Resource scarcity, climate change and the biodiversity crisis: these very current issues are now pushing all public and private sectors to rethink their actions in light of the ecological transition. Representing a real economic weight, with an effect on the whole of society, culture has been committed to this path for several years. And for good reason: it represents nearly 2% of national GDP, which is, for example, more than the food sector and up to seven times the weight of the automotive industry. Limiting its carbon footprint, notably through clean mobility and rational energy consumption, but also raising awareness of the challenges of sustainable development are part of the ministry’s policy for a greener, more responsible culture.
It is in this context that a Guidance and inspiration for the ecological transition of culture was adopted in 2023 with already excellent results. An update with Karine Duquesnoy, senior official for ecological transition and sustainable development at the Ministry of Culture.
Where are we in terms of the ecological transition of the cultural sector?
With the «Guide of orientation and inspiration for the ecological transition of culture», the Ministry of Culture, historically committed to this issue, has developed a real roadmap. The guide focuses on a cross-cutting approach and sets priorities for 2027. It also lays down three prerequisites. The first prerequisite is that of data collection and carbon balance sheets. The second prerequisite is that of financing ecological transition, with in particular the Green Alternatives scheme, the only 100% ecological transition and innovation in culture programme – with 9,3 million euros on its first phase and 25 million on the 2023-24 phase – and the Green States funds that accompany the energy transformation of state institutions and local authorities. Finally, the third prerequisite is training and information.
So where are we? With regard to the issue of carbon benchmarks, the creative sectors are about to be fully covered. In the field of cinema, for example, it is now mandatory to carry out carbon assessments of natural-view filming – no assistance from the National Film and Moving Image Centre can be allocated if this obligation is not respected. The museum sector is also very active on this issue, projects are completed or are being finalized in the field of recorded music, immersive, video games, not to mention the publishing and radio sectors… or the area of archives where discussions are underway. This is a goal that is progressing very well, with a very large mobilization of professionals, supported by the departments and institutions of the ministry.
In terms of funding under Green Alternatives, innovative solutions are emerging from all sides. I am thinking of innovations and tools for the eco-production of exhibitions or shows, with for example the winning project of the «collective 17H25» for the standardization of opera decor elements. I am also thinking of a project that has recently emerged, that of electric generators for city shoots, or a privileged project, in terms of transporting heritage works, recyclable and light materials.
Finally, we are carrying out a particularly significant information and training action on the ecological transition. Our ambition is that everyone can have reliable, useful and interesting information. Thus, beyond the reinforced training programs in the field, a portal of ecological transition was set up on the website of the ministry, accessible to all and providing access to practical guides, from the ministry or our partners. In the more specific field of higher education culture, we have opened the yard, so that within two years, we can include issues of ecological transition in all educational references of schools.
Creation, heritage, architecture, circulation of works and audiences, what are the initiatives in the many fields of culture?
The field of creation, which is piloted by the Ministry of Culture’s Directorate-General for Artistic Creation, is a laboratory of concrete innovations to accompany the transition to action, I am thinking in particular of the CACTE experiment. In the museum sector, I am thinking of the project we launched with professionals in the sector to work on an eco-design standard within the exhibition perimeter. In the field of live performance and exhibitions, the The Augures Lab Scenario, a collaborative program that aims to support eco-scenography. In addition, a study commissioned by the Ministry of Culture to provide legal answers and activate levers on issues of mutualisation and reuse will be made public during the month of November.
Regarding digital sobriety, the Ministry of Culture has just received the responsible digital label, it is the first to benefit from it.
In the heritage fields, if we were to choose a cross-cutting subject, it would be that of the necessary reconciliation between heritage protection and energy performance. The approach on this point is perfectly framed. Examples include good practice guidelines for integrating photovoltaic panels into heritage environments. The DRAC Provence-Alpes-Côte d'Azur is experimenting with this subject itself by installing solar panels on the roof of its building in Aix-en-Provence, and setting an example. Architecture, led by the Directorate-General for Heritage and Architecture, is a cultural field by nature open to innovation, a permanent laboratory of solutions, for renovations, constructions or changes in the destination of buildings, These are all steps towards environmental transformation across the territories.
On energy sobriety issues, we will be releasing a vademecum in the fall that will complement the recommendations of the Guide to highly operational business cards, for example for museums, archives… In some fields, for example, keeping collections in good condition is primarily about consistency and not just temperature. One or two degrees less, it is 5 to 10% savings on the energy bill.
Finally, on the question of public mobility, we hope to have contractualisations on sustainable mobility topics this fall in each region. There are experiments going on everywhere. The idea is to share best practices. Many initiatives are taken to develop local audiences. In the Hauts-de-France for example, it is more interesting to come to the Cité internationale de la langue française in Villers-Cotterêts thanks to the Mobility pack including round trip TER tickets and entry ticket only to come by any other means of transport.
What are the reasons for this success?
The first is movement, impulsive momentum. An entire ecosystem, bringing together professionals from the public and private sectors, in the wake of artists who have played a key role in raising awareness about the climate emergency, is now working hand in hand to make the ecological transition of the cultural sector succeed. The second is on the course we are taking – and must continue to take – without failing to face scientific findings that require us to take measures to adapt – how will we live by +4 degrees as will be the case in a few decades? This course consists in being an actor, to build, to take back the hand. On mobility issues, for example, our action will probably have little effect on the circulation of international tourists, but it does when we work with local audiences. Indirectly, we also fulfill our mission of public service of culture. We have an impact on mobility issues by providing better service. In short, it is to make a constraint an opportunity and an element of strategy, of engine for action.
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