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Launch of ‘Art in Permacrisis’ Podcast Series

We are excited to announce the launch of the podcast series “Art in Permacrisis.” This series, hosted by Cultural and Creative Industries researcher Sepp Eckenhaussen together with Candela Cubria, explores sustainable art economies in the face of ongoing global crises. Each episode features speakers with combined backgrounds in art, theory, and organizing.

Art in Permacrisis

Episode 1: Kuba Szreder

Kuba Szreder, a lecturer in art theory and freelance curator, discusses his book “ABC of the Projectariat,” focusing on living and working in a precarious art world. Listen to the podcast herearrow.

 

Episode 2: Emanuele Braga

Artist and activist Emanuele Braga explores how artists could be of influence for the concept of the Universal Basic Income, drawing from his work with the Institute of Radical Imagination. Listen to the podcast herearrow.

 

Episode 3: Katja Praznik

Katja Praznik, an associate professor at the University at Buffalo, delves into her book “Art Work: Invisible Labour and the Legacy of Yugoslav Socialism,” discussing strategies and the future of work in the arts. Listen to the podcast herearrow.

 

 

This podcast series is made possible through the collaboration of Caradt and the Institute of Network Cultures, with technical support by Tommaso Campagna and editing by Giulia Timis.

‘‘How will our graduates make a living without selling their soul?’’

Sepp Eckenhaussen, arts researcher and organizer, explores sustainable economic models for the arts at Caradt. He addresses the art sector’s precarity through activism, policy, and digital culture

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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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