In the broader context of research into cultural labour, this article focuses analytical attention on working conditions within socially engaged arts practice, which have been under-researched to date. In particular, the article aims to uncover the unacknowledged costs shouldered by socially engaged practitioners working on publicly subsidised participatory projects. On the basis of the analysis of qualitative interviews with socially engaged artists and creative professionals, the article calls for an explicit effort to bring our public cultural institutions to task in relation to what Mark Banks calls ‘creative justice’. This entails highlighting the mechanisms of systemic exploitation of artists within current funding practices and the ways in which project-based funding rarely incorporates, as a matter of course, provisions to ensure the fulfilment of duties of care towards both artists and participating communities. The article draws on feminist ethics of care to advance a first intervention towards developing fresh thinking on the moral economy of the subsidised arts sector; it does this by starting from an acknowledgement that the normative environments of contemporary arts funding point to a clear moral failure of cultural policy.

在更广泛的文化劳动研究背景下，本文将分析重点放在社会参与的艺术实践中的工作条件上，迄今为止，这些条件尚未得到充分研究。特别是，本文旨在揭示从事公共补贴的参与性项目的，从事社会活动的从业者所承担的未承认的成本。在对与从事社会活动的艺术家和创意专业人士进行定性采访的分析的基础上，本文呼吁作出明确的努力，使我们的公共文化机构承担起与马克·班克斯所说的“创造性正义”有关的任务。这必然要强调在当前的资助实践中对艺术家进行系统性剥削的机制，以及基于项目的资助很少纳入的方式，当然，确保履行对艺术家和参与社区的照顾义务的条款。文章借鉴了女权主义的护理伦理，以推动对开发新的思维方式的首次干预。补贴艺术部门的道德经济; 它是从承认当代艺术资金的规范环境指向文化政策的明显道德失败开始的。