Shaping policy for the arts and cultural sector

Today, we're stepping into the policy arena with our submissions for the NSW Arts, Culture, and Creative Industries policies. Why? Because shaping the future of art and culture isn't just for policymakers; it's for all of us. Dive in to see what we've got cooking.

Your thoughts? Super welcome.

Where should the NSW Government focus the greatest effort and resources?

In this transformative era defined by a technological revolution, the NSW Government should pivot its focus towards interdisciplinary programs that mix art, film, technology, and critical thinking.

The aim is not just to adapt, but to lead in this changing landscape by emphasising rapid prototyping and experimental approaches over traditional formats or mere "envoltura" (packaging).

Australia's diverse cultural tapestry is one of its greatest assets, and the government needs to recognise and leverage this strength. Thus far, the focus has been predominantly Westernised, often to the detriment of Indigenous and other multicultural art forms that are either marginalised or exploited. Future investment should redress this imbalance, valuing all cultural contributions as integral to Australia's identity.

Importantly, while automation and AI are set to replace various job sectors, they can never replace human creativity. Therefore, it's critical that efforts and resources are channelled into areas that machines can't replicate—namely, human ingenuity and experimentation.

What barriers can the NSW Government remove to unlock the full potential of arts, culture and the creative industries?

The NSW government must dismantle the barrier of limited space for interdisciplinary work by creating communal, eco-conscious areas for artists to prototype and collaborate. Traditional views within governmental bodies also need updating.

Data cooperatives can democratise access to vital resources, allowing for the training of our own AI models and fostering innovation. A critical barrier is the lack of dedicated spaces for experimental and interdisciplinary work. By creating communal, eco-conscious spaces, the government can offer platforms for artists to develop pipelines, prototype, and collaborate. We need continuously programmed exhibition spaces, akin to La Lumiere in Paris or The Shed in New York. Understanding that art forms and mediums are rapidly evolving is crucial. If government officials and bureaucrats fail to understand these changes, they won't allocate resources where they're needed most. Art must be taken seriously, and artists should be technologically equipped. Furthermore, the establishment of data cooperatives would democratise access to resources and inspire a new wave of innovation.

What does NSW do well?

NSW stands out for its robust cultural scene, largely appealing to a local audience. While the state has an array of festivals and events, the primary focus has often been on engaging the local community.

Events like Vivid Sydney, although beginning to draw a more interstate crowd, have been mainly local affairs. However, even such high-profile events risk stagnation if they don't continually evolve and inject fresh, experimental elements.

Importantly, NSW has made strides in providing financial support to artists through various funding initiatives. This is crucial for both established and emerging talent, creating a foundational infrastructure where creativity can be nurtured and expanded.

However, there's room for growth, particularly in broadening the appeal of these events to a more global audience. Transparent curation is key to this evolution. By diversifying the voices involved in curatorial decisions, NSW can ensure a constant influx of innovative, fresh content, thereby maintaining its vibrancy and relevance in a changing landscape.

NSW needs to significantly amp up its support for community, co-creation, and innovation. By introducing collaboration programs, offering micro-grants, and building platforms for rapid prototyping and experimentation, the state can catalyse a dynamic cultural ecosystem.

Consider street art: it could be transformed into interactive canvases for augmented reality (AR) experiences, pushing the boundaries of public art. Similarly, festivals need to be nimble, capable of quick innovation to stay in step with the fast-evolving intersections of art and technology.

Financially, we must build both cultural and economic capital. This requires a flexible policy framework that can adapt swiftly to challenges and opportunities. We should aim to nurture an urban and rural popular culture that is distinctively Australian yet draws from the myriad cultures that make up our society. This cohesive yet diverse culture would strengthen our local identity and make NSW a magnetic hub for global creative talent.

What's your BIG idea?

C H

Considering rapid technological advancements, my big idea is an expansive "Art-Tech Exchange Program" bridging NSW with international cities. The program aims to "technify and open possibilities" for artists of all disciplines—be it visual art, film, dance, or technology. This diversity also extends to curators, who would come from different age groups and skill sets, ensuring a multiplicity of perspectives.

This initiative would serve as a global cornerstone, integrating art, technology, and social equity. It fosters cross-border collaborations with countries in Latin America, Africa, India, and Asia. Through this exchange, we can cultivate ground-breaking projects that redefine the boundaries of what's possible in our technologically evolving world.

Australia would invite technologists, artists, and other creative minds from around the world to collaborate with our local talent, presenting their work across a variety of platforms—from streets to galleries. Conversely, Australian artists would partner with organisations overseas, expanding their horizons and contributing to a global dialogue. The program would prioritise the journey over the final product, aligning with a rapid prototyping and experimental ethos.