Cultural economy intersects contemporary Art in Goldin+Senneby’s work

My name appears as cultural economist in the credits in three of Goldin+Senneby’s works that constitute their Nordenskiöld Model series which started in 2010 and is ongoing. These three works are Discreet Charm (Goldin+Senneby 2011), I dispense, divide, assign and hold (Goldin+Senneby 2012) and Shorting the Long Position (Goldin+Senneby 2013). There is indeterminacy, both conceptually and practically, in naming and describing the set of collaborations between Goldin+Senneby, the artists, or more accurately contemporary artists, and myself, the economist or more accurately cultural economist. An academic’s relationship with another academic colleague is clearly defined: it is a precisely classifiable activity like being a co-author of an academic publication or being a participant in a funded or unfunded research project or in applications for research projects. Non-academic knowledge exchange relationships, usually, can be easily classifiable as well as they may take the form of consultancy, policy advice, expert opinion, etc. And increasingly, especially in the U.K., such non-academic engagements are formally recognised and encouraged to enhance career prospects of academics as they are deemed to be practically relevant academic work contributing to solutions for societal and business needs.