Mina Lunzer is an artist and freelance writer for art and film-journals such as Senses of Cinema. Between 2004 and 2009 she studied Film and Video Installation and Cultural Studies at Academy of Fine Arts Vienna, the University of Sydney and University of the Arts, Berlin.
What is the currency for the cultural enterprise of the future? Cultural producers and artists produce a multiplicity of values, most of which are immaterial. It is difficult to translate cultural values into adequate market values: how do you determine the economical value of cultural work?
Together with a selection of guests this session will sum up the results and insights the Free Culture Incubator has generated during the past days. What can be done beyond the festival's lifespan?
Whilst traditional enterprises conjure up their corporate identity, the creative sector proudly points to its heterogeneity. Cultural producers however must find a language with which they can reach the public and be economically successful. How much corporate identity does a cultural enterprise need – and how does one communicate this identity?
Cultural forms of organisation hardly ever develop on the basis of strategic considerations but rather cluster around the individual needs of a specific project. Which models of organisation make sense in the field of art and the creative industries and how will the cultural enterprise of the future look?
Due to the economic crisis the creative industries have become a location factor praised by politicians as a growth market poised to outperform the car industry. In which way has this new framework changed the relation between art and capital? Maybe the norm of the economy supporting the growth of culture is due to be reversed?
This year’s video touring programme is a selection of outstanding works reflecting the transmediale.10 theme - FUTURITY NOW!, examining 2010 as a year which has been synonymous with past images of the future.
