n last years, the professional dealing between the artists and the mediators has improved very much. Especially since the centers of art and the museums have reached a certain economic solvency and the new generations of the directors, commissioners, agents and gallery owners have assumed the management of a responsible and professional way.

But as communicate to us our associates or the juridical services of the artists' associations, there are still occasions in which the artist sees his right useless to economic remuneration for the work or the realized services. There are habitual the situations in which it is pushed back to pay to an artist with the excuse of which there has been done to him a favor, of which one has promoted him. One insists, in these cases, on remunerating with visibility, denying to the artist what ever questions other professionals, workpeople or companies related to the world of the art. After twenty-two years of legislation on the copyright, there is still the one who does not know it, he does not respect it or defrauds it. Occasionally new cases of censured works outcrop, withdrawn of exhibition or program, and sometimes there happen cases of works that are even mutilated and readjusted to improve possibilities of sale, and the previous assent to the author does not come up.

Of the same way, also there are artists who do not assume his responsibilities and overcome, for putting some examples, the delivery dates of a work or the budgetary limits of a production. To deny you are and an inexcusable corporatist gesture would be other bad practices. The absence of juridical, contractual matters or of vocational guidance in our Fine arts faculties is a chronic and inexplicable formative deficit.

This publication wants to be a tool to confront these situations and to normalize and to improve the professional relations between the visual artists and the agents that intervene in the sector. He gathers a series of documents that propose a new relations frame between the implied sectors. [I access to the Manual of Good Practices]

MODELS OF CONTRACTS

The peculiarities of the buying and selling of artistic work protected by the LPI are very significant, since in contrast to what happens with the buy of a good not protected by the LPI (for example, a vehicle), of which, once sold, the ancient owner loses his disposition power, in the buying and selling of the artistic work the Author / To sigue showing certain rights (moral and hereditary) of which the proper artist does not get rid, except express authorization. [It discharges of models]

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Authors:
Associació d’Artistes Visuals de Catalunya i Lluis Brun, lawyer and juridical adviser of l’AAVC.

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