Editorial Two
June 2005

In November 2004 Visual Art Politics went online in its pilot version.
By this we open the second issue.
The idea is to develop a hybrid between a website and a web-based periodical.
The articles, by which we did open the pilot issue of this website, were meant ,
besides having their own intrinsic value, to represent abstract “netpoles” between which we can stretch out our “net”. A net that is fine-meshed enough so that we can also focus on the smaller problems of detail, and which is on the same time stretched over a sufficiently large area and is strong enough for us to debate big issues, with people who are important, that is have influence, in there own spheres.

In a longer perspective interviews will be a prominent feature of this website journal because the dialogical form of the interview will permit the interviewer, while exploring the attitudes of the interviewee, to act as an information provider; to assume the role of an advocate for ways of thinking that may be alien to the interviewee, and may perhaps even represent complementary or simply clarificatory views.

On the 12th of March 2005 EVAN’s second general assembly was held in Copenhagen, in the auspices of Danish Artists Council, which is also hosting the office of ECA, European Artists Council.
The delegates did confirm that the focus of EVAN should be exchange of information and communication.Structure and content of Visual Art Politics was discussed.
A new Governing Body was elected.( Look for further information at the evan link at the bottom of this site, or go to ).

EVAN / Visual Art Politics is concerned with a policy and forms of cooperation that will promote more appropriate interaction between the influence of democratic organizations and the influence that comes from individuals’ “subjective” choices of approach and focus.
The art of today is under so much pressure that all art policy assets should be involved in the work, with careful consideration of how widely deffering competencies can best be used to supplement one another.

We need a shared awareness that the art policy considered worth recommending varies depending on the visual-arts practice from which it is viewed. Today we need to develop a defined wide spectrum of vision for what contemporary artists need in terms of legislation-based changes in the way official Europe sets out the framework for artistic creation.

Art has its own contribution to make in society on its own terms.
And through art politics artists, politicians and researchers can get behind the right of contemporary artists to appropriate working conditions.
If this is to be done in a way that qualifies the visual artists to become important, competent dialogue partners for policy-makers with legislative responsibilities, it requires a thorough prior interaction among the basic thinking patterns of the parties involved. Only then will discussions and subsequent negotiations be of a calibre that permits inclusive and constructive legislation in areas, that have a direct influence on the ability of the creative artists to manage their own activities in an artistically and socially responsible manner.

At the top of EVAN / Visual Art Politics wish-list we place respect for the individualist’s contribution to the collectivity, and the collectivity’s will to support the individual’s creative abilities - artist or not.

Charlotte Brüel
Chairman of EVAN, European Visual Artists Network
Editor of Visual Art Politics,

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Editorial One.

By this we go online with Visual Art Politics.

Opening the debate with three texts:

First a confronting text, an Open letter to the Danish Minister of Culture, written by Cai Ulrich von Platen, chairman of BKF, Billedkunstnernes Forbund (The Danish Association of Visual Artists.

Second a description of the intensions behind a workshop in England (June 2004), Workshop Flaxman Lodge, at which the question is raised:

Can new forms of international co-operation and organisation be created that bring together the collective struggles of art-, knowledge-, service- and other precarious workers? Can we, through a critique of work, point to new practices where work and political action are integrated?

Does the cultural worker share interests with the call centre worker for example? Is a Knowledge Workers Union an option?

And third a text from the press release about Una Walkers exhibition “Surveiller” - a database of exhibitions that have taken place in Belfast through the period 1968-2001.

So by confronting the politicians of today, planning a union for the future, and exhibiting historical exhibitions as an expression of contemporary art do we open the new platform for, hopefully a new qualified dialogue by publishing the web journal Visual Art Politics.


Charlotte Brüel
Responsible Editor

2nd of November 2004

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