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Ulrich Fuchs
Ulrich Fuchs
Ulrich Fuchs was the key note speaker during the opening session of the conference "Cultural Encounters: Mosaic of Urban Identities", but before starting with his presentation he made a rebuttal in need to be explained.
Many of the dignitary guest speakers before him spoke naturally in French. This is, however, not just Marseille 2013 in France but European Capital of Culture. Still the audience sat confounded as most of them did not speak French but also no translation had been provided. When it happened a fourth time, I simply spoke from the audience to draw attention that something could be done to facilitate translation, if not a simultaneous one then at least someone standing beside the speaker and making a short summary in English. After all a crucial point about culture is the matter of communication in order to get the message across.
So when Ulrich Fuchs took the floor and before starting his presentation, he stated in what can be best described as a typical way of putting down an objection: "I have to say something to this request. We live in Europe so it can be expected that we all speak not only English, but as well French. This must be said!"
Applause.
A plausible demand that everyone speaks French when coming to Marseille, but there is a difference between him having arrived five years ago to take up the job of Assistant Programme director and someone coming to a conference for two days. Moreover what he did, was something reminding of the old student days when the one with weight behind him, and that can also be understood physical size, could put down any protest.
He had done something similar in Linz 2009 when he served there as aristic director. At that time, Tanja Brandmayr coined the phrase 'sustainability of criticism', for if not given, then the arts shall not come to life during that one year when the city is European Capital of Culture. In Linz criticism of the free art scene ignited over a decision by Ulrich Fuchs who would only grant money to a project if a multicultural NGO would not merely bake a Linzer Torte according to international ingredients, but open up as well a cafe. The NGO refused to enter such a commercial enterprise and thus Ulrich Fuchs refused to give the project any money. That ignited a whole storm but which exhausted itself within a relative short time, leaving the arts and culture exposed to whatever was decided on how to fulfil the cultural programme for one year. Silence reigned thereafter, the surest sign something was going badly wrong but people had no longer a wish to make a difference by articulating their criticism.
The way he put down that request to consider people not speaking French, it reminded of a specific political way to squash opposition. Not only the problem is wiped off the table, but the integrity of the one who made that request is put into question. He had learned his ropes early enough in doing theatre. Before he gave his presentation, I had brought him greetings from a common friend who had worked with him at that time in Bremen. Since then Ulrich Fuchs had come a long way. After Linz he took up this job in Marseille but while being Assistant Programme director, it is said he has not much influence. As an outsider to the French community, he is at best a good spokesperson for those coming from the outside to inquire about Marseille 2013. Certainly he can articulate well enough those standpoints which apparently count for he knows what the European Commission and those giving funds look for and demand of a city when undertaking the task of putting this title into practice. By necessity, it has to be a success story. While outwardly he seems to have the sensibility of a romantic soul and he articulates himself in a way which can be called in German 'rührend' - touching, nevertheless he can be quite tough. For sure and due to all the criticism one does harvest when in such a job, many artistic directors interpret toughness as something you have to be when dealing especially with an opposition. Ulrich Fuchs described in his interview this seems to be a constant in the case of every ECoC city.
Still, the point about speeches being held by officials in French while the audience does not understand a word because no translation was provided is an odd situation. It could have been resolved in quite a simple way. For instance, if lack of funds means no translator can be made available, then it would be possible to ask if someone could facilitate a short translation in the form of a summary. Naturally people may be reluctant to volunteer here especially as they do not want to misinterpret and translate wrongly what has been said. Anyone, it has to be assumed that people coming to Marseille would be interested to hear, for instance, what the director of just opened Villa Mediterranea has to say about concept and realisation. As in all organizational matters having some kind of translation available matters, for these are crucial details. If they are missed out, then it says a lot about the seriousness or not of the intention to communicate what Marseille 2013 is really about. Certainly it does not give a good impression.
It should be added that Ulrich Fuchs did hold his speech in English.
Comments to the presentation by Ulrich Fuchs
Key references
Which of the former cities which held the ECoC title are named, that gives a good indication about what key references have come into play to indicate a success story.
References in terms of visible results
When Liverpool 2008 had a mechanical spider go through the city's street, this became a highly publicised moment in the entire year. Somehow it stands out. One has to ask about the power of such images behind which stands the claim of success. Likewise when Ruhr 2010 had the autobahn shut down for one day to allow people to sit along tables for an one day picknick, this coming out in force capitulates everything the organizers of such a year event can ever hope for, namely a massive turn out. Impressed are people by the staggering numbers especially if linked to highly visible results. That is why in many European Capitals of Culture the iconic and symbolic buildings stand out e.g. in Marseille the new Museum of Civilization from Europe and Mediterranean and the Villa Mediterranea. In discussions often reference is made to the Guggenheim museum in Blibao as example of what can transform an entire city.
Of interest is, therefore, which of the former ECoC Ulrich Fuchs cites. They can be used to exemplify a certain model and equally underline one's own claim of success by wishing to be compared with these cities. Naturally he had to include Linz 2009 as he worked there for 5 years. Interesting is also the terms listed to indicate what these European Capitals of Culture did, in order to be able to claim to be a part of this lineage of success: exhibitions, lively spectacles, great popular festivals, not restricted to one city but encompassing an entire region with Lille 2004 leading the way.
It should be noted that none of these terms are really cultural ones i.e. they do not refer to artistic content. When Athens had for the first time the title in 1985, it was already an outstanding event to let Peter Stein do his performance of Orestie in the theatre of rocks. The theatre had been specially built for this performance in what was formerly a quarry.
The other term refers to a wide variation of making use of culture to bring about regeneration, urban renewal, new public places, urban innovation etc. The darker side of making use of culture is gentrification.
Over time, these terms of references have become in the minds of those either involved in implementing a cultural programme or else when evaluating the outcome the outstanding premises by which success can be appraised. Thomas Kuhn called them 'paradigmas'. As leading models they are repeatedly copied and reproduced as if success can be obtained in but only one specific way. To this has been added a learning out of experience over time. This has led to cities believing culture can be used as image changer in order to become more attractive.
Once these references have established themselves, and are overused, it is difficult to alter the course which European Capitals of Culture take. In reality, they signify a silent admission of failure insofar the city did not really come to terms with demands of culture. Rather the overt success story brought to the attention of the media is a way how things are done in this kind of fast consuming world. It means, however, to gloss over real cultural challenges best exemplified that no one takes the term 'capital' in the title really seriously. Thus ECoC cities hardly contribute to a critical questioning of what the criterion of success means for people in the world they are forced to live in and to find ways to make a living.
If a ECoC is said to be successful, then it is success of a very specific kind expressed in terms which underline a complete system conformity. The biggest failure, namely not to question the system and thereby free the minds to think about life in other terms, is never mentioned.
Right now the story of ECoC cities is told in a certain way and the presentation by Ulrich Fuchs shows precisely this conventional way linked to the Anglo-Saxon model or how culture can be instrumentalized to serve other purposes.
Success in terms of impact
Success stories are told best in quantitative terms, but what does it mean to have received 4 000 Journalists in the case of Lille 2004 or Linz 2009 having mobilised 67 000 children? Alone the term 'mobilised' can take on a military like connotation and would stand contrary to the meaning of culture defined by Pier Liego Sacco as key to participation. Naturally what is meant or intended by the use of such a term as 'mobilisation' can also be taken up in a positive sense. Linz did engage children in countless actions and this includes street activities, but why is the number itself of such a great importance? What is the aim to convince in such a way that this has been a success? Naturally what would a pantomime do if all alone on stage and having only one person in the audience and sitting in a theatre with a seating capacity of 500? Of course, the pantomime could easily pretend countless people were watching him as he cleans invisible glasses.
Process of selection
Ulrich Fuchs wished to remind everyone that Marseille 2013 went through a process of selection and in the final end competed with Bordeaux, Lyon, and Toulouse. Marseille-Provence 2013 received the desgination in 2008, and this as a result of an outstanding bid. Many said this bid is a new paradigma for future candidate cities.
Marseille and the Province meant not the city alone, but an entire region applied. Ulrich Fuchs admitted at first he was sceptical about the idea, but as he started to become acquainted with the entire area, the more sense it made to him. This conclusion of his can be explained by the fact that some of the surrounding regional centres are wealthier and better organized than Marseille itself. Consequently Marseille, although port, finds itself in a bind or at risk to be isolated. This would be especially the case if cut off from the hinterland. Modern transportation and communication links do not suffice to overcome invisible barriers and separations. Here culture does give ample opportunities to bind together various levels of society, and this especially by improved coordination between different municipalities and their respective institutions of governance. Even attending an exhibition opening in another town can take everyone out to see that place since sometimes visits take place only if some good excuse is provided. Naturally the full impact upon a region varies between Lille 2004, Ruhr 2010 and Marseille 2013. Lille understood itself as a widening of networks by including everyone within the geographical area while Ruhr 2010 faced another problem insofar as 53 cities could only be brought together if some imaginary reference manged to unify them instead of always just competing against each other. Local identities in the form of patriotism plays a huge role in the former steel and coal area best seen in how football teams have their respective loyal followers. Here Ulrich Fuchs did refer to the football club of Marseille and its fans but presented it in a way that this does not contribution towards regional cohesion and moreover it seemed not to have interacted at all with the European Capital of Culture year's programme.
Territorial cohesion through culture is important. To what extent, mutual understanding does lead to an improved form of governance, insofar as inequalities within the city and in the region are perceived as requiring workable solutions to which all have to contribute, that would be another measure of success in the long term.
Investments made
The basic claim of being a success rests already in the case of Marseille 2013 on 680 million Euros having been spend to establish new cultural venues. Beside the two outstanding ones already mentioned, namely the MUCEM and Villa Mediterranea, there are others like 'Le Silo', FRAC etc. Even though criticism has been levelled, this concerns the parts of the city to where the tourists flock, but not the poor suburbs in the North of Marseille, several questions come to mind when hearing such a claim. Could something else have been done better? There is the paper by Ferdinand Richard who argues for a compatability between cultural concept and the socio-economic structure of Marseille which can support only certain kinds of activities but not those who aim to go to the moon, so to speak.
Clearly the investments made go way beyond the financial capacities of the small and medium sized family businesses for which a Mediterranean society and economy is know for best. Oversimplified said, the dilemma is big projects require huge sums of money and if the aim is to achieve a highly visible result, then if not a flagship kind of project as was the case in Liverpool 2008 when a new cultural centre was opened, then a kind of merging of cultural venues with a new kind of infrastructure made up of public spaces and other amenities to ensure that people will come not only to the city for a visit, but also flock to these special areas. In some way, these new buildings are spectacular and outdistance any small project to be realised within a modest setting. While the former can claim to attract many people, the latter would be well off if 100 people show up and that would already be a lot if a poetry reading.
Examples of investments made: hangars at the port of Marseille
Ulrich Fuchs was keen to praise this effort to re-use the huge spaces offered by the hangar. As a matter of fact, he was intrigued on how it was adopted by the local population and how many people went to enter them. They would enjoy those areas free of charge such as a playarea for children and a restaurant even if they could not afford to enter the exhibition. A good indication of success is when people adopt a place. It becomes well known to everyone because all talk about having been there and communicating it in a way so that "you must go and see it!" In reference to J1, he pointed out to the participants of the conference that they have been invited to see there the newly opened Le Corbusier exhibition. And he explained that J1 stands already on international territory, that is beyond the border of Europe. This makes that place so extraordinary because it is possible to experience as well the end of the European world and the beginning of the Mediterranean.
Special cultural events in 2013
At the beginning of 2013, the special cultural event was based on the circus. This form of entertainment is well known in France. Circus has developed as art and performance form. It is no longer just a mixed variety based on a composition of clowns, lions, trapez and horses in the ring. Rather highly artistic performances lead to ever more exceptional feats of acrobatics to novel pantomime and theatre like performances which can easily border on a kind of opera.
Adorno said something about the circus in 'minima moralia'. With some modification it still holds, for the entrapped wildness in the circus reminds the well behaved society of its past when still exposed directly with wildness now represented by the tiger in a cage. Adorno criticized thereby the inherent repetition demonstrated best by a circus by having horses but also others running in a circle as if this holds out a promise to perpetuate life when it might be just a cat chasing its own tail. More important is that people flock into the circus according to Adorno's interpretation to be reminded the wildness they left behind by taming themselves to live comfortable in a society devoid of any contact with nature and this wildness the circus holds up like a mirror. The latter constitutes the main source of attraction of the circus.
Given such a popular form, one can wonder why a European Capital of Culture choses such an event to initiate its cultural programme? There is a give and take behind such a decision, but it can mean to have given in to a kind of resignation. Not ambitious cultural projects are favoured, but those which are safe, in the sense that sufficient people shall attend. That certainty is needed to be able to claim success. Still, the form of circus is not really something people would need if they were to emancipate themselves from current situations in which they live in. And it is not merely a matter of participation in cultural events per say, but what gives them tools to understand their situation. Emancipation is something more than what mere spectator sports like football offer. Of course, it is possible to be absorbed when clowns play the dumb and sad figures. And naturally parents are happy if they see their children enter that magic like world when tigers leap through burning fire rings. All are happy if they forget where they are for the moment. That moment of self forgetting is always a good to obtain that sense of having made an experience worth while.
Still, it would be interesting to hear further reasons why the circus took on such an importance in the Marseille 2013 programme? Also if the criterion of audience building capacity is applied, would this mean Marseille 2013 as cultural capital would favour to promote the circus throughout Europe?
Admire the entire territory
Furthermore, if participation in cultural events are designed to include all the partners in the territory, then a common denominator becomes not so much criticism but admiration of the territory. Again, admiration is such a Conservative term that even when meant well, should not exclude all the difficulties within that region. Its rich history is not compatible with how it is used in present day forms of living and moving about in that territory. Somehow there seems to be a wrong scale of things which has perpetuated itself all the way from how the road system has been constructed to what is the scale in terms of the Metro and its narrow platforms. Somehow there is a logistic problem as well. Its inherent nature manifests itself in being without a real sense of direction and moreover in entering more blockades than allowing a flow of things so that man and nature remain compatible. It would have done wonder if Marseille 2013 would have adopted some of the lessons learned at EXPO '67 in Montreal, Canada which made man and nature into a major theme. If the entire territory was envisioned as cultural entity, then this compatibility should have received much more of a treatment. Of course, Ulrich Fuchs did praise one specific project which made that visible. He referred to it in his next slide of his power point presentation.
Transhumance Project
This project consists of re-connecting the city with the surrounding territory. In future it will be a special kind of cultural route / trail which people can hike along to experience the nature and landscape around Marseille.
The project consisted of one man and a woman who took horses along with sheeps and other animals to cross through this territory. The woman was like a circus performer since she stood on one horse while two others were beside her.
Spectacular photos were created to capture when together with the animals they created lanscape sculptures e.g. the sheep forming the circular shape of a sea shell or else they elongated the dirt road passing through wide open fields.
Ulrich Fuchs described how impressed people were in Marseille once they entered with the sheep the city. The grande parade took place on June 9th 2013. As one child said to her mother, it is the first time she sees live animals in the city.
The project had an immense impact. One resident was proud to show the catalogue to exemplify what unusual project this was. She said for many it was an encounter with nature and something they had all forgotten as to what had been in the recent past still a strong tradition and connection with nature.
For more information about this project TransHumance – Observatoire du Bout du Monde, see official website of Marseille 2013:
http://www.mp2013.fr/transhumance-2/?lang=en
La Folle Histoire des Arts de la Rue
La Folle Histoire des Arts de la Rue est une manifestation imaginée par Karwan avec le soutien du Conseil général des Bouches-du-Rhône.
The event features under "Festivals and large gatherings", the importance of which Ulrich Fuchs explained as making accessible cultural events to a population without much of an income and therefore unable to afford expensive tickets. Hence the significance of "free entrance" and the making use of public spaces.
The official text of the website of Marseille 2013 explains as follows:
The Amazing History of Street Art
Marseille
| 3 - 20 May |
Free entrance
Special 2013 edition: Europe and the Mediterranean
"Following three years of performances based on the repertoires of participating theatre companies, the 2013 edition of The Amazing History of Street Art will share the stage with European and Mediterranean artists. Created by Karwan with the support of the Conseil Général des Bouches-du-Rhône, this event will take place in six towns and cities. The programme features a panorama of contemporary street arts with around fifty performances, the majority being creations or premiers.
Different forms of performance in public spaces will be explored: made-to-measure creative projects (Machine Dance by Motionhouse Company and L’Intégrale des Trois Mousquetaires by the Compagnie Les Batteurs de Pavés); original duets (Gari Grèu/Tartar(e)); mobile projects (The Color of Time by Compagnie Artonik), urban trails (À vendre by Compagnie Thé à la Rue), end-of-residency performances (Compagnie Eekuipoiz) and Finnish contemporary dance (Dance Theatre Minimi). And because extravagance is essential: a poetic and spectacular installation, The Vieux-Port Between Flames and Waves by Compagnie Carabosse will open the event. A special 2013 edition of Dream City, the biennial of contemporary art in public spaces, will take place. And, last but not least, an evening event will take place at the heart of the Cité des Arts de la Rue, transformed into a festive and creative base camp.
This special edition of The Amazing History of Street Art invites you to leave Marseille to visit other towns and cities in the region. Meet local companies involved in the first edition of the event in 2008 (Agence Tartar(e), Artonik, Ex Nihilo, Générik Vapeur, ilotopie and No Tunes International), as well as companies from Europe and the Mediterranean (Spain, Greece, Finland, the United Kingdom, Switzerland, Tunisia etc.). There is one imposing, unique and multilingual (French, English, Arabic) theme – the Porte-Folie: a mobile exhibition of street arts in Europe and the Mediterranean and an ambassador for travel, to be visited again and again.
For more information, please visit The Amazing History of Street Art website (in French).
Festival of lights
Another example of an open festival free for all Ulrich Fuchs mentioned then. The festival of lights! What amazed him once again was that there was no incidence even though thousands of people had come to attend.
Already during the opening event he had observed with amazement that nothing comparable to Linz happened. By this he meant signs of violence, accidents, due to rude behaviour in public. He attributed this to the fact that no one drinks in public in Marseille. Partly due to the Muslim culture, but also perhaps due to some other features, there is a civil form of behaviour when in public which allows the gathering of many people without any incidence.
In this conjunction Ulrich Fuchs referred to the statistics being kept as to the number of people who attended these festivals and public events. He had insisted on reliable figures and therefore did not let the own organization of Marseille 2013 do the counting, but took the figures which the police of Marseille provided. How these numbers are brought about needs naturally to be explained as it seems plausible to use crowd estimates i.e. so many people fit into a certain space and then multiplied by the spaces covered in its entirety, so that you arrive at some reliable count. Still, it was significant for him to emphasize the need for reliable numbers so as to counter any possible criticism if fake claims of success were made. He spoke out of experience as to what was presumably the case in Linz.
About drinking habits and consequently problematic behaviour in crowds, Wroclaw 2016 will have to face that. Every year they receive especially English tourists who go on a drinking binge and then end up jumping naked into the fountains or else start to molester people standing near-by.
Crowd control and safety are never self understood as was experienced by Ruhr 2010 when the Love Parade ended up in disaster with people fallen into panic and while seeking a fast exit could not since there was but one entrance and exit which was one and the same. On top of it, this was an elongated tunnel. People were smothered or squashed to death. That is a real for anyone organizing such huge eveants. Thus Ulrich Fuchs was literally relieved to know 500 000 people showed up for the opening and nothing, but absolutely nothing happened. No incidence was reported to the police.
Famous artists perform
Marseille 2013 had many famous artists perform, including one who did a multi cultural puppet show.
Cultural programme of Marseille 2013
To sum up, Ulrich Fuchs stated that Marseille 2013 has achieved a lot. Even though the year has not been completed as of yet, and therefore it is difficult to make an evaluation, already the figures speak by themselves.
For anyone who had known this city only before 2013, it has been completely transformed. He could not imagine himself how many of the spaces would look like but once all the construction work was completed, and the buildings stood out by themselves, there was set something else into motion and which will make up the legacy in reality. Alone how many people, and especially young ones flock to the Villa Mediterranea, that has never ceased to amaze him for it indicates that more than what was expected has been fulfilled. For people have adopted and taken on this changed urban landscape with a grace that underlines this public behaviour. Repeatedly people, families with children, came to enjoy the festivals. As said, the wonder was no incidence, even when they did the festival with the light which included real fire.
Now that he looks into the future, the only place he would assume a similar post as he had in the organization of Marseille 2013 would be if the Vatican were to be chosen as European Capital of Culture, but since this unlikely to happen he will not have to worry about that. However, he shall join next the Jury which selects the next cities to be European Capital of Culture for one year.
Hatto Fischer
11.12.2013
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