Kapitalistische Geister in der Kultur- und Kreativwirtschaft

Abstract

Künstlerisch-kreative Arbeit wird auf politischer Ebene gern als moderne und zeitgemäße Arbeits- und Wirtschaftsform beansprucht. Die Wissenschaft hingegen schreibt ihr vielfach eine paradigmatische Kulturbedeutung im neuen Kapitalismus zu. Doch sind Kreative überhaupt eine geeignete soziale Gruppe, um solche weitreichenden Schlüsse zu ziehen? Diese Studie betrachtet die bisher kaum untersuchten Arbeitsverhältnisse in der Modedesign- sowie in der Kommunikationsbranche und geht der Frage nach, ob sich die kapitalistischen Geister nicht eher in den sozialen Kämpfen der Akteure zeigen: im Spannungsfeld von künstlerischem Drang und wirtschaftlichem Zwang.

Precarity as a Biographical Problem? Young Workers Living with Precarity in Germany and Poland

“…However, there are several shortcomings in such cultural explanations. Much research on precarity-as-choice mainly focuses on the creative sector, such as culture workers (Manske, 2015), musicians (Umney and Kretsos, 2015), artists and non-governmental organisation (NGO) workers or knowledge workers (Armano and Murgia, 2017), who are driven by their passion for their profession which is often considered much easier to develop under flexible working arrangements. The research demonstrates that managing precarity even among a narrow category of creative workers is by no means automatic and requires much identity work and an ability to cultivate holding environments in the absence of stable work organisation (Petriglieri, et al, 2019).…”

“…On the other hand, there is an emerging body of work that argues precarity is not perceived by those affected as problematic (see Bove et al, 2017; Manske, 2015; Umney and Kretsos, 2015). In the existing studies on young precarious workers, two ways of explaining their acceptance of precarity seem to dominate: cultural and generational.…”

“…In the case of creatives, the experiences of the precarious side of creativity and freedom usually involved the growing professionalisation of creative work and individual up-skilling efforts. Another mechanism was to maintain useful and valuable social contacts with other creatives, which fostered a ‘holding environment’ (see Petriglieri et al, 2019) and became a way to immunise against precarity and the spaces of cooperation and competition for the sake of current and future projects (see Manske, 2015; Szreder, 2016). However, among the creatives in the Polish sample, there were cases of involvement or, at least, active support for social and political initiatives striving to counteract precarisation.…”

Feminism and the Politics of Creative Labour: Fashion Micro-enterprises in London, Berlin and Milan

“…The new cultural economy has been of keen interest to scholars since the Millennium, and Berlin has attracted a good deal of attention, especially from cultural and economic geographers (see, among many others, Jakob 2009, Colomb 2012, Lange 2012. But only a handful of studies consider fashion as part of these often intersecting urban 'scenes' comprising predominantly music and club culture, graphic design, artists and curators, and the emerging tech sector, many of which converged not only in the city's famous nightclubs (Berghain, Tresor) but also in the growing spread of co-working spaces (see Kalandides 2014, Manske 2015. Of course, Berlin is a smaller city than London and not part of the global high-fashion city map.…”