Da criação à exposição: os direitos de autor dos artistas visuais contemporâneos vinculados ao projeto "Redes Criativas" do SEBRAE / AL, na cidade de Maceió

Abstract

This research involves Copyright, Creative Economy and Visual Arts, one of the segments of the National Culture Plan (PNC), which created the National System of Cultural Information and Indicators (SNIIC), through Law No. 12.343, of December 2, 2010, proposed by the extinct Ministry of Culture and since January 2019, Special Secretary of Culture, having collegiate representation and plans monitored by the National Council of Cultural Policies (CNPC). In the History of Western Humanity, Visual Arts is one of the oldest areas of artistic creation / creativity alongside music, theater and poetry, but it lacks more data and indicators relating to professional and business related copyright. its creators (artists) in a consolidated and widely publicized way to add efforts to the Creative Industries Mapping promoted by the Rio de Janeiro State Federation of Industries (FIRJAN), since 2012, the Visual Artist Guide and the 6th Edition of the Sectorial Research on The Contemporary Art Market in Brazil, both launched in 2018, which uniquely point out the dynamism of the sector and reveal the percentage of 2.64% of the Brazilian GDP characterized by cultural and creative activities. Throughout the twentieth century, and contemporaneously in the twenty-first century, visual artists, who are one of the recipients of Law no. 9,610 of February 19, 1998 (Copyright Law), deserve an analysis of the issues inherent in moral and property rights. linked to his artistic work, materialized in his works that dialogue objectively and simply with his daily life. Therefore, the proposed research problem is: how to create efficient and accessible copyright information material for contemporary visual artists linked to SEBRAE / AL's “Creative Networks” Project, in the city of Maceió, in order to enable a more fluid management. of his works in the creative economy market? In order to achieve the general objective, intertwining it with the specific objectives as steps to be accomplished, the work, through an inductive method, proposed to be qualitative, based on bibliographic, documentary and empirical research techniques that involved the collection, analysis and interpretation of data from members of the creative ecosystem, resulting in a best practice manual with language accessible to the recipient-artist