(HdS) as a case of creative placemaking for the common good.Living on the edges of the former East Berlin’s Alexanderplatz, what sets this project apart from the conventional creative placemaking formula is that it was initiated by artists and activists, rather than property developers, housing associations, or the city’s municipality. As a result, artists are proper stakeholders in the project. These artists’ involvement is motivated by a desire to contribute to the common good of their city (over mere self-interest). If this isn’t just another creative-city project, then what is it?
This article is based on empirical research conducted by CARADT researchers Renée van Oploo, Rob Leijdekkers and professor Sebastian Olma since December 2023.
Read the full longform via INC Longform: Subverting “Creative Placemaking:” How a Berlin Art Stunt Turned into a Model for Democratic Urban Development « INC Longform
‘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.
‘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.
‘Within my practice I create spaces for introspection while exploring ethical dilemmas. ’
In 2017, I graduated from St. Joost in Den Bosch, and I hold a Master’s in Applied Ethics from Utrecht University. Presently, I work as an artist, am an active member of the YAFF art collective, and concurrently serve as a lecturer.
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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