Publishing in the 21st century

Norwegian artists face a relatively unique situation in the 21st century, due to the lack of funding and early-stage support. Many fail at an early stage due to lack of hope, income and support from their surroundings. This in turn, leads to an immense loss of cultural talent. entered the scene for that precise reason, back in 2005. Our preliminary research indicated that there was an industrywide lack of project management, financial aid and general guidance.

Ever since the inception of our organization, we have guided and helped numerous Norwegian artists in their quest for recognition, financial stability and promotion.

An important question remains through. What does it actually take to be a successful promoter, publisher and artistic guide in the 21st century? Here are some key ideas.

1. See it from the artists’ perspective

Artists seek to inspire and change the status quo. For the most part they are not driven by financial incentives, but rather the wish to express themselves through their work.

In order to promote their artistic ideas, we must also seek to understand their underlying agenda. 

Here is an example: Some artists are not interested in fame and fortune on an international scale. Their focus is primarily to promote art domestically. With such a limited scope of interest, we should never push for a different approach.

In other words: Listen closely in order to understand the artist and his or her needs. We may inspire, but should never attempt to change the course of their work.

2. Find patrons willing to support

This is a well known fact. Artists need patrons willing to make financial contributions on a steady basis.

The need for financial stability should not be underestimated and our own organization serves as a good example. We provide our services on a pro-bono basis, and do not charge any type of compensation.

In return we’ve put together a team of dedicated employees, who share our idealistic goals and long term vision.

The same goes for the relationship between artists and patrons. They need patrons who share their vision and ideas, without any contractual caveats.

3. Networking is the key to success

In order to succeed, it’s crucial to network with other artists, promoters and the media. Our experience has shown that a range of opportunities arise from an active approach to networking.

For example. Norway is known for offering a pletora of unique cultural festivals. For an artist to get invited, it requires a certain degree of visibility and publicity. Receiving an invite to perform at these venues is often tied to whether one knows the «right people».

This is also an area where can contribute with crucial knowledge and an existing network. Over the years we’ve been fortunate to create and maintain friendships with other promoters of the liberal arts.