Exporting Ideas, People, or Products? Does Russia Have a Place in the International Creative Race and Can Its Intellectual Potential be Transformed into Liquid Economic Assets?
The creative economy brings with it a new type of human occupation, a new type of consumer, a new market organization structure, and even new payment systems and new currencies. There is no established way to quantify the creative sector, but the entire world is nevertheless set on developing it. Traditional areas of competition – such as the defence or the energy sectors – are put by the wayside. The battle has shifted to the dimension of creative and innovative products, the production and export of digital content, and the ownership of intellectual property. Today, Russia is even losing the battle for its domestic market due to a trade deficit. But the country’s creative, historical, and cultural potential is great. Can Russia transform this potential into an economic asset and make headway in the creative products race? What needs to happen to Russia’s traditional financial institutions and digital assets to see the creative economy flourish? Do Russians have enough opportunities and capital to create a national creative economy or will international giants like Netflix buy ideas and people piecemeal? Who is investing in Russian creative products and how much are they investing? The state, banks, private investors, and cloud platforms: competing by volume, barriers, and growth opportunities. What are the existing development mechanisms and growth points for creative capital? How are foreign corporate giants leveraging them in Russia? What is the government doing to retain Russian human capital? How does this affect creative investments by Russian companies, banks, and platforms? What are Russian banks investing in? Can the stability of the banking system be maintained while also investing in creative entrepreneurship, which is always a risk? Will digital financial assets break the conservative investment system? Centralized and decentralized financial institutions: what’s hype and what’s real? Development institutions of the future: chaotically catalyzing talent or traditional investment programs? What is the infrastructure of the creative economy: toolkits and transport systems for a new type of industry?
Igor Namakonov, General Director, Federation of Creative Industries
Alexander Auzan, Dean of Faculty of Economics, Lomonosov Moscow State University
Baurzhan Bektemirov, Chief Economist, Astana International Financial Center
Mikhail Kozhevnikov, President, Prosveshcheniye Group of Companies
Alyona Kremer, Managing Partner, DPG Russia
Ilya Kretov, General Manager Global Emerging Markets, eBay
Andrey Krichevsky, Chairman, Committee on Intellectual Property and Creative Industries, Russian Union of Industrialists and Entrepreneurs; President, IPChain
Pascal Cools, Managing Director, Flanders District of Creativity (online)
Dmitry Mikhailov, General Director, National Exhibition Operator (Expo 2020 Dubai)