“The story behind the breeding areas is to deceive the farmer.”

breeding areas

Politics is cheating the peasants

In art politics, visual arts always get a bad job. And this is while the Netherlands is world famous for its rich traditions in this particular branch of art. This can be explained, because unlike the performing arts, where politics focuses on businesses and institutions, the field of visual arts is a loose group of self-employed people from different backgrounds. Currents and trends tend to fight each other (for centuries). Professionalism is also not pre-screened, there is a wide transitional area between amateurs and professionals; In short: no overview.

The fact that visual artists are struggling economically has been taken for granted since Iconoclasm: the art market is fickle, because it is subjective, moreover, sensitive to fashion and the economic situation. With the abolition of the Visual Artists Regulation in 1986, all structural income support disappeared. What remained was a policy of affordable workspaces, at least in some (medium) studio establishments in large cities created for this purpose. In addition, at the end of the twentieth century, a rather fragile infrastructure was built from technical lending, procurement support, assignments and course centers. Partly private with more or less subsidies, partly municipal or regional, and almost with little money to be filled by the government. In the first quarter of the twenty-first century, the infrastructure was almost completely “cut” and now the studios are also threatened.

There was a housing shortage besides vacancies. So the empty buildings were squatted. Sometimes these were neglected industrial parks, not suitable for ubiquitous housing, but as workshops for artists, start-ups for start-ups, etc. These buildings were called “free zones” and sometimes very interesting things happened there. The American sociologist, Richard Florida, wrote a book on the topic: The rise of the creative class† A somewhat romantic story that captivated the imagination.

In 2010, squatting was outlawed by law and anti-squat or vacancy policies became in vogue. It is not rented, but loan payments are agreed for a limited period. Once a destination is set for the building, the user has to scratch.

In Amsterdam in particular, officials saw the benefits. Free spaces had a special added cultural value, precisely because they were not institutionalized, because they were free. This added value has upgraded the prestige of the entire neighborhood, a prerequisite for the rehabilitation of a deprived neighborhood housing many low-skilled workers and immigrants.

But something is still happening in Amsterdam. This city has traditionally been a cultural hotspot in the Netherlands with great attraction for artists – especially up-and-coming ones. The city is home to 5 percent of the population and more than a quarter of the country’s artists. Temporary housing is ideal for reducing flow. Thus the municipality took over the free spaces last year and renamed them “incubators”, subject to strict selection by a municipal committee and intended for young people only and for a short period of time.

The vacant building is nothing more than that, admittedly artists (as well as others) benefit from it. The term “incubator” is used to introduce vacancies into technical policy, with the added advantage that it costs nothing. Where demand exceeds supply, selection is made on the basis of “special talents”, regardless of Thorbeck’s creed: “Government is not a judge of science and art.”

This “incubator policy” – at least in Amsterdam – serves the interests of the real estate speculator, not the interests of culture. Artists are abused in order to improve disadvantaged areas. After a few years of social services, they have no hope of moving to sustainable and affordable housing. Because the studio facility that has historically grown in the capital is quietly being moved to the real estate market.

In short, this form of art politics is a culture that can be discarded. The story behind this is the deception of the peasants.

Fine artistColumn ook kok: spoei

Nice to see them working

I don’t go to Holland very often, I was in Amsterdam last September (In Spui, only a professional does a really good job, 28/5). He was drinking a nod with a portion of bitterballen at Café Hoppe, and I’m sure the guy who calls Auke “artisanal” was pretty busy too. I was wearing the same clothes (I remember Max Verstappen’s clothes). At that time, he was mainly busy transporting bicycles, pointing out to the girls that the bicycle must be properly locked, and checking whether the luggage is properly secured when driving away. I love seeing people like this so busy.

In my youth, when I was on vacation at a gas station, a man walked through the village one day a week carrying something from everywhere. He didn’t say anything, but came and stood near you and walked with you. If you give him a cigarette, he sets off again, to the bakery. so it was and always will be; There is nothing wrong with that, completely innocent behaviour.

via nrc.nl

If you are on vacation

We see. The situation is not that bad in Amsterdam. I was there recently, that evening with Norwegian Refugee CouncilIn Bacchus de Zweiger. (It’s nice to see them, but it’s even better to read them.) I rented a bike there for the first time, and trained great over Amsterdam. Broek in Waterland, Monnickendam, Marken, and they saw IJsselmeer for the first time. Before the evening began we walked along the Ij River in the sun behind it. As if you were on vacation. in some street. The bike is back in style.

via nrc.nl

wink from my love

I was actually more curious if he saw Auke Kok Het Lieverdje scratching his head. Finally, the statue saw Amsterdam sinking away from the creative era of Provo, and for now – eventually choked by tourists as a marketplace dominated by Nutella and plasticized cheese. From the time of the creative white bike scheme as an argument for free transportation for all to the insane and irrational destruction of “excess” copies through, well, what was it anyway? Eccentric or performing artist? or both? When the man lights up that great joint, Het Liverde, which was financed by a cigarette factory, nodded just as much. Or did it give a big flash to the top: Jasper Groutfeld, you won? Why didn’t you care more, OK?

via nrc.nl

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