In urban sociology flea markets are described as „the new urban adventure“, „space of communication or as an act of „using urban space for social benefits“. It is in this believe that I curates spaces as:
> a means of bringing people together for interactions that go far beyond the purpose of commerce.
> an event to strenghten our sense of connection to each other by trading goods and sharing stories/knowledge behind them.
> a way to become aquainted with strangers.
> a possability to reactivate an empty building, hidden park, open field, abandoned swimming pool or even a forest.
As the FLEA MARKET MAVEN I pass on my knowledge of hosting flea markets in collaboration with local collectives in different places and cultures throughout the world.
Each curated market operates in a place and culture specific system following it´s on laws based on the three main market rules:
I.) There is no fee for participation, but vendors are asked to prepare a home made dish like a cake, a quiche, a fritata etc. to trade for a space. ( ≥ representing the local quisine and embeding an alternative economic system )
II.) Only second hand / used goods can be offered. ( ≥ only already used items have the potential of hidden memories/stories/knowledge )
III.) No pricing of the items. Everything is up for negotiation. ( ≥ to engage conversation between two strangers)
Each space of a flea market will be approx. divided in:
– min. 70 % private vendors, selling personal items they son´t need anymore
– max. 5–10 % proffessionel vendors
– 10 % café/seatig area
– 5 % stage space for musical act
– 5–10 % space for local artists/service providers/ the unknown
Flea markets bring together a diverse crowd and engage communications that can go far beyond the purpose of commerce. Or as Oldenburg says „Because flea markets brought people with shared interests together – whether that shared interest was collecting car memorabilia, browsing antiques and collectibles, or sharing in a common culture – they also helped to build communities.“
Jule Osten, Berlin, 2017