Развитие партнерства в творческих индустриях Северного Измерения. Developing partnerships in creative industries of Northern Dimension
This collection of articles contains reports and heads of reports to the Internetional Conference "Modern Models of Cultural Industries Development in Russian Regions", that was held in Saint-Petersburg on 9-10 October 2014 with the support of Russian Humanitarian Science Foundation.
The aim of this article is to study an influence of various cultural festivals in St. Petersburg on development of the creative industries in the city. The definition of prospects of the development of culture of «Russia’s Northern Capital» demands the analysis of an existing scientific and administrative discourse concerning interaction in a city on Neva the rich cultural heritage and new creative industries. The situation of St. Petersburg as а large European cultural center and one of the important cities of the Russian Federation allows to define prospects of its development as «creative city». It includes also the analysis of cultural, social and economic consequences of the development of festival movement.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.
The aim of the study is to analyze the role of the new creative industries for the regional development of the cultural heritage. It is particularly concerned with the definition of the city space. The research focuses on the modern ways of not only conservation, but rather analysis, interpretation and consumption of various cultural products. This paper includes investigation of economic, political, social and cultural consequences of the interaction between different cultural establishments. The author of this article researches the creative industries with the examples of the creative clusters and the creative projects in comparison with traditional cultural institutions. In general this paper provides evidence for the positive cultural and social changes in the region by reason ot the development the creative industries in St. Petersburg
Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity.
This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.
This article explores the practices of recently formed and mainly UK-based art workers’ collectives against unpaid internships and abusive work. The modes through which these collectives perform resistance involve activist tactics of boycotting, site-specific protests, counter-guides, and whistleblowing and name and shame approaches mixed with performance art and playful interventions. Grappling with the predicaments of work in contemporary art, a labouring practice that does not follow typical processes of valorization and has a contingent object and an extremely loose territorial unity, this article argues that while the identity of the contemporary artist is systemically and conceptually moving towards fluidity and open-endedness, these groups work to reaffirm a collective in whose name it is possible to advance certain claims, assumptions, and demands. The contradictions and dynamics of art workers organizing against internships and voluntary work within a highly individualized, self-exploitative, and often privileged field are useful for informing labour organizing in the framework of ongoing capitalist restructuring.
Film industry was analyzed as a creative industry in terms of the geographical aspects of its development. The film industry influences the socio-economic development of countries through direct, indirect (multiplicational) and latent (people’s behavior) effects. Five indicators were used to classify each country by the level of film industry development, namely the total number of national feature films produced, the box office revenue, per capita attendance frequency, the national cinema market structure and the representation of national films abroad. Three types of countries were identified according to the classification: with high, medium and slow development of film industry. The types are divided into several subtypes basing on specific features of film industry development. The analysis includes the dynamics of parameters under study.
Main challenges and problems of functioning institutions of cultural heritage and the creative industries are described in the paper. Factors that promote and prevent following cooperation, as well as the main directions of cooperation, are defined on the basis of analysis of expert opinions obtained during the survey in 2012 in St. Petersburg.
The rise of creative industries is closely connected with the range of changes concerning socio-economic development in postindustrial and digital economy; reflects new trends in consumer behavior and innovations in business models. Entrepreneurship in creative industries is very attractive sphere for small and medium-sized businesses, it gives new opportunities for cooperation between representatives of creative industries and other agents of economic and social relations. An interest to creative industries development could be observed from different stakeholders across Russia. Issues of effective functioning and interaction of commercial and non-profit organizations and entrepreneurs in creative sector are becoming the key points for successful development of markets in creative sphere.
This manual is designed to expand knowledge in the field of creative entrepreneurship, to understand the particular features of market structure from supply and demand side, and to apply practical recommendations and tools for solving specific problems that an entrepreneur faces in his activities. The manual consists of 3 chapters, the text reveals the definition and boundaries of the creative industries sector; economic bases of demand and supply side of market for products and services created by creative workers and having a symbolic and cultural value (Chapter 1). Besides, authors pay attention on dealing business in the digital environment and infrastructure for creative entrepreneurs. Chapter 2 of the manual reveals the issues of interaction and communication with consumers, identifying and working with various consumers segments, analyses factors that influence consumer’s decision-making process. The manual presents practical examples (cases) and tasks that allow to master and improve the tools of marketing research. Chapter 3 describes in detail methodology and stages of the business modeling in creative industries. Questions for self-examination, cases and exercises make it possible to combine the theory and practice of the questions studied. The manual is addressed to a wide range of readers, can be used by educational institutions, it is useful to the industry representatives as an additional theoretical and practical guide. The manual is created in the framework of the project “Creative Grasp” supported by the Council of Nordic Countries.