DUANJU  NEWS

Miami-based VIP 2000 TV and Hemisphere Media Group have joined forces to co-produce three innovative vertical series, marking a major milestone in the expansion of Spanish language short-form storytelling. Each series will consist of 30 episodes of 90 seconds, tailored for mobile-first viewers across the US Hispanic market and Latin America, with global distribution in mind. This bold collaboration aims to redefine “premium short form” entertainment by delivering stories that resonate deeply while keeping pace with the industry’s rapid shift to vertical-first formats. The projects fall under the franchise “Amores Sin Tiempo” (Timeless Love), which will spotlight unforgettable romances that transcend time, culture, and circumstance. With a stellar cast, the productions are set to begin filming in Miami on September 8, 2025, and will be ready for the international marketplace by the end of the year. Details about the stories and creative approach will be unveiled during MIP Cancun 2025, where both companies plan to present the project to global buyers. Jimmy Arteaga Grustein, CCO of Hemisphere Media Group, emphasised the importance of the initiative: “At Hemisphere, our goal is to deliver bold, culturally resonant stories that connect deeply with audiences. This partnership with VIP 2000 TV lets us push the boundaries of short-form storytelling, offering fresh and original content that’s designed for today’s mobile-first viewers while keeping pace with the way the industry and audiences are evolving.” Roxana Rotundo, CEO of VIP 2000 TV, added, “This partnership with Hemisphere Media Group reflects our commitment to innovating in the short-form space and delivering premium content that resonates with today’s audiences. We are proud to ensure that this content carries a strong and meaningful purpose.” This collaboration highlights the growing demand for vertical series as both companies strategically position themselves at the forefront of global content innovation. Article written by Blessing Azugama #BlessingAzugama Source : TTV News , September 8, 2025

Alipay, China’s largest mobile payment app, has taken a bold step into entertainment with the launch of its brand-new “Alipay Short Drama” portal. Officially added to the homepage function area of the app, the feature allows users to dive directly into short drama content without leaving the platform. And audiences are responding quickly: data shows that over 500,000 users have already experienced the short drama function since its launch. What’s Streaming on Alipay? According to DataEye’s short drama observation, Alipay has rolled out several titles to kickstart the portal, including: Falling in Love with a Big Shot Can You Love Me Again Don’t Call Me Brother-in-law In addition, Alipay has been actively promoting short drama content within the app. The ADX industry version shows that in the past seven days, clips such as Has Mrs. Qin Been Exposed Today? have been advertised on the platform, signalling a serious commitment to content discovery and visibility. Massive Content Push The numbers are equally impressive. In the past 30 days alone, the Alipay app has hosted 12,068 advertising materials containing the keyword “short drama.” This surge highlights how aggressively the platform is moving to establish itself as a major new player in China’s fast-growing micro-drama market. Why It Matters China’s short drama sector is booming, with audiences flocking to fast-paced, emotionally charged, mobile-friendly storytelling. By embedding short dramas directly into its ecosystem, Alipay is blurring the lines between finance, lifestyle, and entertainment—and capturing more user attention in the process. With half a million users already onboard and content pipelines expanding, Alipay’s short drama portal could become a new powerhouse, further transforming how Chinese audiences consume entertainment in everyday apps. Article written by Blessing Azugama #BlessingAzugama Sources: Alipay official announcement via WeChat DataEye Short Drama Observation ADXray Industry Edition

Registration is now open for Content London 2025, the world’s leading development market, conference, and screenings event, which will take place from December 1–4, 2025. This year’s edition will bring together more than 3,000 leaders and decision-makers from across the global content industry, with a central theme of  “Navigating the New Content Economy.” The event begins on December 1 with an opening night premiere screening and the prestigious Rose d’Or Awards, followed by a full three-day conference program running from December 2–4. As part of this year’s program, the Vertical Programming and Microdrama Summit will highlight the rapid growth of short-form storytelling and the new opportunities it creates for global audiences and producers. This segment is expected to provide valuable insights into how microdrama is shaping the future of content consumption. A limited number of Tier 3 registrations are available at £999, designed to support new partnerships within the evolving content landscape. Various Speakers already confirmed for Content London 2025 include: With its focus on development, partnerships, and progressive ideas, Content London remains the premier platform for industry professionals seeking to define their future in a rapidly changing market. Some Confirmed participants in this Summit include industry leaders such as: Jana Winograde, Co-founder & CEO, MicroCo, the first U.S.-based studio and AI-native platform dedicated to microdramas. Alexandre Perrin, Co-founder of StoryTV, France’s pioneering vertical drama studio and streaming platform, with over 50 original shows and 40M+ monthly views. Scott Brown, CEO of Second Rodeo, Emmy-nominated director and producer known for work with The Rock, MrBeast, and Kevin Hart, now focused on elevating vertical microdramas. Jen Cooper, Founder of Vertical Drama Love, a leading global platform for vertical drama critique, reviews, and fan engagement. For more details on the speakers, Event and registration information, visit the official website: Content London 2025 . Sources Content London 2025 Official Website C21 Media: MicroCo, StoryTV, Second Rodeo and Vertical Drama Love join Vertical Programming and Microdrama Summit  Article written by Blessing Azugama #BlessingAzugama

India is stepping into the spotlight of the global micro-drama wave, with homegrown startups, streaming majors, and international investors all chasing the promise of serialised, phone-native stories told in just two minutes per episode. What began as an experiment inspired by China’s runaway success is now becoming one of India’s fastest-growing entertainment trends. Short, binge-worthy dramas of one to two minutes, ending on cliffhangers designed to hook the next view, have become a serious content play. Startups like Flick TV, Eloelo, Kuku FM, Chai Shots, and ReelSaga are building platforms dedicated to these stories, while larger players, including Amazon, ShareChat, and Zee Entertainment, are testing their own micro-drama offerings. Manohar Charan, CFO of ShareChat, said that in just the past three months, 1.5 crore users consumed drama shorts on Moj and Quick TV, with more than 10 crore episodes watched daily. “The end game is to have the largest user base,” he noted, emphasizing that professional-quality, serialized storytelling is what separates micro-dramas from the short, disconnected clips dominating Instagram Reels and YouTube Shorts. Investors are taking notice. Bengaluru-based Flick TV raised $2.3 million from Stellaris Venture Partners earlier this month, while ReelSaga attracted $2.1 million in May from Picus Capital. Hyderabad-based Chai Shots is reportedly close to securing a $5 million round. Mayank Jain of Stellaris explains the appeal: “Micro-dramas promise the best of both worlds—short formats that match shrinking attention spans, but with emotional engagement and structured narratives that users connect with.” Major entertainment groups are also diving in. Amazon MX Player already streams MX Fatafat, a slate of mini-series built around two-minute episodes. Zee Entertainment has partnered with Bullet, a content-tech startup, to launch a micro-drama app targeting young audiences within its Zee5 ecosystem. Meanwhile, Eloelo is preparing to debut Story TV, and ShareChat has rolled out Quick TV as a paywalled platform for dramas and films. Kuku FM, best known for audio storytelling, recently expanded into video with Kuku TV. These moves signal not just experimentation, but the serious beginnings of a new market. The biggest question is monetisation. India’s entertainment industry faces low average revenue per user (ARPU), making it harder to sustain new formats. Flick TV is betting on a micropayment-per-episode model with the option to scale into subscriptions. ShareChat is exploring a mix of ads and subscriptions, estimating that micro-dramas could account for a “mid to high teens” share of its revenue within 18 months. Production costs are dropping dramatically thanks to generative AI, which is now being used for scripting, storyboarding, dubbing, and editing. ShareChat estimates costs have fallen by as much as 75% in two years, making experimentation with volume and speed more viable. Still, not everyone is convinced. Platforms like Pratilipi are holding back, preferring to wait for the hype to settle and the market to consolidate before making their own push into vertical dramas. What’s next? India’s micro-drama scene is still in its early stages, but it’s already attracting millions of daily views, millions of dollars in investment, and buy-in from both startups and media giants. If China’s experience is any indication, the next phase will be about refining business models, building loyal audiences, and proving staying power beyond early buzz. For now, India looks set to become the world’s next major testbed for whether two-minute fiction can scale into a sustainable global business. Article written by Blessing Azugama #BlessingAzugama Sources Economic Times , June 17, 2025

Dailymotion was born at a time when video was taking over the web. The platform quickly became a French-style testing ground: initially focused on UGC, i.e., content created and uploaded by users themselves, then gradually organized around editorial selections and media partnerships. It also explored VOD, video on demand, and streaming on connected TVs. This timeline, recounted by the media year after year, helps us understand how our habits shifted to the phone screen. This is exactly the territory of duanju, the short vertical fiction designed for mobile: very brief, full-screen episodes, linked together in a continuous stream. Rereading the history of Dailymotion is to see the technical, editorial, and economic building blocks that make this new format possible today being put in place, step by step. 2006: Dailymotion is described by Le Monde as the “French YouTube.” Founded by Benjamin Bejbaum and Olivier Poitrey, the platform leverages its own encoding and hosting technologies to compete with YouTube, recently acquired by Google. It quickly became a key player in Web 2.0 and online video in France. Sources: Le Monde 2007: Dailymotion affirms its media ambitions. Its co-founder Benjamin Bejbaum presents the Motion Maker program, designed to highlight original content and professionalize the platform. That same year, the company raised €25 million to accelerate its international development and offer its service in fourteen languages. The Studio Phocéen association, chaired by Guillaume Sanjorge, then joined this creators' program and appeared permanently on the front page of the "Best of Marseille" section. Sources: Clubic / Challenges 2008: Dailymotion escaped a tax on advertising for video-on-demand services. That same year, comedian Jean-Yves Lafesse sued it alongside Google for the exploitation of his videos, illustrating the emerging tensions between platforms and rights holders. Sources: Numerama (tax ) / Numerama (Lafesse) 2009: Dailymotion is launching its first paid video-on-demand offering and is partnering with Numericable to stream its content directly to televisions, expanding its model beyond desktop viewing. Sources: Challenges / Première 2010: Dailymotion continues its diversification and strengthens its role as a content distributor. The platform signs a major agreement with the INA (National Institute of National Television), which makes 50,000 archived videos available to Internet users, marking one of the most important partnerships in its history. That same year, it launches DM Kids, a portal specially designed for toddlers, and opens a branch in Morocco, consolidating its presence in North Africa and expanding its strategy outside the European market. Sources: 01net / Famili / Le Matin (Morocco) 2011: Dailymotion experienced a strategic turning point with the arrival of Orange as a shareholder. The operator acquired a 49% stake for €58.8 million, valuing the platform at between €120 and €200 million. This merger marked Orange's desire to strengthen its position in digital content, following the failure of negotiations with TF1 the previous year. The CEO at the time, Cédric Tournay, stated that Dailymotion was "not threatened by YouTube," believing there was room for several players and banking on a rise in power thanks to this partnership. Orange also committed to investing an additional €30 million, with the objective of tripling revenue by 2016 and accelerating international expansion (Spain, Japan, Canada, Brazil). Sources: 20 Minutes / ToutLaCulture / Tradingsat / Challenges 2012: Orange is preparing to take over Dailymotion, with completion expected in 2013. The platform is experimenting with paid video on demand and is considering integrating the OCS offering. The release of the film Artificial Paradises, which was canceled after a free online preview, has rekindled the debate on media chronology. Sources: Europe 1 / Numerama / Les Echos 2013: Yahoo attempted to take control of Dailymotion, but Minister Arnaud Montebourg opposed the move, and the deal was halted. The platform's CEO publicly criticized the blockage, while Orange announced that development would take place "within the group," while discussing possible industrial mergers with Vivendi. The year also signaled a move in favor of creators with the opening of a 600 m² film studio in Paris, intended for producers and videographers. Internationally, Canal+ in Canada began broadcasting programs via Dailymotion, a sign of expanded distribution outside France. Finally, a film posted on the platform was withdrawn from theaters, illustrating the ongoing tensions between new distribution methods and traditional distribution. Sources: Le Monde (Montebourg) / Challenges (Orange) / Challenges (resignation under pressure) / Challenges (Yahoo resignation) / Challenges (CEO criticism) / La Dépêche / Le Parisien / Franceinfo (veto) / Franceinfo (Montebourg tackle) / Le Point / Les Échos (fated destiny) / Les Échos (December studio) / Les Échos (December studio, encore) / CNEWS / Ouest-France / Le Monde (Orange) / Le JDD / L'Express / La Presse / Europe 1 (Vivendi) / Europe 1 (Orange) 2014: Dailymotion is described as a "start-up with a thousand lives": the platform is seeking its balance between its legacy of user-generated content and more premium programming. It is relaunching its strategy under the aegis of Orange and preparing new partnerships to expand internationally. At the same time, Golden Moustache is strengthening its presence on the platform, a sign of a refocusing on young audiences and highly identifiable comedy formats. The year thus marks a deliberate editorial repositioning and a desire to rely on strong creative labels to boost the offering. Sources: Les Échos / Airofmelty 2015: Dailymotion is named the "world's leading French website," with 109.5 million unique visitors in 2014 and a positioning increasingly geared toward professional uses. On January 15, the platform launched Dailymotion Games, a streaming service dedicated to gaming, accessible on the web, mobile, and consoles. At the same time, an "inevitable divorce" with Orange is looming, heralding a strategic restructuring. On the content side, the return of Olive and Tom confirms the attractiveness of popular licenses for the platform. Sources : BFM Business (1st French site) BFMTV (Olive and Tom) / BFM Business (Orange) / JDN / RTL 2016: A year after Vivendi's acquisition, the promised "convergence" is stalling: around a hundred departures in one year, a low contribution from Canal+ content (around 0.1% of the audience) and the absence of Universal catalogs severely limit the platform. On April 1, a gas explosion on Rue de Bérite in Paris damaged the adjoining Dailymotion studios and injured several people, immediately disrupting operations. Sources: Le Monde / HuffPost 2017: Dailymotion is relaunching its platform with a new app and a redesigned website, focusing on news, sports, music, and entertainment, and refocusing on so-called premium content with media partners. The strategy prioritizes editorialization and exclusives over YouTube stars, targeting a more mature audience. Despite this repositioning, several analyses describe a difficult period and limited resources. Sources: Challenges / Megazap / PhonAndroid / Purebreak 2018: The CNIL fined Dailymotion €50,000 (July 24th deliberation) for security breaches following the leak revealed at the end of 2016. The media reported that tens of millions of accounts were affected (around 82.5 million emails and 18.3 million passwords). Sources: Village of Justice 2019: Updated Dailymotion channel on Neufbox SFR: new black and yellow interface, simplified navigation, direct access to tops and search. The platform also highlights Dailymotion Games with live gaming, chat, game search, and a multi-screen experience. Sources: Ariase (Neufbox SFR ) / Ariase (Dailymotion Games) 2020: Dailymotion Advertising launches "Vertical Video," a full-screen mobile ad format. The first campaign with Givenchy in September 2020 achieved 76% viewability (ad actually viewed) and 77% completion (ad watched to the end). Sources: DNA 2021: The return of Hello Geekette, the iconic web series from the 2000s that left its mark on Dailymotion, has been announced in an animated version. Publication begins on October 1st, with the voice contribution of Brigitte Lecordier. Sources: Eklecty-City 2022: Dailymotion Advertising presents its “Green” offer, an approach aimed at measuring and reducing the environmental footprint of advertising campaigns (creative eco-design, file reduction, optimization of purchases and distribution). Sources: The Media Leader 2023: Dailymotion is relaunching with a new app and a redesigned interface, aiming for 1 billion users by 2026. The player remains ubiquitous in France: 9 out of 10 Internet users use it, often via white-label media sites. The platform is launching a monetization program with €2 million per year to compensate creators. The app introduces the “change your feed” principle, allowing users to adjust the algorithm to discover other content. Sources: CNEWS / BFMTV / Les Gens d'Internet / I have a friend in communications 2024: Dailymotion refines its "pro" shift: one year after its overhaul, the company launched Dailymotion Pro on March 28, boasting 3,000 customers with a target of 10,000 by 2028, 400 million monthly active users, a fivefold increase in time spent, and an "audience cleanup" to restart growth. The "change your feed" line and the reconquest of young creators initiated last year continue, with an interface and positioning designed for exploration rather than algorithmic repetition. On the governance side, Vivendi decided on September 20 to transfer Dailymotion under the aegis of Canal+, to strengthen distribution and management synergies. Several business media outlets also highlight the target businesses and institutions, with the ambition of nibbling away shares from Vimeo, JW Player, and Brightcove. Sources: BFMTV / Le Parisien / BFM Business / Les Échos / The Media Leader (young) / Ouest-France / Next INpact / The Media Leader (creators) / Entrepreneurship / Provence / Forbes France 2025: Dailymotion Advertising won the "Adtech Pure Player 2025" award at the Prix Agence Média, organized by The Media Leader. In February, the platform announced that it would delete videos not viewed for twelve months, with a three-month archiving period before final deletion. On March 4, the arrival of "TPMP" on Dailymotion marked a record audience in France for the brand since 2015. In May, Dailymotion announced the acquisition of Mojo, an AI-assisted video creation app, to strengthen its tools against YouTube and TikTok. Sources: MacGeneration / The Media Leader / BFMTV / Strategies / Les Échos From "French YouTube" to a European media outlet more geared toward professionals, Dailymotion has undergone a series of expansion phases, constraints, product shifts, and shareholder changes. Its recent choices clearly lean toward mobile: advertising formats designed for vertical screens, a creator compensation program, and offers dedicated to businesses and institutions. For duanju series (short, vertical fiction) to thrive on Dailymotion, the platform must offer a credible local framework for production, distribution, and monetization: 9:16 publication, episode sequencing, tailored management, and sponsorship. The crux remains discoverability (being easily found) and brand security. But Dailymotion's French itinerary already provides concrete support to studios and authors who want to establish, episode after episode, stories born for the smartphone.

This is a first: in Toronto, the exhibition La Verticale , initiated by Le Labo in partnership with the Cinéfranco festival, gives central space to the 9:16 format. Six French-speaking artists present works designed for a tall screen, breaking with the horizontal conventions of traditional cinema. From November 1 to 9, 2024, the public discovered videos projected in studio 277 , in the premises of the Labo, at 401 Richmond Street. This initiative, led by Dyana Ouvrard (general and artistic director of the Labo) and Mathilde Rousseau , helped to promote a form of expression that was still marginal: vertical video. Another way of seeing, another way of telling Conceived as a media arts component of the Cinéfranco festival, the exhibition moves away from the classic big screen to explore margins and mobile formats. Each work, from Writer's Block to Flânerie éphémère , questions intimacy, memory, and disappearance, making the vertical format a fertile constraint. In Canada, conceptual and artistic research is emerging around the vertical format, well beyond simply adapting it to mobile uses. • CHOQ FM , October 31, 2024 • The Lab , October 22, 2024 • Facebook - Le Labo , December 11, 2024

In january 2024, a name appeared in the columns of the French media: ReelShort. This application, already massively used in the United States and Asia, burst onto the French landscape as a curiosity, immediately dubbed the "TikTok of series". From La Montagne to Midi Libre, including Stratégies, France Info, La Dépêche, France Inter and Courrier International, all relayed the phenomenon. For many, it was about presenting the French public with a new way of consuming stories: vertical episodes of one to two minutes, designed to scroll on a smartphone, interspersed with advertisements. Between fascination and skepticism The tone of the articles oscillates between astonishment and caution. Some highlight the app's dazzling success, driven by massive downloads and colossal advertising budgets. Others point to its limited catalog, its formulaic plots, or its business model based on advertising and micropayments. The tiktok of series The term has become widely used. It clearly conveys the impression of a format designed to capture attention, somewhere between social media and serial fiction. This comparison with TikTok has undoubtedly facilitated the understanding of a phenomenon still little known to the general public in France: micro-drama, or duanju. ReelShort's entry into the French news marks a turning point: it's the first time that a format born from China's vertical miniseries culture has been covered in a coordinated manner by the national press. Behind the media curiosity lies a deeper shift: the realization that ultra-short mobile fiction is no longer an anecdote, but a new global narrative language. Sources: • La Dépêche , December 1, 2023 • Courrier International , January 27, 2023 • France Inter , January 1, 2024 • The Mountain , January 8, 2024 • Strategies , January 8, 2024 • France Info , January 10, 2024 • Midi Libre , January 10, 2024

Long confined to Chinese platforms, duanju are now appearing on screens around the world. Their international distribution relies on a careful adaptation of stories, faces, and narrative codes. Apps like ReelShort and DramaBox don't just translate their content. They adapt their offerings to each market: local casting, familiar settings, reworked dialogue to better fit cultural usage. Some series produced in the United States adopt local narrative codes: sentimental thrillers, intense romances, social dramas. Platforms also rely on social media to circulate the most intense clips, often in just a few seconds. Digital word of mouth plays a central role: it's often isolated scenes—a look, a slap, a statement—that capture attention before leading to the full series. On TikTok, the hashtags #shortfilm and #shortmovie have exceeded 29 billion and 17 billion views respectively. The ReelShort app boasts over a billion monthly views, 62% of which come from users under the age of 35. In France, Le Monde notes that this ultra-fast format is attracting a new generation of users, accustomed to consuming stories in fragments. Far from being a simple export product, duanju is becoming a shared visual language, capable of reaching viewers from very different cultures. Sources: • The Telegraph , November 11, 2024 • 36Kr Europe , April 18, 2024 • Le Monde , June 7, 2024 • Radii , February 20, 2025 • Caixin Global , June 25, 2025

Before becoming a global phenomenon, Duanju was born in China at the crossroads of web literature, short programs, social networks and mobile uses. As early as 2002, platforms like Qidian offered digital serial novels, read chapter by chapter. This episodic, fast, and addictive reading method laid the foundations for a new relationship with fiction: sequenced, designed to be consumed in series. This narrative model has gradually migrated to video. Around 2010, the first micro-films emerged: very short, autonomous, and often self-produced videos, broadcast on Tudou or Sina Video. Narratively looped into a single episode, they marked a first bridge between web fiction and video. In 2013, the first micro-dramas appeared on Youku. Unlike micro-films, these were episodic, structured as mini-series. Still in horizontal format, they laid the foundations for duanju without yet addressing mobile devices. It was in 2018 that Duanju adopted its current form: vertical, mobile, ultra-rhythmic, and monetized. The smartphone not only became a main screen, but also its cradle. The episodes, lasting from 1 to 6 minutes, scroll like stories. The writing is concise, marked by final twists, to capture attention in a continuous flow. This period corresponds to the rise of applications like Douyin and Kuaishou, which popularized the format among the general public. Subsequently, this model was exported and consolidated through platforms such as ReelShort , DramaBox , or GoodShort , confirming the emergence of a narrative language specific to mobile uses. In China, these dramas are often referred to as "vertical paid duanju" (竖屏付费短剧), highlighting their roots in a specific digital culture and an economic model based on the purchase of episodes or subscriptions. In short, Duanju is not just a new format: it is a complete reinvention of storytelling, born out of Chinese digital culture and shaped by two decades of experimentation between text, image, and interaction. Sources: • 中国作家网 / China Writers Association , December 25, 2023 • 澎湃新闻 / The Paper , June 11, 2024

A contributor to several journals and an observer of cultural changes, Jean-Marie Sanjorge appropriates the duanju format to offer a broader interpretation. For him, it is fully in line with the acceleration that shapes our modernity. "A lot has been said about the phenomenon of acceleration that has characterized Western modernity over the last two centuries. It's not my place here to judge the advantages and disadvantages of this situation, but, in accordance with the title of this page, to consider it unavoidable! We can naturally link this to the phenomenon of acceleration that has characterized political cycles, social developments, clothing trends, the art of writing, or, quite simply, the general way of life. This movement is, of course, reinforced by the complete computerization of recent communication methods. Our vertical fictions are an absolute accomplishment of this trend, something we fully embrace! It's up to us to reflect, in collaboration with our partners, on how to further enrich our creations and give them a new dimension!" Continuing this reflection, Jean-Marie Sanjorge recalls that brevity is not only a modern constraint, but also an ancient aesthetic tradition, like Chinese Jueju , which reveals the strength of very short forms. "We could talk about the short forms used brilliantly by French writers, but, in homage to our Asian partners, I will mention here short poetic texts: very old but still practiced, they were born from the feeling that a few words were likely to gather the attention and emotion of the reader, around images immediately conveying aesthetics! For example, the Chinese poet Du Mu, in the 9th century AD, in just four lines: Over such a long distance, birdsong where green illuminates red, Villages by the water, hills, banners of wine in the wind, Hundreds of temples in the South How many terraces drowned in mist and rain? In a single glance, these birds in the mist offer us their beauty... What more can we say? How far we seem here from our current vertical fictions! Of course! Yet, let us keep in mind the idea of a concentration of emotion, which we must try to reanimate, in a form that is obviously totally new! We will create surprise... That is our challenge!" Between digital modernity and poetic heritage, Jean-Marie Sanjorge sees brevity as an art in itself, a stimulating path for creators, beyond economic logic. #JeanMarieSanjorge