A report with scenarios on the future of public funding for contemporary art in Europe. The book European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding for Contemporary Art in Europe, was released between 20-24 October 2005 at the Frieze Art Fair, London. This publication made in collaboration between Iaspis, eipcp and åbäke, bundles together a significant set of insights into the future of public funding in different European contexts from the precariousness of artistic working conditions and the impact of neo-liberal policies on the cultural sector. From the introduction: It is 2015. Art is almost completely instrumentalised, regardless of whether its financing is private or public. Art services are either relegated to national or European interests, where it is especially useful in the construction or reinforcement of specific identities. At the same time, art is a desirable commercial product. It is ideal for collecting and it contributes to regional development whilst providing society with new creative employment opportunities. Visiting art museums and centres is a popular, easily digested leisure activity. In 2015 art is also used to stave off undesirable fascistic and nationalistic tendencies in society. This is one way of viewing the near future according to the eight contributors to European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding for Contemporary Art in Europe. The report is a collaboration between Iaspis (International Artist Studio Programme in Sweden) eipcp (European Institute for Progressive Cultural Policies) and an international design group based in London. The report has been produced on the occasion of the Frieze Art Fair in October 2005. At the Frieze Art Fair, the report will be distributed free of charge. The report will also be available as a pdf-file at http://www.iaspis.com and http://www.eipcp.net The other way to view future development would be towards a more critically oriented art, a cultural practice that finds its own route via the establishment of self-supporting micro-systems. This vision of art is not necessarily adapted for exhibitions and other established institutional formats while it would remain an important component of civil society. This more engaged system would encompass more forms of collaboration than present-day art appears to do, all according to the contributors to the report. But how would it be funded?