“Increased public spending has probably resulted in an increase in the number of artists rather than an improved economic situation among the existing artists” says project leader Knut Løyland. An influx of professional artists in times where the conditions are good, is completely in line with the findings of several Norwegian and International studies. The…
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Canada’s first union agreement for visual artists
CARFAC (Canadian Artists Representation/Le Front des artistes Canadiens) and RAAV (Regroupement des artistes Visuels du Quebec) have signed Canada’s first union agreement for visual artists.
Who we are
The instigation and organisation of this project was created through the collaborative work of artists Chris Biddlecombe (Glasgow) and Guðrún Gísladóttir (Copenhagen). Both have a background in the support and development of artist working conditions and rights.
Exhibition payment rights – project outline
This first collaborative project was established to explore the current situation of how visual artists are contracted and remunerated for their work through out the broader Nordic region. Research was carried out to: collect data about the artist’s situation in different countries; compare working conditions; understand common issues; and discuss methodologies to combat problems.
Artists’ Rights – strengthening creative economies
We live in curious and difficult economic times and as artists, we share many problematic and contradictory issues. The objective of this project has been to use the Swedish MU Standard Agreement on costs and artists’ commission and exhibition remuneration as a model for similar contracts for visual artists in other countries. This is a…
MU / the Swedish EPR agreement
In 2009, the Swedish government adopted a new agreement for remuneration to artists for the display of work. The MU agreement – a ‘participation and exhibition remuneration agreement’ – which covers payment to artists for display of work, as a kind of ‘rent’. This is additional to other kinds of financial compensation for an exhibition,…
The importance of collecting information
In considering and debating issues regarding Exhibition Payment Rights within the seminar groups we have continually returned to the problem of how the artist builds a clear and compelling argument. Governments and strategic agencies will demand statistics and figures clearly indicating proven areas of growth, strength and weakness. This is another reason why, as individual…
Other existing EPR structures
Beyond the specific exhibition payment models outlined through the project group countries – in particular the Swedish and Norwegian models – there are also a number of other international structures in place or in development.
Exhibition payment rights – project findings
A brief update on each of the Core Group countries in the the Exhibition Payment Rights project, link to the post about the Swedish MU agreement and links to an outline of the situation in each country. Both the core group and the 2nd group.
KRO vs The Swedish Embassy in Japan
Recent news of a legal dispute caused by an avoidance to use the MU agreement. Five Swedish artists were recently asked to exhibit work at the Swedish Embassy in Tokyo. Having already bought their tickets from Sweden to Japan they were contacted by the Swedish Embassy to be informed that there was a possibility the…