Lycée
de la Herdrie
Nantes | France |  |
Street art,
whatever sort it is, remains without doubt the poor parent of the world of art.
If a company as «Royal de Luxe» is nowadays amply known and recognized, it remains
an exception in a universe where precariousness is dominant. We are going to show,
in a first time that the companies of street artists form a very homogeneous unity.
We are going to see, in a second time it is an economy based upon sales with
very diversified markets. And finally that this economy is not based on market
principles, which induces of a big precariousness.
L'Art de la rue, quelqu'il soit, reste sans aucun doute le parent pauvre
du monde de l'Art.
La compagnie "Royal de luxe", très largement connue et reconnue
maintenant, reste une exception. La précarité est toujours à l'ordre du jour. |
Les compagnies d'artistes de
rue : un ensemble très homogène
Nearly
800 French companies are listed by the association « Hors Les Murs » It mobilizes
in a standing way between 3500 and 4000 people and generates most of the time
a turnover estimated to 50 billion of Euros. These companies are installed in
suburban zones and split over the whole of the French territory but are mainly
to be found in three geographic zones : « Île-de-France, the Greater South and
the North Western region. »
Four
kinds of companies can be distinguished : theatre and dance, the arts of achievement
and of circus, music and plastic arts. These teams are more often small than big.
Une
économie fondée sur la vente avec des marchés diversifiés The
money collected represents an average of 80 % of the street artists' resources
and, for nearly half of the companies, all of their budget. These figures reveal
at the same time the capacity of street artists to exist without depending on
public floats and the weakness of the subventions which are paid.
- To
ensure their survival, artists must look for new outlets in permanence. ¾ of the
outlets in invoiced payments are made by public floats. The diversity of outlets
are in relation with seasons : summer (period of festivals), and Christmas (period
where the artists provide entertainment in private districts) 35 %of representations
of arts take place in a room.
To ensure their survival, artists must look
for new outlets in permanence. ¾ of the outlets in invoiced payments are made
by public floats. The diversity of outlets are in relation with seasons : summer
(period of festivals), and Christmas (period where the artists provide entertainment
in private districts) 35 %of representations of arts take place in a room.
Une
économie fondée sur des logiques non marchandes : conséquences d'une grande précarité
The things which show it is an economy
not based on market principles are :
- First, the world of artists claims
the collective characters of the work of creation.
- Then, the exhibitions
are free.
- Finally the aesthetic is an aesthetic of recovery?
The
precariousness explains itself in the way that only half of the street artists
get a salary independently of the representations, and a quarter only handle at
least the equivalent of the minimum wage guaranteed a year.
- Their
motivations are three folds:
- the will to defend art
- the festive stakes
of the street arts - the importance attached to the patrimonial stakes of
the shows.
- Tout d'abord, les artistes revendiquent
un travail de création collectif.
- Ensuite, les représentations sont gratuites
- Enfin,
c'est une esthétique de guérison ?
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Classe de 1°3 ES