Introduktion av Rickard Borgström
”Den neoliberala, globala ekonomin kollapsar och det nuvarande finansiella systemet verkar vara i upplösning. Om det är en fråga om en slutgiltig kris återstå att se.”
”Postfordismen har inneburit att kunskap kommit att ersätta mänsklig arbetskraft som huvudsaklig agent i värdeförmeringen och att kollektivt ackumulerat vetande och ett ständigt utvecklat humankapital därför fått framträdande roller i produktionen.
”Kulturindustrin är baserad på att exploatera intellektuell egendom med mål att nå högsta möjliga ekonomiska avkastning.”
Va? Ja, de här övergripande, och till viss del ogripbara, globala, ekonomiska, politiska skeendena känns krystade att skriva om här i Norden. Då det nordiska välfärdssystemet fungerar hyfsat, arbetsmarknaden är skaplig, jämställdheten är bättre än i de flesta länder och ekonomin är relativ stabil för att möta den europeiska finansiella oron. Att dessutom gå från dessa skeenden till en reflektion över scenkonstens utveckling är inte bara en svår uppgift, men det kan också uppfattas som en överdriven analysiver. Men samtidig pågår det en ekonomisering av samhällets alla sfärer, och kulturen instrumentaliseras i allt högre grad och förväntas bli mer kommersiellt inriktad. Det kan därför vara värt att reflektera över hur dessa trender utvecklar sig, men också spekulera kring vad de kan innebär för teatern på sikt. Under hösten tar vi oss därför hängivet an det ekonomiska och politiska läget och det kulturpolitiska klimatet, för att kartlägga dess effekter på scenkonstfältet. Vi inleder ett samarbete med en företagskonsulent, dels för att genomföra en affärsanalys över den offentliga teaterns framtid och dels för att forma ett förslag till ett säsongsprogram. De inbjudna scenkonstnärerna har utvecklat strategier som problematiserar själva teaterhändelsens autonomi, och visar på hur den är indragen i det sociala, ekonomiska och politiska livet. Under två seminarier fördjupar vi oss i relationen mellan kulturindustrin och nationalismen samt att vi ser närmare på under vilka villkor vi driver en offentlig teater och producerar scenkonst i dessa ekonomiska och politiska tider. Kort sagt: vi rannsakar teatern, scenkonsten och publiken för att förstå vår omgivning och samtid.
Välkommen till INKONST scenkonstprogram hösten 2012 / Rickard Borgström, curator
Nedan kan du läsa en fördjupande text om Institutionell Melankoli, som snart kommer att vara tillgänglig även på svenska.
INSTITUTIONAL MELANCHOLY I–II
by Rickard Borgström
You can get addicted to a certain kind of sadness
I meet up with Sergei for a late lunch at L’Espadon. The days of his prime, when he was curating inter- disciplinary practices at the Foundation Cartier awarded him his current position as director of the live arts, at one of the leading institutions in Europe. He looked thinner than the last time I saw him.
Sergei savored the dry Sancerre Les Baronnes before sipping it. He gave a nod to the waiter. Our artichoke- and ruccola ravioli with clams au gratin was served. Sergei talked about how the costs of administration skyrocketed and how the grants for theatre productions decreased in a drastic manner. He didn’t have the energy to accomplish the organizational changes that would work in favour of a more experimental form of programming. The staff was already drowning in paperwork. Sergei himself had regular appointments with a doctor to cope with the stress from work. He sighed.
The lunch-hour din was more muffled than usual, even though the restaurant was crowded. Sergei continued. His colleagues, the audience and the board was happy with the mix of established national and international acts, reflecting a sort of global idiom, so why would they want to change anything? The theatre played for a full house. The local politician who was on the board of the venue applauded Sergei’s popular repertoire. The politician thought it wonderful that the city residents spent their free time being entertained at the theatre.
Another bottle of wine accompanied the fillet of monkfish with black olives, zucchini and pickled lemon. Sergei excused himself to the bathroom. He quickly returned. His eyes were glossy and his furrowed face bore a forced smile. They had recently been given direct instructions from the cultural ministry. They were to redistribute their assets in order to be more inclusive of groups that rarely visit the institution. The pedagogic campaign aimed at the schools in the suburbs gave great results and young people flooded the theatre. Both of us lit a cigarette and Sergei quickly quaffed more wine. Our entree was followed by a tartin-like dessert. Sergei used to rent an apartment, but now he had a mortgage and a pad in the center of town. Even if the down payments and the interest were high, it was a good investment he said and downed the last of the wine. We got our bill, which Sergei glanced at and then paid. We got up to go to Rue de la Roquette.
That Nordic cultural policies increasingly has been turning towards the market during the last twenty years is hardly news. Institutions for performing arts are expected by the subsidy authorities to examine their commercial capabilities in a larger degree. In other words the audiences’, that is the customers’, influence on the output of the theatres, has increased as a consequence of the commercialization of the theatre, transforming the performing arts into a cultural commodity following the logic of the market in a growing cultural industry.
This structural adjustment is concurrent with the present neoliberal economical order, often described as post-Fordism. A recurrent theme in analyses is that economy permeates through all domains of society including the cultural domain and that there is no clear border between the commercial and cultural arenas. Put simply, economic growth is the head matrix for political struggle and the fixed point in the dynamic of the cultural field.
As the arenas of culture and economics intertwine, keeping a critical distance becomes almost impossible. This appears to make critical perspectives of their own activities and productions unthinkable for institutions and performers, as they themselves are a part of the system criticized.
In this, participators of the theatre field have lost the conditions they require in order to come up with alternative strategies of defiance. At the same time, the lost notions of being an external criticist of the system seem to mobilize energy as they insist upon re- articulating attitudes of protest. This momentum tends to turn towards analyzing ones’ own practices.
Is it possible to characterize this soul-searching movement as a state of melancholia, where the loss of an ideal is internalized and impossible to let go of? A state of mind alternating between deeply depressive, negative, passive resignation and energic, radiant, rebellious productivity. Is it possible that this ambivalent state gives rise to either energetically productive actions or gloomy introvert, resignedly negative approaches, that these attempts of re- activations of a critical stance emanate from this state of mind?
The subject in a melancholic process develops increasingly sophisticated defense mechanisms in order to avoid recollection of the original loss. Can the loss be accepted, can melancholia be cured and what forms of mourning is required?
The Performing arts are drawn to crises. It is used as material to process, transform and develop concepts and imaginary worlds. Rather than being surprising we’re quite conventional in choosing to look into the present politics of culture in times of the, so called, crisis of the neoliberal economy and its effects on the field of performing arts. It’s hard to put your finger on what effects the financial turmoil has for the field. Because of that we seek to survey the symptoms of the internalized neoliberal economy in our culture body and how it come to bear through the event of this turmoil. We ask how we manage these symptoms as we become acute aware of them, but also how to avoid all-too-common roles of reaction, such as the nostalgic-reactionary naysayer, or the cynical, market-oriented entrepreneur.
Our program for this season aims to look beyond the apparent tendencies of this economic and cultural political climate, such as financial cuts and movements towards commercialization. What interests us more is how the (political-economical) dynamics transform curatorial and artistic work. Therefore we invite artists that are developing self-reflexive strategies within the economical and political embedded practices. We have also initiated cooperation with a professional business consultant, acquainted with the field of culture. Together, we investigate the current demands put on public funded programing institutions as well as what the possibilities they might offer. The consultant will perform a business analysis of the future of the public funded theatre in the Nordic region. During the November seminar the preliminary conclusions will be presented.
 The business perspective is likewise compatible with a inclusive democratic view on cultural politics, and may be consider ironic for those who formulated the culture policies of 70-s and those who persist for an idea of an democratic inclusive non-commercialize culture domain.
 The economical order is commonly named post- Fordism. In which financialization is just the other face of the contemporary transformation of labor and it´s value. Such labor now coincides with productive strategies in which workforce´s knowledge and cognitive competencies, and ultimately everyone´s very life, assume the role formerly played by machines in the Fordist era.
 “Art and culture professionals, in the belief they master the an apparatus which actually masters them, defend an apparatus they can no longer control. Such structure no longer is a tool for producers, as the latter still believe, but something which is used against them” Bertolt Brecht