Art management during the COVID-19 pandemic: visual arts creator perspective

Abstract

Forced virtualisation and digitisationsuch as the COVID-19 pandemicsignificantly affect the quality of the creative process within the aesthetic situation, depending on the form of participation in visual arts. The visual arts creator, managing the creative process within the aesthetic situation, must take into account the new optics concerning the components of the aesthetic situation because otherwise, his work will be incomprehensible or unattainable for the recipientsnot due to the low quality of the artwork, but because the artwork in new virtualised circumstances may change its features. The features of the aesthetic situation vary depending on the optics of the visual arts creator and the visual arts recipient. This paper focuses on the creator's perspective. Management in the field of visual arts may have three dimensions: self-management, managing the aesthetic situation and managing a cultural institution. Each of these dimensions is characterised by different issues; however, they also have common denominators in the need to consider the metaphysical nature of the essence of the aesthetic situation. This work aims to analyse changes in the artistically creative process understood as the management of the aesthetic situation depending on the form in which participation in visual arts takes place: traditionally, i.e. in-person or virtually using digital methods. Literature analysis and empirical qualitative research in the form of interviews with visual arts creators did allow to answer the following research questions: 1) How do forced virtualisation and digitisation affect the quality of the creative process in an aesthetic situation regarding visual arts? 2) Which qualitative parameters of the aesthetic situation are losing and which are gaining quality in connection with the virtualisation of the creative process in an aesthetic situation regarding visual arts? The presented results of empirical research show which of the components of the aesthetic situation are subject to modifications due to the form of participation in visual arts.

Analisis Tata Kelola Seni Pertunjukan di Taman Budaya Yogyakarta

“…Utami (2018: 6) menyatakan bahwa perencanaan dalam sebuah event festival seni pertunjukan adalah serangkaian kegiatan menentukan target atau sasaran keinginan-keinginan dari penyelenggara/pengelola festival/event organizer, institusi, klien, dan bekerja sama dengan pihak yang akan dicapai, diwujudkan, direalisasikan, dilaksanakan sesuai dengan jadwal. Szostak (2022) menjelaskan bahwa dampak pandemik covid-19 berpengaruh pada kreativitas virtualisasi dan digitalisasi karya.…”

Digitalisation and Virtualisation of the Aesthetic Situation Management: Polish Musical Art Creators during the COVID-19 Pandemic

“…Transferring postphenomenology and the aesthetic situation into the management area, the art creator became a manager of the aesthetic situation in a virtualised reality (Szostak, 2022a). Therefore, the artist's organisational activity in the area of the aesthetic situation may concern self-organisation and self-management, where self-awareness is essential (Kostera, 2014;Marra, 2019;Szostak & Sułkowski, 2021) and managing the aesthetic situation (Böhme, 2021;Gołaszewska, 1984;Szostak, 2021;Szostak & Sułkowski, 2020).…”

“…As a result, perhaps for the first time in humankind's history, most art creators and recipients were forced to participate in their preferred art types in a virtualised way reacting differently to this process. These different reactions vary due to the creative process and the perception process characteristics, personal preferences of the art creator and recipient, as well as the access and quality of infrastructure allowing for virtual participation in particular art types (Szostak, 2022a).…”

Impact of Digitalization on Visual Arts Consumers’ Behavior during the COVID-19 Pandemic: Generational Perspective of Art Management

“…The COVID-19 pandemic increased the speed of digital participation in numerous cultural areas, including the visual arts (Lei & Tan, 2021;Szostak, 2022dSzostak, , 2022aSzostak, , 2022c. Considering visual arts from the perspective of the aesthetic situation, an examination of the involvement should be undertaken from two sides: the creators and the recipients (Gołaszewska, 1984b;Szostak, 2020Szostak, , 2021aSzostak & Sułkowski, 2020a).…”