Fixing the Shadows Access to Art and the Legal Concept of Cultural Commons
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FIXING THE SHADOWS ACCESS TO ART AND THE LEGAL CONCEPT OF CULTURAL COMMONS MERIMA BRUNCEVIC ! ! Juridiska institutionens skriftserie Handelshögskolan vid Göteborgs universitet Skrift 016 2014 Fixing the shadows: Access to art and the legal concept of cultural commons © Merima Bruncevic, Göteborg 2014 ISBN 978-91-87869-01-3 Grafisk design: Jeffrey Johns Tryck: Kompendiet 2 ACKNOWLEDGEMENTS I want thank my supervisor, Professor Håkan Gustafsson (University of Gothenburg, Sweden). His guidance, encouragement, wit, inspiration, trust, pa- tience, endurance and friendship enabled me to write this thesis. He introduced me to the wonderful world of legal philosophy and jurisprudence already when I was a law student. For all of this and for his steady support, I will be forever grateful! A special thank you to my co-supervisor, Professor Ulf Petrusson (University of Gothenburg, Sweden), for his advice, frankness, valuable com- ments, joy and discussions. My good friends and colleagues doctor Leila Brännström (Lund University, Sweden) and Associate Professor Filippo Valguarnera (University of Gothen- burg, Sweden) for reading, discussing and commenting on the first draft of this thesis, and challenging me at my final seminar. Leila and Filippo, thank you for your diligent work, and for your valuable comments when I needed them the most. I also want to take this opportunity to thank Professor Juha Karhu (Uni- versity of Lapland, Finland) who has provided me with many insightful tips and comments throughout my doctoral studies. I am particularly grateful for his reading and comments on a very early draft of this thesis, as well as for all his spellbinding accounts of Northern Finland and Ethiopia that always stir my im- agination. A thank you is due to the Dean of the School of Business, Economics and Law, Professor Per Cramér and the Head of the Department of Law, Associate Professor Thomas Erhag for making our workplace a wonderful academic and creative environment. Thank you both for granting me the privilege to work in an environment that promotes free thinking, dialogue, equality and excellence. To my colleague Erik Björling, with whom I have not only shared a supervi- sor, but also teaching commitments, as well as the love of legal theory, a big thank you, Erik, for your friendship, support, wonderful comments throughout these years, for sharing some of my burdens, and for your intriguingly steady and constantly happy demeanour. A special thank you also to Professor Eva- Maria Svensson (University of Gothenburg, Sweden), Associate Professor Sara Stendahl, (University of Gothenburg, Sweden) and doctor Wanna Svedberg (University of Gothenburg, Sweden), three very inspirational colleagues, who have always supported me. To my colleagues Associate Professor Filip Bladini, doctor Joachim Åman, doctor Andreas Moberg, my fellow doctoral candidates Philip Linné, Annkatrin Mayerson, Jannice Käll, among others, and everybody else at the Department of Law, who have supported me, my work, and with whom I have shared discussions, laughs, sometimes even tears, frustration, but mostly joy; dear friends, you are all wonderful! A warm thank you to Jeffrey Johns, who helped me with the layout of this book. And finally, to all our stu- 3 dents who always require of us to be the best that we can be, you have been an unceasing source of inspiration and joy. Another person who is due the warmest of thank yous is Mr. Benjamin Geissler. With his help and kind assistance I have been given a remarkable op- portunity in terms of access to documents and information, which enabled me to conduct the study on the Bruno Schulz mural. The fate of this artwork reso- nates throughout this thesis. Thank you, Benjamin. Had it not been for the very generous financial support of Göteborgs Han- delskompani, this research would not have been possible. The board of trustees of Göteborgs Handelskompani are patrons of science in the truest of all senses and they deserve all the acknowledgements and recognition for their support of academic endeavours and young researchers. Thank you! Financial support has also been provided by: Gad Rausings Stiftelse, Stiftelsen Lars Hiertas Minne, Anders Karitz Stiftelse, Wilhelm & Martina Lundgrens Stiftelse, Iris Stiftelsen, Emil Heijnes Stiftelse. The possibility to spend some time in Paris and to study Gilles Deleuze in detail was enabled by the fact that the Swedish Institute invit- ed me to stay in one of their guest apartments. All this together, enabled me to conduct this study. My gratitude is endless. Finally, to my mother Ajsela and my father Resad, thank you for instilling the urge in me to think independently and critically. And to my sister Mersiha, my partner in crime, and brother Isak, the joy of my world, there are no words to describe my gratitude to you both. Thank you, family, for your unwavering love, support and for putting up with all of my, and I know they are many, idio- syncrasies and whims. Without you, this thesis would not have been written. For that, and everything else, you have all my love. Merima Bruncevic Götaplatsen, Gothenburg, Sweden. April 2014 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................... 3! TABLE OF CONTENTS ...................................................................................................... 5! ENTER .............................................................................................................................. 11! VOLUME I: BEYOND THE ONTOLOGICAL QUESTION Part 1: The Law 1 INTRODUCTION .............................................................................. 21! 1.1! ACCESS AND NOT OWNERSHIP .................................................................... 28! 1.2! THE DARK SIDE .............................................................................................. 35! 1.3! PROBLEM AND PURPOSE .............................................................................. 36! 1.4! DELIMITATIONS ............................................................................................. 41! 1.5! INTELLECTUAL PROPERTY RIGHTS AND THE CONCEPT OF THE CULTURAL COMMONS IN INTERNATIONAL LAW ................................................ 43! 1.6! CULTURAL HERITAGE AND CULTURAL COMMONS .................................. 48! 1.7! METHODOLOGICAL CONSIDERATIONS ..................................................... 51! 1.7.1! THE DELEUZIAN ENCOUNTER ............................................................ 55! 1.8! SITUATING THE THESIS WITHIN ITS CANONICAL HEIMAT(S) ................ 59! 1.9! STRUCTURE OF THE THESIS: A RHIZOMATIC JOURNEY ........................... 62! 1.9.1! SUMMARY OF THE EIGHT CHAPTERS .................................................. 63! 1.9.2! HOW THE CHAPTERS MIRROR EACH OTHER AND THE PURPOSE OF THE VOLUMES ...................................................................................................... 65! 1.9.3! THE NOMADIC STRUCTURE AND ITS METHODOLOGICAL TOOLS .. 65! 2! A RHIZOMATIC JURISPRUDENCE ................................................. 71! 2.1! INTRODUCTION TO DELEUZE .................................................................... 71! 2.1.1! DELEUZE AND GUATTARI .................................................................... 72! 2.1.2! DELEUZE, DELEUZE/GUATTARI AND POSTMODERNISM ............. 75! 2.1.3! DELEUZE AND LAW .............................................................................. 77! 2.2! DETERRITORIALISING JURISPRUDENCE .................................................... 79! 2.3! RHIZOMATIC NOMOS .................................................................................... 84! 2.3.1! THE SIGNIFICANCE OF “ASSEMBLAGES” AND “BODIES WITHOUT ORGANS” FOR THE RHIZOME ............................................................................ 89! 2.4! THE LEGAL THEORY OF THE RHIZOME: DELEUZE IN LAW ................... 91! 2.4.1! THE SIX PRINCIPLES OF THE RHIZOME .............................................. 93! 5 2.5! NOMADIC NOMOS ........................................................................................ 101! 2.5.1! LUFTMENSCH: ON THE LEGAL PERSON AND THE LEGAL SUBJECT 101! 2.5.2! LEGAL GROUNDLESSNESS: SANS FOND ............................................ 105 Part 2: The artwork 3! THE RHIZOMATIC ARTWORK ..................................................... 111! 3.1! THE ORIGINAL FISSURE? HOW ART ALWAYS REACHED BEYOND THE “WHAT IS” QUESTION ........................................................................................... 113! 3.2! RHIZOME 1: INDUSTRIALISM – THE FRANKFURT SCHOOL ................... 118! 3.2.1! PLATEAU 1: THE CULTURE INDUSTRY ............................................... 120! 3.2.2! PLATEAU 2: THE DICHOTOMY BASED LOGIC, AND BEYOND ........ 121! 3.3! RHIZOME 2: POST INDUSTRIALISM – ECONOMIC, SOCIAL AND CULTURAL CAPITAL ............................................................................................... 124! 3.3.1! PLATEAU 3: THE FORMS OF CAPITAL ................................................. 126! 3.4! RHIZOME 3: KNOWLEDGE SOCIETY – RHETORIC BASED AND SEMIOTIC/NETWORK BASED ART ....................................................................... 127! 3.4.1! PLATEAU 4: RHETORIC-BASED ART .................................................... 128! 3.4.2! PLATEAU 5: SEMIOTIC/NETWORK-BASED ART ................................ 130! 3.4.3! PLATEAU 6: A MIXTURE OF THEM ALL… .......................................... 131! 3.5! RHIZOME 4: THE ASSUMPTIONS