Offi ce for Contemporary Art Norway Annual Report 2006 Director’s In Fall 2006, I was invited by the Nor- tempt to manipulate it so that it stays wegian Ministry of Culture to draft in close proximity in order to benefi t a paper related to the topic – “What the international global economy. Foreword are the challenges facing Norwegian As the Director for the Offi ce for cultural politics in a globalized era?”. Contemporary Art Norway, this real- In defi ning my opinion, I specifi cally ity is at the very centre of my work elaborated upon the Offi ce for Con- and OCA’s challenge to continue to temporary Art Norway’s position with ensure that contemporary art and respect to the topic and in relation culture, and the artists producing that to Norwegian international cultural art, are treated with the utmost pro- politics (if to refer to culture as inter- fessionalism according to the criteria changeable with contemporary art, set out within the profession and not contemporary culture and production according to an increasing pressure and ”Norwegian” to be considered from the commercial sector. This is as a pluriform perception of national a particular challenge during a time identity). A valid point of departure when the commercial and non-com- may be a citation by Els Van de Plas, mercial sectors have never been Director of the Prince Claus Fund more porous. in Holland, who notes that “interna- tional cultural policy, is, in a number Such a challenge encourages re- of ways, pure politics.” This is an vised thinking about how OCA may unjustifi able position according to continue to develop beyond simply Van de Plas, who asserts that “the a grant giving body alone into a pro- point of departure should always be grammatic organization that utilizes cultural quality.” Her position only its professional knowledge and emphasizes that a particular level of experience to develop programmes integrity within the cultural fi eld is of content that further facilitate the increasingly challenged by an over- serious treatment of artists and whelming driving force that promotes curators. These questions arise not the authority of generalists who feel only out of a critical evaluation of that culture may succumb to market- OCA (released some years ago), ing as a medium of promotion. This but, moreover, in the light of a real- incessant need to seize culture as a ity that makes the traditional model tool inseparable from international of import/export for cultural founda- economic forces is exactly what tions increasingly obsolete. Cultural reduces any cultural product to the foundations providing grants to lowest common denominator and artists are increasingly evolving extracts it from culture to subsume into what the Rand Corporation, the it into the realm of market alone. nonforprofi t research institute on The renowned urban sociologist culture and public policy based in Edward Soja noted in a 2003 confer- the United States, refers to as ”cash ence in the CCCB in Barcelona that machines without clout”. In addi- the culture industry now stands as tion to their grant-giving mandate, second to the tourism industry as national foundations are fi nding it the top global economy in the world. necessary to additionally generate In this sense, culture is steered by cultural experiences for a wider con- dominant economic forces that at- stituency of individuals in an effort 4 5 to make them understand how con- cal transformation in the process culture industry to choose to nego- private sector. In Norway’s example, temporary art can be an integral tool of the globalization of capitalism tiate, according to its own terms, we clearly see an absence of private in society. More traditional models as an economic and cultural form. without sacrifi cing its integrity. The funding of cultural, or more specifi - of national cultural foundations are This emerging global capitalist arbiters and brokers of such nego- cally contemporary art, initiatives steadily being challenged by revised modernity is to be considered as a tiations are, however, increasingly and projects. Without a long-range models set forth by the Swiss Insti- distinctively new historical form of delegated to individuals without programme in education, training, tute and the Austrian Cultural Foun- modernity itself. This position has knowledge and experience of the and moreover, with a change of tax dation, who locate their platforms been elaborated by my colleague value of art in an effort for it to serve laws, it is unlikely that the private as international forums of exchange, and OCA consultant on the Verksted as a kind of adornment to decorate sector will become receptive to public debate, and production. The series, academic Peter Osborne, affairs. How many times have we at- sponsoring contemporary art. To Mondriaan Foundation in Holland who has written at length about this tended poorly organized exhibitions abandon state responsibility for the has also made inquiries into optimal new historical form of modernity is under the guise of national umbrel- funding of contemporary art to a still and alternative models within an characterized, according to his anal- las – which have little to do with an insecure private sector of sources increasingly networked paradigm ysis, by the following three points: enlightening discussion around a would be an asphyxiation of the constituting the state of things. (see 1) that we live in an emergent global work of art – to not only further the very efforts the country has taken to All That Dutch: International Culture modernity, 2) that at the same time, career of an artist, but, moreover, build an international profi le. Politics released by the Mondriaan there are many modernities but the to fulfi l a more immediate need for Foundation, 2005.) logic of these modernities is quite establishing a short lived commu- International awareness of a partic- different – each one with a different nity for the duration of a cocktail? ular art world is inseparably linked Why all the recent political interest conceptual shape, 3) that global Nevertheless, these projects appear to curiosity on the part of artists to in how international cultural policy modernity is not fundamentally in numbers as social sideshows engage in an international dialogue is developed? Perhaps the source about the hegemony of the West, launched prior to banquets and as a and on the part of the international of its motivation may be located in but about the hegemony of capital. tonic to other museum exhibitions. art world to witness what transpires more theoretical points. The space These projects get us nowhere and within Norway. Programming and of art now occupies the non-place Art faces unprecedented forces they rarely provide the artist any real planning an evolving institution such as elaborated in the French anthro- to act as a by-product of this in- opportunity. They are quite simply, a as OCA is not merely a matter of pologist Marc Auge in his Non-Plac- vigorated global economic fervour, waste of money. planning one year in advance but, es: Introduction to an Anthropology increasingly reduced or enacted in rather, involves a longer term fath- of Supermodernity. LocatedLocated wwithinithin the name of good economic sense. Within this climate, one in which oming of an institution that extends what Manuell Castells denotes as Its challenge is to remain within a the culture industry sees itself as beyond a literal offi ce into a profes- the international space of fl ows, broader framework in the produc- the second leading economy inter- sional platform of dialogue, produc- the space of art as a non space is tion of knowledge, research, think- nationally, we are also witnessing tion, and sociability, which extends located within the conditions of ex- ing, and social linkage. Treated as a prevailing funding cuts in the state into planning years in advance. As istence that are undergoing a radi- work, it retains autonomy from the support of the arts throughout Eu- we have seen in the past year, OCA rope. Given the important role that is attempting to be an active facilita- culture plays as a profi le builder in tor of programmes, dialogues, and Cash on Delivery All that Dutch Album cover CMH Book cover the globalized world and its rela- networks for the professional arts Records 1999 NAi Publishers tive low cost in doing so, it appears community rather than a mere re- Design by Thonik counterproductive for governments cipient of applications. Among its 2005 to enact funding cuts visible in the many responsibilities, OCA seeks area of contemporary art. Perhaps out scenarios that can stimulate the motivated by a general tendency initiatives of artists within Norway. toward decentralization in funding And yet, the institution cannot be and administration, it is illogical a mere sieve for mediocre grant to decentralize without the devel- applications. In accepting applica- opment of a logical alternative in tions for support, OCA also chal- available funding sources within the lenges artists, curators, and critics 6 7 to illustrate an effort to present a her research visit to Tromsø: ”Knut that, whether we like it or not, now senior curators and directors – such certain level of quality within their Erik Jensen is a major media fi gure, simply demands a great deal more as Alanna Heiss, Director of P.S.1 proposals in order to encourage art- I discovered several of his fi lms and intellectual investment than before.” Contemporary Art Centre and Mu- ists to improve their own efforts in I feel the artist is due a focused and seum of Modern Art, NY; Chus Mar- building professional involvement. mini-retrospective.” More candid Perhaps a long citation, but this kind tinez at the Kunstverein in Frankfurt, In 2006, 110 out of a total 279 ap- and forthright commentary arrived of instrumental criticism is needed Phillippe Pierotte at the Kunsthalle plications for International Support from curators such as Dieter Roel- to help us understand how OCA can in Bern, Nicolas Schafhausen at were awarded funds, constituting straete from MUKHA in Ghent who be helpful in fi lling in the gap, so to Witte de With in Rotterdam.