030;HO SAMOSPRĂ VNEHO KRAJA

DOTAèNĂ? SYSTĂ&#x2030;M MESTA BRATISLAVA ARS BRATISLAVENSIS

Š ANNA JABÄ&#x161;ONOWSKA-HOLĂ?, Ä&#x2013;UBICA SEGEèOVĂ , ROMAN MACKOVIè, 2011

VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO

ZDROJ: ROZPIS ROZPOèTU NA ROK 2011 V PROGRAMOVEJ Ĺ TRUKTĂ&#x161;RE. MATERIĂ LY MK SR â&#x20AC;&#x201C; DOSTUPNĂ&#x2030; NA POĹ˝IADANIE. WWW.CULTURE.GOV.SK, WWW.REGION-BSK.SK, WWW.BRATISLAVA.SK, Ă&#x161;DAJE ZĂ?SKANĂ&#x2030; Z VEREJNĂ&#x2030;HO PRIESKUMU.

Š ANNA JABÄ&#x161;ONOWSKA-HOLĂ?, Ä&#x2013;UBICA SEGEèOVĂ , ROMAN MACKOVIè, 2011

Sufficiency of culture in Bratislava â&#x20AC;&#x153;In Slovakia, many people complain about poor quality and lack of culture.

At ďŹ rst sight, it seems that Bratislava gives sufficient funds, but the money go mostly to institutions â&#x20AC;&#x201C; so called â&#x20AC;&#x153;cultural housesâ&#x20AC;? in city districts which are a kind of socialistic relic. Despite itâ&#x20AC;&#x2122;s quality they continue to survive because of these public subsidies while Bratislava has no real cultural center. While analyzing these data, we have also discovered that it is not easy to ďŹ nd out how much culture in these institutions objectively is. We want the audience itself to think whether activities such as language courses, exhibition of minerals or tea at ďŹ ve are adequate cultural activity worth city representation or they are more suitable for a community centers. Therefore we decided to show information about ďŹ nancing of these activities with help of pictograms which are the universal language of infographics. Each program activity of selected â&#x20AC;&#x153;culture housesâ&#x20AC;? in Bratislava was assigned a particular pictogram. To pictograms we have added information about how much money particular center is receiving a certain year, and it resulted with the poster that explains with simple visual language how much money goes to the implementation of activities called â&#x20AC;&#x153;cultureâ&#x20AC;? in a particular centers.â&#x20AC;?

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Vzniklo na workshope Visible Data 2011. www.visibledata.info Zdroje: http://www.staremesto.sk/sk/content/kulturne-centra/section:visitor, http://www.staremesto.sk/data/MediaLibrary/3/3109/Zavucet_rozp_2010.pdf www.kzp.sk/?page=dk-zrkadlovy-haj http://www.petrzalka.sk/index.php?id_menu=64443 www.kzp.sk/?page=dk-luky http://www.petrzalka.sk/index.php?id_menu=64443 http://www.skvajnorska.sk/index.php?option=com_content&view=article&id=5&Itemid=6 http://www.banm.sk/data/ďŹ les/1582_ďŹ ler2010.pdf http://www.skvajnorska.sk/index.php?option=com_content&view=article&id=12&Itemid=16 http://www.banm.sk/data/ďŹ les/1582_ďŹ ler2010.pdf http://www.cultus.sk/program.html http://www.ruzinov.sk/images/stories/mestska_cast/Zaverecny%20ucet%20za%20rok%202010.pdf http://web.dkdubravka.sk/program.php?show=all http://www.dubravka.sk/sk/Samosprava/Rozpocet/Rozpocet-na-rok-2010.alej

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VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO /// ZDROJ: HTTP://BRATISLAVA.SME.SK/C/5247975/ZIMAK-PREDPOKLAD-BOL-NA-STYRI-MILIARDY-KORUN.HTML HTTP://WWW.GIB.BRATISLAVA.SK/VISMO/ZOBRAZ_DOK.ASP?ID_ORG=600179&ID_KTG=1018&P1=1013

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Malnourished culture “The theme of undernourished culture focuses on the financing of independent theaters and theaters which are subsidized by state, city or county. While many theaters have to apply for money in various grants and funds, others are receiving large sums automatically. Although, differences in production performance, attendance, and created jobs are not as massive as the funding gap. To show such disproportions, we compared and put together the number of performances, visits, that can be realized with the same amount of money. The visualization is based on the circles on the water because if we throw the same stone into the water it can create different waves depending on the different circumstances.”

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VEDELI STE

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PÔVODNE SA RÁTALO, ŽE NÁS REKONŠTRUKCIA VYJDE NA 74.000.000 EUR. SUMA SA CEZ RÔZNE DODATKY ZVÝŠILA NA 86.000.000 EUR

Workshop participants Juraj Kočár (SK) Ivana Palečková (SK) Basia Pospischil (PL)

www.visibledata.info

Activities _ Slovakia

GU

REKONŠTRUKCIA ŠTADIÓNA ONDEJA NEPELU

21

VÁ NO

852.090.000

96.000.000

CELKOVÁ SUMA V EUR

.....................................................................................................................................................................................................................................................................................................................................................................................................................................

....................................................................................................................................................................................................................................................................................................................................................................................................................

...............................................................................................................................................................................................................................................................................................................................................................................................

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RADOŠINSKÉ NAIVNÉ DIVADLO BRATISLAVA

The lack of state funding for culture?

“Budgets and usage of public money has always been criticized and discussed issue in our region. Almost all problems in culture were excused with well-known argument of continuous lack of money at this sector. But as more financial affairs at different sectors were presented in media, last years show there has always been enough money – but was often wasted or used in not proper way.

In other words, instead of these untrusted financial flows, the money could be used in sector of culture. In practical way we can only hardly imagine these wasted amounts we are talking about. Therefore, we helped the audience – we presented various examples of how much culture we could finance from this sum of money.

The first visual solution of poster reflecting this problem uses the phrase “a hole in the budget”. How about translating it into visual form? Creating a hole in the poster directly shows the metaphor of finance leaks. The obtained data are proportional to visualizing graph which shows the complete area of the poster and the total budget leak in it is the amount of wasted money. ´And what would you do with that amount?´ Such an attractive idea draws the viewer into the problem directly on the spot. We reserved the special place where you can write your own ideas how the wasted money could be used in culture sector.

In the second solution, we wanted to show few financial leaks in simple graphs.

The bending of the poster outward allows the viewer to discover something hidden.

Posters should be placed on the corners of buildings so the black wasted part of money is behind the corner. The sharp visual contrast shows the use of public money and in the same time also creates a moment of mystery and ambiguity.”

CELKOVÁ SUMA V EUR

Workshop participants Anna Bárdy (HU) Elena Čániová (SK) Anna Salomon (PL)

www.visibledata.info

Activities _ Slovakia

DIV AD

20

( A VRAJ NIE SÚ PENIAZE NA KULTÚRU…)

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VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO ZDROJ: HTTP://WWW.SLOVAKRADIO.SK/RADIO-SLOVENSKO/SPRAVY/KOLKO-BUDU-STAT-VOLBY?L=2&I=21882&P=1

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DIVADLÁ FINANCOVANÉ ŠTÁTOM, MESTOM ALEBO SAMOSPRÁVOU NEZÁVISLÉ DIVADLÁ

ASTORKA KORZO ´90 BRATISLAVA 0,84 PRACOVÍKOV

NOVÁ SCÉNA BRATISLAVA 0,62 PRACOVÍKOV

RADOŠINSKÉ NAIVNÉ DIVADLO BRATISLAVA 6,69 PRACOVÍKOV

SLOVENSKÉ NÁRODNÉ DIVADLO

DIVADLO A.HA MALÁ SCÉNA STU BRATISLAVA 1,65 PRACOVÍKOV

0,55 PRACOVÍKOV

GUNAGU BRATISLAVA

ARÉNA BRATISLAVA

0,52 PRACOVÍKOV

ASTORKA KORZO ´90 BRATISLAVA 1,11 PREDSTAVENÍ

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RADOŠINSKÉ NAIVNÉ DIVADLO BRATISLAVA 14,35 PREDSTAVENÍ

NOVÁ SCÉNA BRATISLAVA 0,76 PREDSTAVENÍ

GUNAGU BRATISLAVA 5,68 PREDSTAVENÍ

MDPOH BRATISLAVA 025 PRACOVÍKOV

1,25 PRACOVÍKOV VZNIKLO NA WORKSHOPE VISIBLE DATA 2011. WWW.VISIBLEDATA.INFO ZDROJ: DIVADELNÝ ÚSTAV V BRATISLAVE

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SLOVENSKÉ NÁRODNÉ DIVADLO

DIVADLO A.HA MALÁ SCÉNA STU BRATISLAVA 3,14 PREDSTAVENÍ

0,45 PREDSTAVENÍ

MDPOH BRATISLAVA 0,40 PREDSTAVENÍ

22

Workshop participants Jakub Mašita (CZ) Veronika Melicherová (SK) Lucia Šimková (SK) The ratio of cultural programs in televisions STV2 / CT2 / RTS2 “The theme of visualization is the question of sufficiency or deficiency of culture in the public media. It focuses on the proportion of real quality and presentation of culture in STV2 (Slovak television) compared with other European public broadcasters (Czech, Serbian). On the basis of a weekly television program sample, we mapped the representation of cultural programs and their timeliness.

The whole format of the poster is a weekly broadcast range in hours. The thickness of the strip indicates the length of broadcast program. Another layer of information can be retrieved from the richness of black graphic elements – black represents 100% of the actual premiere cultural programs produced in 2011, 80% is re-run of these programs, 50% is re-run of cultural programs produced in 2010 and 20% is re-run of programs that were produced before 2010. Addressing the question of culture in the Slovak media processing via concrete data showed considerable disparity to selected European televisions, and it points to a deficit of culture in the Slovak public television and the lack of information about current cultural events in the media.”

www.visibledata.info

Activities _ Slovakia

P

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06:00

KULTÚRNE PROGRAMY STV 2 3/10/2011 9/10/2011 REPRÍZY AKTUÁLNYCH KULTÚRNYCH PROGRAMOV

12:00

AKTUÁLNE KULTÚRNE PROGRAMY

18:00 REPRÍZY KULTÚRNYCH PROGRAMOV STARŠÍCH AKO 2010

REPRÍZY KULTÚRNYCH PROGRAMOV ROKU 2010

00:00

23

Author of other visualizations Katarína Lukić Balážiková (SK) PF 2012 for the Culture “PF cards in e-mail versions with little provocative content were addressed to all Bratislava City and Bratislava Self-governing Region politicians, council members and magistrates and all members of National Council of Slovak Republic.

They looked like typical New Year’s wish but instead of a traditional wish, there was wish for better financing of culture argumented with real facts as numbers and percentages. PF cards were visually connected with the Visible data projection and contained the same data and information about the local and national problems in financing culture in Slovakia.

In order to communicate these problems within cultural public PF cards as images were posted also on Facebook to use this most-common contemporary medium.”

zdroj: http://www.ceskatelevize.cz/tv-program/

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06:00

KULTÚRNE PROGRAMY CT 2 3/10/2011 9/10/2011

12:00

AKTUÁLNE KULTÚRNE PROGRAMY

18:00

REPRÍZY AKTUÁLNYCH KULTÚRNYCH PROGRAMOV

00:00

REPRÍZY KULTÚRNYCH PROGRAMOV STARŠÍCH AKO 2010

zdroj: http://www.ceskatelevize.cz/tv-program/

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KULTÚRNE PROGRAMY RTS 2 3/10/2011 9/10/2011 REPRÍZY KULTÚRNYCH PROGRAMOV ROKU 2010 REPRÍZY AKTUÁLNYCH KULTÚRNYCH PROGRAMOV

12:00

18:00 AKTUÁLNE KULTÚRNE PROGRAMY

00:00

zdroj: http://www.rts.rs/page/tv/sr.html

Visible data projection “The animation played on the plasma screen at gallery space and on one of it’s walls was informing and alerting about the occurrence of interesting facts and numbers in public funding of culture in Slovakia. Such direct imaging of the data without the mutual relations and direct comparison are similar to dynamic processes of continuous change in the financial and investment sector and are therefore great contrast with the the slow and stagnant culture sector in Slovakia.

In this way, animation parodied the invisibility of these data and the lack of discourse on many issues about financing culture in public in Slovakia.”

Activities _ Slovakia

www.visibledata.info

24

Author of other visualizations Martin Mistrík (SK) Ideal recipe Preparation of grant projects requires much more than the execution of the event. It is exceptionally time-consuming work into which great effort is put during the whole preparation process, however, it does not always end by the initial vision.

The project of financing transparency has stirred up a visualization of our own resourses – we had processed our grant effort for Visible Data. It is the same as to bake a cake – at the beginning there is an optimal taste-idea. After meeting financial reality you must work with much poorer resources – ingredients. Do not forget that the cake must be tasteful, otherwise, you will have to give it back.

However, to satisfy eaters still lies on the shoulders of NGOs.

www.visibledata.info

Activities _ Slovakia

Author of other visualizations Branislav Matis (SK)

Visible Data 2011—2012 financovanie projektu

Svätopluk or maecenate in Slovak Behind the origin of a statue of Svätopluk who is interpreted as the first Slovak king, stands an initiative of members of political party Smer. It was realized from private resources – mainly of politicians’ salaries, kindred enterpreneurs or state enterprise’s money; realized by the means of a great fund-raising campaign. Presumptive costs had been 270.000 €, campaign’s payoff was 129.870 €, real costs are not known. The question is whether the statue is a memorial of “the first Slovak king” or of political party and it’s chairman, and whether “a private initiative” is not mostly funded from public resources.

sviečka 1 ks

100 %

(100 % z prenájmu)

marcipánová poleva

ideálny recept

(100 % z produkcie)

alginát 30 ks (100 % zo služieb) 6 kg hmotnosť pre 93 osôb

dobošková plnka (100 % z ubytovania)

biely krém 30 ks (100 % z honorárov)

cesto (100 % z tlače materiálov)

marcipánové písmo 11 ks (100 % z cestovného)

35,39 %

marcipánová poleva

2,12 kg hmotnosť pre 33 osôb

alginát 5 ks

(59,09 % z produkcie)

reálny recept

(17,64 % zo služieb)

dobošková plnka (63,93 % z ubytovania)

25

v data

biely krém 11 ks (36,32 % z honorárov)

marcipánové písmo 5 ks

cesto

(40,95 % z cestovného)

(65,43 % z tlače materiálov)

Pozn.

Žiadané od

Žiadaná suma v €

Získaná suma v €

Získané v %

Žiadané položky

Získané v %

Uvedené % sú odvodené od reálnej grantovej

Visegrad Fund

16.8000

8.000

47,62 %

tlač materiálov

65,43 %

snahy Open Design Studia pri projekte Visible

European Culture Foundation

28.400

20.000

70,42 %

ubytovanie

63,93 %

Data. Do projektu je zapojených 6 partnerských

Ministerstvo kultúry SR

28.410

2.800

9,86 %

produkcia

59,09 %

krajín (Česká republika, Holandsko, Maďarsko,

Veľvyslanectvo holandského kráľovstva

910

510

56,04 %

cestovné

40,95 %

Poľsko, Slovenská republika, Srbsko), preto sú

Ars Bratislavensis

3.220

0

0%

honoráre

36,32 %

sumy celkové, distribuované medzi všetkých

Intenda

6.850

0

0%

služby

17,64 %

zúčastnených partnerov.

Nadácia otvorenej spoločnosti

3.870

0

0%

prenájom

0%

Activities _ Slovakia

www.visibledata.info

26

www.visibledata.info

Activities _ Slovakia

Author of other visualizations Martin Jenča (SK) 13 + 7 = 0 A simplified visualization of a tale of ambitions to create Slovak Kunsthalle since the first ideas to the present. Infographics of bubbles, in the opposite directions to time ax, points at important milestones (thoughts).

Kauza Kunsthalle.

14 rokov, 7 ministrov kultúry, 0 kunsthalle.

Ivan Hudec

Návrh 28/1/1999

Prezentácia

1/5/1999

Milan Kňažko

Poverenie 1/2001

Návrh 24/1/2003

Návrh

Rudolf Chmel 3/2004

Príprava 3/6/2004

Prísľub 2/2005

Vymenovanie poradného orgánu

25/2/2005

Otvorený list 20/4/2005

6/2005

3/2005

Legislatíva neumožnuje zriadenie

Neúspešné výberové konanie

1/2006

František Tóth

Úvahy 30/5/2006

Rudolf Chmel

Pozastavenie Domu Umenia

1/6/2006

Zrušenie riaditeľky Domu Umenia

13/6/2006

Otvorený list

8/2006 Úloha iniciovať vznik Kunsthalle

Otvorený list

Ivan Hudec

6/2007

Dom Umenia v organízácii NOC

7/2008 Zriadenie rady pre vypracovanie zámeru

17/12/1997

Návrh

12/2008 Schválený zámer

28/1/1999

Milan Kňažko

12/2008

Odklad

1/2010 Oslovenie finančnou skupinou Penta ohľadom využitia Jurkovičovej teplárne

Poverenie 1/2001

11/2/2010

24/1/2003

Rudolf Chmel

18/6/2010

3/2004

Otvorený list

3/6/2004

Prísľub 2/2005

25/2/2005

Otvorený list 20/4/2005

6/2005

Úvahy František Tóth

Úvahy

19/12/2011

30/5/2006 Pozastavenie Domu Umenia

Minister kultúry Daniel Krajcer podpísal zmluvu so súkromnou spoločnoťou o vzniku novej inštitúcie typu Kunsthalle

Rudolf Chmel

13/6/2006

Otvorený list

8/2006

Danubiana Slovenské centrum vizuálnych umení

Marek Maďarič

20/12/2011

Výzva

Úloha iniciovať vznik Kunsthalle

Úvahy

13/2/2007

Otvorený list

na odvolanie ministra kultúry Daniela Krajcera

23/12/2011 Slovenská výtvarná únia sa zastáva rozhodnutia ministra kultúry.

6/2007

Dom Umenia v organízácii NOC

7/2008 Zriadenie rady pre vypracovanie zámeru

7/1/2012 12/2008 Schválený zámer

Výzva

12/2008

Odklad

na zrušenie neziskovej organizácie Danubiana založením novej organizácie typu Kunsthalle.

1/2010 Oslovenie finančnou skupinou Penta ohľadom využitia Jurkovičovej teplárne

Úvahy

4/11/2010 Zámer iniciovať vznik

11/2010

3/2005

Legislatíva neumožnuje zriadenie

Neúspešné výberové konanie

1/2006

1/6/2006

4/11/2010

Stretnutie

Vymenovanie poradného orgánu

Zrušenie riaditeľky Domu Umenia

Odpoveď na výzvu

13/4/2010 Verejná diskusia

Príprava

Nové pracovisko Dom Umenia

1/3/2010

Výzva na objasnenie

Úvahy

Návrh Návrh

Marek Maďarič

Úvahy

13/2/2007

Prezentácia

11/2/2010 Výzva na objasnenie

16/1/2012

Diskusia

1/3/2010 Odpoveď na výzvu

Slovenskej výtvarnej únie s ministrom kultúry.

16/1/2012

Danubiana bude múzeum

13/4/2010 Verejná diskusia

18/6/2010

4/11/2010

Stretnutie

11/2010

Úvahy

16/1/2012

Daniel Krajcer

Otvorený list

Visible Data, financing culture

17/12/1997

Nové pracovisko Dom Umenia

1/5/1999

27

Kunsthalle sa odkladá

4/11/2010

Zámer iniciovať vznik

26/1/2012

Plánovaná diskusia 14 rokov

Slovenskej výtvarnej únie s ministrom kultúry.

Daniel Krajcer

Exhibition

Activities _ Slovakia

www.visibledata.info

28

Visible Data _ financing culture 2011—2012

www.visibledata.info

Project partners Visible Data financing culture 2011—2012 www.visibledata.info Project partners: Institute for Flexible Cultures

Mediamatic

and Technologies – Napon,

Mediamatic is a cultural organization based in

www.napon.org

Institute for Flexible Cultures and Technologies – Napon

Open Design Studio

Mediamatic, www.mediamatic.net

of new media, art, culture and society. Media-

Open Design Studio is an independent initia-

Momeline, www.momeline.hu

matic has been around since 1983. Thanks to

Institute for Flexible Cultures and Technologies

tive and design platform whose aspiration is to

Open Design Studio,

background in both art and theory, we were

– Napon is an independent cultural organization

promote an open approach and understanding

www.opendesignstudio.net

able to provide a new, sometimes uncanny, but

oriented toward collaboration with artists, theo-

of visual communication and graphic design. It

STGU – Association of Applied Graphic

always surprising view of the world of mod-

reticians, researchers, sociologists and policy

was launched in 2007 by graphic designers and

Designers, www.stgu.pl

ern media. We are interested in the cultural

makers in the research of new media technolo-

transformed into a non-governmental organiza-

developments that go hand in hand with new

gies and practices, critical theory and cultural

tion in 2008. The organization makes an effort

Coordination teams:

technologies and in new technologies that cause

policy. Napon is organized into four sections:

to organize critical educational informative

Institute for Flexible Cultures

cultural development. We organize exhibitions,

educational (workshops), informative (public

activities and to focus on the crucial potential

and Technologies – Napon: Marina Laus,

salons, lectures, workshops, screenings in public

lectures, website, conferences, discussions and

of the graphic design. Its main aim is to pres-

Kristian Lukić, Igor Zarol /

spaces and develop software and art projects.

presentations), production (exhibitions and

ent graphic design as an open platform for the

Mediamatic: Marjoleine Timmer /

Mediamatic Foundation works independently

cultural policy development) and publication

development of critical practice through orga-

Momeline: Maxim Bakos / Open Design

together with Mediamatic Lab. Mediamatic Lab

(books, catalogues and transcriptions).

nizing workshops, exhibitions, lectures, talks or

Studio: Zuzana Devaliere, Katarína Lukić

develops websites and social software applica-

Napon is also a member of the network of cul-

individual projects. The project´s objectives also

Balážiková, Branislav Matis, Martin

tions for clients.

tural organizations and individuals called Initia-

encompass establishing a network of designers

Mistrík / STGU – Association of Applied

Our exhibitions make connections between de-

tive for cultural Policies (Za kulturne politike

with a interest in critical practice, which are

Graphic Designers: Angelika Gromotka,

velopments in new media, art and culture. The

www.zakulturnepolitike.net). During the last

interested in re-defining the issues relating

Dawid Korzewa

exhibitions often have strong ties to DIY culture,

year, the network has been attaining the goal

to visual communication and graphic design.

and visitors actively participate wherever and

of improving the cultural policy in the City of

Open Design Studio addresses critical topics

Data research:

whenever possible.

Novi Sad and Vojvodina.

within the visual culture and graphic design

Ivana Herichová (SK), Marta Smolíková –

Artists, designers, researchers and other makers

www.napon.org

domains, approaching problems from diverse

Pro Culture (CZ), Magdalena Sówka (PL),

present and discuss their work during lectures,

social and political aspects and, at the same

Transparency Serbia: Nemanja Nenadić

performances, concerts, screenings and parties.

time, provides an outlook on graphic design as

(RS), Rade Đurić (RS), Bojana Medenica

www.mediamatic.net

an open and critical discipline.

(RS), Transparency International

www.opendesignstudio.net

Hungary, Gabriela Tydlitátová (SK)

Amsterdam with an independent programme

Publication editors and design: Open Design Studio

MOMEline Insofar as design means the purposeful plan-

Typeface:

ning of visual culture, this concept is inextrica-

Greta Text, Greta Display Pro

society, culture and the environment. The Mo-

STGU – Association of Applied Graphic Designers

Publication print:

holy-Nagy University of Art and Design occupies

The main goal of the Association of Polish

Petit Press, a. s.,

a unique place in Hungary in offering instruc-

Graphic Designers (Stowarzyszenie Twórców

www.tlaciaren.petitpress.sk

tion in architecture, media and design. Beyond

Grafiki Użytkowej – STGU) is to defend the cre-

its educational services as well as research and

ative independence of designers together with

development activities, the University strives

the rules and regulations of reliable professional

to integrate these areas and, further, to promote

design and the prestige of the graphic designer

their social and cultural functions. MOME line

profession. The Association was established in

– design works has been set up for this purpose.

2004 and since that time we are promoting the

Committed to the above approach, it undertakes

idea of ‘good design’ and the need to invest in

to fulfill the role of mediator among wide vari-

professional design as a practical tool to manage

ety of initiatives, be they business, art or social

branding, corporate strategy and public space.

investments and our creative human resources.

We organize workshops, exhibitions, national

www.momeline.hu

and international graphic competitions. We

bly bound to the process of interaction between

Financial support:

bring together graphic designers and other visual authors in Poland and raise the level of visual culture in the society. We cooperate with public and private sector, commercial companies, government institutions, non-governmental sector, cultural sector and education sector. We are connecting graphic designers and authorities.

See visible budgets online! www.visibledata.info

www.stgu.pl

Media partners: