2. IMAGINE 2020 network
ART AND CLIMATE CHANGE
Create awareness of the causes and effects
of climate change
Contribute to the necessary cultural shift for
a sustainable future
3. 6 partners
4 countries
2 years (June 2008 – May 2010)
Kaaitheater
Brussels (BE)
Théâtre Le Quai
Angers (FR)
Domaine d’O
Montpellier (FR)
LIFT
London (GB)
Artsadmin
London (GB)
Bunker
Lljubliana (SI)
The 2020 network : Thin Ice
6 partners /4 countries
2 years (June 2008 – May 2010)
Budget: € 467 865 EU: €200 000
Kaaitheater
Brussels (BE)
Théâtre Le Quai
Angers (FR)
Domaine d’O
Montpellier (FR)
LIFT
London (GB)
Artsadmin
London (GB)
Bunker
Lljubliana (SI)
4. 11 partners / 9 countries
5 years (July 2010 – June 2015)
Budget: € 4,427,510 EU: € 2,213,755
Kaaitheater
Brussels (BE)
Théâtre Le Quai
Angers (FR)
Domaine d’O
Montpellier (FR)
LIFT
London (GB)
Artsadmin
London (GB)
Bunker
Lljubliana (SI)
R’damse Schouwburg
Rotterdam (NL)
Kampnagel
Hamburg (DE)
Transforma
Torres Vedras (PT)
Domino
Zagreb (HR)
NTIL
Riga (LV)
7. Partners
Imagine 2020
Core Funding/Policy making
EU Culture Programme
Municipal/Regional/National governments and
funding bodies
Projets/ Project Funding
Tipping Point, ADEME, Julie’s Bicycle,
British Council, Foundations, Cape Farewell,
Greenpeace, Oxfam
8. Support each
other on a
European level
to play a leading
role locally
New funding
sources for
challenging
projects
A European
voice
Exchange
information,
initiate projects,
share
experiences
Like-minded yet
very different
performing arts
organisations
A European Network
Ackroyd Harvey ON THE FIELD
9. Commissions
Co-productions
Touring & Programming
Residencies
Partnerships
Summer Labs
Conferences
Act as « agents »
Document
Produce and work differently
Frédéric Ferrer, KYOTO FOREVER
10. Anna Mendelssohn,
CRY ME A RIVER
Installations, Site specific, Black box
Large, medium, small scale
Community based
Small/large audiences
19. “Cultural institutions want to suggest solutions with the help of
the artists. Do you think that this sort of positioning is
possible?”
“ Yes, and perhaps more than a positioning of the artists themselves. Mixing
together artists working in different fields, different art forms, could allow
the cultural institutions to think tomorrow’s world and to invent leads and
proposals. But artists can be at the core of such reflections.”
Frédéric Ferrer in “Art for Earth’s Sake”
Role of the artist/ Role of the organisation
23. GREEN RIDER
This Green Rider is from the organiser/venue to the artist/company/producer in addition to the
Technical Rider.
GENERAL
> As part of its on-going commitment to the environment and in the firm belief that the cultural sector
has a role to play in the fight against climate change, [name of venue/organisation] has decided to
green its contracts and limit CO2 emissions whenever possible.
> [the artist/company] will, as much as possible, provide information necessary to help [name of
venue/organisation] to measure and reduce the environmental impact of the performances.
> During the duration of the engagement and while in the promoter’s venue, the company will strive
to adhere to the ecological charter [name of venue/organisation] has developed for its employees.
> [name of venue/organisation] encourages [the artist/company] to ask for the simple measures listed
in this Green Rider at all other venues they will perform at.
> [name of venue/organisation] encourages [the artist/company] to ask other venues and festivals to
waiver any geographical exclusivity clauses so that tours can be organised in a more efficient way.
> Further information and advice are available under IMPROVE at imagine2020.eu
SCENOGRAPHY
> If [name of venue/organisation] is a commissioner or co-producer of [the production] the [name of
venue/organisation] and [the artist/company] will work together to explore different options with
regards to materials used in the design of the set, costumes, props, lighting, and an “exit strategy”
(i.e. re-use/recycling) for all materials used.
TRAVEL
> Before deciding the best travel option, [name of venue/organisation] and [the artist/company] agree
to calculate the CO2 impact of the different means of travel.
IMAGINE 2020 GREEN MODELS –
Staff, artists, audiences
26. New Economics Foundation / Imagine 2020
IMAGINE THE GREAT TRANSITION
Dette Glashouwer MONEY MONEY MONEY
The Great Transition
Great Revaluing (« good » things cheap and « bad » things expensive)
Great Redistribution (of income and wealth)
Great Rebalancing (different markets)
Great Localisation (« subsidiary » system)
Great Reskilling (local production = different skills)
Great Economic Irrigation (different taxation)
Great Interdependance (international context)
Commissioned Films, Performances, Talks
(NEF, Imagine 2020 network, local players)
