This year’s Network of European Museum Organisations (NEMO) conference took place November 10 – 12 at Baden State Museum in Karlsruhe, Germany. 160 Participants from 36 countries came together to exchange about promising approaches on „Money Matters: The Economic Value of Museums”. Only a few of them dealt with new funding opportunities in the first place. Instead, the conference opened new perspectives on measurement, cooperation and communication as premisses for a better and long-term financial coverage.
This year’s conference of the Network of European Museum Organisations NEMO will take place in Germany for the first time for over ten years. On November 10 – 12, the Baden State Museum in Karlsruhe will welcome international experts, museum leaders, staff and organisations to exchange about best practices and new approaches on „Money Matters: The Economic Value of Museums”.
"The Placeholder" is a year-long, Europe-wide review of innovative, plug-in financial tactics that many cultural organisations develop in order to stretch their resources. The project is funded by Tandem Europe and was initiated by two small cultural organisations in different parts of the Europe that both have felt the pressure of dwindling funds, and realised that there is need for immediate practical skillshare between organisations in similar situations. "The Placeholder" is interested in non-institutional, unusual, informal methods from users' point of view, and as a peer-to-peer outcome will compile an archive of the tested, annotated tactics that will be accessible to all. Deadline for participation is 31 May 2016.
Peter Gelb is General Manager of the Metropolitan Opera, one of the world’s largest and most complex arts organizations. Since his inauguration in 2006, he launched a number of new ventures for the Met, capitalizing on new media, theatrical broadcast, and a higher rate of new productions per year. Focusing on new and younger audiences, he brought grand opera to an audience of millions and opened a new revenue stream. But the debts are still growing and as the Met is „the most lavish privately financed opera house in the world“, the opinion of the wealth and patronaging older opera lovers play an important role when it comes to management decisions. The „fight at the opera“, that began when Gelb decided to combine the financial and general management with that of the overall creative director, is described by James B. Stewart in The New Yorker. It is comparable to the recent discussions about Chris Dercon, museum curator and director of the Tate Gallery, about his appointment as the new director of the Berlin Volksbuehne theatre. James Abruzzo has looked at the critique and the skills needed to lead an arts institution.
How are companies earning trust through cultural engagement? Money for “publicity”: this over-simplistic marketing principle that underlies any sponsorship agreement is increasingly losing its attractiveness for corporate communications. Here’s the thing: today, entrepreneurial cultural engagement is less about image or about customer loyalty than it is about the central asset of trust. Hence, the idea of corporate cultural engagement has to be rethought. Business logicians of capital have to learn to think in culturally relevant terms and the artists have to see the economic externalities of their actions as a means of securing subsistence.
From October 30th to 31st this year's Culture Invest Congress will take place at the Tagesspiegel in Berlin. This meeting place for European stakeholders from culture, business, politics and media broaches the issue of artsmanagement in nine panels. Over 100 international speakers will hold lectures about current trends, development and interaction opportunities.
Judit Bolla is the principal investigator of a study dealing with theatre venues in England and the Netherlands. She created this article as part of the MA program Master of Arts in Arts Management at the HKU University of the Arts Utrecht and at the Open University of London. The full paper can be downloaded below.
This is no breaking news anymore but nevertheless urgent: As of now on you can apply for Creative Europe programme!
European culture, cinema, television, music, literature, performing arts, heritage and related areas will benefit from increased support under the European Commission's new Creative Europe programme, which was approved by the European Parliament on 19 November and by the Council of the EU on 5 December 2013. With a budget of €1.46 billion over the next seven years – 9% more than current levels – the programme will provide a boost for the cultural and creative sectors, which are a major source of jobs and growth.
From 'Culture 2007-2013' to 'Creative Europe': new sectors, new focus, new mechanisms
With the last calls for ‘Culture 2007-2013’ closed, cultural and creative industry organisations are eagerly awaiting the launch the new framework programme for culture: 'Creative Europe'. This article gives an overview of this new programme, describes its funding priorities, and gives some pointers for organisations that already want to prepare for the next call.