INVITASJON TIL KONFERANSE FREE ART IN A FREE EUROPE?

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1 NBK Norwegian visual artists association INVITASJON TIL KONFERANSE FREE ART IN A FREE EUROPE? Norske Billedkunstnere inviterer til konferanse og middag i samarbeid med International Artists Association (IAA) Europe. Konferansen Free Art in a Free Europe? tar for seg kunstens situasjon i Europa i dag, copyright på digitale plattformer, kunst og uavhengighet, ytringsfrihet samt kunstens plass i spenningsfeltet mellom politikk og samfunn. Konferansen arrangeres i forbindelse med generalforsamling i IAA Europa og de internasjonale deltagerne vil være tilstede. Leder av UNESCO Norge, Tora Aasland, vil åpne seminaret. Påmeldingsfrist: 1. oktober til NBK: mailto:[email protected] Påmeldingen er ikke bondende før beløpet er betalt. Tid: 4. oktober 2013 kl til Sted: Håndverkeren Konferansesenter, Rosenkrantz gate 7 Pris konferanse: 650,- (Summen er inklusive lunsj. Det er mulig å møte opp og betale i døren inntil det blir fullt. Cash only.) Pris middag: 710,- (Kun forhåndsbetaling innen fristen) Innbetalt beløp refunderes ikke. Kontonummer: Norske Billedkunstnere

2 FREE ART IN A FREE EUROPE? 4 October 2013, at Håndverkeren, Rosenkrantzgt nr 7. PROGRAM Attendance Opening of the seminar Tora Aasland, Leader of the Norwegian Unesco committee The state of art in Europe Grete Marstein, Vice president in IAA World and Hilde Rognskog, visual artist and board member of IAA Europe Copyright on digital platforms Hans-Petter Fuglerud, Deputy Executive Director of Kopinor, the Norwegian Reproduction Rights Organisation Art and autonomy Tore Slaatta, professor in the department of Media and Communication, Faculty of humanities, University of Oslo Lunch Visual arts and freedom of expression state in Europe Norwegian P.E.N Politics and Society Arne Johan Vetlesen, Professor in philosophy, Department of Philosophy, Classics, History of Art and Ideas, Faculty of Humanities, University of Oslo Teamwork A to E Summary Conclusion Dinner at Restaurant Eik, Universitetsgata 11 The seminar is supported by: Kopinor, the Norwegian Reproduction Rights Organisation

3 INTRODUCTION IAA Europe and IAA World (International Association of Artist) are a nongovernmental organisation for visual artist, and was recognise as such in Unesco in year IAA co-operates with UNESCO and co-ordinates its activities with those of other organisations concerned with the arts and culture. Main objectives of IAA Europe are the exchange between artists and organisations engaged in the fields of art and culture in Europe and beyond. The work of IAA Europe is concerning the discussion and elaboration of artistic matters within Europe, as well as the promotion of the flow of information regarding working conditions, social security systems, authors' rights and free flow of artworks. Tora Aasland is leader of the Norwegian Unesco committee will open the seminar with an introduction of Unescos work. Tora Aasland is former minister of research and higher education, and has been county governor in Rogaland until autumn STATE OF VISUAL ART IN EUROPE Never the twain shall meet. A glimpse into the experience with art and politics work, internationally. What could the art politics looks like in the future, and is it possible that the artist s intention and the political aims in the society are the same? What measurements are possible to addressing? Based on the Ballad of East and West the poem of Rudyard Kipling, we want to set the tone for the seminar. Oh, East is East and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God's great Judgment Seat; But there is neither East nor West, Border, nor Breed, nor Birth, When two strong men stand face to face, though they come from the ends of the earth. Grete Marstein is a visual artist and vice president in IAA World. She has in several years worked with international art politics, and has been representing Norwegian visual artists associations (NBK) work in IAA Europe and IAA World. Hilde Rognskog is a visual artist and former chairman of Norwegian visual artists associations (NBK) from 2009 to COPYRIGHT ON DIGITAL PLATFORMS The use of images as a result of the digital technology is increasing. The same technology also allows the use of images in a different way than before. Visual artists have new opportunities to create and disseminate their art, and those who want access to images and information about art can do this in a much larger scale than before. New opportunities also create new approaches to problems. What are the challenges at the international level? What is the difference between individual and collective rights? Hence, we will also ask the questions if authors- and copy-rights are under pressure. Hans-Petter Fuglerud is Deputy Executive Director of Kopinor, the Norwegian Reproduction Rights Organisation and will give us an insight in the challenges. Kopinor is empowered by its member organisations to negotiate and conclude collective agreements on photocopying and digital uses of copyright protected works in all areas of society. Trough Kopinors agreements, all users of protected works are secured simply and legal use of copyright protected works same time as the rights holders get paid and new works of art would be created.

4 ART AND AUTONOMY Productions of visual art in Europe have never been fully financed by a clean, market based economy. In variety degrees, it exist governmental founds and ways of funding art, that not are based on the logic of the marked. As opposed to public support, that is primarily substantiated to correct deficiencies, when the market does not work. However, when the economies are in crisis, these founding s become vulnerable. How does this work? Questions we want to ask is: To what extent are there cultural-political intentions/regulations on public funding for art and artists? Is it so that states and governments misuse these founding for own purposes? Is founding art from the private sector preferred, and is that kind of money apolitical and unfettered? The question is, makes it a difference for the artist, if the founding s come from the government or the market? Is it only one answer in front of the question of what best secure the artist s autonomy? In witch way should this kind of discussion be articulated? Do we have to distinguish between founding s? Are art -politics foremost a question about welfare, or is it also about business, artistic recognition or reputation? Tore Slaatta is professor at the Institute of Media and Communication at University of Oslo. Tore Slaatta is also the head of a national research program about the conditions for making contemporary art in Norway today. VISUAL ARTS AND FREEDOM OF EXPRESSION STATE IN EUROPE Over the last decade, censorship of artists and attacks on art exhibitions have occurred in Europe, as well as in the rest of the world. We also see an increasing tendency that artists are imprisoned (recent in countries like Russia and Turkey). What is the state of freedom of expression for visual artists in Europe today? Where do we begin to visualize the condition? The aim of this input is to continue work on freedom of expression in IAA - world, and possibly kickstart efforts to create a website where violations of freedom of expression in the visual arts field are documented. Furthermore, we are able to get a glimpse of The Norwegian PEN work in this field for writers and other artists. Norwegian PEN is the Norwegian division of International PEN founded in Like several European and North-American centres, Norwegian PEN works primarily with freedom of expressionissues, mostly internationally. Norwegian PEN is active in International PENs Writers in Prison Committee and the IFEX (International Freedom of Expression exchange) network. POLITICS AND SOCIETY Visual art in the modern society have strived for autonomy and freedom of expression. But isn t it also so, that visual artists, to a greater extent than other art fields, is inextricably linked to the socioeconomic, political and ideological currents that at any given time is dominant in the community? Which political and ideological thoughts inflicting on the visual art in our times? How is the political situation in Europe reflected in the future of art politics, in front of the four freedoms? Arne Johan Vetlesen, professor in philosophy, Department of Philosophy, Classics, History of Art and Ideas, University of Oslo, gives us a summary of the essay Neoliberalism, a revolution to consolidate the capitalism. This input will hopefully be a platform for further discussion and work in groups.

5 IAA er et nettverk med 40 nasjonale medlemmer som I Europa representerer profesjonelle billedkunstnere. IAA samarbeider med Unesco, FNs organisasjon for utdanning, vitenskap, kultur og kommunikasjon. IAA står bak et identitetskort for kunstnere som gir dem fri adgang til museer i hele verden og arbeider for utveksling mellom kunstnerne og organisasjoner i kulturfeltet. Norske Billedkunstnere (NBK) er billedkunstnernes interesseorganisasjon. NBK arbeider for å ivareta billedkunstnernes faglige, ideelle, økonomiske og sosiale rettigheter og interesser. NBK har ca medlemmer som fordeler seg på 20 grunnorganisasjoner.