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Performative Defiance Lecture Series

Research Group: Cultural and Creative Industries

The Performative Defiance Lecture Series is an initiative of the Cultural and Creative Industries Chair, organised in collaboration with and hosted by the Master Institute of Visual Cultures, Den Bosch. Its aim is to provide within Avans University of Applied Sciences an open, public forum where some of the foremost national and international voices challenge us to think about and discuss the role of art and design for the creation of a different future, to imagine another kind of world, the kind of world we wish to live in.

Performative Defiance

The notion performative defiance refers to creative practices that depart from the idea of the future as a mere update of the present and calls for a recharge of aesthetic practice that turns complicity into defiance. What is required of art and design is an aesthetic mobilisation to unsettle and then create the conditions that will ensure our survival and enhance our capacity to create and resist in the future. Performative defiance is therefore an articulation of a creative longing for a desirable future that lends itself to a counter position set against the deadlock of the present and against the symbolic misery of our time. 

Watch the lectures online  

The Performative Defiance Lecture Series took place in 2019 and 2020 but can be viewed online.

‘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, and is a tutor at the Master Institute for Visual Cultures.

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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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