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11.02.2011

DEBATES 2011 - Intellectual property - Artists' voice: management of rights


The Forum d’Avignon interviewed 25 international artists to prepare the debate on intellectual property.

In 10 years to who would you entrust the management of your rights?   


 

Paul ANDREU, architect

I’m not really worried about what I will do in ten years. In general, creators and artists eat and sleep every day, like the others. Moral rights are an important thing but that does not allow eating or sleeping. Therefore we need a global system of remuneration of creation by those who receive it directly and indirectly. Which one? In any case not the one of mass distribution.

 

 

Jean Jacques ANNAUD, film director

Copyright, as moral rights, of someone who create a painting, a novel, a symphony, have been a fight for all authors from all counties of all-time. It was first led and won in France. Going back on this victory of the respect of creator seems to me a fatal decline. But I understand the excitement it would be for a new re-creator to cut the paintings of Leonardo da Vinci, Monet and Friedrich to make a great collage that would become his or her work. I do not really care of my past work, provided they are allowed to make their way, flourish or die in the state that I wanted for them.

 

 

Nabil AYOUCH, film director 

The respect of moral rights is essential but does not (only) impact the manager of the rights of my works. It is a question coming within the competence of public authorities and the perception that the future "consumers" of my movies will have of copyright in twenty years. Education has the very important role to play in this field.  New technologies should not engender a relationship of mistrust between creators and their public. They have to engender new behaviors, new way to comprehend the work and its relation with time.

 

 

 

Philippe CLAUDEL, film  director

Will I still be here in ten years? Let’s admit that. In this case, moral rights are more important for me than optimizing my income. Money is not a moral or artistic value. I would like the creative work to be measured by another standard, being protected from pillage. The creator is not intended to be a mogul or a doormat on which to wipe. His or her place is elsewhere. And his or her works are not to be considered at the same level that market goods or financial products.

 

 

 

Jean Pierre et Luc DARDENNE, film directors

We will entrust the management of rights of our works to the one that will ensure the widest distribution while respecting moral rights.

 

 

 

Wim DELVOYE, artist

I would entrust my Trust the management of my rights. This Trust already exists. Guaranteeing the moral rights is most important, and then a wide circulation is second most important. I don’t have many illusions about revenues but they could help the Trust to be 'perpetual'. I am very interested in the recent success of the Smurfs. It has been a work of 40 years but now the Smurfs are the most famous Belgians. For me it is hard to choose between the success of an avant-garde artist and the success of the Smurfs. But it may be very 'avant-garde' to confuse these two different ambitions.  

 

 

Laurence EQUILBEY, conductor, musical director of Accentus

I will let all my rights to an association that works for equality between humans. If it was today, I would choose one that attempts to strengthen the presence of women in executive positions, the art sector is notably far from exemplary: the executive administration of cultural institutions is held by only 12 % women, and the programming of these institutions includes less than 5% women in artistic executive roles… I think that this signal is not a good signal for society, and I think one day we will dearly pay for this poor diversity. That is why I give my rights to defend a cause of equality between humans.

 

 

 

 

 Jochen GERZ, artist

I would entrust the management to somebody who ensures its circulation. Deciding otherwise would show that I have little trust in my work and its moral rights… 

 

 

 

JUL, cartoonist

As always a la carte: I think we need to have in parallel a work and a dissemination to a wide audience with fair income for the author, maintaining a closed intellectual property and a permanent right of inspection on the use of works. We will have to make “lace” contracts!

 

 

 

Radu MIHAILEANU, film director and writer

To those who will ensure the widest dissemination while respecting moral rights !!!!! A work is strong with its quality and its shortcomings; no one else but the author who signed it has the right to "improve" it, to distort it. Imagine someone trying to improve a Van Gogh, Mozart, Dostoevsky or Bergman.

 

 

 

 Christopher MILES, film director 

Some who would ensure the widest circulation, respect of the moral rights, maximization of revenues, after all copyright should be copyright...

 

 

 

 

Christine ORBAN, novelist

Moral rights and the widest dissemination are not at all paradoxical with the dissemination of my work; I even think that the publisher we entrust with a work has a duty of distribution that does not affect the moral rights of an author.

 

 

 

 

ORLAN, artist

I think the three aspects of the issue (widest circulation, respect of the moral rights, maximization of incomes) come together and are difficult to separate. I can only wish the best value possible to my work and this requires a large diffusion (in key locations) which guarantees the respect and moral rights, the rest follows...

 


 

 

Jean-Marie PERIER, photographer

To Photo 12, my current agency that will manage the dissemination, moral rights and income for my children much better than I ever could. Besides, if I live today, it is thanks to their work.

 

 

PLANTU, cartoonist

 In 10 years I will continue to take care of the rights of my drawings. I want to make sure that they are respected: it is not only about defending the rights of pictures; we are also fighting to uphold our rights for a journalistic, editorial and responsible image. Media in demand have to understand that. My drawings are not insignificant and there is no question that my cartoons land up on any medium. Everything makes sense and these days, people seem to forget that a press political drawing carries a specific message and it's not just pretty pictures that would be used to make beautiful spots on the layout of the pages.  A caricature is the result of a work and carries an editorial thought that must always be controlled. It is an everyday fight. There is no day when we are not forced to fight to enforce our cartoonists’ rights. I have an assistant at the newspaper that ensures all of this in order to protect me. As for the management of the stock of originals, we have been in discussions for several years with IMEC (Institute of Contemporary memory) who wants to store the drawings in its documentation center near Caen. Researchers, students and journalists can, after authorization, see all the funds of contemporary culture. The advantage of IMEC is that the author may at any time take back its originals stock, what does not offer the French National Library (when one gives it a fund, it is forever).

 

 

Marjane SATRAPI, director and author

To those who will defend the best the integrity of my works and who won’t do anything for money. In fact it is to me that I will entrust management of the rights of my works. And after.... I do not plan to die very soon.

 

 

 

Kjetil Tredal THORSEN, architect

Definitely the one who will protect the moral rights....

 

 

 

 

 

 

Barthélémy TOGUO, artist

To the one who will ensure the respect of moral rights. 

 

 

 

 

 

TOTONHO, artist

Preferably someone with common interests; someone who has a humanitarian vision, respects nature, is focused on culture, and less corrupted by capitalism.

 

 

 

Natacha WOLINSKI, writer

In ten years, self-publishing will be developed and advanced. It is tempting to become autonomous from the editorial system where a writer receives only 10% of copyright...