In this investigation I prove the hypothesis 2 (They tend to operate based on different
strategies dependent on their preferred location in the city).
The results of the OLS regression for reasons of districts preferences of visual artists
in Berlin shows that for the “Scene” group (column 2 in table 1) of visual artists the
cultural offering and the image as creative site is significant. Notably strong are the
affinities in contrast to both other groups. As for the “Central” group (Column 3) as
the “Rest” group (column 2) the cultural offering is no significant reasons.
For locational site preferences image as creative site the “Central” group shows a
relevance but with an unexpected sign.
The Off-Culture is located in the scene districts, not automatically in the inner-city
districts, like Charlottenburg and Tiergarten. To be central is not enough.
Even the street credibility plays an important role also for visual artists. A Visual
Artist appears on the market and to potential buyers authentic, if emotion can
convey, that one’s is a part of scene and on the basis on back round knows, what
about one’s talk. Therefore a scene-close site is indispensable. Products with the
charm of an identity owned imprint to emphasise the originality and mention the
socio-cultural element.
Visual artists in these scene districts have a direct access to the scene (or share of it).
As a result of the proximity or affiliations they dispose to niche-specific knowledge
and know the different codes and the independent-(ethos) required from specific
niches.
Because of these factors visual artists get the so called „Street credibility“, who in turn
act as a figurehead of a style and rise the competiveness, because some of demanding
customers give them a high significance.
The notion „street credibility“ as a milieu anchored kind of image finds its source in
the „symbolic-imaginary charge of specific spaces with accordingly pictures and
association”.
„It is more about 'imaginative phantasm' as material spatial qualities, which generate
a feeling of affiliation“ (Lang 1998: 77)
The reputation and character as artists districts is at least stamped by the artists even
by themselves.
Also the critical mass of visual artists who sell art and artistic products via their
studios, attract attention to the artistic districts and enhance the prestige for the
preferred locations.
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