Why participate at a European level?

The New Patrons programme is our manifesto. It is an operational model which is shared, yet which also takes into account the diverse range of participants and unique framework that Europe has to offer.

Its implementation is part of the development process in a whole new territory, which is the European Union. This process would not be possible without a European culture borne out of an age-old tradition, which is given a modern form in the New Patrons initiative: commissioning artists across Europe to meet the enormous demand for architecture, gardens, music, painting, theatre, dance…

Lastly, one of the great advantages of the Union is that participation in the arts becomes possible by reaching out to a close-knit network of structures and individuals which is unmatched around the globe for quality.

How is the New Patrons different from public commissioning or other ways of contributing to the public arena?

With the New Patrons programme, an artwork no longer solely originates from the personal needs of the individual creator, but also from the needs of society which is represented by people who agree to fully assume roles as decisive as those of artists.

Supporting an artist in creation does not entail the right to decide upon the justification of the finished artwork. Just as a government cannot legitimately define artistic content, neither does simply increasing the cultural offer meet the founding aim of democracy: allowing everyone to play a role in history, rather than remain spectators of an event of which they understand neither the origin nor the purpose.

After six centuries as the home of the creation and development of the revolutionary concept of the free and independent individual, an art scene led by New Patrons will enable us to build on this success to transform public life and adapt our perception of the world to the reality of its transformations.

Who can be a patron and what is requested of the artwork?

Anyone who wishes and agrees to take on the responsibility.

You do not need to be an art historian or expert to recognise the need to adapt to current cultural upheavals. Nor is it necessary to be especially cultivated in order to have the desire to rebuild your relationship with the world when these upheavals affect your identity, history, relationships and environment.

Anyone can show intelligence and courage. Anyone can reflect on their own situation and find the right words to express themselves, to forge a dialogue with artists and to influence those involved in the realisation of a project that is about to become part of the life of a community.

How can I meet an artist and participate?

Our mediators’ roles to liaise with all participants and provide the skills and knowledge needed to participate.

The mediator is familiar with the artists and the requirements of modern creative work. They also manage all financial, legal, technical and administrative aspects of producing the artwork.

How do I find a mediator?

You can find a mediator in your area in the ‘Contact’ section of our website. If there is none listed, please email: Catia.RICCABONI@fdf.org. We will try to find a mediator in your region.

How are the artists chosen and how are relationships with them established?

Works in any of the artistic disciplines can be commissioned. Artists are chosen for their ability and whether the medium in which they work meets the demands of a particular commission. Qualified mediators are responsible for evaluating an artist’s ability to contribute based upon their knowledge of the context. They then put forward a proposal that patrons are free to accept, or reject and ask to have it better adapted to requests.

Failure is possible but is rare when projects have been critically thought through in advance, and when patrons themselves are convinced of the merits of their initiative. Artists are sensitive to fact that we do need them and are always open to discussion and negotiation if the issues and participants are serious.

In addition, artists do not like to be placed in competition, and asking several artists to bid with project ideas is a costly exercise. Avoiding this will greatly improve the quality of the creative work.

Art is expensive – where does the money come from?

It is true that, since the beginning of civilisation, art has come at a price – and this price can sometimes be substantial.

However, if the reasons given by patrons are justified and are of general interest, experience shows us that considerable funds can be sourced from public or private financial partners.

As well as funds purely intended to support culture, those aimed at boosting economic and political development and improving our environment can also be directly involved as part of a joint project.

Fees for the artist’s work are always separated from technical costs relating to the realisation of the project. These fees are not calculated on the basis of a speculative market price but on the amount of work done.

Finally, in terms of realising the project, it is up to patrons and mediators to determine how much funding can be requested and realistically obtained.

Who does the artwork belong to?

Whether financed by public or private means in the general interest, the artwork enriches the heritage of the community, represented by a non-profit body able to manage use and maintenance of the artwork.

Use of the artwork is in turn determined by patrons in collaboration with the artist.