new ways of art and new ways of funding
New
artistic forms require new funding forms
Innovative art forms such as media and digital art, room-filling multimedia
installations, interac-tive environments or internet and software art
require entirely new forms of production, pres-entation and funding. The
classical artist’s studio is already is already outdated for the
production of media art. In-stead artists are dependant on a decentralised
network, encompassing film and sound studios, digital editing workstations,
internet and the entire framework of the modern information and communications
technology. Additionally, media artists work in interdisciplinary teams.
They develop and produce their ideas together with designers, programmers,
architects, actresses and actors or musicians.
The presentation of media art is, in general, complicated and demands
from the institutions in-volved not only specialised technical equipment,
but also specialised know-how. Additionally, media art -and especially
internet and software art- is difficult to position in the art-market,
due to the fact that it consciously makes use of readily accessible and
free methods of distribution and presentation. Thus making a contribution
to the process of art democracy, cultural partici-pation and inclusion.
In a traditional culture context theses aims are acknowledged as worthy
of public funding.
Generally media art is regarded as a fine art in terms of public and private
funding structures. Thereby, it is generally ignored that the production
costs for media art are much higher than those involved in the production
of classical art forms. Media art requires substantial financial strength
for investment (hardware, software) and for production.
Whereas, in the sector of film, funding for production is a matter of
course, it is rarely acknowl-edged for media art. In addition to classical
funding for individual artists - such as the reim-bursement of travelling
expenses, bursaries, catalogue funding, or art purchases - media art requires
budgets for production costs.
In front of this backdrop existing funding concepts and stipulations
for financing must be recon-sidered and, if necessary, extended. The following
questions are posed:
– Through which national and European measures can cities and municipalities
be supported in the establishment of long-term infrastructures or institutions
for the development of media art?
– Is it necessary and sensible, for media art to be funded as a separately
alongside fine art and film within the existing funding structures. Thus
taking into account the specific produc-tion and presentation requirements
of this art form?- Which measures have development potential and which
structures are necessary for en-couraging private foundations and sponsors
to invest in the future of media art?
– Can media art be established within the art-market?
– Which strategies can anchor the perception of media art as an incubator
and "soft
asset" within the information and communications industries?
– What possibilities are there, on an international and European
basis, for the financial sup-port of media art development though business
funding or through research and educa-tional funding?
– With which funding models can institutions be given incentive to
include complicated media art presentations in their programmes?
– Which funding forms are necessary for media art in terms of conservation?
