Artists with disabilities: Invisible in the cultural landscape

According to the Federal Statistical Office, around 7.8 million severely disabled people live in Germany, based on data from the end of 2021. This corresponds to a severe disability rate of 9.4% of the total population of the Federal Republic.

Despite increased awareness of inclusion , people with disabilities remain significantly underrepresented in the cultural landscape. Their professional integration lags behind, while their artistic creations, despite being of the highest quality, do not receive the recognition they deserve.

It is important to emphasize that a disability can affect any of us: only 3% of those affected have developed their impairment since birth or in their first year of life, while nine out of ten cases are due to illness. Individuals are considered severely disabled if the social welfare office has assigned them a disability rating of at least 50 and issued them a valid disability card.

Almost one in ten citizens in Germany is affected by severe disabilities, yet they are hardly represented in the cultural landscape. What are the reasons for this?

Accessibility and participation as a fundamental right

The UN Convention on the Rights of Persons with Disabilities ( UN CRPD ) enshrines the importance of accessibility and participation in all areas of human life as a fundamental right.

This also applies to the cultural sector, for which Articles 8, 21, and 30 are of particular importance. Article 8 aims to positively influence public awareness. Article 21 stipulates that information intended for the general public should be accessible to people with a wide range of disabilities without additional barriers.

Furthermore, Article 30 clearly emphasizes the importance of accessibility and barrier-free access to art venues, as well as the explicit inclusion of artists with disabilities. This not only serves their own well-being but also contributes to the well-being of the entire community.

The UN Convention on the Rights of Persons with Disabilities thus ensures, through a legally binding framework, that people with disabilities have unrestricted access to art and culture and can actively participate in cultural processes.

Why are so few people with disabilities represented in the art scene?

“I wonder why there are so few people with disabilities in art and culture,”

Comedian Tan Caglar in the film “Von wegen behindert!” by Cesa Berg, as a report by NDR Kultur reveals.

The documentary “Not at all disabled!” by Gesa Berg offers an authentic glimpse into the diversity of people in the cultural scene. One of the protagonists, the talented painter Nora , finds her creative home in the renowned “Atelier Freistil” in Hamburg, a place that supports and promotes professional artists with disabilities.

We also encounter the humorous comedian and actor Tan Caglar, who, with his charming manner and his wheelchair, stands on stage and confidently addresses his handicap.

Another impressive talent featured in the film is horn player Felix Klieser , one of the most outstanding horn players in the world. Despite the unique challenge of being born without arms, he masters his instrument and impresses his audiences in a unique way by playing the valves with his skillful feet.

In addition, we get to know the actors Friederike Jaglitz and Michael Schumacher , members of the ensemble “Meine Damen und Herren” , a group of professional artists with so-called intellectual disabilities.

The remarkable stories of these extraordinary individuals powerfully illustrate that in art and culture, the presence of a disability is by no means an obstacle. Rather, they show us that diversity and individuality are enriching qualities that make our world more colorful and vibrant.

The film encourages us to be more open to diversity and to recognize and appreciate the uniqueness of each individual.

However, these encouraging examples cannot disguise the fact that people with disabilities are generally underrepresented in the art scene.

What are the reasons for this?

Bettina Grevel , the founder and creative mind of Atelier Freistil, expressed a deeply disturbing suspicion in an interview with NDR Kultur, which has received far too little attention so far:

Artists with disabilities are systematically excluded from the art world.”

Systematic obstacles already exist in artistic training

Talented people with disabilities therefore have little chance of gaining a foothold at art colleges and cultural institutions , which not only hinders their individual development but also causes a painful lack of diversity and perspectives in the art scene.

Grevel's appeal is clear and powerful: It is high time that we, as a society, take action to rectify this injustice. Promoting artistic skills for people with disabilities should not be mere lip service, but rather reflected in concrete collaborations and long-term structures. Only in this way can we ensure that these talented artists also receive the platform they deserve and can fully develop their creative potential.

Dirk Sorge – a visual artist with a visual impairment – ​​expresses his views in an article by the Saxony Inclusion in Culture Service Center: "Noble simplicity instead of genuine diversity? Inclusion in the visual arts ." Art academies emphasize the importance of diversity to foster creativity and innovation. However, in practice, there is often a lack of measures to actually realize this diversity.

There is a clear lack of knowledge about how to specifically address diverse needs. Dealing with different life experiences in the classroom proves difficult. The comfort of a uniform environment hinders the integration of diversity.

Even when there are contact persons for students with disabilities, teaching staff often lack awareness and skills. There is an urgent need to improve knowledge and skills for promoting diversity within educational institutions themselves.

Structural barriers

Often, it's not just a lack of know-how and social skills in dealing with one another, but also a lack of concrete things that enable physical access to the learning environment. Many art schools are housed in listed buildings that, from the outside, resemble museums, with grand staircases , columns, and ornate facades.

While this may be beautiful to look at, it is extremely impractical, since in Germany the protection of historical monuments is treated like an inviolable commandment: “Thou shalt not rebuild thy father’s house.”

A lack of accessibility not only hinders the participation of students with disabilities, but also affects teaching staff and other employees at universities. The question arises as to how the normalization of disability can be established when lecturers and professors with disabilities are already prevented from accessing buildings.

Disadvantages in the application process

The application process at art schools is fraught with barriers. From the anonymous submission of application portfolios to multi-day aptitude tests with handwritten tasks and practical work, there are numerous hurdles to overcome.

Particularly for students with disabilities, uncertainties can arise, as the accessibility of the facilities is often unclear and individual needs are not transparently considered. The admissions decision can even depend on the prejudices and (negative) experiences of the admissions committee. In a highly competitive environment – ​​as is usually the case at art academies – these disadvantages are almost impossible to overcome.

Open communication and barrier-free information channels are urgently needed to ensure equal opportunities for all applicants.

Asymmetrical power relations

Reactions to people with visible disabilities at art schools are often marked by prejudice. For example, a blind person is sometimes spontaneously "assumed" that they are unable to study fine arts due to their disability.

Here, art students feel obligated to separately demonstrate their suitability for art studies. Furthermore, a lack of consideration or even constant assistance can create unpleasant power dynamics. This would make students with disabilities dependent on chance and goodwill.

"A willingness to help does not replace accessibility!"

Lack of role models and hardly any companions

Dirk Sorge mentions in the course of the article that he often wished he had known fellow students with disabilities, as exchange partners and sources of guidance.

In Germany, there is currently insufficient data on the number of practicing artists with disabilities, their level of training, and their financial situation. Many artists prefer not to discuss their disability publicly due to fear of stigmatization.

There are fears that their art will be judged differently, will not receive enough attention, or that their person will be reduced to their disability.

The prevailing perception of art by people with disabilities as primarily therapeutic or recreational activity leads to professional artists with disabilities concealing their identity.

Success in the art market depends heavily on image and context, which is why it is regrettable that there are no prominent examples of successful visual artists with disabilities. This inherently puts them at risk of being wrongly categorized "outsider art."

It is therefore important to promote the recognition of their works regardless of their disability and to create an awareness of genuine diversity in the art scene.

You can find works by the visual artist Dirk Sorge here: Dirk Sorge: Works .

Precarious financial situation

Dirk Sorge makes a compelling argument for the special funding programs for artists with disabilities. He emphasizes that disability and illness add further risks of poverty to an artist's already difficult financial situation and can push people into precarious circumstances.

Current support measures are often insufficient because they do not address the specific needs of artists with disabilities. Accessibility, financial support for additional costs, and flexibility in the work environment are cited as key issues.

His proposal is to identify the individual needs of artists with disabilities and to create targeted support programs to prevent them from being disadvantaged solely because of their disability.

Inclusion in art: There is still a long way to go

Implementing inclusion in the cultural landscape remains a challenging task. The very existence of this term underscores how far we are from achieving true equality. Dirk Sorge's account also highlights the clear need for action from policymakers, institutions, educational establishments, and other stakeholders in the cultural sector.

Comedian Tan Caglar sums it up perfectly:

Only when we no longer need inclusion as a concept will we have achieved our goal.”

Bettina Grevel from Atelier Freistil also hopes that the term inclusion will one day become obsolete. Especially in art and culture, no form of exclusion should exist.

Providing impetus, paving the way and offering support for greater visibility, recognition and participation in the arts and culture landscape

Notwithstanding the aforementioned need for action and the long road ahead towards the inclusion of artists with disabilities, there are a number of initiators, pioneers and support services that are already doing valuable work for many artists and aspiring art students with disabilities, as well as providing guidance and assistance.

The most sensible approach to highlighting the diversity of people with disabilities and their artistic creations, regardless of their impairment, is to present works by artists and cultural workers with disabilities or to collaborate with them in general.

01 Federal Government Commissioner for Matters Relating to Persons with Disabilities

Commissioner for People with Disabilities is committed to an inclusive cultural policy in accordance with the UN Convention on the Rights of Persons with Disabilities. This policy should enable people with disabilities to participate in all cultural events as spectators or participants.

At the same time, artists with disabilities should be established in the art market and become visible in all areas. Raising awareness and creating the necessary conditions for this is a central goal of the event series “Culture in the Kleisthaus” .

For many years, this initiative has offered free events and cultural activities designed to be as accessible as possible. These include exhibitions, (audio) film screenings, readings, concerts, and panel discussions. There is increased collaboration with festivals and cultural institutions to further promote the concept of inclusion in art and culture.

Here you can see the first episode of the video podcast "Salon im Kleisthaus". The guest, and in conversation with Jürgen Dusel, was gallery owner Johann König , who has created an institution of the contemporary art market with his gallery in St. Agnes Church in Kreuzberg.

Since 2020, purely digital formats have also been offered. "Culture in the Kleisthaus" is an integral part of the Federal Government's National Action Plan.

Further information: Behindertenbeauftragter.de

02 State Association for Sociocultural Affairs Saxony

The Saxony State Association for Sociocultural Activities has therefore established Service Center for Inclusion in the Cultural Sector

The practice is to avoid reducing them to their disability in order "othering" and exoticization . This fosters the recognition of their art and personality.

A selection of projects and practical aids:

• In an access rider , artists and cultural workers with disabilities or chronic illnesses outline their access needs.
• Making Art Accessible : A podcast about accessibility and participation in the arts
• Art terms in simplified language
• Including Theatre Studies : Workshops for lecturers at theatre schools and theatre professionals

Further information: inklusion-kultur.de

03 EUCREA Association for Art and Disability eV.

EUCREA was founded more than three decades ago in 1989 and has since established itself as a leading umbrella organization for art and inclusion in German-speaking countries . The association unites a diverse community of almost 100 members, including artists with different artistic backgrounds and abilities, both with and without disabilities.

In addition to these talented individuals, the association's dedicated members also include advocacy groups, art studios , foundations, clubs and other organizations, all of whom share a common passion for art and inclusion.

Programs and projects:

EUCREA designs exemplary programs and projects to illustrate how inclusion can be implemented in the field of art and culture.

The organization raises awareness among artists, cultural and educational institutions, policymakers, and administrators about participation and diversity. It connects stakeholders, promotes the development of inclusive working methods in the arts, and focuses on improving training opportunities and career fields.

Through regular conferences and publications, EUCREA serves as a central platform for discussion and communication on this topic. From an artistic perspective, EUCREA is passionately committed to event ideas in various artistic fields that promote diversity, change viewing habits, or initiate new dialogues.

Further information: eucrea.de

04 euward – European Art Prize in the Context of Intellectual Disability

Since 2000, euward has established itself as an important forum for art in the context of intellectual disability. It celebrates the unique qualities of these artworks, which offer a unique access to the world and its perception.

The euward is a prestigious European award that recognizes the complete works of each individual artist, making it a truly unique prize. This internationally renowned art award is significantly supported by international museums and cultural institutions. The Augustinum Foundation awards the prize every three years.

Among the sponsors of this year's euward9 are Aktion Mensch, the Edith Haberland-Wagner Foundation, and the Louisoder and Pfefferkorn Foundation. Over 240 artists from 25 European countries applied for the ninth edition of the art prize; the euward curatorial board nominated 19 participants for the prize.

Further information: euward.de

05 Art Initiative BehindART (Hesse)

The art initiative BehindART is based on the inspiring quote by Paul Klee, who aptly said:

Art does not reproduce the visible, but makes the invisible visible

BehindART's projects impressively demonstrate how the art of people with disabilities enriches our culture in a unique way. Whether the artist has a disability or not is irrelevant. Rather, the focus is on art as a powerful expression of the right to self-determination for people with disabilities.

The creative minds are supported by disability support organizations and participate in diverse art projects, exciting creative courses and inspiring painting workshops, always accompanied by dedicated art assistants.

To achieve this, the initiative is cooperating with 25 organizations and institutions throughout Hesse.

Further information: behindart.org

06 Diakonie – Art and cultural offerings by and for people with disabilities

A key focus of the Diakonie's artistic programs is fostering an authentic artistic style among participants, actively connected to contemporary art. Various projects and workshops facilitate an exchange between talented artists and renowned artists and literary figures from Germany and abroad.

The arts and culture programs offered by Diakonie for people with disabilities throughout Germany are characterized by their diversity. These include art education programs in studios, theater, and literature to promote artistic development and creativity.

The following video shows short portraits of people with disabilities from the Malaria theatre group and from the art workshop of the Diakonie organization:

07 kaethe:k Art House in Pulheim

Even though the catchment area of ​​this inclusive art center is regionally limited, we would like to include it in our list because it can serve as an inspiring, well-functioning example for many other places.

The kaethe:k art center in Pulheim, founded in 2020, employs artists with disabilities. Supported by art educators and social workers, they develop both as individuals and in their art.

The studio is aimed at talented people with disabilities and is supported by the Gold-Krämer Foundation , which is known for its inclusive projects. A total of twelve artists currently work on three floors. Most of them were educated at special needs schools and subsequently worked in sheltered workshops or unskilled jobs.

One example is Elias von Martial, who cleaned trucks after school and is now learning complex animation programs and attending courses at an art college. These talented women and men are connected with the arts and culture sector when they are ready.

In an interview with WDR, the special nature of the kaethe:k art house as an institution that paves the way for people with disabilities into the world of art and culture, which is not yet a given.

Further information: kaethe-k.de