All articles tagged: arts funding

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What Matters

‘What Matters’ was the last of a series of salon conversations as a part of the Xavier Le Roy _In Dialogue public program, co-presented by Dancehouse with MPavilion. The conversations aimed to link dance and choreography to current issues in art and society; highlighting the connections between the thinking, moving body and contemporary aesthetic, cultural and political issues. Led by Angela Conquet, Artistic Director of Dancehouse, Xavier Le Roy was joined by a panel of local practitioners such as choreographer Matthew Day and Joeri Mol – senior lecturer in Organisation Studies at the University of Melbourne; as well as French artist Mathieu Brand. Read more...
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On Exiting Capitalism

We tend to imagine that money infects or sullies art, but financial history could equally be narrated as one in which increasingly abstract figuration, surreal visualisation and aesthetic chaos seep into what is presumed to be the antiseptic, mimetic rationality of the market. Which is all to say, I’m for the abolition of capitalism (the rule of society by money) and also the abolition of “art as such.” And I think until we get there (and maybe after) support for the arts will always be dirty. Read more...

Art and Money

Art and money are a volatile combination. Putting the two together immediately emphasises the tensions fuelling our contradictory attitudes towards art: we believe it musn’t be a commodity – indeed, one of the most common beliefs about art is that it trascends the commodity and is, in its purest forms, an argument against commodification. And on the other, every arts institution in the country exists because of art’s value as a commodity. Read more...

On the Pursuit of What Matters

With this issue in mind, we wanted to take a closer look at the realities of those working with ephemeral time-based processes and products. In a money-driven world, the performing arts are equally subjected to market rules – specifically those of commodification and consumerism – like any other field of practice. And yet, with no tangible object to trade except the experiential moment of the now, should the embodied performative event be a commodity traded like any other? Read more...