framework for cultural and material reproduction of urbanity and images. The search
for innovative growth industries for the positioning of the region in the national
location competition has meanwhile become an omnipresent component of the
political debate.
The hypotheses presented here state that artists prefer and allocate special
importance to spatial concentration and locational factors like networks, creative and
innovative environments. Artists sort themselves in space, with those for whom
networking is especially important residing in the central districts of Berlin
(hypothesis 1). They tend to operate based on different strategies dependent on their
preferred location in the city (hypothesis 2).
Firms in CI branches are likely to be found close to artists from other industries
(hypothesis 3).
To be creative and gain experience, artists need open spaces without the pressure of
commercial land use (hypothesis 4).
In the empirical analysis these conjectures will be examined on account of their
applicability.
Consequently, the creative economy and its special innovation ability, in an urban
context, can be seen as the motor and carrier of structural change in Berlin’s
knowledge and information society. Not only will the labour, consumer, education
and real estate market need to be newly defined but also the rising importance of
non-pecuniary transfers and with that a connected re-definition of the relationship of
the interdependent pillars culture and economy must be determined.
This paper starts with a critical review of the receipt of artists in Creative Industry
(chapter 2), focuses in chapter 3 on Berlin’s visual artists, the empirical findings and
ends with some suggestions to promote the visual artists.