ABSTRACT This article seeks to map the empirical value of approaching counter-hegemonic creative activist practices with the concept of what David Harvey calls ‘spaces of hope’. It takes up the question of ‘how can these practices foster “spaces of hope” in the neoliberal city?’ by unpacking two case studies of publicly accessible, creative activist events in Leipzig, Germany: (1) GSO, an electronic music parade and (2) PROtest, a participatory art project. Six creative activists were asked to speak about their dedication, the creative practices used and their perceptions of the course of events. While Leipzig has a long activist tradition, attempts to situate the city as ‘creative’ and, consider cultural and creative industries as a promising business sector, are relatively new. Cultural artefacts and creative practices are cornerstones of Harvey’s concept: their particularity – in opposition to the homogeneity presupposed by commodity production – facilitates oppositional politics. This study takes up ‘particularity’ with Harrebye’s creative activist principles of ‘irony’ and ‘utopia’. The paper’s specific approach to ‘spaces of hope’ illuminates the context specific aspects of these creative practices and the ways in which the activist events challenges urban neoliberalism in their particular way with an eye for their origins, practices, and failures.

中文翻译：

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在新自由主义城市的墙上敲洞：德国莱比锡创造性激进主义的案例研究

摘要 本文试图用大卫·哈维所说的“希望空间”的概念来描绘接近反霸权创造性活动家实践的经验价值。它提出了“这些做法如何在新自由主义城市中培养“希望空间”的问题？通过对德国莱比锡公开访问的创意激进活动的两个案例研究进行分析：（1）GSO，电子音乐游行和（2）PROtest，参与式艺术项目。六位创意活动家被要求谈论他们的奉献精神、所使用的创意实践以及他们对事件进程的看法。虽然莱比锡有着悠久的激进主义传统，但试图将这座城市定位为“创意”城市，并将文化和创意产业视为一个有前途的商业部门，相对较新。文物和创意实践是哈维概念的基石：它们的特殊性——与商品生产预设的同质性相反——促进了对立政治。这项研究与 Harrebye 的“讽刺”和“乌托邦”的创造性激进主义原则具有“特殊性”。该论文对“希望空间”的具体方法阐明了这些创造性实践的特定背景方面，以及激进主义事件以特定方式挑战城市新自由主义的方式，并着眼于它们的起源、实践和失败。