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Event: “Access Granted? Breaking Into and Breaking Down the Art World”

On Wednesday, January 29, 2025, at 20:00 CET, CARADT researcher Sepp Eckenhaussen participates in the event Access Granted? Breaking Into and Breaking Down the Art Worldarrow. The event is organized by Spui25 in collaboration with Young Collectors Circle. This program, held in Amsterdam and accessible via livestream, explores systemic and personal challenges in the art world and provides actionable insights for emerging cultural professionals.

Access Granted? Breaking Into and Breaking Down the Art World
Access Granted? Breaking Into and Breaking Down the Art World

The event delves into critical questions surrounding accessibility and inclusivity in the cultural field, highlighting systemic barriers and exploring ways to overcome them. Together with guest speakers from the cultural sector, the program investigates how cultural practitioners—particularly those entering the field—can navigate, challenge, and reshape the art world. How can we foster a creative ecosystem where diverse voices feel welcomed and valued? What actionable steps can be taken to build a more equitable and thriving art community?

The evening will feature a masterclass on the inner workings of the art world, providing attendees with insights on how to secure their place within it. The program also encourages collective reimaginings of an art world that fosters dialogue, breaks boundaries, and ensures space for all to create, experience, and belong.

As part of the research project Our Creative Resetarrow, Sepp Eckenhaussen will share insights into the structural barriers that influence cultural participation. In his contribution, Sepp emphasizes how creative practices and institutional strategies could help foster inclusivity and collaboration within the art world.

Speakers

  • Nadine van den Bosch, director and co-founder of Young Collectors Circlearrow, curator, and author, shares her expertise on the role of collectors in fostering inclusivity.
  • Sepp Eckenhaussen, researcher at CARADT and Institute of Network Cultures and leader of Our Creative Reset, explores how creative practices can challenge systemic barriers.
  • Leia Amerding, curator and producer, discusses race theory and the art market across the African continent.
  • Christa-Maria Lerm Hayes, professor of modern and contemporary art history, contributes her insights into social art practices and artistic research.
  • Yin Aiwen, artist and designer, reimagines socio-economic and cultural systems through techno-institutional design.
  • Moderators TengTeng Ho and Zana Obbema facilitate discussions, focusing on themes of identity, equity, and inclusivity.

 

Participation Details

The event will take place on Wednesday 29 January 2025 at Spui25 in Amsterdam and will also be available online. For more information, visit the Spui25 websitearrow.

Our Creative Reset

Our Creative Reset is a research program of the Institute of Network Culturesarrow and CARADT about economic sustainability in the arts in permacrisis. It explicitly confronts a set of uncomfortable but unavoidable questions. How can artists make a living without selling their souls? What is the role of art in a world wrought by innumerable crises? Can we work towards a just and sustainable art economy? How would this change the circulation of art, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions?

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‘‘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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