Ksenya Blokhina, Contemporary Art Society
Naomi Korn, Naomi Korn Associates
Dominic Muller (Series Chair)
Daniel Rudd, DACS
Mark Titchner, Artist
Vivien Zhang, Artist
The second of CAS Consultancy’s series of podcasts exploring legal issues in the art world, Intellectual Property brings together a panel of artists, IP arts specialists and legal expert Dominic Muller. The hour-long podcast examines some of the myriad issues art faces in a world that is increasingly self-referential.
The panel come to grips with terminology that has a profound impact on the production of contemporary art: the artist’s moral rights, issues of copyright and the need for artists to retain control of their intellectual property are debated and discussed within a platform that is open to artists, students, gallerists, commissioners and collectors.
Ksenya Blokhina is the Image Rights Manager at the Contemporary Art Society. Hailing from Switzerland and Russia, she began her career in London within the commercial gallery sector before moving into copyright and artist estate management. Before she joined the Contemporary Art Society in 2020, Ksenya worked as Copyright and Licensing officer at Art UK, a charity that is digitising the nation’s art. Ksenya believes in copyright as a learning tool and is passionate about its role in an increasingly digital cultural sphere.
Naomi Korn is one of UK’s leading experts in copyright, data protection and licensing. She is the founder and Managing Director of Naomi Korn Associates and has been supporting the public, corporate, education and charity sectors on rights management and rights exploitation for the last 20 years. She is the former Chair, Libraries and Archives Copyright Alliance (LACA) from 2013 – 2017. During this period, she led the reform of the UK’s copyright laws on behalf of the cultural heritage sector, resulting in new UK exceptions to copyright in 2014. She has also regularly represented the interests of the sector to UK Government Ministers and she regularly sits on Government advisory groups. From 2002 – 2007, Naomi was the Secretary of the Museums Copyright Group and also a founding member of the Museums IP Network. From 2015-17, Naomi was a Trustee of the Chartered Institute of Library and Information Professionals (CILIP), the second largest professional organisation for librarians in the world.Naomi is a visiting lecturer at University College London, the Kingston University Business School and City University. In November 2017, Naomi was appointed a CREATe Industry Fellow and in 2018 she joined the National Lottery Heritage Fund Advisors Network as a sectorial specialist on rights management supporting the National Lottery Heritage Fund and its funded projects. Naomi has created the programme for the annual CILIP Copyright Conference since 2011, an event which she also chairs. Together with Charles Oppenheim and Adrienne Muir, Naomi co-authored “Information Law: Compliance for Librarians, Information Professionals and Knowledge Managers”, published in 2020 by Facet Publishing and based on the Compliance Methodology which she created. In 2020, Naomi was awarded the prestigious CILIP KM&I Walford Award for her outstanding contribution to Knowledge and Information Management.
Dominic Muller (Chair) has worked in various roles in the legal field for nearly 15 years in both the United States and the United Kingdom. Professionally his work over this period has primarily focused on financial services regulation and wider compliance issues, although he has simultaneously developed a sustained interest in the ways in which the law and the arts intersect and inform one another. These interests include the practical legal challenges faced by artists, galleries and commissioners; the ways in which financial instruments and technology shape the art market; the intellectual influence of the law on societal understanding of art, among others. Dominic will be exploring these points of convergence between art and the law, and highlighting their practical relevance to art market participants throughout this series.
Daniel Rudd has worked in the visual arts his entire career. He oversees all of DACS’ services and has worked with a diverse range artists and estates for 15 years, during which time DACS has developed and launched new services which provide protection, support, and financial income for artists. Daniel also works with several commercial galleries.
Mark Titchner’s (b. 1973, Luton, UK) work involves an exploration of the tensions between the different belief systems that inform our society, be they religious, scientific or political. Focusing on an exploration of words and language, in recent years much of his production has been based in the public realm both in the UK and internationally. These public works have often been created from extended group activities, working particularly with young people and in mental health settings. He was nominated for the Turner Prize in 2006, participated in the Venice Biennale in 2007 and was Artist in Residence at the Art Gallery of Ontario, Toronto in 2012. In 2018 he completed a major new permanent public work, ‘Me, Here Now’, which is installed at London Bridge Station. His work is held in many public collections including Tate, Arts Council, Government Art Collection, British Council, South London Gallery, Guildhall Art Gallery, Manchester Art Gallery and Birmingham Museum and Art Gallery. During the early stages of Lockdown he produced the project ‘Please believe these days will pass’. Poster and billboard versions of this artwork appeared in hundreds of sites in cities around the UK. The work was widely shared on social media and utilised around the world for news editorial.
Vivien Zhang’s paintings present a cultural and geographical fluidity which interrogates the palimpsestic nature of contemporary culture and the paradoxes of our information age. As a digital native, Zhang assumes the role of a passive recipient in an ever-increasingly digitally mediated world, and makes apparent the fragmented and sporadic ways in which we consume information. Zhang collates motifs from personal and collective shared experiences and manifest them in various combinations in her paintings. These motifs are often derived from multiple contexts and cultures, or share properties of ambiguity. Assembled in the space of her canvases, the motifs collide and defy their origin interpretations, generating open networks and “alternative landscapes” for an imagined generation of third-culture (individuals who were raised in a culture other than that of their parents’ or the culture of their country of nationality), digital inhabitants. Examples include the mathematical shape Gömböc, Central Asian kilims, “manicules” found in early European manuscripts, and spiral columns from Baroque churches. Vivien Zhang (b. 1990, Beijing) received her MA in Painting from the Royal College of Art, London in 2014, and BA in Fine Art from the Slade School of Fine Art, London in 2012. She is represented by Pilar Corrias Gallery (London) and Long March Space (Beijing). Recent solo exhibitions include New Peril, TANK Shanghai, Shanghai (2020); Soft Borders, Lawrie Shabibi, Dubai (2020); Codescape, Long March Space, Beijing (2018); Uzumaki, House of Egorn, Berlin (2018). Her works have been displayed in numerous group exhibitions, including After Image, Mamoth, London (2020); Echo Chamber, Plus-One Gallery, Antwerp (2019); and Digital Natives (with Thomas van Linge), The RYDER, London (2017). Zhang is the recipient of the Abbey Award 2016-17 at the British School at Rome and the Chadwell Award 2014-15.
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