From September 27th until October 1st, the Institute of Network Cultures, Hotel Maria Kapel (Hoorn), and Platform BK organise an autumn camp for young art workers. Fifteen recently graduated artists, designers, and theatre-makers are invited to five days of conversations, workshops, and communal activities. Each day, they will address one important theme of working and living in the Dutch cultural sector: from working in the gig economy and money flows in the cultural sector, to experiments with crypto, staying happy and healthy, and durable self-organization. The results will be collected and distributed in a zine, to make sure that all (young) cultural workers can share in the developed insights.
On Thursday the 30th of September Caradt professor Sebastian Olma, Caradt researcher Hedwig Houben, Rob Leijdekkers and Brenda Tempelaar will organise the fourth day of the autumn camp.
Day 4 – Thursday 30 September: Staying happy and healthy
10:00-12:30 – Workshop ‘Curriculum Veto’ by Art Goss
12:30-14:00 – Lunch, conversation with Wethouder Samir Bashara
14:00-15:30 – Roleplay ‘An Analogy: Art and the Immune System’ by The Long Tail of Art (Caradt)
15:30-17:00 – Guided tour through the West-Fries Museum
For more information visit the Institute of Network Cultures
‘As a result of my current research, I ask the students the questions “what is your work” and “what works for you.’
Rob Leijdekkers is a researcher at the Cultural and Creative Industries research group and a tutor at the Art & Research programme at St. Joost School of Art & Design.
‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’
Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.
The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?
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