STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
Artists from European countries appear to have greater success touring countries in other
continents that have historical connections with their host country. This may be because of
similarities in language, but also shared institutions and stronger links resulting from earlier
colonial relationships. There is obviously some potential in the different European countries
embracing work from other countries in Europe and, through this, opening up new markets
further round the world.
3.2. Artists Working Abroad
How do artists get international bookings? Predominantly from being seen directly somewhere
or recommended by one programmer who has seen them to another.
"First Imaginarius booking came from Frank Wilson recommending us"
3.3. Showcase/Marketplace Festivals
All artists who have been claim decisively that an appearance at Chalon, Aurillac or Sotteville is
essential in France. For getting work in other parts of Europe, programmers and artists described
Hasselt, Namur or Gent in Belgium, Oerol in the Netherlands, xtrax (Manchester) or Brighton in
the UK, Tarrega in Spain:
"Showcases play a big part for us creating new contacts, as well as meeting promoters on
‘normal’ festivals".
"There are a number of influential festivals in Europe to which promoters go to look for new
acts. Most European festivals will not book a show they have not seen.”
"Through showcasing at Chalon and Aurillac, occasionally we are approached at other
festivals."
These events (especially Aurillac) are so big that they can be unwieldy and confusing for
programmers, and difficult to access for artists who do not already know people. It is possible
that increased networks, especially local federations of artists, will make this an easier option for
people. French artists already work together to present a number of shows in one location at
Aurillac and Chalon). Perhaps foreign countries may look for funds to help support a number of
artists attending one of these – they can be a substantial financial risk.
Showcases can also be ruthlessly damaging and companies have lost a show completely as a
result of performing it when it was not ready:
“We rarely attend these (as if you perform when you are not ready it sets you back years), but
we did receive interest after being at x.trax, as they prefer you not to go with a brand new
show"
3.4. Funding for Artists to go abroad
Few people had accurate information about whether it was possible to get money from institutes
or the governments for international touring. Respondents from the same country gave
contradictory information at times. However, the principal sources of international funding are:
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PE 375.307