We are the Department of Culture, a growing community of Canadian citizens who are artists, arts professionals and cultural workers concerned about ensuring the social and cultural health and prosperity of our nation in the face of a Federal Government that is aggressively undermining the values that define Canada.
We are you: the painters, architects, dancers, writers, actors, designers, filmmakers, sculptors, performers, photographers, ceramicists, directors, curators, musicians, archivists, fashion designers, producers, weavers, choreographers, editors, librarians . . .
WHAT WE STAND FOR:
The Department of Culture was founded on the following objectives to:
ENCOURAGE A MULTIDIMENSIONAL VISION OF CULTURE that emphasizes living interactions between the artistic, cultural, social, political and economic aspects of society.
PROMOTE A VIEW OF CITIZENSHIP in which all Canadians are active participants in the creation of culture rather than simply as passive receivers of it.
ENSURE THAT GOVERNMENTS, AGENCIES AND INSTITUTIONS ARE ACCOUNTABLE for their social and cultural agendas.
SUPPORT THE CREATIVE AGENCY OF ARTISTS to make political change through all forms of artistic production.
If you haven’t noticed, we’ve switched WordPress themes to freshen up the site a little. WordPress is the system we use to operate the site – it’s open source and absolutely rad! Still, it isn’t perfect so if you notice any bugs please leave a comment on this post.
What’s more, you can now rate each blog post. I hope this one gets 5 stars 😉
nettime: There is a good description of art appropriation from the Detournement movement in 1950s to intellectual property being the “Oil of the 21st century”:
In a post-industrial society production is no longer confined to material goods (such as steel and coal) but increasingly extends to immaterial goods. However, a significant difference exists between the two: immaterial goods like knowledge and information can be reproduced without impairment, which is not the case with material goods. But in order to be able to function within a value chain, the distribution of these immaterial goods must be restricted - namely with the aid of patent, copyright and trademark law.
Curated by Breda Beban, imagine art after brings together artists who left their home countries and now live in London with artists who stayed.
This international contemporary art project, devised in different stages and across different locations, began in 2005 on Guardian Unlimited with online dialogues between pairs of artists from Afghanistan, Albania, Ethiopia, Iran, Iraq, Nigeria and Serbia. Its inaugural exhibition was at Tate Britain (5 October 2007 â€“ 6 January 2008).
imagine art after introduces an innovative and experimental curatorial model that emphasises process and production, drawing on Bebanâ€™s independent filmmaking practice where, in the process from script to screen, each stage is a result of the previous stage.