The art of making

The reason for the symposium was the recently published book The Art of Different Steenbergen discusses systemic errors in the arts and culture sector that have been around for some time, but have become more visible as a result of the corona crisis. In the book, Steenbergen makes six proposals to redesign the system and address these problems at their root, putting the practices of artists and creators at the center.

In introducing the symposium, Steenbergen gave a brief summary of the systemic criticisms discussed at length in her book, such as the centrality of institutions to cultural policy, which makes it difficult for individual creators to raise money directly, and the extensive justifications that must be supplied after receiving a grant. The emphasis on growth and productivity have led to underpayment of two-thirds of the sector. At the symposium, Steenbergen called for the collective brainpower to be used to come up with concrete proposals for improvement and innovation, rather than extensive analyses of why the current system is not working well.

The three panels - creators, institutions and equity funds - attempted to come up with reforms from different positions to put creative practice at the center.

Makers

Creators reflected on the structural flaws in the cultural ecosystem. In order to put the practice of making at the center, there is a need for space, literally in the form of a studio, but also space for experimentation that does not necessarily require a result to follow subsidies.

Settings

The institutions present were looking for a new relationship between their institution, funds and the State and makers. Institutions have become more distant from makers, in part because of the flow of money primarily through institutions and the emphasis on institutions as gatekeepers to ensure maker quality. The commercialization of museums as part of "cultural entrepreneurship" has further increased the power of institutions over makers. Museums cannot give every maker a stage, but they can act as matchmakers for the field and get artists started or link them to other institutions.

Endowment funds

Director of the Prince Bernhard Cultural Fund (PBCF) Cathe-lijne Broers brought the attendees out of the dream: the PBCF does not honor applications where it is not clear in advance what the outcome will be or where no presentation venue has been promised. Nor does the PBCF have arrangements for individual artists, for the same reason that an outcome must follow that can be seen or experienced by the public somewhere. Broers did share some policy changes they are currently working on: allowing applications by collectives or cooperatives in addition to foundations and associations, and paying out 100% of the pledged amount when honored.

If not now, when?

Renée Steenbergen ends the symposium with a call to join forces and work together on systemic reforms that will make the sector more equitable and future-proof. Despite the many workers and over fifty interest groups in the sector, protests or collective obstructionism get little off the ground. Cooperation between creators, institutions and funds on specific issues such as implementing fair pay or competition between them could already make a big difference.

The entire article can be found on the Platform BK website

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More information and ordering through Renée Steenbergen's website

Renée Steenbergen publishes on collecting and patronage, curates exhibitions from and about private collections, advises on gifting, fundraising and patronage, and also lectures on these topics, based on research in her own books.