Payments in Performance Art

The matter of payment of fees and exhibitions can vary widely and can therefore be experienced as unsettling for many artists practicing this art form. Performance art is in a particular difficult situation because of the complicated matter of formally defining performance as either visual art or performing art.

In a performance the art work exists in the moment so what happens in regards to payment of fees? Does it become a conflict between performance that has its origin from visual art and performance that has a scenic tradition? Do public institution's guidelines of the economical criteria make way for such definitions? Or do you pay fees similar to that of a dancer, an actor or a visual artist?

There is also the different variables to consider. Is there only one person performing or many, is there only one performance or several, does the performance demand a lot of technical equipment? How do the institutions and the artists act in terms of giving and receiving payment? Would production costs and number of performances be included?

Today when many art expressions seem to blend together and the form itself allows a broad definition. How does the relation between performance art and visual art and performance and performing art transmit? If you don’t really mind the separation of terms in the first place are there then any common grounds from which the economic decision can me made? This does not only concern fees but does also to a great extent concern production costs.

Performance as visual art and/or performing art?

When you apply as an artist to the Norwegian Arts Council for project support for a performance there will be variations in relation to which definition you applyfor. For visual arts the project support can be around 50.000NOK and seldom over 100.000NOK. But if you apply as performing arts the amount can be considerably higher. - If your performance art project is caught between visual and performing arts, you should apply to the performing arts sector states performance artiest Sabina Jacobsen. If you wish to create bigger projects, it would be an advantage if its related to the stage performance genre. The same problem concerning definitions can be seen in the increase of video productions and its extent of complexities.

When it comes to payment charges for performances, this is usually dependent on the budget for each specific arena, gallery or exhibitions venue. The Kunstbanken Hedmark Kunstsenter who arranges an annual performance art festival, has fees ranging from 3000 to 5000NOK . In addition they pay travel, accommodation, diet, technical equipment and for technicians. They also oversee the documenting of the performances in form of video and photography. Andrea Kroksnes from the National Museum states that payment of fees varies depending on the context of the performance; whether the artist appears during the exhibition opening or in a side performance to the original program. Performance art in the main exhibition is given public funded compensation.. She says that it is more common to pay artists an exhibition fee as payment for the actual performance. But this is different in the case of independent galleries.

This is the concern of many art forms though the artists often applies for project support or an exhibition fee, but what is the role of the galleries? If the gallery receives public funding they are in fact obligated to pay a fee(). There are payment contracts but no actual agreements on fees for performance artists or other visual art

Theatre versus performance

At the Black Box Theater today only international artists receive support directly from the theater. Apart from the international artists the artists themselves pay rent for the performance space. Director Kristian Seltun at Black Box regret that they do not have the financial resources for this type of programming and that they would very much like to contribute with production costs which would also support the performance in attaining a certain quality.

In October the Black Box Theater will be arranging a performance-festival in collaboration with UKS (The Young Artists Society) and in this occasion the theatre has applied for public support towards the payment of fees for the participating artists. The basis for their payment has been set by comparing the payment levels through the different actor societies and settling on 2500NOK pr show. Seltun says the theme for the performance-festival is ''young and Norwegian”, yet there is also the representation of more established names such Baktruppen, Kjetil Skøien and Kurt Johannessen. Content and expressions will be mixed between the two stages and gallery rooms in UKS and the Black Box. There will also be a seminar on contemporary definitions and artistic perspectives that appear to be very relevant topics when discussing performance art. When asked how the Black Box theatre relate to the term performance in general, Seltun underlines that they are a theatrical stage first and foremost but that many people are of the opinion that they show a lot of performance art. He says many people are using this term rather uncritically today. Both critics and reporters within the field as well as the artists all seem to use the term freely. It can be tempting to use the word performance about a theatre piece that is seen as ground breaking or experimental. For some artists the word performance art signifies a certain status and wish to identify themselves and their work with this genre. . Seltun underlines that there is indeed a great difference between the profession of acting and the profession of performance art. As an example of the contrary he refers to Kate Pendry who works as an actor and as a performance artist but who herself makes a clear distinction between which setting she appears in. Seltun rounds off by pointing out the different particularities about performance art: 100% action based, motion in space, a defined place. An action that is done there and then is by definition a performance art piece. You frame the room; the room is point zero that changes to a new room and the gaze changes by this experience. Performance exists in a narrow habitat and thus has a small audience group. Performance is often characterized by short experiences in time (there are of course exceptions). Seltun believes that theatre has been influenced by these esthetics, and that these experiments today move the visual art field into finding its own theatrical esthetics.

Visual arts dilemma

In the meeting with the Norwegian Arts Council, represented by Kalle Øen (visual arts) and Rolf Engelsen (performing arts), visual arts, in relation to its low budget for project support and the conflicts this involves, was discussed. It is a problem that the practicing visual artists in general encompass an attitude of gratitude simply for being able to create and display their art and so matters of finance appear to be of less importance. The visual art field is marked by the attitude that payment can only happen in terms of a concrete object, the artwork as its own product. Here lies an extensive problem in the fact that performance art is not considered an object. Within the history of visual art there has been a historical tradition to operate with public funding or other financial support to pay for the material parts of the art work, performance fees and sale are other means of finance sources and Øen believes that an eventual change in this way of funding the art has to come from the artists themselves and their organizations. The Norwegian Arts Council and their practice in relation to performance art and how this art practice is defined is dependant of various factors. You have to consider the definition in terms of its history and structure.. If an applicant is directed towards the visual art department but demonstrates clear lines towards performing art it might also be considered in the performing arts department and vice versa Both Øen and Engelsen underline that they wish to assist and help artists in this process and give room for collaborations between the disciplines. The selection process within the performing arts and visual arts will then work together both at a case- and strategic level.

The commitment towards this is to a greater extent explicit but as mentioned earlier Øen and Engelsen repeat that both the departments have historical and structural considerations to take in addition to how they define and place performance art.

It is also worth noticing that the departments have their own regulations as regards to the selection of performing art that does not exist as visual art. In future you may have to consider the historical and the traditional opinion on what belongs where and throughout the selection process this will change according to how the art scene is developing. Dance, video, theater, performance and sound can all be elements of the same production in an art piece or production. Video artists work with film projects in the scale of millions of NOKs and the same amount can be found where performance artists work with theater or stage performances. The theatre world is a good example of how a group of artist work with all the elements of visual art like sound, theater, music, filming techniques and performance art. They have recently received a three- year grant for stage performances (also known as the Strømgren-contract); it is the performing art department issues the grant.

When it comes to defining performance art by boundaries or limits it, may seem there are many different and varied opinions on what determines performance art. The question concerning the economical consideration always appears regardless of any approach taken. It would be very interesting to research the Norwegian artist societies such as NBK (Norwegian Visual Artist Society) and UKS for relevant material and subsequently both these societies were contacted. There has been no response from the NBK at present time, but the UKS replied enthusiastically to my questions. Due to summer holidays no meeting was able to take place in this first instance. However, this will be continued!

Relevant links:

Norsk kulturråd: http://www.kulturrad.no/fagomrader/billedkunst
Black Box Teater: http://www.blackbox.no
BIT-teatergarasjen: http://www.bit-teatergarasjen.no
Avantgarden: http://www.avantgarden.no
Unge Kunstneres Samfund: http://uks.no
Norske Billedkunstnere: http://www.billedkunst.no/

Translations by Emma Lind Editor Anne-Marte Eidseth Rygh