Freedom of Expression and Art in the Public Space

1. Freedom of Expression and Art in the Public Space

4. What is the status for the freedom of expression in public space art in these countries? • What are the differences/similarities? • Are the voices of the respondents (artists, producers/commissioners and decision makers) united or not?

5. How many applications do you think/know are made in your city/country each year? • How do you apply? Spontaneously? Or do you have to wait for a call? • How long time does it take to get an answer? • What percentage of the applications made is granted? • Is there a certain type of artist that is « easy to digest » in the public space? • What kind of application to you not approve? • Is there a link between art in the public space and democracy? • How much control is held over the artistic freedom? Is there a limit? If yes, is that kind of limitation regulated by national policies? • What do you think taboos say about the society? • Do artists have a duty of care to the public when creating works for the public space? • Are there benefits of art in the public space? If yes, which? • What is your experience with privatisation of the public space? • Are there, in your opinion, some reappearing theme or red thread between granted applications? • Is there too much emphasis placed on public outcome in grant proposals? • Do you feel that you can tell what you want through your art (submit any message you would like)? • Do you think that a special kind of artist/artworks is most of the time appearing among the granted applications? • Do you think that there is anything that is taboo? (Never approved)

6. Romania • Different levels of definition regarding what art in public space is. • Art in public space plays a critical role for the generational and political shifts. • Critical tension between strategy and tactics.

7. By Dan Perjovschi Rethinking the models of functioning.

8. Kosovo • Art in Public Space is rare • No written rules about taboo subjects • Τaboo subjects • Privatization of public spaces/venues/buildings

9. Italy • Total lack of responses from policy makers. • No limitations in term of national polices but unofficially there are moral limitations. Stock exchange | Milan , by Maurizio Cattelan

10. Artists dependence on the producers. • Limitations on how to enter the arts market. Lack of communication and trust among the parties.

11. Ukraine • Art in Public Space until today • Applications: Degree of approval 40% • Considered taboo subjects • Privatization of public spaces/venues/buildings • “The society” not ready for modern art (definitely not in the public space) • Self censorship

13. Greece

15. United Kingdom • Art in the public space democratic ? • Possibilities to present public art • Success factors for having ones work presented • Artists/Producers taboo subjects: offending religion, nudity, sex, guns • Good negotiator or good artist? • No answers on number of applications from policy makers

16. The taboo subjects were the same in the countries participating • Privatisation of Public Space - bad and good (awareness in the process of privatisation) depending on where you are • Respondents agree on that the artist has a duty of care to the public • There are many benefits with public space art – all respondents agree • A democratic process would be encouraged in the commissioning • Respondent categories do not agree on freedom of expression in the public space for artists. Often artist and producer respondents think that the freedom is limited while decision makers think that the opposite. Conclusions