Art and the Co-production of Art in the Outskirts of the World

Transcription

1 Art and the Co-production of Art in the Outskirts of the World Evangelia Petridou, Mid Sweden University and Risk and Crisis Research Center Dimitri Ioannides, Mid Sweden University and ETOUR Frontier Workshop, Catania, 19 April, 2017

2 Overview of studies Artist collective in Östersund and territorial cohesion Co-production of art: konstgödning Inclusion art projects,

3 Geography County of Jämtland Area: 49,300km 2 Population 126,691 (2010) Östersund: population steady between just below 60,000, now just over 60,000

4 Peripheral State of Μind The new vision plan

5 New Vision plan 35 pages long Growth: Östersund s future concerns me, you, and all the other people who live, study, and work here. Our development is also important to our visitors. It is important for Östersund to be a place where we protect each other and our environment. It s about creating a desirable environment where we all feel valuable. An environment were we promote diversity, equality, health and creativity values that make us flourish in, and be proud of, Östersund. Articulated component of the vision plan: culture as art.

6 Creativity Creativity: a human capacity that comes into play in a variety of contexts, notably the production of culture (KEA, 2009). The ability to synthesize in order to produce new forms (Florida, 2002). Culture: the expression of creativity. Needs an audience A way for communities to show differentiation: competitive advantage

7 Territorial Cohesion No one should be disadvantaged because of where they live in the union (CEC 2004). Territorial cohesion is both a policy goal and a political and planning process including the means to achieve efficient, equitable and sustainable develoment in all types of territores of the EU (van Well, 2011, p. 11, original emphasis). Territorial cohesion as territorial justice and its relationship to sustainable development

8 Three dimensions of territorial cohesion Territorial quality Quality of the living and working environment; access to services of general interest and to knowledge Territorial efficiency Resource efficiency with respect to energy, land and natural resources; economic competitiveness of the local territory Territorial identity Presence of social capital, capability to develop shared visions for the future; local know-how, competitive advantage of each territory. Local identity is viewed as the glue holding together societies.

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10 Aims at minimizing assymetries in peripheral places. The question that emerges is how? Top down approaches (transfers) vs. bottom up approaches In a Europe of regions, the level of competitive advantage is expressed through the realization of the development potentials of regions, through people s entrepreneurship, their ways of thinking, the social relationships they form, and their norms and values, transforming regions into political spaces for collective action (Robert, 2007).

11 Creative industries in Östersund Who? Artists and actors involved in cultural and heritage activities. How? In-depth interviews between February, 2009, and March, 2010, one interview in September, 2011; thematic analysis of policy documents Artists, museum director, gallery owner, two non-profit association officials, and a tourism outfit owner. Informants were selected for the contribution their work has to community, not on the basis of the quality of the art they produced.

12 Community-building, grassroots arrangements. Discussion Artists cooperative doing outreach work: [ ] we are able to have some autonomy in this because we do pay rent, it s not totally subsidized [ ] we also have a group that arranges the shows at this art hall [Ahlbergshallen] [ ] we have different work groups, so we work for art in general so it s not just renting a studio and closing the door and working which, you know, ideally it would be wonderful. There is a lot of artistic outreach, basically some of us teach, give courses, whatever. (emphasis added) Importing cultural diversity Process Innovation Artwork: Todd Lowery,

13 The creation of third places, community arenas for citizen participation participation and discussion Promoting the local heritage and landscape to teach the importance of sustainability in a fun way, without having courses (Bosse) Fostering cooperation with other European organizations to present Jämtland as one of the many, very, very interesting European Regions (Jamtli) Discussion

14 Discussion Dimension of Territorial Cohesion Criteria Creative Actor Territorial Efficiency Territorial Quality Territorial Identity Overall competitiveness, attractiveness Reduction of environmental risks Conservation of natural resources Reduction of social exclusion Complimentarity of knowledge and local know-how Conservation and creative management of cultural resources non -profit associations, gallery and Färgfabriken Norr, Härke, Drumlin, Jamtli Härke Drumlin Jamtli, Färgefabriken Norr Jamtli, Färgefabriken Norr Jamtli Table 1: How cultural actors relate to the dimensions of

15 Policy implications and the Value of Art in Östersund since the study Small scale initiatives for a small, reluctant city. Mer [*] Östersund Konstgödning Energi

16 The Art Project

17 Aim of study and description of project The aim of the study was to evaluate the project, which consisted of 9 consituent projects. Central to the spirit of this project was the in situ co-production of art with residents. Aim of project: for the residents to produce and experience positive energy about the place they inhabit To highlight the positive about living in Jämtland To have a dialogue about rurality beyond the life of the project

18 Data Collection and Method Observation Interviews with the artists correspondence Workshop (On the difficulty of coming up with indicators that work).

19 The modernist mold (Klamer, 1996)

20 Evaluation Three-prong perspective: The inhabitant (expected to perceive their participation as meaningful) The artist (experience their contribution as valuable, interested in further work in the periphery) The project manager (continued dialogue) Photo credit: Bodil Halvarson

21 Hede (Bodil Halvarson)

22 Hallen (Ulla West) Since my father moved out he came back as a visitor, with a family from out there. I have no roots from the place were I grew up in Trollhättan by the westcoast. My family were strangers in Trollhättan and when I before and now visit the north I am a stranger here. I live since forty years in the capital, in Stockholm and in Stockholm I am one of many coming from out-of-town. I am a stranger. In this work I knot together my own experiences from time to time, from place to place. Lived through time and experience is important in my work and in this project it is my method to enable me along with others on site, by crafting, talking and walking. By collecting stories from the past and from the present.

23 Kluk (Martin Johansson) The women of Kluk.

24 Overview of projects Overall Project Dimesions Inhabitants' perspective (experience Artist's pespective (raise awareness Project Manager's pespective (create a project as of and interest further value) further) dialogue) Route 321 Yes Yes In process Marntallsåsen N/A Yes N/A Sundsjö Yes Yes Willing, but unclear if realized Hede Yes Yes Yes Constituent Projects Kluk Yes Yes Yes Skyttmon Yes Yes Willing, but unclear if realized Viken-AnkaredeUnlear Yes Unclear Hallen Yes Yes Yes Lit Unclear Yes Unclear

25 Open Campus Project A series of inclusion projects targeting new immigrants Sundsvall vs. Östersund

26 References Camagni, R. (2007), Development policies in the European model, in A. Faludi (ed.), Territorial Cohesion and the European Model of Society, Cambridge, MA: Lincoln Institute of Public Policy, pp Commission of the European Communities (CEC) (2004), A New Partnership for Cohesion: Convergence, Competitiveness, Cooperation. Third Report on Economic and Social Cohesion, Luxemburg: Office for Official Publications of the European Communities Florida, R. (2002). The rise of the creative class. New York: Basic Books. KEA (2009), The impact of culture on creativity: A study prepared for the European Commission (Directorate General for Education and Culture), (web site accessed March 2, 2012). Klamer, A. (1996). Introduction to the conversation. In The Value of Culture: On the Relationship Between Economics and the Arts, Arjo Klamer, ed. pp Petridou, E.(forthcoming. Entrepreneurship in the Swedish Municipal Polis: The Case of Mer [*] Östersund. Policy Studies Petridou, Evangelia and Dimitri Ioannides Konstgödning: Co-producing Art in the Outskirts of the Word. ETOUR Report, 2016:6 Petridou, E., & Ioannides, D. (2012). Conducting creativity in the periphery of Sweden: A bottom-up path towards territorial cohesion. Creative Industries Journal, 5(1-2), doi: /cij _1 Robert, J. (2007), The origins of territorial cohesion and the vagaries of its trajectory, in A. Faludi (ed.), Territorial Cohesion and the European Model of Society, Cambridge, MA: Lincoln Institute of Public Policy, pp van Well, L. (2011). Institutional capacity for territorial cohesion. Doctoral Thesis. KTH:Stockholm