The current Norwegian cultural diplomacy is marked by being part of a Foreign Service in an alleged state of radical disorder. Allegations include arguments that new technology, a changed geopolitical situation, the dissolution of the concept of nation states and an international art world in comprehensive (predominately digital) transformation, has left traditional state diplomacy in a trench of irresolution and incapacitation. Assumedly, this disorder would affect foreign cultural policy negatively accordingly. In this paper, departing from empirical data from a comprehensive Foreign Service mission fieldwork, this assumption is refuted. Rather, it suggests a professionalized, pragmatic and dynamic cultural diplomacy, incorporating entrepreneurs capable of mediating between artists, art organizers, media and politicians. Despite holding a relatively low status within diplomacy, cultural diplomats have thus been able to exploit the possibilities given by a corps that increasingly has seen a social turn, hedging both cultural and foreign policy aims and objectives.
Keywords: Cultural diplomacy, Foreign Cultural Policy, International art exchange
