By Marie Thams, spokesperson, Visual Artists Association (BKF)
Leather, The magazine Billedkunstneren #2 2026
A sustainable artist economy is by no means a new topic for a union like ours, but sometimes even the biggest issues need to be addressed together. That is why the Irish model for basic income for artists was the focal point of BKF's board seminar earlier this year, where the board and secretariat met for a joint working day. Because there is a need to think of new ways in the work of strengthening artists' economic conditions.
We therefore invited representatives from our sister organization Visual Artists Ireland and the Irish research agency Alma Economics to give presentations on the Irish model for basic income for artists. Basic Income Ireland (BIA), which came into effect in the spring, began as a pilot project during Covid-19, and the results speak for themselves: Artists thrive, new art is created, and the investment also pays off financially. Documentation shows that for every euro the state has invested, 1,39 euros have been returned. From a Danish perspective, it is interesting how the BIA testifies that when politicians dare to invest in the arts and recognize the conditions of artists, there are great benefits to be gained.
But can such a scheme get off the ground in Denmark? What would the scheme mean for us? And does it help too few artists? BIA only goes to 2000 randomly selected artists and art workers across art forms and professions in Ireland. In Denmark, which in many ways resembles Ireland in terms of the size of the artist population, there are 28.000 artists across art forms, of which approximately 3000 are visual artists. This means that only a small number of visual artists would be selected in Denmark if we calculate based on percentages.
In BKF, we believe that the scheme calls for examination. Not least because several political parties have embraced the idea. Most recently, the Radical Left has launched the proposal for a “State Starting Wage for Artists”, a pilot scheme for younger, newly qualified artists. As I commented in Politiken in March, we welcome the proposal, which opens the way for us to further develop how and how much the state should invest in art. At the same time, it is crucial that the discussion does not only apply to young people. We know that the artist economy is tight throughout their working lives. A sustainable proposal must therefore secure the economy throughout the entire artistic career, not just at the beginning.
At BKF, we know how important free funds are for strong and independent art. We know this from working grants that give artists the opportunity for immersion, innovation and increased artistic contribution. We will continue to express this – also to the foundations, public and private, which have a responsibility in the distribution of funds and can help strengthen artists' autonomy. As we have previously pointed out in the Althingi, the foundations should invest more directly in free art and thus in the actual production of the works and the development of artistic practice. Because we must never compromise with the artists' opportunity to work experimentally and long-term.
And this is precisely where we can learn from the Irish model. Because in Denmark there is a need for recognition of artistic work as a permanent job with a need for a sustainable economy. BIA can thus act as a lever in the political debate. So let us be inspired by the Irish when it comes to their courage to consider art as an important and proud part of culture and identity by ensuring: The free means of art. Something that requires both more work grants and a strengthening of the existing ones.
With this issue, we also warmly welcome The visual artist's new editor, Tobias Lauritzen, who is educated at the Writers' School and Roskilde University in journalism and history. Tobias has previously worked on the trade magazines Elementary school, The engineer, Academic magazine og SINDbladetWe look forward to the collaboration and at the same time thank Steen Bruun Jensen for four good years as editor of the magazine.
Happy reading.