natgillin/translations-raw huggingface dataset:
99 igangsættende pædagogik, der skal "udvikle kreativiteten" og "opmuntre amatørvirksomhed" (1), igangsættende fremvisning i kulturcentrene, igangsætning af kollektiv skabende kunst, igangsætning af et bykvarter, kunstarrangementer på gaden, "udstillings-manifestationer (expos-manifs)" og alle mulige andre kultureksperimenter (se 5.1 og 5.2).
This includes motivation/teaching, aimed at developing creativity and encouraging amateur art, motivation/presentation, in cultural centres, and motivation/creation, involving collective creation, local schemes, street art events, happenings and all other forms of cultural experience (5.1. and 5.2).
Ganske særligt kan nævnes de eksperimenter, som udføres i Paris og ved siden af Pompidou-centret af afdelingen "Igangsætning, Forskning, Konfrontation" fra byen Paris' Musée d'Art Moderne og i pro vinsen af Le Creusots Center for forskning, igangsætning og skabende Kunst.
Particular mention should be made here of the experiments run by the motivation-research-confrontation department of the Paris Modern Art Museum, which is independent of the Pompidou Centre, and those of the le Creusot Research-Motivation-Creation Centre (CRACAP) in the provinces.
Kunstnere, der underviser som igangsættere, lønnes eller betales efter hver tjenesteydelse (2).
Artists work as teachers/motivators and are paid a salary or fee.
Vurderingen af deres kunstnerisk skabende virke indgår ikke i vederlaget for deres bierhverv.
There is no assessment of the work for the purposes of remunerating what is only a second job.
Et nylig opstået problem er honorering af kunstneren i det tilfælde, hvor hans skabende arbejder udbredes gennem det ikke-kommercielle kulturnet^.
A recent problem is connected with paying artists whose works are distributed by cultural agencies outside the commercial circuit.
I visse tilfælde udgør kulturnettet det eneste modtagelsessystem for kunstne riske frembringelser, der ikke egner sig for markedet.
In some cases, the cultural network is the only structure open to art works that are unsuitable for the market.
Aftalen mellem institutionen og kunstneren er i så fald beslægtet med bestilling eller køb af hans værker, selv om frembringelserne fjerner sig fra den tradionelle definition af et værk.
Contracts between the artists and the institutions, in this case, are similar to orders or purchases even where the products themselves are not in line with traditional definitions of art work.
I mange andre tilfælde drejer det sig om udstillinger af billeder (hvad enten det er vandreudstillinger eller ikke), og kunstnerens honorering frembyder meget store vanskeligheder som følge af, at man ikke, som for en komponist, kan fastsætte vederlaget af værkets udbredelse gennem ophavsretlige afgifter.
In many other cases, there are (travelling and other) painting exhibitions where the remuneration of the artist is a very considerable problem because, as in the case of the composer, it is not possible to envisage payment via copyright fees.
Påvirket af den svenske model og tilskyndet af Teknisk forening for Kulturindsatsen (ATAC) udbetaler de kulturhuse, der tager imod en vandreudstilling, en fastsat sum på 1 500 FF til kunstneren, uden hensyn til hans berømthed.
Cultural centres have based themselves on what happens in Sweden and, encouraged by the Technical Association for Cultural Action (ATAC), they pay a standard FF 1 500 to the artist, regardless of how well-
Denne sum registreres ikke som indtægt for kunstneren: Skattemæssigt regnes den ikke som betaling for udlejning af lærrederne, men som erstatning for slid.
This amount is not counted as part of the artist's income. It is not considered as payment for the hire of canvases, as far as the tax return is concerned, but as compensation for wear and tear.
Kunst neren kan også honoreres som igangsættende fremviser af sin udstilling.
The artist may also be paid as organizer/presenter of the exhibition of his own works.
Der kan også nævnes eksempler på bestilling af en udstilling (Cueco i kulturhuset i Bourges), hvor kunstneren modtager et vederlag, aftalt i hvert enkelt tilfælde, for sine kombinerede ydelser som skabende kunstner og igangsætter: Vederlaget for udstillingen er afpasset 'efter stedet og sammensat af ikke tidligere viste værker.
And there are other examples - requests for exhibitions (Cueco at the Bourges Cultural Centre is as case in point) where the artist is paid a negotiated sum for his combined servives as creator and motivator. If the exhibition is remunerated as a work of creation, then it has to be designed to fit in with the building in which it is to be held and to contain all original works.
Kunstnerne og rammerne for tilværelsen
Artists and the environment
Kunstnerens andel i udformningen af rammerne for tilværelsen er yderst skiftende.
The contributions the artist makes to shaping our environment are extremely varied, ranging from the design of town planning or architectural projects (in rare cases) to the organization of artistic activity in the town and in cluding 'plastic stylism'.
Den går lige fra medvirken i byplanlægningen eller arkitektarbejdet (i sjældne tilfælde) til byigangsætning via den "plastiske kunsts stilbestræbelse".
The plastic artists is now an accepted member of the multidisciplinary teams that include professional town and country plan ners and architects.
Den bildende kunstner har gjort sin entré i de grupper med mange di scipliner, som omfatter fagfolk inden for boligindretning, byplanlægning og arkitektur.
Mention should be made here of the new towns, where a variety of procedures have been used.
Her kan som eksempel nævnes de nye byer, hvor der er anvendt for skellige fremgangsmåder: I Marne-la-Vallée - for kun at omtale et enkelt til fælde, knyttedes billedhuggeren E. Patka'i til de byplanlæggere, som havde til opgave at udarbejde bebyggelsesplanen for Pavé Neuf (27 ha).
In Marne-1a-Vallée, to take but one example, E. Patkal', the sculptor, was involved in the 27 ha Pavé Neuf develop ment scheme with the town planners.
Konsulenter på højt niveau inden for bildende kunst eller ledende ved tekniske opgaver med grafisk transskription, skabende virke eller bierhverv, alle slags roller er mulige.
The artist may be involved in any number of ways, from art adviser at a high level down to the very technical job of graphics, carrying on a creative ac tivity or a secondary form of employment.
En af de større vanskeligheder, som kunstneren i dag er stillet overfor, og i højere grad i Paris end i provinsen, er vanskeligheden ved at skaffe sig et atelier (1).
One of the major problems facing the artist today, and in Paris more than in the provinces, is finding a studio.1
Politik vedrørende hJslp_til_opførelse_af_atelierer
Policy_of assistance_with_studio construction
Staten har i overensstemmelse med byen Paris vedtaget at støtte opførelsen af nye atelierer.
The State has decided, with the agreement of the Paris city authorities, to subsidize the construction of new studios.
Opførelsen af disse atelierer er overladt de offentlige organer under HLM (det sociale boligbyggeri) med tilskud fra staten og byen.
The council housing authorities are responsible for building these studios, with a subsidy from the State and a subsidy from the city of Paris.
I de sidste 10 år er der opført 690 boligatelierer eller enkeltatelierer dels i Paris, dels i nærmeste forstæder og de nye byer.
98 built in Paris itself and in the immediate suburbs and the new towns.
Et type-boligatelier med to beboelsesrum udlejes for mellem 989 og 1 480 FF om måneden, omkostninger indbefattet.
The standard studio-appartment, with two rooms, is rented out for between FF 989 and FF 1 480 per month, all inclusive.
Kunstnerne kræver afskaffelse af det tillæg for erhvervsmæssig brug af lokalerne, som de fleste af HLM's organer opkræver. Det udgør 30% af bruttolejen og væltes over på omkostningerne.
Artists are asking for the increase for professional use (30% of the basic rent plus an increase in the cost of services etc.), which most council housing authorities charge, to be with drawn.
En ansøgning om atelier kan kun komme i betragtning, hvis ansøgeren er til sluttet den nye socialsikringsordning (se 3.1.1).
Artists may apply for studios if they are affiliated to the new social security system (3.1.1).
Den ændrede socialsikringsordning har øget antallet af de ansøgere, der kan komme i betragtning.
The change of social security system was pushed up the number of artists entitled to apply.
Regionscentrene for bildende kunst
The regional plastic art centres
Blandt forslagene om foranstaltninger i Cahen-Salvadors rapport, som vi alle rede har henvist til, har ministeren for kulturelle anliggender bibeholdt op rettelsen af en halv snes regionalcentre for bildende kunst.
The Ministry for Cultural Affairs has adopted the idea of creating a dozen regional plastic art centres from among the proposals in the Cahen-Salvador report (vide supra).
Disse centre skal være struktureret til skabende kunst, kunstudbredelsc og igangsætning.
These centres have to have the sort of structures that will encourage the creation and distribution of art works and the motivation of artistic activity.
Den udvalgte plan skal ved siden af 8-10 maler- og billedhuggeratelierer omfatte dels en udstillingssal til fremvisning af kunstnernes værker, dels aktiviteter til udvikling af publikums modtagelighed, eventuelt med de skabende kunstneres medvirken.
The plan that has been adopted involves 8 to 10 studios for painters and sculptors plus an exhibition hall for them to display their works and, along side this, the organization of activities, possibly with the help of these artists and sculptors, to attract the interest of the general public.
Cité des Arts (se bilag Fonde) omfatter en hovedbygning i udkanten af le Marais, lokaler i samme kvarter (tidligere forretningslokaler, forladte lejligheder) og et anneks på Montmartre (bygningskompleks i rue Norvins).
This establishment (see Annex 1: Foundations) comprises a main building on the edge of le Marais, premises (old shops and empty appartments) in the area plus an annex (a group of houses on rue Norvins) in Montmartre.
Tegning af bidrag til ateliererne er foretaget af udenlandske regeringer, uden landske universiteter, akademier eller fonde, franske eller udenlandske foreninger eller privatpersoner, af byer (Paris, Niée, Touluse, Asniêres og visse schweiziske byer og kantoner). Det franske kulturministerium og det franske udenrigsministerium har ligeledes tegnet sig for atelierer.
Foreign governments, foreign universities, academies and foundations, French and foreign associations and individuals and various municipal authorities (Paris, Nice, Toulouse, Asnières and a number of towns and cantons in Switzerland) have subscribed to these studios, as have the French ministries for cultural and foreign affairs.
Cité des Arts rummer i alt i de to vigtigste bygninger (Pont-Marie og Norvins) 180 kunstneratelierer (boligatelierer), hvor kunstnere af alle discipliner og fra 40 forskellige nationer opholder sig fra tre måneder til to år.
La Cité des Arts offers a total of 180 studios, comprising both living and working areas, in its two main buildings at Pont-Marie and Norvins. Artists of all kinds from 40 different nations come from anything between three months and two years.
I 1979 havde Cité des Arts 190 beboere (heraf 36 bildende kunstnere og 54 musikere). Tre fjerdedele er udlændinge.
In 1979, there were 190 residents in all, including 36 plastic artists and 54 musicians, and three-quarters of them were from abroad.
Ansøgningerne fremsendes af bidragyderne til Cité des Arts' optagelsesudvalg, der udnævnes af bestyrelsen.
Names of applicants are put forward to the admissions committee, which is appointed by the administrative board, by the various subscribers.
Ansøgningspapirerne indeholder et curriculum vitae, fotografiske gengivelser af værkerne, en liste over de udstillinger, hvori kunstnerne har deltaget, og en samling presseomtaler.
The applicant's dossier contains a curriculum vitae, photographs of the works, a list of exhibitions at which he has displayed his work and a set of press cuttings.
Paris og Paris-området har et stort antal Saloner, hvoraf nogle udelukkende består af amatører.
There are many salons, some of them entirely for amateurs, in Paris and the Paris area (2.1).
Henvendelse sker for Paris til Kunstnerhuset og for Salonerne i de parisiske "yderdistrikter" til kommunalbestyrelsernes kulturafdeling. ling.
Details of those in Paris itself can be obtained from the 'Maison des Artistes' and of those in the suburbs from the local cultural services.
Nedarvede institutioner (traditionelle museer) anvendes på en anden måde, samtidig med at der oprettes nye institutioner.
Art works are also displayed in the country's traditional museums and new institutions are being set up alongside these.
Tendenser går i retning af dels på samme sted at forene skabende kunst, igangsætning og kunstudbredelse, dels at fremme kunstnerisk disciplinpluralisme.
The trend is to have creative work, displays of art and motivation of artistic activity combined in the same building and to encourage artistic multidisciplinarity.
- Georges-Pompidou-centret .(se 1.1) åbnedes 1977. Musée National d'Art Moderne udgør en af centrets fem afdelinger (afdelingen for bildende kunst).
(1) The Georges Pompidou Centre (1.1) was opened in 1977, with the National Museum of Modern Art as one of its five departments.
Fremvisning af samlingerne ledsages af igangsættende foranstaltninger (fra 15. februar til 22. december 1977: 1 376 igangsætninger arrangeret af en specialcelle blandt samlingernes personale dannet med henblik på den pædagogiske indsats).
Exhibitions are ac companied by motivation schemes, etc. - between 15 February and 22 December 1977, for example, 1 376 schemes were run by a special team from the collections service, with a view to education.
Blandt de foranstaltninger, der giver nulevende kunstnere
Measures offering living artists an opportunity to create or exhibit work include orders for exhibitions1 and the opening of museums to little-known artists (the 'Ateliers d'aujourd'hui' series).
- 102 - mulighed for at skabe eller/og udbrede kunst, kan dels nævnes bestilling af udstillinger (1), dels museets åbning for lidet kendte kunstnere (udstillingsrækken "Atelier'er af i dag").
The Industrial Creation Centre (CCI), another of the five Beaubourg de partments, frequently organizes exhibitions which, like the plastic art events, are intended to go on tour.
Afdelingen "Igangsætning, Forskning, Konfrontation" (ARC) fra Paris' Musée d'Art Moderne er åben for nutidig kunstnerisk skaben i alle discipliner (bildende kunst, musik, poesi).
(2) The 'Animation-recherche-confrontation' Service of the City of Paris Modern Art Museum is open to a whole range of contemporary artistic creative activity, including plastic art, music and poetry.
Igangsættende aktioner og diskusioner ledsager udstillingerne.
The exhibitions are accompanied by motivation sessions and discussions.
Nationalfonden for de grafiske og bildende Kunster og Afdelingen for skaben de Kunst holder regelmæssigt udstillinger, der står åbne for nutidig skaben de kunst: Store udstillinger som "Kunsten i byen" 1978, gruppeudstillinger med henblik på at gøre unge kunstnere kendt - og sjældnere, udstillinger som anerkendelse af en kunstners værker.
(3) The National Graphic and Plastic Art Foundation and the Artistic Creation Service run regular exhibitions of contemporary creative work. There are major exhibitions like their 'Art dans la Ville' show in 1978, group events to display the work of young artists and, more rarely, exhibitions devoted to the work of a single artist.
Musée des Arts Décoratifs tilhører Centralsammenslutningen for Kunstindustri, men modtager en væsentlig støtte fra staten, som ligeledes kan stil le konservatorer fra nationalmuseerne ril rådighed for det.
(4) The Decorative-Art Museum is part of the Central Union of Decorative Arts but it receives a substantial grant from the State - which may also pro vide it with curators from the national museums.
Museet har spillet en betydelig rolle for præsentationen af nutidskunst i de sidste 30 år.
It has made a consider able contribution to the presentation of contemporary art over the last 30 years.
Skolen er et livligt sted, hvor der holdes atelierudstillinger, og hvor CID (informations- og dokumentationscenter) arrangerer foredrag og diskussioner om nutidskunst.
This is a thriving establishment where artists' work is displayed and where the CID (Documentation and Information Centre) organizes lectures and debates on contemporary art.
Kommunale værksteder for kultur og nabokommunikation
Municipal cultural and environmental expression workshops
I 1979 åbnedes 120 værksteder i 80 discipliner, omfattende 12 arrondissementer.
In 1979, 120 such workshops, involving 80 types of activity, were opened in 12 arrondissements.
Der er i alt planlagt 300 værksteder.
A total of 300 workshops is planned.
De nævnes her i det omfang, de henvender sig til kunstnere med henblik på igangsætning.
We mention them here because artists are asked to be responsible for the practical work.
Der holdes udstillinger inden for rammerne af Paris' Efterårsfestival og in den for rammerne af le Marais' Festival (se le Marais' kulturcenter).
Exhibitions are run as part of the Paris autumn festival and the Marais festival (see the Marais Cultural Centre).
Paris-Biennalen er et internationalt arrangement (150 kunstnere fra 25 lande), der står åbent for kunstnere under 35 år.
The Paris 'biennale' is an international event involving 150 artists from 25 different countries.
Udvælgelsen foretages af en international komité af kunstkritikere og konservatorer. Fast sekretariat: 11 rue Berryer, 75008 Paris.
It is open to artists of under 35 and their work is selected by an international committee of art critics and curators.
(1) Sml. navnlig de tre environmenter, der i 1977 blev bestilt til indgangshallen hos kunstnere sammensluttet under et pseudonym. Environmenterne ødelagdes ved udstillingens slutning.
The International Modern Art Gallery and Book Fair (MÍGAME) took place in April 1980 for the first time.
Uafhængigt af de mangfoldige private museer er tallet for museer i Frankrig i 1979 opgjort til ca. 1 200. Der bør her skelnes mellem dels nationalmuseer, dels klassificerede og kontrollerede museer tilhørende de regionale offentlige myndigheder (se 1.1.3).
There were something like 1 200 museums in France in 1979 (not including the many private collections), some of them national ones and others, classified and supervised, belonging to the local authorities (1.1.3).
Et endnu ringe, men voksende antal museer tager den risiko at udstille den mest aktuelle kunst og udvikle nye mønstre med hensyn til at åbne sig for kunstnerne og sætte aktiviteter i gang (f.eks. Musée de l'Abbaye Sainte-Croix i Sables-dOlonne).
There is a small but growing number of museums willing to take the risk of showing the most up-to-the minute works and launch new methods of encouraging artists and motivating artistic activity.
Centret for forskning, igangsætning og skabende kunst inden for de plastiske kunstarter (CRACAP), der har til huse i Le Creusot, er et ikke-officielt organ, der mod tager statshjælp.
CRACAP organizes touring exhibitions and plastic art experiments in which artists are paid to work in contact with the milieu.
Det er igangsættende celle for "bildende kunst" i Chãlon-sur-Sa3nes kulturhus, og det er den, som har fået til opgave at planlægge og realisere øko-museet.
They have a number of aims. In spite of recent efforts to encourage plastic arts, however, this branch of activity remains the poor relation of cultural diffusion.
Centrene for igangsætning eller kulturel Indsats (der etableredes i 1968) er mere beskedne institutioner med en smidigere og mere bevægelig struktur.
The cultural motivation and action centres (launched in 1968) are more modest in aim and have more flexible and more mobile structures.
De administreres ligeledes af foreninger (lov af 1901), men finansieres for en tredjedels vedkommende af staten og for to tredjedeles vedkommende af de re gionale offentlige myndigheder.
They are also run by associations (under the law of 1901) but the State contributes two thirds of their finances and the local authorities two thirds.
Kulturelle aktiviteter af tværministeriel karakter berører de "integrerede" institutioner, som støttes af flere ministerier.
The interministerial cultural schemes are for 'integrated' establishments subsidized by a number of ministries.
Der kan nævnes CIRCA i Karteuserklostret i Villeneuve-les-Avignon og CDAC i Belfort (med Mur-Atelieret).
Examples of these are the CIRCA (Chartreuse, Villeneuve-les-Avignon) and the CDAC in Belfort (with the le Mur workshop).
Der findes henved et tusinde Ungdoms- og Kulturhuse (MJC). De sorterer under Statssekretariatet for Ungdommen og Sporten.
The youth and culture centres (MJC) come under the Secretary of State for Youth Affairs and Sport and there are about 1 000 of them at the present time.
Deres aktiviteter er hovedsagelig af sportslig karakter, og deres rolle som kulturspredere er begrænset (i det mindste set fra den mere komplicerede kulturs synspunkt).
Their main concern is sport and they only contribute a little to cultural ac tivities (highbrow culture, at least).
Det skal dog bemærkes, at de i stadig højere grad giver plads for vandreudstillinger.
However, it is worth noting the fact that they are now hosting an increasing number of touring exhibitions.
Kunstskolerne og Kommunebibliotekerne viser ligeledes udstillinger, og det samme gælder de kommunale kunstcentre.
Exhibitions are also held in schools of fine art and municipal libraries, as they are in various municipal art centres.
I Lyon har kommunalbestyrelsen stillet en plads til rådighed for et kulturcenter, der har fået navnet Rummet for nutidskunst i L.^on (på øverste etage af den vældige Perrache-bygning med busstation, metroudgang, forretningsgallerier osv.).
The town authorities in Lyon have provided premises (the top floor of the vast Perrache building, with a coach station, metro station, shopping precincts, etc.) for a culture centre called the Espace Lyonnais d'Art Contem porain.
Centret administreres af Foreningen af kunstkritikere i Lyon (en halv snes kritikere). Udstillingerne er hovedsagelig orienteret mod lokale kunstnere (miskendte ældre kunstnere og nutidige kunstnere).
This centre is run by the association of Lyons art critics (about a dozen people) and its shows are essentially concerned with the work of local people - both contemporary artists and little known period artists.
I Bordeaux er Centret for nutidig Billedkunst indrettet i Lainé-depoterne.
The Centre for Contemporary Plastic Art in Bordeaux is housed in the Entrepots Laine.
Det spiller en vigtig rolle for udbredelsen af nutid avantgardekunst.
This organization plays an important part in displaying contem porary avantgarde works of art.
Kulturelle samlingscentre
Cultural meeting_centres
Foreningen af kulturelle Samlingscentre stiftedes i 1972 af Landskassen for historiske Mindesmærker og Steder med hjælp fra Fondation de France.
The Association of Cultural Meeting Centres was set up by the National His toric Monument and Site Fund in 1972 with aid from the Fondation de France.
Landskassen har i sin politik for at skabe liv i de historiske mindesmærker til sta-
Its policy of developing France's historic monuments has led the fund to seek to establish permanent activities, in line with the style and purpose of the monument, in such a way as to make it a proper part of contemporary life.
105 dighed søgt at udfolde aktiviteter, afstemt efter bygningens stil og bestem melse, der kan gengive den sin plads i nutidens liv.
Page 105
Foreningen af private Kunstcentre (se 1.2.3) stiftedes 1972 (der var fem stiftende medlemmer.
The Association of Private Art Centres (1.2.3) was set up in 1972. There were five founder members.
I hvert center afholdes der udstillinger (se listen i vedføjede bilag).
These centres house exhibitions (see list in Annex 2).