Le commerce en ligne des œuvres d'art

The online sale of works of art becomes an important means of exchange and marketing works. We are studying this new way to connect buyers and sellers through niche websites. This book chapter includes comparative tables and Antique and Auction house online portals.La vente en ligne d'œuvres d'art devient un moyen important d'échange et de commercialisation des œuvres. Nous étudions cette nouvelle façon de mettre en contact acheteur e t vendeur à travers de sites spécialisés. Ce chapitre d'ouvrage comprend des tableaux comparatifs des portails et maison de vente en ligne d'œuvre d'art et d'antiquités

Le commerce en ligne des œuvres d'art

La vente en ligne d'œuvres d'art devient un moyen important d'échange et de commercialisation des œuvres. Nous étudions cette nouvelle façon de mettre en contact acheteur e t vendeur à travers de sites spécialisés. Ce chapitre d'ouvrage comprend des tableaux comparatifs des portails et maison de vente en ligne d'œuvre d'art et d'antiquités.Vente a distance; VAD;marché de l'art; internet; commerce de l'art; portail web; maison de vente; vente en ligne; marche de l'art; antiquités

L’économie politique du patrimoine culturel

La relation entre économie et patrimoine s’avère doublement critique. D’un côté, le regard des sciences économiques sur le patrimoine a été longtemps filtré par le prisme de la richesse produite, se focalisant sur la mesure de cette dernière à l’aune des valeurs monétaires. Le patrimoine culturel se prête pourtant assez mal à cet exercice, en raison de sa singularité qui associe deux dimensions souvent marginalisées par le domaine de l’économie : dimension culturelle et dimension patrimoniale. D’un autre côté, la relation entre économie et patrimoine doit faire face au risque d’un intérêt croissant pour le patrimoine, justifié par son impact économique. En tant que capital, le patrimoine génère des flux de revenus et devient l’objet d’usages de plus en plus diversifiés qui appellent, avec une certaine urgence, à « économiser le patrimoine », induisant également la question suivante : jusqu’à quel point pouvons-nous multiplier et diversifier les usages du patrimoine sans en dénaturer le sens ? À partir de ces constats, l’article présente des cas d’étude qui relèvent du secteur des musées, de l’artisanat et des sites du Patrimoine mondial de l’humanité. Les risques liés à l’instrumentalisation, à l’exploitation, à la dénaturation du patrimoine culturel sont mis en évidence, ainsi que les enjeux du patrimoine en termes de créativité, d’innovation, de développement durable, de « bien commun » enfin.The relationships between economics and heritage are critical from two points of view. On the one hand, the way economic science apprehended heritage was, for a long time, through the prismatic filter of wealth produced, focalising on the measurement of this wealth in monetary terms. But the cultural heritage is unsuitable for such analyses on account of its singularity which associates two dimensions which are usually left aside by economics, namely the cultural dimension and the heritage dimension. From the second point of view, the relationship between economics and the heritage is confronted with a growing interest in the heritage justified by its economic impact. As a capital asset, heritage generates revenue and is becoming the object of increasingly diversified usages which seem to command, imperiously, that heritage should become economic. This raises the following question: how far can we multiply and diversify the usages of the heritage without falsifying its meaning? Based on such observations, this article presents several case studies taken from the museum sector, the sector of artisanry and from Unesco world heritage properties. The risks associated with the instrumentalisation of heritage, its exploitation and its denaturation are underlined, as well as the heritage issues in terms of creativity, innovation, sustainable development, in a word of the “common good”

La survie des nouvelles entreprises culturelles : le rôle du regroupement géographique

A partir des données de l’enquête SINE 98 de l’INSEE, une étude économétrique de la survie des entreprises culturelles fait apparaître les résultats suivants. Premièrement, le pourcentage d’entreprises qui meurent chaque année n’est pas stable au cours du temps et diffère selon le secteur considéré (arts visuels, spectacle vivant, patrimoine, édition, audiovisuel ou produits culturels). Le risque industriel apparaît une fois ces premières années passées. Deuxièmement, le taux de survie des entreprises culturelles est très sensible à leur regroupement géographique. Si la proximité d’entreprises ayant la même activité est néfaste à la survie des entreprises culturelles, une forte concentration d’activités culturelles variées est très fortement bénéfique à leur survie. L’effet de synergie l’emporte sur l’effet de concurrence. il donne un fondement à la productivité des regroupement d’entreprises culturelles qualifiés de pôle de compétitivité culturel ou de district culturel.Economie de la culture, districts culturels, modèle de durée, concentration géographique

Governments and Theatres: What Next after Covid? A European View

The pandemic that has affected the whole world since March 2020 is shaking up our ways of living, working and being together. In Europe, cultural and creative sectors are among the most severely impacted by the pandemic crisis and according to preliminary estimates by Eurostat, the COVID-19 crisis may affect about 7.3 million cultural and creative jobs across the EU. Over 30% of the people affected are self-employed and lack adequate social protection. Among the cultural subsectors, the performing arts have suffered the most serious consequences with the suspension over many months of their establishments and even the definitive closure of some of them as well as the disappearing of many artists.The fall of the live performances did not create a fall of all of the artistic practices and of their social and psychological positive impact. In general, people during the pandemic have recognized the wellbeing benefits of arts and cultural activities, and according to the data now available, more than 60% or European (and US) citizens believed that access to arts through creative activities, at home or on line, affected them positively. Both online and in-person formats were effective, indicating the potential for the intervention to reach larger audiences.But the day after is not what many people expected, and the public policies aimed to overcome the health crisis have not made possible to find again the starting point. In fact, we can wonder if Covid 19 has not activated problems that already existed but were little visible or underestimated. Two more structural interpretations of the theatre crisis can be evoked here: the first one concerning the whole of the performing arts, and the second focused on the future of "dramatic" theatre as traditionally understood in Europe. It seems that the model began to run out of steam long before the Covid 19 crisis, this latter only accelerating ongoing changes. Then we have to enrich our point of view on the socio-economic model of the live arts in the postpandemic world and put society back into culture if we want public policies more efficient

COVID-19 symptoms at hospital admission vary with age and sex: results from the ISARIC prospective multinational observational study

Background: The ISARIC prospective multinational observational study is the largest cohort of hospitalized patients with COVID-19. We present relationships of age, sex, and nationality to presenting symptoms. Methods: International, prospective observational study of 60 109 hospitalized symptomatic patients with laboratory-confirmed COVID-19 recruited from 43 countries between 30 January and 3 August 2020. Logistic regression was performed to evaluate relationships of age and sex to published COVID-19 case definitions and the most commonly reported symptoms. Results: ‘Typical’ symptoms of fever (69%), cough (68%) and shortness of breath (66%) were the most commonly reported. 92% of patients experienced at least one of these. Prevalence of typical symptoms was greatest in 30- to 60-year-olds (respectively 80, 79, 69%; at least one 95%). They were reported less frequently in children (≤ 18 years: 69, 48, 23; 85%), older adults (≥ 70 years: 61, 62, 65; 90%), and women (66, 66, 64; 90%; vs. men 71, 70, 67; 93%, each P < 0.001). The most common atypical presentations under 60 years of age were nausea and vomiting and abdominal pain, and over 60 years was confusion. Regression models showed significant differences in symptoms with sex, age and country. Interpretation: This international collaboration has allowed us to report reliable symptom data from the largest cohort of patients admitted to hospital with COVID-19. Adults over 60 and children admitted to hospital with COVID-19 are less likely to present with typical symptoms. Nausea and vomiting are common atypical presentations under 30 years. Confusion is a frequent atypical presentation of COVID-19 in adults over 60 years. Women are less likely to experience typical symptoms than men

The Economic Value of Museums. Conference on The Museum Economy,,The Louvre Abu Dhabi

International audienc

From Culture to Creativity and the Creative Economy: A New Agenda for Cultural Economics

International audienc