Het startschot voor deze maatschappelijk discussie werd gegeven door toenmalige staatssecretaris Rick van der Ploeg, die in met zijn cultuurnota Cultuur als confrontatie en zijn programma voor culturele diversiteit de knuppel in het hoenderhok gooide.
Culture Weekly
Zijn constatering dat de cultuursector erg wit was en slechts een beperkte publieksgroep bereikte en zijn opdracht om daar verandering in aan te brengen zorgde voor de noodzakelijke opschudding. Sindsdien worden er stappen vooruit en achteruit gezet. Tot slot staat deze Code niet op zichzelf, maar vormt het onderdeel van een reeks inspanningen om de diversiteit van de Nederlandse samenleving te reflecteren.
Zo worden de verschillende aspecten, partijen en dimensies van de culturele en creatieve sector bij de veranderingen betrokken: de code betreft niet alleen de producten en diensten, hun afnemers en alle mensen die de culturele en creatieve sector werken, maar ook externe personen en organisaties waar ze opdrachten aan verstrekken of mee samenwerken. De code is van toepassing op gesubsidieerde en niet-gesubsidieerde organisaties. Wie deze toelichting op de doelgroep voor de Code leest, realiseert zich al snel dat deze dus haast iedereen in Nederland omvat.
De Code is er immers voor de hele culturele en creatieve sector, alle werkenden binnen de sector d. Concerted effort De effecten en gevolgen van de Code zullen verstrekkend zijn niet alleen vanwege de aard van de culturele en creatieve sector en de plaats ervan in het sociale leven, maar ook omdat de Code onderdeel vormt van een reeks inspanningen om de diversiteit van de samenleving te reflecteren. Ongeveer tegelijkertijd met de presentatie van de Code kwam de SER met het advies Diversiteit in de top, tijd voor versnelling waarin de SER pleitte voor meer gender- en culturele diversiteit in bedrijven en een inclusieve organisatiecultuur.
Deze inspanningen voor inclusiviteit volgen bovendien op eerdere inspanningen, ook in andere sectoren, zoals de politie en de zorg, alsook ontwikkelingen in de rest van de wereld. Terwijl ik dit stukje schrijf werken studenten en docenten in Amsterdam aan een akkoord over een inclusief en maatschappelijk betrokken hoger onderwijs en wordt de Canon van Nederland onder leiding van James Kennedy herijkt in opdracht van de minister. Tezamen vormen deze en vele andere hier onvermelde inspanningen voor inclusiviteit als het ware een concerted effort om onze instituties net zo divers te maken als de samenleving die ze bedienen: een gezamenlijke inspanning, niet per se georkestreerd — veel initiatieven ontstaan immers onafhankelijk van elkaar — maar wel in goede harmonie.
Voor de opleiding Algemene cultuurwetenschappen is de betekenis ervan tweeledig. De muziekwereld? Kan de boekenbranche nog wel achterblijven? Zo leren onze studenten ook dit maatschappelijk belang van kunst begrijpen en bepleiten. Daarnaast biedt de Code handvatten om ons eigen onderwijs inclusiever te maken. Als opleiding voor allround cultuurwetenschappers zijn wij immers zelf een aan de culturele en creatieve sector gerelateerde organisatie voor wie de code van toepassing is. We gaan er dus mee aan de slag, om onze studenten nog beter op de wereld van morgen voor te bereiden. Dennis Kersten on that road, January They were remixed by the son of producer George Martin and accompanied by demos, studio outtakes and lavishly illustrated books.
After so many years of intense scrutiny, you would think there is nothing new to be learnt about The Beatles and their music. As Paul McCartney and George Harrison joked after the completion of their mids retrospective Anthology project, their next release would have to be called Scraping the Bottom of the Barrel. The albums themselves showcase how wildly, and weirdly versatile John, Paul, George and Ringo were, while the bonus material sheds new light on their working methods and personal relations.
But when you listen to their three most important post-touring albums and notice their stylistic and emotional complexity, you wonder if the opposite might also be true: that with each individual Beatle, we all got four personalities for the price of one.
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Ubiquitous and mass consumed, a twenty-first-century listener would almost forget how unconventional many Beatle songs are — musically and lyrically, but also recording and production-wise. Their first and only double album, it features the songs The Beatles brought back from a trip to India, where they had been practising transcendental meditation with Maharishi Mahesh Yogi. Half a century after it first hit the number one spot, The Beatles is still hugely popular and incredibly influential.
It is hard to understand that it is that old now. Since then, you could have played the White Album itself about , times. It has been with us ten years longer than John Lennon ever lived.
The first song to be recorded for the White Album, it immediately set the tone. The early take resembles nothing on Sergeant Pepper or, indeed, any other Beatle record. Of course, he had always been a fearless singer, but perhaps he needed reminding from Ono that vocals are most expressive when captured spontaneously, ignoring musical conventions or recording regulations. It is fairer to say that around the start of the White Album sessions Ono re-connected Lennon with parts of his pre-Beatlemania self by awakening what had been dormant in his writing, singing and performing for a number of years.
Did they recognize this themselves? Is that why they jammed Buddy Holly classics, night club-style, while trying to get songs about blackbirds, pigs and sheepdogs named Martha on tape? In places, it is messy, unpolished and underdeveloped, but, of course, it was meant to be the anti- Pepper. The bonus tracks of its remix version only confirms this idea.
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In addition, McCartney does occasionally come across like a control freak. However, many of the other demos and outtakes tell another story. When McCartney is in his tear-up-the-rule-book mode, he is up there with Lennon and Ono as avant-gardist. Perhaps not coincidentally, RAM now ranks as one of the most exciting records he has made on his own.
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On the White Album, too, the McCartney magic is often in the details of songs by the other three. McCartney, Harrison and Starr also keep playing long after Lennon has said he has had enough. She must have recognized The Beatles as a fundamentally anarchic environment, though; they were the perfect place to bring her own conceptual art to. Will the Fab Four give their earlier albums the same remix treatment? Judging from the three box sets that have already been released, they should definitely keep scraping the barrel.
Calcutta, by James Tissot c. Last month a major retrospective of the work of the nineteenth-century French painter James Tissot — opened in the Fine Arts Museum of San Francisco. Working on a brief essay for the exhibition catalogue, I could revisit the work of an artist who has fascinated me for years. Tissot is the chronicler par excellence of nineteenth-century modern life, but his work is generally allowed into the canon only reluctantly. Contrary to his avant-garde artist friends, Tissot maintained a decidedly academic style throughout his career. As a result, he has often been rejected as an unadventurous and commercial painter.
They excel in subtle psychology, social satire and a sharp sense of humour. A point in case is The Gallery of H. The painting depicts a young naval officer and two women on the stern balcony of a navy training ship, entangled in what appears to be a love triangle. The woman on the right hides her face, and thus her left ear, behind a fan, possibly asking the young man, in Victorian fan language, not to betray her secret. The conspicuous heart shapes discernible in the metal railing fencing off the balcony leave little doubt about what is going on.
It has been suggested that he used the name of the ship as a pun, giving an unexpected twist to the meaning of the painting. This work is a simple photographic reproduction of the Mona Lisa to which Duchamp added a moustache and five letters. Marcel Duchamp, , L. An unbiased reassessment of his art, made possible by the exhibitions in San Francisco and Paris, seems only fair. A couple of weeks ago, I had the good fortune of spending two days in the city of light.
Following professional as well as personal inclinations, I visited three exhibitions, which were strikingly different in size, organization, and ambition — different to such an extent, indeed, that only the chilly and surly demeanor of the porters at the entrance reminded me of their shared setting in Paris. In the following remarks, I would like to briefly reflect on these exhibitions so as to ponder the ways in which exhibitions shape our understanding of art, often in paradoxical ways.
Consider, for instance, La Goulue , a poster that is on display at this exhibition in the various stages of the printing process. In the very first space, for instance, his work is compared to that of his teacher, Fernand Cormon, a historical painter. This notion illuminates the art of Toulouse-Lautrec, in which supposedly civilized life is stripped of its veneer, so as to show the animality that lurks beneath. More recognizable points of reference, such as Degas and van Gogh, are present as well. Like these artists, Toulouse-Lautrec is one of the painters of modern urban life, and its seedy side in particular; his art has been pigeonholed as decadent or, less charitably, degenerate — a view that was reinforced by his physical disability and his bohemian lifestyle at the exhibition, one learns that Toulouse-Lautrec sometimes stayed in brothels for weeks on end.
On the one hand, his works did not result in financial gain, but were appreciated an bought by people belonging to his inner circle. In other words, Toulouse-Lautrec tried to have his cake and eat it. Yet, in the long run, his approach was successful, as this exhibition shows: a huge portion of his work is now displayed in the Grand Palais, a cultural epicentre, in an exhibition that spans three floors. The exhibition is so vast that as one proceeds, one begins to believe that it will never end.
The story that the exhibition tells, then, is different from the effect that it achieves: while the exhibition explores the local and particular qualities of this marginal artist, it at the same time sanctifies this art as being of universal and everlasting value. The second exhibition was suffused with a more intimate atmosphere.
No, I think I felt lost not because of my inability to understand the works in themselves, but because of their presentation. The exhibition is in many ways a tribute to their willingness to share their works with the wider public. While the effort is an interesting one, its purpose is all too obvious, and the result makes it difficult to examine and scrutinize the actual works.
As a result, the actual paintings get short shrift, even though these are magnificent. What the visitor remembers is the name of the collectors, but perhaps not in the way that the collectors envisioned. What I want to highlight is another paradoxical effect: if one so openly asks for recognition, as in the present exhibition, the opposite effect is achieved.
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To be truly successful, an exhibition should let the collection speak for itself; only thus will the interested viewer fully appreciate the care that the collectors have taken, and be willing to recognize as benefactors, in the full sense of the word. I am aware of the irony that, of course, by addressing this issue, I have paid the collectors the compliment of talking about them rather than their collection. The third exhibition which I saw replicated a similar dynamic on an international stage. These works are on loan from Tate Britain. By allowing a select choice of works to travel to the heart of France, British art is given an ambassadorial function.
It is paradoxical to encounter these British masterpieces in a French setting, but the effect is salutary one. As a result, this exhibition sheds some new, fresh light on works that viewers thought they already knew.