Income changes for Norwegian artists during the pandemic
In: Nordisk kulturpolitisk tidskrift: The Nordic journal of cultural policy, Band 25, Heft 2, S. 1-16
ISSN: 2000-8325
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In: Nordisk kulturpolitisk tidskrift: The Nordic journal of cultural policy, Band 25, Heft 2, S. 1-16
ISSN: 2000-8325
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 13, Heft 1, S. 159-172
This article presents the relation of East European artists with the Secret Police
institutions. While focused on the Romanian case, several examples from
Poland, Czechoslovakia and Bulgaria help place the topic in a regional context.
The analysis includes both the viewpoint of the Secret Police on the artistic
world as such, as well as the gazes of artists on the reality of their time. The
conceptualization of artistic surveillance includes three types of examples: the
deconstruction of the officially fabricated reality, the focus on the details of the
everyday life forbidden by official propaganda, and the reflection of artists on the
secret police apparatus. The conclusions of this study show that the investigation
of artistic artifacts together with the secret police archives can help bring a new
perspective on the limits of domination exerted by the communist regime.
In: Nordisk kulturpolitisk tidskrift: The Nordic journal of cultural policy, Band 16, Heft 2, S. 239-267
ISSN: 2000-8325
In 2014, Norway celebrates the bicentenary of the Norwegian Constitution. The Constitution has been the backbone of a society that has created political stability, economic development and personal freedom for generations of Norwegians. The Norwegian Constitution was inspired by the democratic forces of its time, but most especially by the American Constitution. Today, they represent the world's two oldest, living constitutions. The book explains how the Norwegian Constitution was created, how it has functioned, and the democratic challenges it faces. The book also examines how the American Constiution has influenced the Norwegian Constiution. The book is directed toward a wide range of readers, especially students in all levels. Prominent Norwegian writers and scholars have explored these themes in this unique presentation of the Norwegian and American Constitution. President of the Norwegian Parliament, Olemic Thommessen, and American Vice President i USA, Walter Mondale, have written the preface. The book is a de lux book of art. A number of Norwegian contemporary artists are inspired by the constitution. They have been especially concerned about subjects related to the role of the individual in society, democracy, freedom of speech and preservation of natural resources. They also have focused on what it means to have a national identity. The artistic presentations cover a wide register and the illustrations are carried out in different technics. Exhibitions will be arranged in both Norway and the US where the pieces of art in the book will be presented
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 269-291
This article is a case study of the Romanian Artists' Union during the Thaw as an institution potentially capable of renewal by creatively applying the rules imposed in the totalitarian communist State. The methodology used is that of archival research through the use of the concepts of Repressive State Apparatus, Ideological State Apparatus (Althusser), dispositif (Foucault), and habitus (Bourdieu). The text shows that from 1953 until 1957, in the context of similar changes in the Soviet Union, the Union of Romanian Fine Artists underwent a gradual transformation, which culminated with the change of the Management Board and a professionalization on specific criteria of the structure. The characteristics of the modern foucauldian dispositif, that the Union acquired in the period of the Thaw, remained valid in the next period, of reideologisation (1958-1963). The conclusions are that even in conditions of totalitarianism, subjects and structures can introduce creative elements into the process of reproduction of a given order, by modifying this order.
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 293-312
Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several "capitalist countries" and "popular democracies", by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union's interests regarding the East and the West and suggests that the Romanian Union of Artists contributed to the expansion, the regulation and at the same time the control of the cultural contacts with foreign countries.
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 399-415
This article discusses the case of Ion Grigorescu, and of his ambiguous relationship with the communist regime, which he registered through a form of "documentary realism". Through his "realgrams" Grigorescu documented real life experiences in an innovatory approach to the majority of Romanian artists of the time using photographs of his everyday environment, and being inspired by his social and political context. Grigorescu is thus an artist committed to the public space and assuming a critical stance without it being discursive, pedant or moralizing. The approach of this study is descriptive, based on the artists' artworks and self-descriptions, and seeking to situate Grigorescu's approach in the context of the communist regime and its transformation after 1990 into a democratic regime. The conclusions show that Grigorescu's artworks are anti-system, criticizing any establishment, no matter in which regime he finds himself. His contestation is specific to a committed artist that chooses to express his freedom of expression beyond his own studio.
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 417-434
Starting from the case of Ion Irimescu, this article discusses the issue of continuity among Romanian visual artists before and after 1944. In this study, I argue that it was essential for the visual artists' survival and establishment as artists during the communist regime to enter into a clientpatron relationship. The existence of this relationship meant access for the artists to financial funds, promotion within the UAP, and protection from the measures, which the Securitate could have taken against them. This article is divided into four sections. Every section examines an episode from the life of Ion Irimescu. His interwar biography is presented in the first section, and his adaptation to the communist regime is the subject of the second part of this study. The last two parts analyse the factors which facilitated his confirmation and promotion as a state artist after 1944 and the relation of the artist with the Securitate.
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 17, Heft 3, S. 313-336
During the communist regime, photography was a popular activity due to the existence of the Association of Photographic Artists. Its members weren't professional artists, but mostly people with technical backgrounds, and who transformed their hobby into a job. The lack of interest of Romanian artists in photography (except for a few particular cases such as Ion Grigorescu or Ștefan Bertalan) can be explained by the fact that there were no photo-video departments within the art universities and the Romanian Artists' Union (UAP), the only form of institutional organization of the Romanian artists, had no special photography department. Therefore, the photographic practice in communist Romania was linked to the Association of Photographic Artists and not to the Romanian Artists' Union. The evolution of its activity in the period between 1968 and 1978, and the impact that politics had on it transpire very well from the evolution of the Fotografia magazine, the only photo periodical of that era. This article shows that even in a creative field, which was overlooked by the Communist Party, the echoes of the official political discourse were felt, mainly after 1975. We have outlined two aesthetic trends in the mid-1970s. One was the photograph obtained by laboratory procedures, supported by a depoliticized discourse and the second was a pseudo reportage photography, namely the communist propaganda photography.
In: Studia politica: Romanian political science review ; revista română de ştiinţă politică, Band 11, Heft 4, S. 687-699
The paper analyzes the institutional transformation of cultural policies in postcommunist Romania and the correspondent emergence of an art market in Romania. The case studies considered show that both artists and policy makers adapted to extraneous expectations and patterns rather than promoting new visions and models. The "triangle metaphor" forged by Magda Cârneci, representing the relationship between artists, the state and the Union of Visual Artists (UAP), offers the basis for analysing the game of continuity and change after the fall of Romanian communism.
Within the last two decades streaming services and digital platforms have come to dominate the distribution of recorded music. What has this transformation meant for the music industry in Norway? From Spinning to Streaming: Norwegian Music Reaching the World presents research on how artists, musicians, composers and other intermediaries within Norway's music industry are meeting this digital reality.Digitalization has led to new possibilities for producing and distributing music, as well as for exporting music and succeeding on an international level. Yet the route out into the world via the internet can be both steep and unpredictable. By investigating ways of working, types of expertise required, as well as economic and copyright circumstances, the authors demonstrate how digital media are both important tools for creating musical works and a key engine of development in the music industry itself.The authors rely on various theoretical concepts and analytical perspectives to explore the interplay between technological, professional, social and cultural conditions in the music industry's development. A central finding in the book is the need among several actors in the Norwegian music industry for increased specialized competence and understanding regarding rights issues. In addition, the "platformization" of the industry calls for a greater degree of professionalization and specialized expertise than the Norwegian music industry is equipped with today.From Spinning to Streaming: Norwegian Music Reaching the World will be of interest to researchers, students, politicians, decision-makers and other actors within the music industry.The book's authors are Anja Nylund Hagen, University of Oslo; Mari Torvik Heian, Telemark Research Institute; Roy Aulie Jacobsen, Telemark Research Institute; and Bård Kleppe, Telemark Research Institute.; De siste ti årene har strømmetjenester og digitale plattformer nærmest overtatt distribusjonen av innspilt musikk. Hva har det gjort med norsk musikkbransje? I boka Fra plate til plattform: Norsk musikk ut i verden presenteres forskning på hvordan artister, musikere, komponister og ulike mellomledd i norsk musikkbransje håndterer den digitale hverdagen.Digitaliseringen har gitt nye muligheter til å produsere og distribuere musikk, drive med musikkeksport og til å lykkes internasjonalt. Samtidig kan veien ut i verden via internett være både uforutsigbar og bratt. Ved å undersøke arbeidsmåter, kompetansebehov og forhold knyttet til økonomi og opphavsrett, viser forfatterne hvordan digitale medier både er viktige verktøy i arbeidet og sentrale drivkrefter for bransjeutviklingen.Forfatterne bruker ulike teoretiske begreper og analytiske perspektiver for å undersøke samspillet mellom teknologiske, profesjonelle, sosiale og kulturelle forhold i musikkbransjens utvikling. Et sentralt funn i boka er at musikkbransjen har behov for økt bransjekunnskap og rettighetsforståelse. Plattformsentreringen inviterer også til større grad av profesjonalisering og spesialisert kompetanse enn det den norske musikkbransjen er rigget for i dag.Boka er relevant for forskere, studenter, politikere, beslutningstakere og aktører i musikkbransjen.Fra plate til plattform: Norsk musikk ut i verden er skrevet av Anja Nylund Hagen, Universitetet i Oslo, Mari Torvik Heian, Telemarksforsking, Roy Aulie Jacobsen, Telemarskforsking og Bård Kleppe, Telemarksforsking.
How should we go about collaborating with children and adolescents? Young Participation: Creativity and Conflict in Planning explores how youth participation work in practical terms, in the context of urban development processes at the municipal level in Norway.
From their unique perspectives, several social scientists, artists, an architect, and a young contributor discuss experiences and dilemmas of including children, teens, and young adults as contributing stakeholders on various projects. The reader will find concrete examples of participation processes and tools developed in cooperation with young people, architects, and public employees.
The chapters reveal how good intentions regarding inclusion can obscure power hierarchies, friction, and conflicts of interest. Yet they also demonstrate that the potential for creativity and innovation are great when young people are invited to contribute their input in planning and developing everything from youth community centers and school grounds to parks and other outdoor spaces in local neighborhoods.
This anthology will provide inspiration to researchers, students, municipal employees, urban planners, and others working collaboratively in urban and community development. Among the topics covered are participation as co-research, social entrepreneurship and participation as part of school curricula and in socio-cultural place analyses, the power of the hand in creative practices, co-location as a trend, digital and hybrid participation processes, and power plays in planning. By introducing a new model for 'thick participation', the anthology attempts to ensure that young citizens are not just seen and heard but are also given the opportunity to become lasting resources within their local communities.
The book's editors, senior researcher Aina Landsverk Hagen and research professor Bengt Andersen, are both based at the Work Research Institute (AFI), Oslo Metropolitan University. - Hvordan gjør vi medvirkning med barn og unge? Ung medvirkning: Kreativitet og konflikt i planlegging tar for seg hvordan medvirkning med barn og unge utspiller seg i praksis, i steds- og byutviklingsprosesser i norske kommuner.
Fra sine ulike ståsteder diskuterer samfunnsforskere, kunstnere, en arkitekt og en ung medvirker erfaringer og dilemmaer med å inkludere barn, ungdom og unge voksne som medvirkere. Leseren får konkrete eksempler fra medvirkningsprosesser og presentasjon av verktøy som er utviklet i samarbeid med ungdom, arkitekter og offentlig ansatte.
Bidragene viser hvordan gode intensjoner om inkludering kan skjule makthierarkier, konflikter og interessemotsetninger. Samtidig peker boken på hvordan muligheten for kreativitet og nytenking er stor når unge inviteres inn til å medvirke i planleggingen av alt fra ungdomshus og skolegårder til parker og uteområder i nabolaget.
Antologien gir inspirasjon til forskere, studenter, kommunalt ansatte, planleggere og andre praktikere som jobber med medvirkning i by- og stedsutvikling. Blant temaene som tas opp er medvirkning som medforsking, sosialt entreprenørskap og medvirkning i skolefag og i sosiokulturelle stedsanalyser, håndens kraft i kreative praksiser, samlokalisering som trend, digital og hybrid medvirkning og medvirkningens maktspill. Ved å introdusere en ny modell for «tykk medvirkning», søker antologien å sikre at unge innbyggere ikke bare blir hørt og sett, men også får mulighet til å være vedvarende ressurser i sine nærmiljøer.
Bokens redaktører, Aina Landsverk Hagen og Bengt Andersen, er begge seniorforskere ved Arbeidsforskningsinstituttet, OsloMet – storbyuniversitetet.
Forfatterne av antologien har også utviklet en digital ressurs for alle som er interessert i ungdomsmedvirkning: https://unghus.oslomet.no