I have no idea what the future as a Dutch artist means. but I guest is back to the political movement of the 60's and 70's. This will not only change the economy of us as Dutch artists but it will stop the cultural exchange and climate of the last 4 decades.
taken from the web page of Stichting Kunst en Openbare Ruimte.
automatic translation from Google.
We live in a visual culture. Knowledge and information circulates largely in the form of images. Art and art in particular, is the main domain that teaches us to deal with what we do not know that our visions and unexpected vistas offer. Visual art is a self-conscious and critical handling of the ubiquitous image possible. It is therefore incomprehensible that a government that wants its citizens to prepare for a promising future, decides that part of civil society to bring down that the public supports this. The tough approach to the visual arts sector (from 53.5 million to 31 million) in this note are not supported by logical or factual arguments.
The State Secretary has decided to include:
- The budget of the Mondrian Fund by half.
- The number of presentation settings in the BIS drastically reduce from 11 to 6. The settings are no longer in the BIS may further NOT contact the Mondrian Fund and therefore have no chance of survival.
- Art journals no longer provide funding.
- Public support for the functions now being completed by biennial Manifesta, SKOR | Foundation Art and Public Space, the sector institute Premsela Virtual Platform, the Dutch Institute for Media Art full stop.
- The financing of the postgraduate courses the Ateliers artists, Royal Academy of Fine Arts, European Ceramic Work Centre and Jan van Eyck Academie stop.
- Over the next four years only the development of 50 artists who have proven talent and support.
- The individual basic stipends and scholarships to artists working in half. The current grant with the character of a revenue provision FULL stop.
The direct and immediate impact of these measures for the public art that now wants to see and experience, are catastrophic:
- Makers, producers and artists are the basis of the cultural infrastructure. Without artists there would be no art. No or lack of support and professional artists to full time to focus on making work, means that no innovative work can be seen.
- No post-graduate education means no recruitment of new artists who excel in the Netherlands and abroad represent. Removing this function leads directly to an attenuation of the offer in Dutch presentation settings so that the Netherlands will lose its competitive position. It leads to an overall impoverishment of the art in the Netherlands and a weakening of the Dutch in the international art galleries.
- A minimum number of presentation settings means that the new artificial hair into the public domain and will not remain locked in workshops and depots. Dutch and international public in the Netherlands can no longer see innovative art.
- The elimination of an institution such as SKOR means that the presence of art in public space - and eminently democratic "anti-elitist" for free for everyone - decreases.
- The elimination of an institution as a valuable part NMAI means that digital heritage - video art and cinema and media art - fragmentation and no longer accessible to the public.
- The innovative part of the visual arts, also the international standing of creative Netherlands provides needs a cash injection by the state exist.
The current cultural system that today was finally torpedoed has produced artists and curators currently international furore and including at the current Venice Biennale - the world championships of the art - the focus of attention.
So stands the work of Navid Nuur on the front of the official catalog of the Venice Biennale. It takes just like living in the Netherlands Amalia Pica, participate in the central exhibition "Illuminations". Their colleagues Praneet Soi, Yael Bartana Wendelien of Oldenborgh and Han Hoogerbrugge, Aernout Mik, Libia Castro and Olafur Olafsson and Edwin Driessens and Maria Verstappen play a key role in the pavilions in India, Poland, Denmark, Roma, Iceland and Drop Stuff. Dutchman Guido van der Werve is simultaneously seen in the context of the exhibition Future Generation, which the Ukrainian Victor Pynchuck the talent of future signals. Not only Dutch artists shine in Venice this year, to fellow trustees are also prominent. As many as five receivers operating in the Netherlands set a pavilion in this year: Marres director Guus Beumer acquire Dutch pavilion on his behalf, BAK director Mary Hlavajova Roma Pavilion, freelancer, Romania Maria Rus Bojan, Director SKOR Fulya Erdemci Turkish and Apple tutor Henk Slager, Georgia.
The performance of these artists and curators are made possible by the existence of a cultural system that experiment, innovation, talent and an international focus hitherto cherished and (financially) possible. They have their work and practice to develop through investment from the Dutch state. Investments that they now have cash and result in an "export product" which the Netherlands can be proud. This system is globally recognized and praised for its efficiency and future orientation.
The memo from the State indicates that the government only thinks of what is now immediate result and not what 'value for the future' generates. We all know it: there is only one today, there is also a tomorrow. We want that the Netherlands is often tomorrow and artistic heritage of today and yesterday to see. We hope the House this desire to share with us and goes against a policy that only in the sign today.
The boards, managements and representatives of:
De Zaak Nu – namens de presentatie-instellingen
SKOR | Stichting Kunst en Openbare Ruimte
NIMk – Nederlands Instituut voor Mediakunst
De postacademische instellingen – de Ateliers, Rijksakademie en Jan van Ecyk Academie
Verzamelaar Martijn Sanders, mecenassen Maurice van Vaalen, en Rob Defares
Actiegroep kunstenaars ‘Schuilen in het Rijks’
