Izključeni iz izključenosti: frilens umetniki (kulturniki) kot modni kroj za cesarjeva nova oblačila (fragment 1)
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| Title | Izključeni iz izključenosti: frilens umetniki (kulturniki) kot modni kroj za cesarjeva nova oblačila (fragment 1) |
| Authors | |
| Abstract | When the daily media is full of critiques of workers’ increasing poverty, freelancers are rarely included in these discussions. When streets are filled with workers’ protests, freelancers continue to work on their projects with dedication, and what’s more, they seek money which would allow them to do so. The present article focuses mainly on freelance artists, yet, it also sheds a light upon the conditions of freelancers in other disciplines. But above all, it hopes to give an insight to the possible future of many young people, who are increasingly involved in short-term-project or insecure work. Due to the very nature of art, as well as to the inherently flexible organization of freelancing, freelance artists turn out to be ‘complete individuals’ – that is, a unique form of institution. However, in the wider social context they are far from being acknowledged as such. Consequently, their business authority is also very low. Freelancers’ working and living conditions often remain obscure and taken-for-granted. The problems they face mostly remain hidden within different culturally habitual ideas about art, budgets, etc. Although freelancing is becoming more and more known, widespread and encouraged, it has not yet found its equal place within those prevailing economic, social and time structures, which have been formed within and in accordance to more “traditional” organization of work and life. Especially when speaking of freelance artists, their survival and integration therefore still often depends on their partners. Moreover, many other intertwined problems emerge; for freelancers, friends are often their clients/employers as well. Bars are often their offices. Where is the line between private and professional? Because of the unpredictable and difficult to control timing of their work, they encounter considerable difficulties in establishing collective representation and in standing up for their rights. A combination of capitalistic ideology, conventional social ideas and their own artistic eagerness can lead to invisible and thus unacknowledged forms of poverty and social fragility. |
| Publisher | Znanstvena založba Filozofske fakulte / Ljubljana University Press, Faculty of Arts |
| Date | 1970-01-01 |
| Source | Ars & Humanitas: Revija za umetnost in humanistiko Vol 6, No 1 (2012) |
| Rights | @ Univerza v Ljubljani, Filozofska fakulteta |