CARADT researcher Sepp Eckenhaussen has published a new book, Goodbye Poverty Jetset: How Art Workers Make Solidarity Economies. The publication explores how economic alternatives can contribute to a more sustainable and equitable art world for those working within it.
The book starts from a pressing question: why does the art economy generate great wealth for some while leaving many artists and art workers in precarious economic conditions? Rather than only analysing this imbalance, the book examines how existing practices can help reshape the economic structures of the arts.
Each chapter focuses on a different model already being developed and applied by art workers, including commons, cooperatives, community currencies, basic income, infrastructural critique, fair payment guidelines, economically responsible art education and social unions. Through a combination of case studies, theory and historical reflections, the book offers strategic insights into how solidarity economies can support those working across the arts.
Designed as a practical toolbox, Goodbye Poverty Jetset is intended for artists, designers, curators, writers, museum staff, art handlers and others who want to collectively contribute to a more sustainable art ecosystem.
The publication was released by HumDrumPress
and was made possible with the support of, among others, CARADT, the Creative Industries Fund NL, the European Commission and the Institute of Network Cultures.
More information about the publication can be found on the HumDrumPress website.
Images: HumDrumPress
‘‘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
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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