Manifesto 2007
To be an artist is a profession, not a hobby or leisure activity. Artistic production is a social concern and a public responsibility. We therefore believe that the time has come to place the following issues on the political agenda related to questions of art:
1. Secure and increase existing grants and support for active artists.
The public grant structures are meant to compensate for Norway’s poorly developed art market, but as they are set up today they don’t free the artists’ time from their other paid jobs. Also, the existing structures are only to a limited degree based on a factual activity level. The criteria of the grant system have to be revised, and more money should be awarded for larger grants allowing the artist to solely devote their time to their profession.
2. Unemployment benefit according to the artists’ work situation. Pension plan, sickness and maternity benefits for artists.
Today’s unemployment benefit system forces artists into jobs that underestimate their competence and potential contribution to society. The authorities should strive to base the artists’ professional activities on their actual competence, in order to place this resource at the disposal of society in the best way possible.
The public grant structures are meant to compensate for Norway’s poorly developed art market, but as they are set up today they don’t free the artists’ time from their other paid jobs. Also, the existing structures are only to a limited degree based on a factual activity level. The criteria of the grant system have to be revised, and more money should be awarded for larger grants allowing the artist to solely devote their time to their profession.
2. Unemployment benefit according to the artists’ work situation. Pension plan, sickness and maternity benefits for artists.
Today’s unemployment benefit system forces artists into jobs that underestimate their competence and potential contribution to society. The authorities should strive to base the artists’ professional activities on their actual competence, in order to place this resource at the disposal of society in the best way possible.
3. More subsidised studios/work places for active artists in pressed urban areas.
Artists, like any other group of professionals, should have access to acceptable production premises and a work situation based on normal criteria in accordance with the Working Environment Act Law. This is particularly important in areas where the prices of suitable workspaces are high.
4. Strengthen and secure the purchase and production budgets of public art institutions. Very often today institutions are not able to finance the production of their own exhibition programmes. Consequently, the artists are sponsoring Norway’s public art scene with large sums of money from their already pressed private economies.
5. Update public art policies in relation to economical changes and new economic models. Today’s policies do not reflect the State’s degree of construction and the artists’ true production environment. Nowadays, the State is making more use of lease agreements; hence it does not build as much as before. The public art policies should be redefined in order to be incorporated in lease agreements. The formal requirements of public art projects should be updated in order to increase the incorporation of non-permanent, post-modern art expressions.
Marianne Heier, Runa Carlsen, Therese Ellefsen, Silje Rønneberg Hogstad, Karen Lidal, Ingrid Lønningdal, Veronika Moen, Oda Broch Nerdrum, Elizabeth Schei, Maren Skoie, Elisabet Storhaug, Linda Hellevik, Maren Westlie, Tron Ove Wisløff og Ina Åsheim
Artists, like any other group of professionals, should have access to acceptable production premises and a work situation based on normal criteria in accordance with the Working Environment Act Law. This is particularly important in areas where the prices of suitable workspaces are high.
4. Strengthen and secure the purchase and production budgets of public art institutions. Very often today institutions are not able to finance the production of their own exhibition programmes. Consequently, the artists are sponsoring Norway’s public art scene with large sums of money from their already pressed private economies.
5. Update public art policies in relation to economical changes and new economic models. Today’s policies do not reflect the State’s degree of construction and the artists’ true production environment. Nowadays, the State is making more use of lease agreements; hence it does not build as much as before. The public art policies should be redefined in order to be incorporated in lease agreements. The formal requirements of public art projects should be updated in order to increase the incorporation of non-permanent, post-modern art expressions.
Marianne Heier, Runa Carlsen, Therese Ellefsen, Silje Rønneberg Hogstad, Karen Lidal, Ingrid Lønningdal, Veronika Moen, Oda Broch Nerdrum, Elizabeth Schei, Maren Skoie, Elisabet Storhaug, Linda Hellevik, Maren Westlie, Tron Ove Wisløff og Ina Åsheim
