READING ROOMS APRIL MAY (as open moments to prepare) possible texts: 04: the author stripped bare by its employees – lisa rosendahl 05: propriété d'intérêt partagé – marie sophie de clippele @ jolimont

whose artwork? In deze AOP focussen we op de relatie tussen kunstenaar en kunstwerk. Op welke manier kan en wil de kunstenaar eigenaarschap claimen van zijn/haar werk? Een weinig gestelde vraag, die urgenter wordt naarmate artistieke praktijken collaboratief, procesgericht en soms makkelijk te kopiëren zijn. Hiermee gepaard gaat de verantwoordelijkheid voor de kost van creatie. (cfr. producenten, die auteursrechten verwerven op een werk, instellingen, die terugbetaling vragen bij de verkoop van een werk door de kunstenaar dat gecoproduceerd werd door hen), de reikwijdte van het auteursrecht en de status en het belang van documentatie, als essentieel onderdeel van hedendaagse kunstpraktijken die zich articuleren via werken in continue ‘wording’ met een hoge temporele dimensie.

Location: BUDA KORTRIJK date: 16/06 presentations: artistic practices of Katya Ev and Clementine Vaultier

    * https://caveat.be/produsers/katya-ev.html
        * importance  of protocols 
        * questioning  role of institutions/public/artist
        * ownership of the work: protocol/ enactment/ documentation
        * link/difference with instruction based work from the past
        * appropriation of (symbols of) power
    * https://caveat.be/produsers/clementine-vaultier.html
        * collaborative work/ coming together/ common resources
        * transmission of knowledge/ open source/ educational approach
        * re-activating, interpreting 'forgotten' knowledge, meaning (> heritage site  (jolimont), Warburg)
        * transformation of material (warmth, fire)
        * documentation  (workbook)

Shared threads for reflection * documentation as artwork (mixture of rights) * protocol / coming together * appropriation/ re-use of material * coming together/ status of collaborators (choreography/ theatre – intérêt partagé) (work – authorship–remuneration)
* situatedness * neighbouring rights for re-activation – score/performance/conductor * > research/instalment-coming together/documentation * open source/copyleft * art history * situationism (gift < > copyright) * tino seghal - re-ritualising contracts * instruction based art * warburg * legal possibilities
* material object – 'natrekking'/droit d'accession * author rights – work of visual arts > presumption for cession of exhibition right * score/performance/conductor = beyond copyright

BUDA – interest in this reflection from theatre/dance/performance perspective? possible intersting case WORK/TRAVAIL/WERK of de keersmaecker – a choreographic piece as exhibition - sold as contract/protocol and documentation to the flemish community.

Possible external GUESTS? OSP/constant someone on open source – Severine Dusollier 'inclusive license'? Bureau des dépositions? co-auctorialité as way to protect undocumented people / how do we understand authorship?! Economic or protection of person of the author? https://www.pacte-grenoble.fr/programmes/bureau-des-depositions Heike Langsdorf? In framework of series Choreographing as conditioning?

PUBLIC MOMENT – an attempt to publish and perform our ongoing exchange on how we practice property … to be detailed!


How do artists claim ownership of a work of art, when the assumptions of conventional intellectual property law about individual authorship, exclusivity, and originality are turned upside down in the process of creation?

If IP was created as an economical right, what can we imagine as framework for an ecology? Can we evolve towards a complex co-authorship that reflects the interdependencies underlying a practice as a means to share responsibility, control and distribute value?

Or, focussing on practice, should we reorient our discussions to conditions for access and contribution?

Rosendahl ‘The author stripped bare by its employees’ ‘To rid ourselves of the author function is a futile gesture as long as the art discourse remains tied to the concept of art as the circulation of ideas expressed as artworks, however immaterial they might prove to be. If the focus of the discourse would shift from the production of definable ‘works’ towards the ongoing and immeasurable acts of ‘practice’ that precede them, the game might change. … Practice is what comes before the work, it is the search while it is still ongoing and inconclusive. Practice might result in various forms of output, but it does not hinge solely on its public dissemination and reception to be of value to those who are engaged in it. It is not something you publicize and circulate, but still it can be shared.’

In a quest for ‘practicing property’ differently, we try to find new narratives, ways of working together, which allow to sustain practices instead of creating a star economy within the arts.

Bureau des dépositions - ‘Oeuvre milieu’

Clementine Vaultier – rising warmth as collective practice/ ceramics as process instead of production/ porosity

Katya Ev – protocols & participative, situated performance as empowering appropriation of symbols of control

Constant vzw - ‘CC4R’ collective conditions for re-use – How can we create conditions for re-use which acknowledge different kinds of contributors? Can we think of cultural production through the framework of “attribution” and radically widen our understanding of who and what contributes to the generation of a work?