The rooted dichotomy between art and economy tends to simplify our understanding of the conditions under which makers of cultural products operate. The contingencies of the last decades, leading to a greater plurality of artists’ practices, urge us to create new conceptual tools to seize the effective cultural production structures. This paper aims to open this dichotomy - anchored in institutional sociology, creative economy, arts management and cultural entrepreneurship - and to reveal the relational complexity of cultural production. Building on a meta-study of a body of qualitative research published between 2012 and 2022 based on semi-directed interviews, focus groups and case studies about artists’ effective practices in music, performing arts, visual and mediatic arts from underground scenes or marginal communities, we identify 20 postures adopted by artists. We place these postures on two axes reflecting the intensity of economic and artistic logics. This taxonomy explains more accurately today's conditions of cultural production. It allows us to better understand: the multiplicity of artists’ and works’ trajectories, as well as creation networks; the coexistence and co-dependency of postures within the same practice; and the diversity of artists’ practices beyond a disciplinary logic and a linear conception of artistic career.

中文翻译：

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艺术家姿态分类，把握多元文化生产实践：杜绝蝉蚁


艺术与经济之间根深蒂固的二分法往往会简化我们对文化产品制造商运作条件的理解。过去几十年的突发事件导致艺术家实践更加多元化，敦促我们创造新的概念工具来抓住有效的文化生产结构。本文旨在打开这种以制度社会学、创意经济、艺术管理和文化创业为基础的二分法，并揭示文化生产的关系复杂性。基于 2012 年至 2022 年间发表的一系列定性研究的元研究，这些研究基于半定向访谈、焦点小组和案例研究，涉及地下场景或边缘社区的艺术家在音乐、表演艺术、视觉和媒体艺术方面的有效实践，我们确定了艺术家采用的 20 种姿势。我们将这些姿势放置在反映经济和艺术逻辑强度的两个轴上。这种分类法更准确地解释了当今文化生产的条件。它让我们更好地理解：艺术家和作品轨迹的多样性，以及创作网络；同一练习中姿势的共存和相互依赖；以及超越学科逻辑和艺术生涯线性概念的艺术家实践的多样性。