Téléchargez l'invitation en PDF ici.


L’Agence luxembourgeoise d’action culturelle et le Centre de Médiation Civile et Commerciale (CMCC)
Sous le patronage du Ministère de la Culture

Invitent à une conférence sur

La médiation dans les secteurs culturels

Le vendredi 3 octobre 2014 à 18h30 au Cité Auditorium, 2 rue Genistre, L-1623 Luxembourg.

Modération par Monsieur Roland Jaeger, conseiller au Centre de Médiation Civile et Commerciale à Luxembourg.


o  Allocution de bienvenue par MadameMaggy Nagel, Ministre de la Culture ou son représentant
o  La médiation au Luxembourg avec Dr. Jan Kayser, Secrétaire général du Centre de Médiation Civile et Commerciale
o  Les activités du Centre de Médiation Culture de Paris avec Madame Adeline Guilhen, Présidente, et Madame Sylvie Adijès, médiateur et formateur
o  Echanges avec le public.

La conférence se tiendra en langue française. En raison d’un nombre limité de places, nous
vous prions de vous  inscrire au plus tard jusqu’au mercredi 1er octobre à
This email address is being protected from spambots. You need JavaScript enabled to view it..

L’utilité de la médiation pour les secteurs culturels

La médiation trouve son utilité toutes les fois que  des relations sociales et professionnelles peuvent être alourdies, entravées ou même interrompuespar des « vieilles histoires », malentendus et ressentiments dont les raisons demeurent confuses et qui, de ce fait, ne se prêtent plus à être abordées dans un climat serein par les parties.

La médiation peut constituer un instrument utilepour prévenir, aplanir ou résoudre tout typede conflit auxquels les protagonistes des secteurs culturels peuvent être confrontés,
soit en interne soit dans leurs relations avec des tiers, et éviter ainsi des procédures judiciaires fastidieuses et coûteuses.

Avec la loi du 24 février 2012, la médiationcivile et commerciale est dorénavant ancrée dans la législation luxembourgeoiseet reconnue comme mode de résolution de conflits.

La conférence du 3 octobre 2014 sur « La médiation dans les secteurs culturels » vise à familiariser les professionnels de la culture avec la médiationcomme un moyen
efficace, rapide et peu onéreux pour la résolution de conflits permettant aux parties d’envisager la continuation de leurs relations professionnelles ou sociales sans perdre la

Les organisateurs de la conférence, l’Agence luxembourgeoise d’action culturelle et le Centre de Médiation Civile et Commerciale, peuvent compter sur le concours de
médiateurs du Centre de Médiation Culture de Paris ayant une longue pratique de la médiation dans les milieux culturels.

Plus d’information :
Centre de Médiation Civile et Commerciale(CMCC), Luxembourg : www.centre-mediation.lu.
Centre de médiation culture, France : www.centredemediationculture.com.




Carlo Thoss (Alta), Photo: David Laurent/Wide

Par Brian Power, publié le 30.04.2010


A problematic aspect of the development of the film industry in Luxembourg has been not a lack of technical ability, which has indeed taken some foreign producers and film makers by surprise, but the organisation of the pool of talent available, not to mention the rights and interests of those technical professionals dependent on the industry for their livelihood. It is certainly not a situation devoid of complexity, as Carlo Thoss, president of the Luxembourgish Association of Audiovisual Technicians (Alta) points out. “Two years ago, 19 technicians got together to create Alta. Eleven of us were elected to the council. It was important for us to have one person from each domain, like the camera department, the sound department, decor... Everyone had to be represented because each department will have its own problems so all views have to be considered.” If the beginnings of the association took time and effort, it is a testament to the members that development has progressed in a healthy fashion.

Creating a safety net

“We have meetings twice a year where all problems are discussed together, but we are also represented in four different commissions. These are the Film Fund, the Filmpräis, the other associations, Ulpa and Lars, and then also the Commission d’indemnisation des intermittents du spectacle.” The final one is vital: Alta members must earn at least 50% of their income (the majority) as freelance workers in films, and do not necessarily know where the next job will be coming from, and this protects their interests and earnings. “It must be said that many technicians work more or less throughout the year, and it is a healthy situation, with an average of two films in production at any given moment” says Thoss. “However if this weren’t to be the case anymore, the audiovisual technicians here obviously do not have the safety net of working in television, for example, or for big advertising companies. We only really have feature films and documentaries.” Subject to certain criteria, technicians who are not working are assisted for those periods. And this is especially important for people who are not in the key positions, or at the highest level. “One of us consequently represents them in the commission. We can give our opinion to the government that way.” Quite apart from looking after its members, Alta has another motive for doing this. To gain the requisite experience in the technical aspects of movie making needs an investment in time measured in years, and the stop-start nature of it can lead to people being lost to the industry before they’ve had a chance. Technical jobs are difficult enough as it is. “You have to be flexible,” insists Thoss. “These are jobs where you can be working any time of the day, any day of the year. You may work for three months, then spend three months out. You may spend a month or two working in a foreign country. That brings its own stresses... But you really do meet a lot of interesting people, and there is never a routine in the life of a film technician. You have to be positive about this. If you aren’t, you won’t survive.”

After 20 years working in the industry on the sound side, Thoss remains enthusiastic about it, both from a personal point of view and a national one. “People have to learn things the hard way, and crafting technicians does take time, but there are a lot of highly qualified people here. Once you find a niche you have to stick at it, but technicians in this country, perhaps more than any other, get the chance to try several things. If the laws stay the same, it will only continue to develop. Intellectually, the films we make here are interesting. We have taken a few years to get to this place. Sure, it’s still a bit insecure, but it was worse ten years ago.” The industry is reaching maturity and the talent is here from a technical point of view. Now is the time to mentor the next generation.

FaLang translation system by Faboba