Ladies and gentlemen, Dear friends,
I presented my budget for 2012 a few days ago in these salons.
As you know, I got the Prime Minister to be sanctuarized, to
at a time when our neighbours are slashing their cultural spending. For the
It thus amounts to €69m.
Central intervention appropriations rose by 7.4% to €18.1 million,
in particular to support the reopening of the Palais de Tokyo, the Triennale,
Monumenta and the Photo Plan.
With €17.5million, deconcentrated loans also rose by 3.4% in
direction of FRAC and art centers, framed by a new circular.
The State also renews the appropriations intended to finance its support policy
artists and contemporary art professionals.
With €17.7 million, the appropriations allocated to investments also correspond
needs of the triennial 2011-2013. Again, they concern the Palais de
Tokyo, but also on the manufacture of Gobelins, and the continuation of work
on FRAC. Some projects are already underway (that of FRAC Nord-
Pas-de-Calais in Dunkerque, FRAC Provence-Alpes-Côte d'Azur in Marseille),
while others begin. The project of the Cité internationale du graphisme de
Chaumont will also be launched.
This effort to create new establishments in the regions amounts to
more than €27M over 5 years, not including amounts allocated by local authorities
Finally, large operators benefit from a renewal of their credits.
Those are the numbers. But a budget is not everything. I’ve had a chance to say that.
in July while some fairly anachronistic promises of increase
were made in a pre-election context. We also need a platform,
proposals to justify the means employed, a particular sensitivity
to the movements of the world. That is why I wanted to gather you in January
to take stock of the state of the art in the visual arts sector, and to
It is clear that in the plastic arts sector, as elsewhere, the
globalization and digital are disrupting ways of doing things: the modes of
production and circulation of works, the relationship to the public and places, the
hierarchy between Paris and the regions, as between France and the other countries, the
functioning of the art market, the dematerialisation of exchanges, the rise
in the power of social networks…
These upheavals create imbalances in the sector, which can weaken it,
but also new opportunities that I want to seize with you.
Almost 450 of you responded to this invitation, and I thank you for that.
Four working groups were set up, dealing with the
professionals, creation, international and dissemination. Georges-François Hirsch,
here, gave me a summary of your interviews before the summer I read with
Attention. The fifteen measures I am presenting to you today are the fruit of this.
If I had only one idea to sum them all up, I’d say it
next: the current upheavals in the world of culture make more
the interdependence and interconnection between all actors
art. The vitality and visibility of artists is more than ever inseparable from the
strength and density of the «art worlds» to which they belong - for
take the expression of sociologist Howard Becker - these communities of activity
within which and between which there are constant interactions, which
are the subject of ongoing negotiations: schools, public exhibition sites
galleries, public and private collections, national and
international, professional organizations, art journals, networks
residences in France and abroad… All this forms a
ecosystem, on which it cannot be enough to act in a fragmented and isolated way.
A comprehensive policy is what I am proposing.
Thirty years after the start of the decentralization policy of the
Culture and Communication in the field of plastic arts, these fifteen
measures aimed at strengthening the dynamism of the plastic arts in France and the
influence of the French scene abroad, by relaunching a
irrigation: a policy of encouragement and facilitation of
public and private initiative, both at the level of our territories and spaces
dematerialized of our time.
They are deployed in four directions:
- 1. Support for the effort to professionalize the plastic arts sector;
indispensable to its growth and resistance;
- 2. The development of public/private partnerships in the field of
art, on the model of what other creative industries, earlier exposed to
these developments, benefit;
- 3. Strengthening the network of visual arts in the region;
- 4. Digital space investment and trade development;
in order to disseminate the art and thought of the art of the French
In January, I was struck by the fact that the representative of an organization
to highlight dramatically the disparity that existed between the
sometimes impressive figures of the art market and reality, often more
precarious, artists, and professionals in the visual arts at large.
My first concern in this regard is to accompany the effort to professionalize
This is the foundation of any policy in this area.
In this context, I called for the establishment of a working group to
the development of a collective agreement specific to the visual arts sector. The
will make a census and a nomenclature of all the trades practiced
in the sector related to CIPAC - the federation of art professionals
contemporary - and the various representative professional organizations. It
will have to make proposals regarding the development of careers, the
career paths and mobility opportunities.
I also wanted to develop a global approach to the issues
related to the remuneration of artists.
In this context, the conditions for the effective application of remuneration
for public presentation of works of living artists will be specified to
the opportunity to update the report of the General Inspection of Affairs
already produced on this theme.
The remuneration of studies for artistic projects should be generalized. The
principle of remuneration for artists will be introduced in the texts of
agreements, in particular to identify such remuneration in the
accounts of the institutions concerned.
I also called for a training fund
continuous professional artists authors.
Work carried out on the basis of the report of the general business inspection
written by Serge Kancel and Gilles Butaud
move towards the definition of a specific device, expected from
many years by artist authors, in connection with the ministry responsible for
Labour and Vocational Training. A legislative provision should
allow the implementation of this device during 2012, which will concern
all the artist-authors belonging to the Maison de artistes and AGESSA,
approximately 230,000 members and taxable persons.
I would also like to see the integration of students and
Language teaching will be developed in the training courses of
art schools. As part of their activity monitoring, art schools will have to
three-year and five-year follow-up of the vocational integration of
graduates. Exhibitions presenting the work of graduate students will be
systematically organised in liaison with the professional community.
I will also relaunch a workshop construction program for
artists, focusing on production sites and technical stages rather
The Medici Tower, in Clichy-Montfermeil,
that my department will soon be buying, is a first illustration of this. I
will also request that a workshop construction component be included in the
urban renewal projects.
Also in this context, I have announced an increase in the fund for associations
professionals of the plastic arts such as AÏCA, D.C.A, Platform or C.E.A,
30% this year.
Finally, I will strengthen the role of the National Center of Plastic Arts (CNAP).
As I said last January, one of the keys to the change in mindset is that
I call with my wishes to accompany the evolutions of the sector resides in
the articulation between the Direction générale de la création artistique and the CNAP, which in
is historically derived.
The CNAP has undergone several reforms in the past. The writing of its new
performance contract, with Richard Lagrange, which I renewed in his
functions, is the opportunity to make it the privileged operator of the relations of the ministry
with private and public professionals.
To begin with, the representation of professionals will be strengthened within the
commissions, as well as acquisition commissions and
of public order.
The CNAP will also strengthen its role as a resource centre by
provides a comprehensive information platform on all issues that
professionals, as well as residencies and artists' projects
financed through various public aid schemes.
Finally, the CNAP will promote the pooling of editorial resources and policies
led by all contemporary art structures.
But the CNAP will also play a new role in relations with galleries and
regional institutions, as I will have the opportunity to show
The second part of my action in the plastic arts concerns the market of
The dynamic of the plastic arts is largely based on its market. I do not
not the first to observe it; but I may be the first to
consider that the springs of this dynamic are not only of order
regulatory or legislative.
To say that is not a question of opportunity. Obviously, the question of
taxation is now complicated by the international situation, which does not
has not prevented me from rejecting a tax setback, the Le Fur amendment, with your
To say this is in fact to say that creating supply and disseminating it is just as important
In this context, I believe that the CNAP can learn from the success of the CNC,
which has enabled us to maintain and develop a high quality
making French cinema the envy of the world, thanks to the implementation of tools
innovative financial companies, strongly associating private investors
The creation of a co-production fund for galleries with 100,000 euros
this year and 500,000 euros in 2012 materializes this ambition. This is the
first time a repayable advance fund is created in the arts community
plastic. It will support galleries that wish to give
new dimension to an artist’s production, and thus increase their strength in
when they are asked to produce important works on
fairs or whatever.
This fund is accompanied by the enhancement of the guarantee fund for
galleries housed at the Institut pour le Financement du Cinéma et des Industries
IFCIC. It will provide bank guarantees up to
70% to develop other types of projects, such as real estate projects.
In the same spirit, I wished that the new circular on the
public procurement, which was discussed with the Professional Committee
of art galleries, mentions the consideration of galleries, and
several levels: in the implementation of the order, in its
contractualisation, in its monitoring and reception.
The third aspect of my action concerns the decentralized network of the arts
Decentralisation, which began 30 years ago, was first to irrigate the
regional level. Taking a new step today in this
to strengthen the international presence of our regions, particularly in
the European scale.
To achieve this, again, I have asked the CNAP to open up in a more
network of decentralized institutions. Thus, a significant
acquisitions of the National Fund for Contemporary Art, which can go
up to 1/3 of its total budget, will henceforth be devoted to buying works
on proposals from institutions in the regions. A commission will evaluate
applications from FRAC or contemporary art museums that may request
the FNAC’s competition for major purchases, notably by artists from the
French stage. These will be acquired by the FNAC with a
I also plan to continue the cycle of art interviews in the region. The
relationship between local authorities and the visual arts has not been
addressed so far, when it is a key issue. This new round must
extend the department’s thinking in this regard.
I also want to better frame our residency policy, by putting
a system of governance and support for artists. Residencies
may be sponsored in conjunction with collectors. These
sponsorships will give rise to the organization of meetings with professionals,
art critics or heads of institutions.
In 1982, Claude Mollard said that he was “throwing away the seeds of decentralization”.
Today, seeds have grown, and often become beautiful trees
which requires new types of care. The
spontaneous connections between FRAC, museums, schools, art centres
operations. A report from the General Inspection will assess the benefits and
questions posed by this type of reconciliation.
Finally, I would like to conclude by talking about our policy on the dissemination of the arts.
Alain Quemin recalled a few days ago in the Journal des arts that
French artists are under-represented abroad, pointing to a '
institutional denial” in this regard. I share and do not share this view,
as Roxana Azimi well knows, with whom I was able to have an exchange
I recalled in January, the international careers of a new generation
Pierre Huyghe, winner of the prestigious Smithsonian Award,
Tatiana Trouvé, Philippe Parreno, Dominique Gonzalez-Forster, Laurent Grasso,
Loris Gréaud or Cyprien Gaillard - are rich in promises. But it is without
doubt that too few French artists still appear in the famous and
In this respect, the Jobbé-Duval report has made proposals, some of which are
became reality, starting with the first, better show French artists
in France, with the creation of the Palais de Tokyo.
But I also believe that an exhibition, which seems to be a point of arrival, is not
that a starting point. Here again, it is the entire «world of art»
consider. A French curator invited abroad, a French art critic
translated into English, French collectors invited to exhibit abroad -
like those of ADIAF - and vice versa, commissioners, critics and
of foreign collectors invited to France, these are all opportunities to
make the French scene known.
In this context, invest the digital space to better value our productions
is fundamental. That’s why I want to launch a “translation plan” with the
Ministry of Higher Education and Research. A
about 1M will allow the systematic translation into English, as well as the setting
online on the internet, a pool of humanities journals, including
of art history.
In collaboration with the French Institute, a selection of the best articles of the
French art critic will also be regularly translated into English
for international distribution.
Finally, a systematic translation of publications and sites is planned
the Internet, in particular that of the CNAP or the websites of resource centres
and professional information.
I have asked my services to set up a working group on
in the visual arts, responsible for making proposals that
to develop access for the greatest number to the plastic arts: development of
websites for artists and exhibition venues, digital catalogues,
cataloguing of collections, handling of digital tools in schools
Finally, I called for greater international action in the context of the
agreement between the Ministry of Culture and Communication and the Institute
French. Procedures already established in collaboration with the Institute
will be intensified, in particular with the creation of a
specialized in plastic arts in London on the model of that existing in
Berlin and New York, in liaison with the Ministry of Foreign Affairs and
The reception in France of foreign professors and curators will be
also improved. The reception of foreign artists will also be facilitated by
700.000€ of new aid released thanks to the good management of our
National Graphic and Visual Arts Foundation, chaired by Eric de
Rothschild, which will go to French and foreign artists who wish to lead
projects on our territory, in the spirit of a French D.A.A.D.
Finally, better support for French professionals and artists
stay abroad will be considered. Xavier Darcos, President of the French Institute,
who will join us in a moment, will give us the demonstration, about this,
a new web application designed by the Ministry of Foreign Affairs,
extraordinarily useful to artists who move around the world.
Today, there are many positive signals that we are on the
our artists are making a name for themselves. Foreign galleries are setting up in
Paris. French galleries are well represented in foreign fairs.
Art centres and FRAC are exporting beyond our borders. Our schools
Bologna Process without difficulty. The foundations are
increase in our territory. Exhibitions of the Grand Palais or the Centre
Pompidou make the event several times a year.
This is the first fruit of a long-term policy which has
for many years to allow France to keep its
and who owes you a lot.
But France can still do better, not so much in terms of
plastic arts as “visual culture” in the broad sense, to use a word
that English love: a culture that includes design, graphic design, design
photography or digital arts. This “visual culture” is a capital
essential in the time of the «all screen». Carry an ambition to give to
visual culture its place in France is what guides my arts policy
beyond the measures I have just outlined. We must do better.
knowledge that the plastic arts have a decisive role to play in globalization, both
from a political and social, as well as an economic and strategic point of view.
In this regard, I would like to conclude by mentioning the Greater Paris of art and
culture whose President of the Republic defined the main lines yesterday at the City
Architecture and Heritage. Create, within this framework, a "1% Grand Paris",
of a new genre, mutualised, intercommunal, extended to design, graphics,
photography, digital arts, crafts, but also expanded to include
and construction of equipment designed by artists - such as
Michelangelo Pistoletto’s EVENTO in Bordeaux is an example of this.
it seems to me that this is a way of giving considerable impetus to our policy
in the field of visual arts, and which sort of sums up all the
other aspects of the measures I have just mentioned: new ways of
public commissions involving private and public, a reflection on art and
region, all benefiting from the international influence of art in France, and
In the future, it may concern other French agglomerations.
The amounts that could be made available by this kind of device are very
important. They are commensurate with what is needed for this industry
plan, as Muriel Genthon knows.
This is the ambition for the world of plastic arts and the artists I want
share with you, today and tomorrow.