Visual Artists Between Cultural Demand and Economic Subsistence. Empirical Findings From Berlin.

their work), is an example. Similarly, purchases by museums of contemporary art are
made possible²¹.

Furthermore the financial support from the state in paying the stand fees for national
and international exhibitions²² for private galleries as well as individual actors is of
great importance.

In addition, curator network support should be used in the context of a curator school
located in Berlin like the International Studio Program (ISP New York) as a demand-
orientated possibility, in order to lure collectors, art buyers, and even sponsors and
patrons to Berlin. Simultaneously, the international exchange of art would be
accelerated.

A reasonable re-usage of abandoned property, in particular in the downtown area,
presents the opportunity to offer visual artists work possibilities especially in such
locations, where many artists and other creative and innovative industries are already
settled and where there exists already a strong socio-cultural linkage within existing
milieus.

4. Conclusion

The aim of this paper was to show, how visual artists use creative milieus in a context
of Creative City to transform Creativity into Cultural Goods and Services. As a result
of the broad empirical data pool is this investigation, an original contribution towards
the comprehension of Berlin’s artists.

As one of the core players of cultural industries, visual artists operate between
cultural demand and economic subsistence. Especially the extreme tense economic
situation on the margin of subsistence make it difficult for most artists, to be
productive at all.

50% of society’s necessary work is already yielded outside of monetary transactions.
There is a strong, rising tendency of reductions in the social fallback system, making
self-sufficiency and subsistence economy increasingly necessary for visual artists.

Furthermore the actors play, as pioneers, a key role in the occupying of urban space
to regenerate de-industrialised and seedy places.

Work environments are situated in newly defined communication areas, which
correlate, to an increasing extent, with geographical clustering of performing artists.

²¹That, what the state can not afford, could then be supplemented through sponsoring, patronage,
donations, development associations and partnerships.

²² This is already being practiced by the agents in Berlin’s music industry, in a rudimental manner.

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