Art sociologist Pascal Gielen defends the hypothesis that global art scene is an ideal production entity for economic exploitation. These days the workethic of the art world with its ever-present young dynamic, flexible working hours, thematic approach, short-term contracts or lack of contracts and its unlimited energetic freedom is capitalized within the cultural industry and has been converted into a standard production model. In the glow of the creative cities and the creative industry governmetns embrace this post-Henry Ford work model and seamlessly link it to the globally-dominant neo-liberal market economy.
DOCUMENT
Kunstsocioloog Pascal Gielen verdedigt de hypothese dat de geglobaliseerde kunstwereld een ideaal terrein voor economische uitbuiting is. In de roes van de creative cities en de creatieve industrie omarmen overheden dit postfordistische werkmodel en sluiten zo naadloos aan bij de mondiale, neoliberale markteconomie. Gielen diept deze situatie uit en wil tegelijkertijd nieuwe alternatieven aanreiken, die de kunstwereld nodig heeft om haar eigen dynamiek en vrijheid te bewaren. Zijn zoektocht leidt hem naar plaatsen van gedeelde intimiteit en ‘slowability’ temidden van de hectische, globale flow van artistieke ontwikkelingen en trends. Deze derde editie is geheel herzien en bijgewerkt met Gielens meest recente inzichten in de politieke dimensies van kunst, autonomie en de relatie tussen kunst, ethiek en democratie.
DOCUMENT
What is a pop-up store and how can it be used for organisational counterspacing? The pop-up can be interpreted as a fashionable and hypermodern platform focusing on the needs of a younger generation of consumers that searches for new experiences and is prone to ad hoc decision-making. From this perspective, the pop-up is a typical expression of the experience economy. But it is more. The ephemeral pop-up store, usually lasting from one day to six months, is also a spatial practice on the boundary between place as something stable/univocal and space as something transitory/polyphonic. Organizational theory has criticized the idea of a stable place and proposed the concept of spacing with a focus on the becoming of space. In this article, the pop-up store is introduced as a fashionable intervention into organizational spacing. It suggests a complementary perspective to non-representational theory and frames the pop-up as co-actor engaging everyday users in appropriating space. Drawing on Lefebvre’s notions of differential space, festival and evental moment, theory is revisited and then operationalized in two pop-up store experiments. Apart from contributing to the ongoing theoretical exploration of the spacing concept, this article aims to inspire differential pop-up practices in organisations. https://www.linkedin.com/in/overdiek12345/
DOCUMENT
