Förgänglighet till salu : om kulturpolitik, konstinstitutioner och performance
(2013) ABMM63 20121Division of ALM and Digital Cultures
- Abstract
- This paper concern the relationship between Swedish art institutions and performance art, as well as how changes in cultural policy may affect the actual production of culture. Conclusions are reached through qualitative interviews with representatives from multiple art institutions and one performance school, as well as three performance artists. Supported by literature, articles and media coverage’s.
This paper outline the correlations between the following components: cultural policy, economy, art trade, and media. The latter which also affect art institutions and artists. Further the material is analyzed through Horkheimer and Adorno’s critique towards the culture industry. The main change in cultural policy, highlighted in this... (More) - This paper concern the relationship between Swedish art institutions and performance art, as well as how changes in cultural policy may affect the actual production of culture. Conclusions are reached through qualitative interviews with representatives from multiple art institutions and one performance school, as well as three performance artists. Supported by literature, articles and media coverage’s.
This paper outline the correlations between the following components: cultural policy, economy, art trade, and media. The latter which also affect art institutions and artists. Further the material is analyzed through Horkheimer and Adorno’s critique towards the culture industry. The main change in cultural policy, highlighted in this paper, is a proposition which effectively removed the demand of avoiding “negative effects of commercialism”. Replaced by a jargon often used in economically centered environments, employing expressions such as “entrepreneurship” and “encouragement of industry collaboration”.
The proposition does not directly inflict art, nor in this case performance art, but could potentially encourage the transformation into a cultural sphere in which an art that advocate salability and entrepreneurship figurate. This, in effect, mean that museums and art institutions acting as non-profits gradually may deviate from their intended social interests replacing them with economical. Consequently running themselves much more like companies and thus changing their purpose.
To maintain a role as an important social unit, excluding oneself from the economic context, it is important to constantly scrutinize and evaluate the underlying reasons of why certain art is exposed. Understanding in who’s interest it is to exhibit, and who is intended to consume. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/3348966
- author
- Frost, Susanne LU
- supervisor
- organization
- course
- ABMM63 20121
- year
- 2013
- type
- H2 - Master's Degree (Two Years)
- subject
- keywords
- konsthandel, performance, ABM, museologi, museum, ekonomi, kulturpolitik museum, museology, ALM, art trade, economy, cultural policy
- language
- Swedish
- id
- 3348966
- date added to LUP
- 2013-06-24 09:25:46
- date last changed
- 2014-04-11 14:16:25
@misc{3348966,
abstract = {{This paper concern the relationship between Swedish art institutions and performance art, as well as how changes in cultural policy may affect the actual production of culture. Conclusions are reached through qualitative interviews with representatives from multiple art institutions and one performance school, as well as three performance artists. Supported by literature, articles and media coverage’s.
This paper outline the correlations between the following components: cultural policy, economy, art trade, and media. The latter which also affect art institutions and artists. Further the material is analyzed through Horkheimer and Adorno’s critique towards the culture industry. The main change in cultural policy, highlighted in this paper, is a proposition which effectively removed the demand of avoiding “negative effects of commercialism”. Replaced by a jargon often used in economically centered environments, employing expressions such as “entrepreneurship” and “encouragement of industry collaboration”.
The proposition does not directly inflict art, nor in this case performance art, but could potentially encourage the transformation into a cultural sphere in which an art that advocate salability and entrepreneurship figurate. This, in effect, mean that museums and art institutions acting as non-profits gradually may deviate from their intended social interests replacing them with economical. Consequently running themselves much more like companies and thus changing their purpose.
To maintain a role as an important social unit, excluding oneself from the economic context, it is important to constantly scrutinize and evaluate the underlying reasons of why certain art is exposed. Understanding in who’s interest it is to exhibit, and who is intended to consume.}},
author = {{Frost, Susanne}},
language = {{swe}},
note = {{Student Paper}},
title = {{Förgänglighet till salu : om kulturpolitik, konstinstitutioner och performance}},
year = {{2013}},
}