Catalogue Entry and Label from SIABP (2013)
Status of the Artist
Monday 9 September 2013
Monday 29 July 2013
Status of the Artist has just been submitted for the Sheffield International Artist's Book Prize 2013 and will be exhibited at Bank Street Arts from 5th November 2013.
Dimensions Variable
A Recommendation (2013)
Dimensions Variable
A thermal receipt paper roll, machine printed book with
rubber band binding and no spine, containing reflections on the UN
Recommendation on the Status of the Artist, 27th October, 1980.
Sunday 2 December 2012
I was inspired to create this book after discovering the UN
Recommendation on the Status of the Artist.
The Recommendation, written in 1980 follows the usual format for UN
documents with many paragraphs of preamble which all begin characteristically
with words like “recognizing”, “recalling”, “considering” etc. before they get
to the actual recommendation with the words "having decided…adopts”. My book is a reflection on this text - both
in the way it is formatted and constructed.
The formatting draws on the idiosyncratic nature of the formal UN
language and also tries to highlight interesting features of the text itself -
such as the definition of the artist. I
think for artists this is an important book, since most will be unaware of the
existence of the Recommendation and the things it contains – many of which are
really interesting. The use of thermal
receipt paper roll as a medium reflects the constant pressure for
commercialisation in art – something the Recommendation itself tries to deal
with, in its own, unique, UN way: declaring that “art should be considered
neither as a consumer good nor as an investment”. The medium is also
non-archival and this transient nature of the piece also reflects my thoughts
on the impact of the Recommendation itself, which, arguably, is limited.
UN
Recommendation Regarding the Status of the Artist
27th October 1980
The General Conference of the United Nations Educational,
Scientific and Cultural Organization, meeting in Belgrade from 23 September to
28 October 1980 at its twenty-first session,
Recalling that,
under the terms of Article I of its Constitution, the purpose of the
Organization is to contribute to peace and security by promoting collaboration
among the nations through education, science and culture in order to further
universal respect for justice, for the rule of law and for the human rights and
fundamental freedoms which are affirmed for the peoples of the world, without
distinction of race, sex, language or relation, by the Charter of the United
Nations,
Recalling the terms of the Universal
Declaration of Human Rights, and particularly Articles 22, 23, 24, 25, 27 and
28 thereof, quoted in the annex to this Recommendation,
Recalling the
terms of the United Nations International Covenant on Economic, Social and
Cultural Rights, particularly its Articles 6 and 15, quoted in the annex to
this Recommendation, and the need to adopt the necessary measures for the
preservation, development and dissemination of culture, with a view to ensuring
the full exercise of these rights,
Recalling the Declaration of the Principles of
International Cultural Co-operation, adopted by the General Conference of
UNESCO at its fourteenth session, particularly its Articles III and IV, which
are quoted in the annex to this Recommendation, as well as the Recommendation
on Participation by the People at Large
in Cultural Life and their Contribution to it, adopted by the General
Conference of UNESCO at its nineteenth session,
Recognizing that
the arts in their fullest and broadest definition are and should be an integral
part of life and that it is necessary and appropriate for governments to help
create and sustain not only a climate encouraging freedom of artistic
expression but also the material conditions facilitating the release of this
creative talent,
Recognizing
that every artist is entitled to benefit effectively from the social security
and insurance provisions contained in the basic texts, Declarations, Covenant
and Recommendation mentioned above,
Considering that the artist plays an important role in the life and
evolution of society and that he should be given the opportunity to contribute
to society's development and, as any other citizen, to exercise his responsibilities
therein, while preserving his creative inspiration and freedom of expression,
Further recognizing that
the cultural, technological, economic, social and political development of
society influences the status of the artist and that it is consequently
necessary to review his status, taking account of social progress in the world,
Affirming the right of the artist to be
considered, if he so wishes, as a person actively engaged in cultural work and
consequently to benefit, taking account of the particular 'conditions of his
artistic profession, from all the legal, social and economic advantages
pertaining to the status of workers,
Affirming
further the need to improve the social security, labour and tax conditions of
the artist, whether employed or self-employed, taking into account the
contribution to cultural development which the artist makes,
Recalling the importance, universally acknowledged both nationally and
inter-nationally, of the preservation and promotion of cultural identity and of
the role in this field of artists who perpetuate the practice of traditional
arts and also interpret a nation's folklore,
Recognizing that the vigour and vitality of the
arts depend, inter alia, on the well-being of artists both individually and
collectively,
Recalling the
conventions and recommendations of the International Labour Organization (ILO)
which have recognized the rights of workers in general and, hence, the rights
of artists and, in particular, the conventions and recommendations listed in
the appendix to this Recommendation,
Taking note, however, that some of the
International Labour Organization standards allow for derogations or even expressly
exclude artists, or certain categories of them, owing to the special conditions
in which artistic activity takes place, and that it is consequently necessary
to extend their field of application and to supplement them by other standards,
Considering further that
this recognition of their status as persons actively engaged in cultural work
should in no way compromise their freedom of creativity, expression and
communication but should, on the contrary, confirm their dignity and integrity,
Convinced
that action
by the public authorities is becoming necessary and urgent in order to remedy
the disquieting situation of artists in a large number of Member States,
particularly with regard to human rights, economic and social circumstances and
their conditions of employment, with a view to providing artists with the
conditions necessary for the development and flowering of their talents and
appropriate to the role that they are able to play in the planning and
implementation of cultural policies and cultural development activities of
communities and countries and in the improvement of the quality of life,
Considering that art plays an important part in education and that
artists, by their works, may influence the conception of the world held by all
people, and particularly by youth,
Considering that artists must be able collectively
to consider and, if necessary, defend their common interests, and therefore
must have the right to be recognized as a professional category and to
constitute trade union or professional organizations,
Considering that the development of the arts, the
esteem in which they are held and the promotion of arts education depend in
large measure on the creativity of artists,
Aware of the
complex nature of artistic activity and of the diverse forms it takes and, in
particular, of the importance, for the living conditions and the development of
the talents of artists, of the protection of their moral and material rights in
their works, or performances, or the use made of them, and of the need to
extend and reinforce such protection,
Considering the need to endeavour to take account
as far as possible of the opinion both of artists and of the people at large in
the formulation and implementation of cultural policies and for that purpose to
provide them with the means for effective action,
Considering that contemporary artistic expression
is presented in public places and that these should be laid out so as to take
account of the opinions of the artists concerned, therefore that there should
be close co-operation between architects, contractors and artists in order to
lay down aesthetic guidelines for public places which will respond to the
requirements of communication and make an effective contribution to the
establishment of new and meaningful relationships between the public and its
environment,
Taking into account the
diversity of circumstances of artists in different countries and within the
communities in which they are expected to develop their talents, and the
varying significance attributed to their works by the societies in which they
are produced,
Convinced, nevertheless, that despite such
differences, questions of similar concern arise in all countries with regard to
the status of the artist, and that a common will and inspiration are called for
if a solution is to be found and if the status of the artist is to be improved,
which is the intention of this Recommendation,
Taking note of the
provisions of the international conventions in force relating, more
particularly, to literary and artistic property, and in particular of the
Universal Convention and the Berne Convention for the Protection of Literary
and Artistic Works, and of those relating to the protection of the rights of
performers, of the resolutions of the General Conference, of the
recommendations made by UNESCO's intergovernmental conferences on cultural
policies, and of the conventions and recommendations adopted by the
International Labour Organization, listed in the appendix to this
Recommendation,
Having before it,
as item 31 of the agenda of the session, proposals concerning the status of the
artist,
Having decided, at its twentieth session, that this question should be the
subject of a recommendation to Member States,
Adopts this Recommendation this
twenty-seventh day of October 1980:
The General Conference recommends that Member States
implement the following provisions, taking whatever legislative or other steps
may be required -in conformity with the constitutional practice of each State
and the nature of the questions under consideration to apply the principles and
norms set forth in this Recommendation within their respective territories.
For those States which have a federal or non-unitary
constitutional system, the General Conference recommends that, with regard to
the provisions of this Recommendation the implementation of which comes under
the legal jurisdiction of individual constituent States, countries, provinces,
cantons or any other territorial and political subdivisions that are not
obliged by the constitutional system of the federation to take legislative
measures, the federal government be invited to inform the competent authorities
of such States, countries, provinces or cantons of the said provisions, with
its recommendation for their adoption.
The General Conference recommends that Member States bring
this Recommendation to the attention of authorities, institutions and
organizations in a position to contribute to improvement of the status of the
artist and to foster the participation of artists in cultural life and development.
The General Conference recommends that Member States report
to it, on dates and in a manner to be determined by it, on the action they have
taken to give effect to this Recommendation.
I. Definitions
For the purposes of this Recommendation:
1. `Artist' is taken to mean any person who creates or gives creative
expression to, or re-creates works of art, who considers his artistic creation
to be an essential part of his life, who contributes in this way to the
development of art and culture and who is or asks to be recognized
as an artist, whether or
not he is bound by any relations of employment or association.
2. The world `status' signifies, on the one, hand, the regard
accorded to artists, defined as above, in a society, on the basis of the importance
attributed to the part they are called upon to play therein and, on the other
hand, recognition of the liberties and rights, including moral, economic and
social rights, with particular reference to income and social security, which
artists should enjoy.
II. Scope of application
This Recommendation applies to all artists as defined in
paragraph 1.1, irrespective of the discipline or form of art practiced by such
artists. These include inter alia all creative artists and authors within the
meaning of the Universal Copyright Convention and the Berne Convention for the
Protection of Literary and Artistic Works, as well as performers and
interpreters within the meaning of the Rome Convention for the Protection of
Performers, Producers of Phonograms and Broadcasting Organizations.
III. Guiding principles
1. Member States, recognizing that art reflects, preserves and enriches the cultural
identity and spiritual heritage of the various societies, constitutes a
universal form of expression and communication and, as a common denominator in
ethnic, cultural or religious differences, brings home to everyone the sense of
belonging to the human community, should accordingly, and for these purposes,
ensure that the population as a whole has access to art.
2. Member States should encourage all activities designed to
highlight the action of artists for cultural development, including in
particular 'activities carried out by the mass media and the educational
system, and for the employment of leisure for cultural purposes.
3. Member States, recognizing the essential role of art in
the life and development
of the individual and of society, accordingly have a duty to protect, defend
and assist artists and their freedom of creation. For this purpose, they should
take all necessary steps to stimulate artistic creativity and the flowering of
talent, in particular by adopting measures to secure greater freedom for
artists, without which they cannot fulfill their mission, and to improve their
status by acknowledging their right to enjoy the fruits of their work. Member
States should endeavour by all appropriate means to secure increased
participation by artists in decisions concerning the quality of life. By all means at their
disposal, Member States
should demonstrate and confirm that artistic activities have a part to play in
the nations' global development effort to build a juster and more humane
society and to live together in circumstances of peace and spiritual
enrichment.
4. Member States should ensure, through appropriate
legislative means when necessary, that artists have the freedom and the
right to establish trade
unions and professional organizations of their choosing and to become members
of such organizations, if they so wish, and should make it possible for
organizations representing artists to participate in the formulation of
cultural policies and employment policies, including the professional training
of artists, and in the determination of artists' conditions of work.
5. At all appropriate levels of national planning, in
general, 'and of planning in the cultural field, in particular, Member States
should make arrangements, by close co-ordination of their policies relating to
culture, education and employment among other things, to define a policy for
providing assistance and material and moral support for artists and should
ensure that public opinion is informed of the justification and the need for
such a policy. To that end, education should place due emphasis on the encouragement
of artistic awareness, so
as to create a public capable of appreciating the work of the artist. Without
prejudice to the rights that should be accorded to them under copyright
legislation, including resale rights (droit de suite) when this is not part of
copyright, and under neighboring rights legislation, artists
should enjoy equitable
conditions and their profession should be given the public consideration that
it merits. Their conditions of work and of employment should be such as to
provide opportunities for artists who so wish to devote themselves fully to their
artistic activities.
6. Since freedom of expression and communication is the
essential prerequisite for all artistic activities, Member States should see
that artists are unequivocally accorded
the protection provided for in this respect by international and national
legislation concerning human rights.
7. In view of the role of artistic activity and creation in
the cultural and overall development of nations, Member States should create conditions enabling
artists fully to participate, either individually or through their associations
or trade unions, in the life of the communities in which they practice their
art. They should associate them in the formulation of local and national
cultural policies, thus stressing their important contribution in their own
society as well as towards world progress in general.
8. Member States should ensure that all
individuals, irrespective
of race, colour, sex, language, religion, political or other opinion, national
or social origin, economic status or birth, have the same
opportunities to acquire and develop the skills necessary for the complete
development and exercise of their artistic talents, to obtain employment, and to
exercise their profession without discrimination.
IV. The vocation and training of the artist
1. Member States should encourage, at school and
from an early age, all
measures tending to strengthen respect for artistic creation and the discovery
and development of artistic vocations, and should bear in mind that, if it is
to be effective, the stimulation of artistic creativity calls for provision of the necessary
professional training of talent to produce works of outstanding quality. For
this purpose, Member States should:
(a) take the necessary measures to provide an
education designed to stimulate artistic talent and vocation;
(b) take all appropriate measures, in association with
artists, to ensure that education gives due prominence to the development of
artistic sensitivity and so contributes to the training of a public
receptive to the expression of art in all its forms;
(c) take all appropriate measures, whenever possible, to
institute or develop the teaching of particular artistic disciplines;
(d) seek by means of incentives, such as the granting of
fellowships or paid educational leave, to ensure that artists have the
opportunity to bring their knowledge up to date in their own disciplines or in
related specialities and fields, to improve their technical skills, to
establish contacts which will stimulate creativity, and to undergo retraining
so as to have access to and work in other branches of art; for these purposes,
Member States should see that appropriate facilities are provided and that those
already existing are, where necessary, improved and developed;
(e) adopt and develop co-ordinated, comprehensive vocational
guidance and training policies and programmes, taking into consideration the
particular employment situation of artists and enabling them to enter other
sectors of activity if necessary;
(f) stimulate artists' participation in the restoration,
conservation and use of the cultural heritage in the widest sense of the term,
and provide artists with the means of transmitting to future generations the
knowledge and artistic skills which they possess;
(g) recognize the importance in arts and craft training of
the traditional ways of transmitting knowledge and in particular of the
initiation practices of various communities, and take all appropriate measures
to protect and encourage them ;
(h) recognize that art education should not be separated from
the practice of living art, and see that such education is reoriented in such a
way that cultural establishments, theatres, art studios, radio and television
broadcasting organizations, etc., play an important part in this type of
training and apprenticeship ;
(i) give particular attention to the development of women's
creativity and the encouragement of groups and organizations which seek to
promote the role of women in the various branches of artistic activity;
(j) recognize that artistic life and the practice of the arts have an
international dimension and
accordingly provide those engaged in artistic activities with all the means
and, in particular, travel and study grants, likely to enable them to establish
lively and far-reaching contacts with other cultures;
(k) take all appropriate steps to promote the free
international movement of artists, and not to hinder the freedom of artists to practice their
art in the country of their choice, while ensuring that these do not prejudice
the development of endogenous talents and the conditions of work and employment
of national artists;
(1) give special attention to the needs of traditional artists, in particular by
facilitating their travel inside and outside their own country to serve the
development of local traditions.
2. As far as possible and without prejudice to the freedom
and independence of both artists and educators, Member States should undertake
and support initiatives to ensure that artists, during their training, are made
aware of their community's cultural identity, including traditional and folk
cultures, thereby contributing to the affirmation or revival of that identity and those cultures.
V. Social status
Member States should promote and protect the status of
artists by considering artistic activity, including innovation and research, as
a
service to the community.
They should make it possible for them to enjoy the esteem necessary for the
full development of their work and provide the economic safeguards to which
artists are entitled as people actively engaged in cultural work. Member States
should:
1. Grant artists public recognition in the form best suited to their
respective cultural environments and establish a system, where it does not
already exist or is inadequately designed, to give artists the prestige to
which they are entitled.
2. See that the artist benefits from the rights and
protection provided for in international and national legislation relating to
human 'rights.
3. Endeavour to take the necessary steps to see that artists
enjoy the same rights as are conferred on a comparable group of the active population by
national and international legislation in respect of employment and living and
working conditions, and see that self-employed artists enjoy, within reasonable
limits, protection as regards income and social security.
4. Recognize the importance of international protection of
the rights of artists under
the terms of existing conventions and in particular of the Berne Convention for
the Protection of Literary and Artistic Works, the Universal Copyright
Convention, and the Rome Convention for the Protection of Per-formers,
Producers of Phonograms and Broadcasting Organizations, and take all necessary
steps to extend the field of application, scope and effectiveness of those
instruments, particularly-in the case of Member States which have not already
done so-by considering the possibility of adhering to them.
5. Recognize the right of trade union and professional
organizations of artists to represent and defend the interests of their members
and give them the opportunity to advise the public authorities on suitable measures
for stimulating artistic activity and ensuring its protection and development.
VI. Employment, working and living conditions of the artist;
professional and trade union organizations
1. Being aware of the need to improve the social recognition
of artists by according them the moral and material support required
to remedy their difficulties, Member States are invited to:
(a) consider measures for supporting artists at the beginning
of their careers, in particular during the initial period when they are
attempting to devote
themselves completely to
their art;
(b) promote the employment of artists in their own
disciplines, particularly by devoting a proportion of public expenditure to artistic
works;
(c) promote artistic activities within the
context of development and
stimulate public and private demand for the fruits of artistic activity in
order to increase opportunities of paid work for artists, inter alia by means
of subsidies to art institutions, commissions to individual artists, or the
organization of artistic events at the local, regional or national levels, and
by establishing art funds;
(d) identify remunerative posts which could given to artists without
prejudice to their
creativity, vocation and freedom of expression and communication, and in
particular:
(i) give artists opportunities in the relevant categories of the
educational and social services systems at national and local levels and in
libraries, museums, academies and other public institutions;
(ii) increase the participation of poets and writers in the overall effort
towards the translation of foreign literature;
(e) encourage the development of the necessary facilities
(museums, concert halls, theatres and other forums) conducive to fostering the
dissemination of the arts and the meeting of artists with the public;
(f) study the possibility of establishing, within the
framework of employment policies or public employment services, effective
machinery to assist
artists to find jobs and that of adhering to the Fee-Charging Employment
Agencies Convention (revised) (No. 96) of the International Labour
Organization, which is listed in the appendix to this Recommendation.
2. Within the context of a general policy to encourage
artistic creativity, cultural development and the promotion and improvement of
conditions of employment, Member States are invited, wherever possible,
practical and in the interest of the artist, to :
(a) encourage and facilitate the application of the standards
adopted for various groups of the active population to artists, and ensure that
they enjoy all the rights accorded to the corresponding groups in respect of
working conditions ;
(b) seek means of extending to artists the legal protection
concerning conditions of work and employment defined by the standards of the
International Labour Organization, in particular the standards relating to:
(i) hours of work, weekly rest and paid leave in all fields of activities, more
particularly, in the case of performers, taking into consideration the hours
spent in travelling and rehearsal as well as those spent in public performance
or appearances;
(ii) protection of life, health and the working environment;
(c) take into consideration the particular problems of
artists, in respect of
the premises where they work, while at the same time ensuring the preservation
of the architectural heritage and the environment and upholding regulations
pertaining to safety and health, when administering regulations relative to the
alteration of artists' premises where this is in the interest of artistic
activity;
(d) make provision when necessary for appropriate forms of compensation
for artists, preferably
in consultation with organizations representing artists and their employers,
when, for reasons connected with the nature of the artistic activity undertaken
or the artists' employment status, the standards relating to the matters
referred to in paragraph 2(b)(i) of this section cannot be observed;
(e) recognize that profit-sharing systems, in the form of
deferred salaries or shares in the profits of production, may prejudice
artists' rights vis-a-vis their real incomes and social security entitlement and
take appropriate measures in such cases to preserve these rights.
3. With the object of giving specific consideration to the child
artist, Member States are
invited to take account of the provisions of the United Nations Declaration of
the Rights of the Child.
4. Recognizing the part played by professional and trade
union organizations in the protection of employment and working conditions,
Member States are invited to take appropriate steps to:
(a) observe and secure observance of the standards relating
to freedom of association, to the right to organize and to collective bargaining, set forth in the
international labour conventions listed in the appendix to this Recommendation
and ensure that these standards and the general principles on which they are
founded may apply to artists;
(b) encourage the free establishment of such organizations in
disciplines where they do not yet exist;
(c) provide opportunities for all such organizations,
national or international, without prejudice to the right of freedom of association,
to carry out their role to the full.
5. Member States are invited to endeavour within their
respective cultural environments to provide the same social protection for
employed and self-employed artists as that usually granted respectively to other employed and
self-employed groups. Provision should likewise be made for measures to extend
appropriate social protection to dependent members of the family. The social
security system which Member States may find it well to adopt, improve or
supplement should take into consideration the special features of artistic activity, characterized by
the intermittent nature of employment and the sharp variations in the incomes
of many artists without, however, this entailing a limitation
of the artist's freedom to create, publish and disseminate his work. In this context, Member
States are invited to consider the adoption of special means of financing
social security for artists, for example by resorting to new forms of financial
participation either by the public authorities or by the business undertakings
which market or which use the services or works of artists.
6. Recognizing in general that national and international
legislation concerning the status of artists is lagging behind the general advances in technology,
the development of the media of mass communication, the means of mechanical
reproduction of works of art and of performances, the education of the public, and the
decisive part played by the cultural industries, Member States are invited to
take, wherever necessary, appropriate measures to:
(a) ensure that the artist is remunerated for the
distribution and commercial exploitation of his work, and provide for the
artist to maintain control of his work against unauthorized exploitation, modification or distribution;
(b) provide, to the extent possible, for a system
guaranteeing the exclusive moral and material rights of artists in respect of any prejudice
connected with the technical development of new communication and reproduction
media, and of cultural industries; this means, in particular, establishing
rights for performers, including circus and variety artists, and
puppeteers; in doing so,
it would be appropriate to take account of the provisions of the Rome
Convention and, with reference to problems arising from the introduction of
cable diffusion and video grams, of the Recommendation adopted by the
Intergovernmental Committee of the Rome Convention in 1979;
(c) compensate any prejudice artists might suffer in consequence of the technical
development of new communication and reproduction media and of cultural
industries by favouring, for example, publicity for and dissemination of their
works, and the creation of posts ;
(d) ensure that cultural industries benefiting from
technological changes, including radio and television organizations and
mechanical reproduction undertakings, play their part in the effort to encourage
and stimulate artistic
creation, for instance by providing new employment opportunities, by publicity,
by the dissemination of works, payment of royalties or by any other means
judged equitable for artists;
(e) assist artists and organizations of artists to remedy, when they exist, the prejudicial effects on their
employment or work opportunities of new technologies.
7. (a) Convinced of the uncertainty of artists' incomes and their sudden
fluctuations, of the
special features of artistic activity and of the fact that many artistic
callings can be followed only for a relatively short period of life, Member
States are invited to make provision for pension rights for certain categories
of artists according to length of career and not the attainment of a certain age and to take into
account in their taxation system the particular conditions of artists' work and
activity;
(b) in order to preserve the health and prolong the
professional activity of certain categories of artists (for example ballet
dancers, dancers,
vocalists) Member States are invited to provide them with adequate medical care
not only in the event of incapacity for work but also for the purpose of preventing
illness, and to consider
the possibility of research into the health problems peculiar to
artistic professions;
(c) taking into account the fact that a work of art should be
considered neither as a consumer good nor as an investment, Member States are invited to
consider the possibility of alleviating indirect taxation on works of art and
on artistic performances at the time of their creation, dissemination or first sale, and
this in the interest of artists or of development of the arts.
8. In view of the growing importance of international
exchanges of works of art, and contacts between artists, and the need to encourage, them, Member States
separately or collectively, without prejudice to the development of national
cultures, are invited to:
(a) assist freer circulation of such work by, inter alia, flexible customs arrangements and concessions
in relation to import duties, particularly as regards temporary importation;
(b) take measures to encourage international travel and
exchange by artists, giving due attention to visiting national artists.
VII. Cultural policies and participation
Member States should endeavour, in accordance with paragraphs
111.7 and V.5 of this Recommendation, to take appropriate measures to have the opinions of
artists and the
professional and trade union organizations representing them, as well as of the
people at large, in the spirit of UNESCO's Recommendation on Participation by
the People at Large in Cultural life and their Contribution to It, taken
carefully into account in the formulation and execution of their cultural
policies. To this end, they are invited to make the necessary arrangements for
artists and their organizations to participate in discussions, decision-making
processes and the subsequent implementation of measures aimed, inter alia, at:
(a) the enhancement of the status of artists in society, for
example measures relating to the employment and working and living conditions
of the artist, to the provision of material and moral support for artistic
activities by the public authorities, and to the professional training of the artist;
(b) the promotion of culture and art within the community,
for example measures relating to cultural development, to the protection and
effective presentation of the cultural heritage, including folklore and the other activities of
traditional artists, to cultural identity, to relevant aspects of environmental
issues and the use of leisure, and to the place of culture and art in
education;
(c) the encouragement of international cultural co-operation,
for example measures relating to the dissemination and translation of works, to
the exchange of works and of persons, and to the organization of regional or international cultural events.
VIII. Utilization and implementation of this Recommendation
1. Member States should strive to extend and supplement their
own action in respect of the status of the artist by co-operating with all the
national or international organizations whose activities are related to the
objectives of this Recommendation, in particular with National Commissions for
UNESCO, national and international artists' organizations, the International
Labour Office and the World Intellectual Property Organization.
2. Member States should, by the most appropriate means,
support the work of the above-mentioned bodies representing artists and enlist
their professional co-operation to enable artists to benefit from the provisions set forth in this
Recommendation and to obtain recognition of the status described herein.
IX. Existing advantages
Where artists enjoy, in certain respects, a status which
is more favourable than that provided for in this Recommendation, its terms
shall not in any case be invoked to diminish the advantages already acquired or
directly or indirectly to affect them.
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