各位议员：
各位主席，各位嘉宾：
各位嘉宾：
亲爱的朋友们：
"如果没有不存在的东西的帮助，我们会是什么？" ”，保罗·瓦莱里在90年前的他关于神话的极富丽堂皇的小书里问道。
如果只有物质世界，功能世界，事物世界和事实世界，而没有任何人给它塑造，和谐，意义，色彩，我们会是什么？
换言之，我们没有艺术家，作家，创造者，会有什么？
它们所做的不是"有用的"。 这很重要。
我一到瓦洛伊街，就立即确认了把艺术家和创作者放在文化政策中心的愿望。
这种新的观点是必要的。 多年来，该部一直注重教育，传播和保护问题，使艺术家-作家经常处于公共政策的边缘。
今天我想把它们重新放在中心位置。
因为该部的首要任务，即那些指挥所有其他人的任务，是赋予艺术家-作者创造的手段，并保证他们有这样做的自由。
要创建，需要假设一定的耐空气性。 这是关于获得社会自然不会给予的一切。
然而，创造所需的一切：自由，时间，孤独；以及， 当然，艺术家和创作者得到公正的承认，他们的作品得到公平的报酬。
您无疑熟悉John Steinbeck的说法：«作家的职业使曲棍球职业看起来稳定»。 这一主张自然适用于所有艺术家-作家。
当然，在月底，没有一个妇女在同一个支票上从事职业安全或保险工作。 他们选择了自由，这种自由有着不确定性和风险。 他们的想法是，失败是可能的。 在创作方面，没有任何事情按计划发生。 成功是随机的。 他们从一开始就接受了这一点。
自从我在一年多前接受任命以来，我经常到各地会见艺术家和作家，因为我相信交流和对话。 我相信长期的行动。 我认为，正在与利益攸关方逐步制定具体，有效的解决办法。 这不是一种永恒的辉煌，而是倾听，一种方法和结果。 这正是变化的条件。
我的责任还包括让所有行为者坐在同一桌旁，确保他们彼此交谈，倾听对方的声音。 艺术家-作家和其他演员之间的对抗不会带来任何好处-我想到的是那些以创造性的方式陪伴他们的人，那些确保作品传播的人。
任何人都不能忽视的是，创造行为是一个链的一部分，而这个链的每一个环节都有其效用。 如果我们不一起向前迈进，每个人都将失败。
我们需要更好地认识艺术家-作者在创意渠道中的地位，并提高这些渠道的价值。
在我到达Rue de Valois几个月后，我要求Bruno Racine不仅对我们社会中艺术家作者的状况进行分析，而且提出建议。
我要感谢他和Noël á n Corbin，C é line Roux和Bertrand Saint-Etienne的辛勤工作。
布鲁诺·拉辛的报告刚刚发表。 我希望每个人都能利用这一贡献。 显然，有许多反应，辩论，有时甚至过度反应。 这可能是一门法国人的艺术。 但这当然是我们向前迈进的方式，也是我们共同建设的方式。
最近，共和国总统提醒Angoulême á s他对艺术家-作家的状况感到关切。 他说，我们必须更好地保护，更好地支持他们的权利和日常生活，保护那些决定创造的，有时处境非常危险的妇女和男子。
现在是采取行动的时候了。 良好的意愿是不够的。 艺术家-作者的行动计划已经准备就绪。
它适用于每个人：
- 以不是雇员为理由无法在crèche ć 中获得一席之地的作曲家或雕塑家；
- 这位画家现在不顾代表权，自由地展示他的作品；
- 诗人在学校工作，但努力了解支付报酬的安排；
- 视觉艺术家，雕塑家，摄影师，漫画家，编剧…但我无法一一一一一列举。
我的建议有四个主要目标：
- 在社会层面：我想保障和发展我将称之为艺术家-作家的基本社会权利。
- 在经济方面，我希望政府当局发挥调解作用，支持模式的演变。 但我也希望，在保障艺术家-作家的经济权利方面，国家将是典范。
- 为了完成所有这些项目，我们将为艺术家-作者提供更好的代表方式，更好地与直接涉及他们的社会思考和谈判联系起来。
- 最后，文化部必须重新考虑其组织，并为自己配备相关和有效的分析和监测工具，以支持艺术家和作者。
1.在社会层面，首先，我希望保障和发展艺术家的基本社会权利。
艺术家-作者必须拥有适用和受尊重的权利。
观察和分析的时间已经过去。
我们现在知道，他们的社会权利没有充分保护他们。 它们因几年来发生了巨大变化的创造条件而受到削弱。
国家的作用是提供答案。
几个月来，国家各部门一直在召集所有专业协会和工会就社会问题进行协商。
在部际对话结束时，将迅速向艺术家提交一项法令，作为这一协商的一部分。
这将更恰当地反映他们收入的现实和多样性。 它将简化社会权利的开放。 这项法令将特别防止大量企业家受到若干社会保护计划的保护，因为这种社会保护计划本质上是一个复杂的根源。
以下是两种具体应用：
- 将扩大主要活动的范围，特别是收集管理，正如我所承诺的那样；
- 配套活动收入限额将比现行限额增加50%。
这是一个重要的姿态，显示出政府积极地选择支持艺术家-作家。
我现在谈谈养恤金问题。
期待已久的关于艺术家-作家强制性补充养老金计划的RAAP法令将很快生效。 它将翻译应我的要求发起的协商的条款，其中包括视听和电影部门的艺术家-作者和制作者。 它将允许生产者支付部分雇员缴款。
我也知道，众议院目前正在辩论的养恤金改革提出了许多关切。
首先，我想指出，政府提出的全民退休制度条例草案，有很多适合艺术家，作家的条文。
从最初的案文来看，计划由国家承担雇主在所有艺术收入中的份额。 然而，最近几周与艺术家作者进行的磋商突出表明，需要对案文作进一步的调整。
我们必须能够更好地考虑到艺术收入每年的巨大差异，以及对雇员供款的特殊安排。 我们还必须对每个职业部门的补充养老金计划的情况保持警惕。
政府希望通过协商完成这项法案。
以下是我想要穿的圈数：
- 将提供收入平滑设备。 它必须允许艺术家-作者从管理份额中受益，包括他们的收入本应导致他们失去这一优势的年份。 这一机制将被纳入社会保障财政法草案；
- 将维持某些安排，让第三方承担部分薪金份额，例如索非亚书刊，或我们根据《行政法》为视听和电影业设立的书刊；
- 政府已提交了一项关于养恤金法草案的修正案，其中提到了一项具体的法令；
- 收入超过社会保障上限的艺术家作者将保持目前的缴款率。 由于这一机制，收入高于这一上限的人获得权利的情况不会减少；
- 国际艺术和文化权利委员会是艺术家-作家的补充性养恤基金，将在2025年以后继续存在。 报告员刚刚提出了对该法案的修正案。 我要重申，自治基金中的所有储备金将继续属于创建这些基金的人。
最后，我想向有工资和艺术收入的艺术家-作家保证。
本案文规定，在社会保障最高限额范围内，不论工资收入的多少，都应适用国家在雇主缴款中所占的份额， 只要收入总额保持在社会保障上限的三倍以下,即未来普遍养老金计划的普通法上限。
除了养老金问题外，艺术家-作家的社会状况的其他重要问题预计将在未来几个月内得到解决：
- 我希望我们能够在2020年年底之前完成AGESSA和艺术家之家的合并；
- 我还想最后完成我们与国家教育和青年部就艺术家-作家在学校环境中进行干预时的报酬问题进行的讨论。 在这方面，我要感谢让-米歇尔·布兰克和他的整个政府听取并动员处理这一问题。
这项工作同我今天上午向各位提出的所有建议一样，必须有条不紊和有效地进行。 我会很小心考虑时间安排。
这些是为重申艺术家-作家的基本社会权利而采取的结构措施。
在结束我的建议的社会方面之前，我要提到Agessa。
一些作者善意地认为，他们以前曾为Agessa的退休作出过贡献。
今天，一些艺术家-作家发现他们缺乏多年的缴款，他们的养老金减少了。
这种情况已经知道了几年，从1日起才在结构上得到处理 呃 2019年1月，通过将征收的会费转移到Acoss。
我显然对这些缺点感到遗憾，这些缺点给艺术家-作家造成了个人困难。
许多参与的人被鼓励加入Agessa。 显然，自2015年以来开展的重新启动工作没有取得预期的成功。 2016年至2018年还实施了一项非指定缴款计划。
2016年，政府为规定的老年保险缴款的正规化开辟了可能性，以恢复艺术家-作家的职业生涯，并公平地恢复他们的权利。
今后，政府已经纠正了这种不可接受的状况，将这笔缴款的收回转交给了社会保障基金，并自动将所有作者从第一欧元起加入社会保障。
然而，我并不是不知道那些今天处于这种状况的人的痛苦。 我希望他们的申请能够得到迅速，有效和同情的处理。 为此，我请Agessa设立一个支助单位，负责逐案处理个别情况。 我希望定期了解将采取的后续行动，以确保Agessa向困难艺术家-作者提供的答复得到调整。 我不久将与我的新同事奥利维尔·维兰就这一问题发言。
我现在谈谈我的行动计划的第二部分。
2.我们需要发展模式，改善艺术家-作家的经济状况。
国家的基本作用是作为版权的保障者，其基本原则是公共政策。 版权的目的是保护作者与其作品之间的联系。 保护创造者，因为正是他是利用他的作品所产生的财富的来源。
今天，文化内容的创造者与传播或制作文化内容者之间的价值分享仍然不平衡。 例如，我想到的是那些在不为其广播作品的供资或其创作者的报酬做出贡献的情况下创造大量收入的主要数字角色。 这是不可接受的。
如你所知，在共和国总统的推动下，整个政府动员起来，争取去年通过关于版权的指令。 我们一直努力确保，面对演员之间权力平衡的这种变化，艺术家和作家的比例报酬在社区一级得到承认。 这是一个伟大的集体胜利，法国在其中发挥了推动和决定性作用。
除了这一原则的神圣化之外，这一指令还包括了为艺术家-作家的利益而取得的非常具体的进展。 对于依赖这些部门的艺术家-作者，这些建议将被转化为关于数字时代视听通信和文化主权的法案，我将在未来几周内在议会捍卫该法案：
- 这项法案将在我国法律中增加问责制的透明度义务。 这项义务将特别涉及平台。 作曲家和口译人员将能够知道他的音乐在«助听»中听了多少次；
- 该法案将规定，任何作者在其作品完全不被利用的情况下，可以要求终止全部或部分合同。
- 如果合同中最初商定的报酬相对于利用作品所得的收入而言不合理地低，该国还将引入一种机制，重新调整艺术家-作者的报酬。
此外，该法案还将规定尊重平台上的道德权利。 它将防止有人企图绕过"法国式"版权的这一重要方面;我特别想到法文的"剪辑剪辑"问题("剪辑")。
布鲁诺·拉辛的报告更笼统地强调了分享价值的棘手问题。
我呼吁各创造性部门的行动者抓住这一机会，共同努力，找到使所有人都满意的解决办法。
我认为，这是一个对两个问题作出回应的问题：第一，加强创造链以产生更多价值；第二，在所有行为者之间公平分配这种价值。
这些问题以独特的方式出现在艺术创作的各个领域。 想要对书籍，音乐，视觉艺术，视听和电影部门作出全球性，独特和统一的反应是没有意义的。
文化部将充分发挥调解作用。 但是，不能由它来取代该部门的行动者，他们必须负责任地行动。
我认为我的作用是确保这些讨论以建设性，和平和及时的方式进行。
对价值分享条件的审查绝不能成为一纸空文。 这关系到改善艺术家-作家创作的物质条件以及对其作品的合法承认。
在这次辩论中，将出现在最初创作行为的报酬与艺术家-作者对开发收益的利益之间的适当平衡问题。 除了这一复杂的方程式之外，还有许多因素：必要的冒险行为，这关系到创造者及其制作者或广播者的利益。 但生产的数量和多样性也是如此，它们与保护我们的文化例外密切相关。 也必须质疑这些新模式的公共政策的有效性和充分性。
所有这些问题都需要在每个部门通过集体谈判加以讨论。
可以研究是否可能扩大某些部门(书籍，电影和视听)已经缔结的协定，以便将其适用于其他部门或其他主题。
为满足我的愿望，我将请利特雷尔和艺术最高委员会评估是否应在《知识产权法》和《社会保障法》中订立秩序合同。 如有必要，它将决定在不同的创造部门执行这项计划的方式。
委员会的合同必须是保护创作者的工具，而不是对版权的挑战。
这是必须尽快开始谈判的框架。
更好地保护艺术家-作者也意味着确保他们在未来职业的经济和法律方面接受培训。 每个人都必须了解其部门的经济组织，权利和我们制度提供的机会。
因此，La F é mis的下一个目标和业绩合同将在这一意义上丰富学生的课程。 几所艺术学院已经是这种情况。
我们将确保在所有文化高等教育学校迅速采用这种专业化模式。 [End of translation]
By being better known, the fundamental rights of artists-authors will be better applied, better respected by all.
I now come to the action that the State will take to strengthen its economic support for artists-authors.
This support will increase in the book sector through the development of aid to authors. The President of the Republic recalled this commitment during the international comic strip festival in Angoulême.
The CNL has already started this progress. Between 2017 and 2018, direct aid to authors increased by 20% and again by 21% last year to reach €3.4 million. This effort must continue in the coming years at a significant level. The allocation of €1M to €1.5M more seems to me desirable from 2020.
Book authors are not the only ones concerned:
- Music now has its national centre. Starting in 2021, the CNM will have support programs specifically dedicated to artists-authors.
- The same will be true for the visual arts at the Centre National des Arts Plastiques (CNAP), for playwrights at the Centre national des arts du cirque, de la rue et du théâtre (ARCENA) and for choreographers at the Centre National de la Danse (CND).
- The general review of support to which the National Cinema Centre (CNC) This year will also be an opportunity to examine the advisability of granting more direct aid to authors but also of making production aid subject to a minimum budget devoted to the writing of works and development.
I also support Bruno Racine’s recommendation to organize in France a major event promoting contemporary art. I have entrusted the President of the Palais de Tokyo, Emma Lavigne, with the task of implementing this measure.
Similarly, the payment of public aid must therefore be conditional on compliance with the rules and good practices that apply to artists-authors, whether they concern, for example, questions of remuneration or the place of women.
The State must also be exemplary in terms of the right of representation. I will shortly send a letter to the public institutions of the Ministry of Culture and to the Regional Directorates of Cultural Affairs (DRAC) reminding them of the need to respect this principle, which is not optional.
However, actions have already been taken to promote the proper application of the right of representation. The public aid paid by the CNL for «BD 2020» for the benefit of comic festivals is conditional on the payment of this right in the context of the exhibitions.
Finally, to finalize the structuring of the visual arts sector, marked last year by the creation of the National Council for Visual Arts Professions (CNPAV), I would like to study the modalities of creating a mediator for the visual arts. We will also work, in conjunction with the Conseil des territoires pour la culture, on the 1% artistique and the program “Un immeuble une œuvre”.
One last word, to talk to you about the ninth art and the issue of dedication.
The debates, the readings, the workshops in which the comic book authors participate enrich the relationship with the public and the quality of the festivals. That is why I want festivals to engage in programming that gives more space to the participation of authors.
Starting in 2020, the comic book events accompanied by the National Book Centre (CNL) will be offered a multi-year partnership to increase their cultural programming. For the events that will engage in this partnership, the CNL will assume a part of the amount that will be paid to authors for artistic dedication activities, on the basis of a daily fee.
Exceptionally, as part of BD 2020, the CNL will also offer publishers and booksellers who invite authors to CNL’s partner festivals to participate in a co-funding measure for the artistic dedication activity.
It is a hand extended by the State to experiment with new models before drawing the consequences.
3. In order to carry out all these projects, we will give artists-authors the means to be better represented, better associated with the reflections and negotiations that directly concern them.
This question is central. It conditions our collective ability to respond to the economic and social difficulties of artist-authors.
It is indispensable that the totality of the channels of creation have as soon as possible a representation of authors that is legitimate and indisputable.
In order for the specificities of artist-authors to be heard in current and future social reforms, we need a transversal body of social dialogue: this is the idea of the National Council of Artists-Authors proposed by Bruno Racine.
Within this body, representativeness will be based on the criteria most relevant to each profession and will take into account the contribution to creation, which may vary from one discipline to another.
Elections should be held as soon as possible in all areas where this seems appropriate. I want to set a target for the second half of 2021.
The representatives thus chosen will be the privileged interlocutors of the public authorities as soon as major social projects are launched.
This representation does not, of course, exclude collective management bodies, which will continue to have their full place. They play an essential role in defending the material and moral interests of artists-authors.
These essential partners will therefore continue to be involved, alongside all stakeholders, in negotiations on the remuneration and working conditions of artists-authors.
It is my responsibility to ensure that all jurisdictions are at the table, that all claims are heard.
I will also pay attention to the issue of funding for representative organizations. Defending the interests of artists-authors takes time and means.
But I’m not in favour of mandatory funding by collective management organizations. A reflection must therefore be undertaken to find satisfactory and lasting solutions. I call on all actors to take responsibility for this.
I know what artists-authors expect when it comes to representation. We have to be willing, effective, and determined.
Given the complexity of this topic, the timeline for us is as follows: the services of the Ministry of Culture will work with the Ministry of Labour – whose commitment on this issue I welcome – with the objective of achieving a stabilized legal framework at the end of 2020. Thus, the necessary texts can be drawn up as soon as possible.
Pending the effective appointment of artists-authors' representatives for all sectors, I propose that the current social consultation group remains the body within which the various social projects in progress will be discussed.
4. The last part I have to present to you concerns the evolution of the organization of the Ministry of Culture, in order to steer and monitor more effectively the situation of artists-authors.
Many artists-authors have told me of their impression that, within the Ministry of Culture, their word has no echo. Let their word be lost, for lack of a well-identified anchor.
However, the entire department is listening but we are also aware of our difficulties in understanding the issues that concern all artists-authors.
The Ministry of Culture, its headquarters, its decentralized services (DRAC), and all its operators must therefore evolve their organization. That is why I wanted this issue to be given special attention in the departmental transformation plan that I have initiated – and that will come into effect before the summer. It is a matter of renewing our gaze, our listening, our practices to strengthen our link with artists-authors and better support them in their careers.
As of 1er next September, each sectoral operator will be equipped with a “referent artists-authors”. Some are already. But now everyone will be concerned: the National Book Centre (CNL), the National Music Centre (CNM), the National Dance Centre (CND), the National Film Centre (CNC), the National Centre for Visual Arts (CNAP) or the National Circus Arts Centre, street and theatre (ARCENA).
This sectoral referent, familiar with the conditions of creation, will be the dedicated contact for artists-authors. Its mission will be to inform and guide them to find the most appropriate and effective answers. Because the operators of the Ministry of Culture also have the mission of being career facilitators.
The central branches of the department (DGCA, DGMIC, CNC) will retain responsibility for the design of public policies in their respective sectors. They will draw on their in-depth knowledge of the economic and cultural issues of each creative sector and on the dialogue with collective organisations. They will also ensure a continuous steering with the operators who have set up their «artist-author references».
I also hope that the organization of the Ministry of Culture will guarantee the coherence and coordination of public action in favour of artists-authors. Otherwise, any overall policy would be doomed to dilution and thus to inefficiency.
So that the artist-authors are at the center of our reflections, I decided to create within the Direction générale de la création artistique (DGCA) a specific entity in charge of the career of the artist and the creator. It will have competence over the entire ministerial field and will be the preferred interlocutor for interdepartmental dialogue.
This team will focus on monitoring the situation of artist-authors, and will steer issues related to the career of artists and artistic employment. It will coordinate the skills and expertise needed to address these cross-cutting and complex issues (tax, social and legal).
The DRAC, the first contact points for artists-authors in our territories, will also be mobilized. Even more than today, they will be essential relays of information to raise the questions of artists-authors, but also to disseminate information and explain solutions.
Finally, because I am totally determined to change in concrete terms the conditions for the creation of artists-authors, I will soon appoint an advisor within my Cabinet responsible for the implementation and monitoring of all the projects I have just described.
In this way, we will bring together the forces and energies of the Ministry of Culture to strengthen its capacity to develop comprehensive social policies and to bring them into the framework of interdepartmental dialogue.
Indeed, the Ministry of Culture is not alone in being mobilized.
The implementation of the proposals I have outlined will be built on the dialogue with the other ministries concerned: the Ministry of Solidarity and Health, the Ministry of Action and Public Accounts, the Ministry of National Education and Youth or the Ministry of Labour, under the authority of the Prime Minister.
I have already informed my colleagues who have confirmed their commitment to me.
The numerous discussions held during the consultation meetings with the artists-authors have highlighted the need to identify, in each of these ministries, a coordinator of the subjects relating to artists-authors.
It is indeed necessary to ensure that the specific issues encountered by artists-authors are well identified and understood by all administrations. In short, we must ensure that we all speak the same language, that of artist-authors.
I hope that this dialogue will lead, in the medium term, to the creation of an accessible and simple information tool. A common communication interface for artists-authors, providing all the useful information at the beginning, during and at the end of their careers.
The recent difficulties that have arisen in the context of the collection by the URSSAF of all social contributions and contributions due by the artists-authors demonstrate the need to better organize ourselves.
Developing tools that are flexible and responsive. It’s a real public policy challenge. But we have to meet it.
I would like to salute and thank my former colleague Agnès Buzyn and her services for listening to and responding to these technical and human problems, which are a legitimate cause for concern for artist-authors.
The three proposals I presented at the end of last year were thus able to be implemented quickly, whether it be the message of clarification from the Acoss, the extension of payments to 29 February and their possible modulation, as well as the establishment of a follow-up group involving the artists-authors and the URSSAF.
I want to repeat here that we remain collectively mobilized to correct all the dysfunctions that would last.
One last important issue remains to be addressed: the statistical observation of the situation of artist-authors. Today, as Bruno Racine’s report points out, I see that the numerical information we collectively have on creation and those involved in it is too scattered or fragmented; they are not sufficiently comprehensive and reliable. Having a clear image without a blind spot is a major challenge. Without reliable statistical, economic and sociological monitoring, the public authorities deprive themselves of the means to understand the totality of the problems raised by the situation of the artist-authors.
I therefore wish to provide the Ministry with a comprehensive barometer on the social situation of artist-authors.
This instrument should enable us to identify the factors of inequality among artists-authors according to social origin, geography or gender.
In the short term, the Department of Studies, Foresight and Statistics of the Ministry of Culture, the DEPS, will update the figures based on the exploitation of the bases of the Agessa-MDA and tomorrow of the ACOSS, or about 260,000 artists-authors.
In addition, in order to refine our analysis and respond to the requests that are emerging, I have asked that the issues that are not sufficiently addressed in the studies we have today be identified quickly.
A study on the issue of value sharing in the photography sector will be launched.
Because the photography sector has been profoundly shaken by the digital revolution, it is necessary to study the issues of sharing value in this sector, and to evaluate public mechanisms for financing the production and dissemination of works. The study that will be conducted will allow us to adapt our public policies in this field.
Ladies and gentlemen,
When I came to this department, I was convinced that artists and creators had to be put back at the centre of our policies.
As I listened to you, it quickly became clear to me that the artists-authors had for too long remained outside our public policies.
That is why I asked Bruno Racine for this report. I thank him again for this important contribution.
Today, I am proposing an action plan of unprecedented magnitude.
It takes into account the situation of artist-authors as a whole.
It provides concrete answers in each of the identified fields of action.
It sets a demanding but realistic timetable.
Its implementation is based on consultation and negotiation.
I will take full responsibility for this plan. But I cannot do it alone. I call on all actors, from all creative sectors, to seize this opportunity.
France has invented a unique cultural model. It is a land of artists that we look at.
She has always been able to anticipate the movements of time to preserve the freedom and diversity of creation.
Today I propose a new major step.
Thank you.