![]() Currently, artmoney is produced by around 1000 artists, situated worldwide, and is traded and exchanged with other artists, businesses and members of the public. Located in the Copenhagen district of Frederiksberg, the ‘Bank’ acts as both a gallery and a clearing house for the production and circulation of ‘artmoney’, an ‘alternative’ or complementary currency that takes the material form of banknotes, but is unique in the sense that each note is a piece of original art. ![]() The ‘Bank of International Artmoney’ was formed by in 1997 by the Danish artist Lars Kraemmer. But as I will show, while this vernacular creativity persists (see Edensor, Leslie, Millington, & Rantisi, 2009), it is not without complexity or contradiction. However, in this article I want to go back to the idea of progressive creativity in cities – particularly so in the wake of critiques of culture-led regeneration and the global financial crisis – in order to examine one particular expression of the vitality that continues to pervade urban cultural practice. ![]() In this regard, city managers, aided often by academics, have tended to ignore the political dimensions of the concept in an effort to yoke it to some depressingly standardised economic development initiatives. Since then the concept has become more thoroughly invested with a particular set of assumptions around gentrification and urban remodelling processes, largely based on real estate development and the commercial exploitation of art, culture and leisure. The original idea of ‘the creative city’ was most appealing when it concerned itself with how people were devising new ways of solving the problems they faced in their everyday lives.
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