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Alternative practices in the economy of solidarity with Sepp Eckenhaussen at ‘Shared Visions’ seminar in Serbia

From March 15 to 18, 2024, Caradt’s Creative and Culture Industries researcher Sepp Eckenhaussen was in Pirot (Serbia) to give a lecture and a workshop at a seminar organized by ULUSarrow, the Serbian association of visual artists. This seminar, part of the project ‘Shared Visions: The First Artists Cooperative in the Western Balkans,’ aimed to explore new organizational models for artists amidst ongoing global challenges.

Sepp Eckenhaussen’s lecture, titled ‘Precariat, Entreprecariat, Projectariat, Cybertariat, Cognitariat, Affectariat: On the Organisation of Artists in Permacrisis,’ delved into the precarious situations artists find themselves in today. He discussed innovative practices across Europe, highlighting the potential of cooperatives in the visual arts as sustainable models for creative work. His workshop further explored this potential of cooperatives in visual arts and how these models could be adapted and implemented, marking a step towards fostering the economy of solidarity and innovation in the arts sector.


This seminar also featured discussions on the cultural and economic landscape of the Western Balkans, emphasizing the need for structures that support artists’ stability and growth. The full video recording of the lectures are available on the YouTube channel of ULUSarrow, providing a broader audience access to these groundbreaking ideas.


This activity received support from the Mondriaan Fondsarrow, underlining its significance in promoting innovative approaches to arts and culture.

Research Group: Cultural and Creative Industries

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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