angewendete Filter: intersectorial
Sort by
Perform search
A lot of things have changed at Arts Management Network during the last months! Being ourselves involved with investigating new organisational structures and workflow we have decided to focus on employment-related topics in our latest newsletter. We will take a closer look at human resources, which means at the dissonances between different stakeholders, not only highlighting the entrepreneurs perspective but also giving voice to those having not (yet) reached the executive suite today.

IFACCA launched a Good Practice Guide on Arts Advocacy: Advocacy arguments and an overview of national arts advocacy campaign case studies and good practice.
As the knowledge-based economy increasingly takes over our lives it is appropriate to pause and reflect on how we earn and how we pay? What most people do not realize is that the answer to both questions varies dramatically between the two great legal traditions of the West - Common Law & Equity in the Anglosphere and the European Civil Code tradition in the rest of the world.
Museums, galleries as well as individual artists or collectors can from now on request an invite for free to use Google Open Gallery.The tool allows to upload content as imagages in very high resolution and add metadata. After uploading images, it is possible to create online exhibitions to tell stories around the content. Text, audio or video captions can be added to each item, as well as any Street View imagery available.

The manual provides guidance for States Parties and all those involved in the care of World Heritage cultural properties on how to comply with the requirements of the World Heritage Convention.

Since the World Heritage Convention was adopted in 1972, the World Heritage List has continually evolved and is growing steadily. With this growth, a critical need has emerged for guidance for States Parties on the implementation of the Convention. Various expert meetings and results of the periodic reporting process have identified the need for more focused training and capacity development in specific areas where States Parties and World Heritage site managers require greater support. The development of this series of World Heritage Resource Manuals is a response to this need.

There are still spaces available for spring term distance and on-site courses in museum and heritage. The deadline for registering is coming up on December 9, 2013.
The distance and on-campus programs are learning opportunities for professionals, volunteers and board members in museums, galleries, heritage sites, cultural centres and related organizations. Courses are designed to address the emerging needs of the sector and build personal and organizational capacity and are taught by instructors who are leading professionals in the field.
Courses can be taken individually or, towards a comprehensive diploma or focused professional specialization certificate in Collections Management. A list of online and on campus spring and summer courses, can be found here:
New trends in museology - 36th ANNUAL ICOFOM SYMPOSIUM Paris, France, June 5 - 9, 2014
CALL FOR ABSTRACTS and PAPERS as prelude to presentation in Paris and/or publication in ISS 44
Submission of abstracts: December 16, 2013
Submission of full papers: April 27, 2014
ICOFOM, the International committee for Museology of ICOM (International Council of Museums), will organize its 36th symposium in Paris, France, where the latest developments in museology will be debated, from Thursday the 5th to Monday the 9th of June, 2014. The first three days will be dedicated to the presentation of papers on the theme New trends in museology.

Culture means change. And every cultural organisation should have the ability to change itself for many reasons: challenges in the society, expectations by the audience or stake holders, or sometimes even dissatisfaction by staff members. Our 117th edition of Arts Management Newsletter cares about change management.
We spoke with Martin Redlinger, director of marketing and sales at the Konzerthaus Berlin, who plays a leading role in an ongoing changing process. The interview shows how close the relationship is between the brand and the entire strategy of an arts organisation, and how long it takes to get results. Redlinger explains why the Konzerthaus needed a new positioning in the vibrant Berlin arts market, and how the team developed a new cultural brand. We also spoke with Julia Strysio about what the future of music festivals will look like? What has to be changed in a cultural format, which is probably the most flexible one?
The 17th edition of the Journées de la culture will be held on September 27, 28 and 29, with the theme: Participating is protecting culture. For three days, the general public is invited to immerse itself in the arts, to celebrate creativity and to help protect and promote culture by participating in the thousands of free activities taking place throughout Quebec.
The numerous workshops, guided tours, talks, performances and demonstrations will draw participants into the cultural heart of their community. This profusion of activities is put on by cultural organizations, artists, schools, municipalities and businesses, which are all gearing up to offer their fellow citizens a unique and inspiring experience in the various artistic disciplines.
In this newsletter you will read an interview with Julia Draganovic, who is the new director of the exhibition center Kunsthalle Osnabrück, Germany. She speaks about the profession as curator and art manager, her strategy to en- gage the audience, and her approach how to connect art and new media.
We also publish - as every year - the Summary Paper of the 4th Kufstein Summer School for Arts Management in Palea Epidavros/Greece, which took place in May 2013.
A Closer Look at Museum Studies Programs
While an increasing number of post-secondary institutions have begun to offer museum studies programs, many current graduates, however, are faced with dwindling job prospects due to a shortage of opportunities in the profession. Nancy Villa Bryk, an Assistant Professor of Historic Preservation at Eastern Michigan University, suggests that program administrators should consider implementing a system akin to that of American Bar Association, which requires accredited law schools to follow post-graduate placement, and make the information available to prospective students. Addressing these caveats publicly, she says, may enable prospective students to make more informed university choices.
We were saddened to hear of the death of Professor Colin Mercer on 4 July 2013. He was the United Kingdoms first Professor of Cultural Policy and Director of the Cultural Policy and Planning Research Unit at The Nottingham Trent University from 1999-2003.
The 115th edition of our Arts Management Newsletter is published while we are in Berlin at the 7th Federal Congress for Cultural Policy in Germany. The last congress two years ago covered the importance of digitalization for the arts sector - from copyright issues via archival storage of cultural heritage to the huge communication and marketing opportunities possible with media and web 2.0. However, the upraise of the German cultural policy 2011 in the digital age seems to be already weak again. There is no living online debate with the community, although the topic of this year - cultural planning - fits to invite arts professionals and other people to discuss about. Perhaps the community have totally different preferences and priorities, what they like to support more or less. We were somehow impressed about a comment by Bill Flood yesterday, who answered our question about his experience with cultural planning in Portland. He said, culture at all has a creative power to support communication in a community. So it is necessary at all to make communication possible including those among the arts professionals and cultural policy makers themselves. Enjoy the interview with Bill Flood on page 2.
Are you an employer looking for skilled and creative workers? Are you a talented artist or cultural worker looking for a job? CultureWorks is a new job board for the cultural sector administered by The Cultural Human Resources Council (CHRC). CHRCs mandate is to strengthen Canadas cultural workforce through leadership, support, representation and involvement. CultureWorks represents our commitment to those of you working in Canadas cultural community.
Creative Communities: Art Works in Economic Development is a new publication based on a series of papers commissioned by the National Endowment for the Arts to stimulate more rigorous research on the arts and economic development.
The publication stems from a first-ever collaboration between the NEA and the Brookings Institution. The two organizations co-hosted the May 2012 symposium titled "The Arts, New Growth Theory, and Economic Development, where leading economists explored theories and empirical findings about the role of arts and culture in the U.S. economy. Archived video of the symposium is available at the Brookings website.
The Asia-Europe Foundation (ASEF), the European Festivals Association (EFA), and LASALLE College of the Arts, Singapore are delighted to announce the launch of Serving Artists Serves the Public: Programming Arts Festivals in Asia and Europe.
This e-publication talks about the opportunities and challenges of programming arts festivals in Asia and Europe, through a compilation of 13 articles written by renowned contributors. They include Ms Robyn ARCHER, the multi-faceted Australian artist; Mr Hugo DE GREEF, theatre director and Advisor to the Minister of Culture for the Flemish Community; Ms Kathrin DEVENTER, Secretary General of EFA; Ms Katelijn VERSTRAETE, Director, Arts & Creative Industries (East Asia), British Council; and Ms Audrey WONG, Singapores first Nominated Member of Parliament (NMP) for its arts community. Their articles are a useful reflection on the social role of local and international festivals, as well as the need for capacity building among young festival managers.
This project is a follow-up to the Atelier for Young Festival Managers held in May 2011 in Singapore.
May 12 18, 2013 | Palea Epidavros | Greece
Strategies of Cultural Management for Representation and Cooperation of Art Institutions and Artists across Europe
Cultural activities are one of the best opportunities for countries to create a strong identity within the process of globalization. On the other hand we can observe that the focus on a monocultural understanding of national cultural identity is no longer a contemporary approach to developing the diversity of artistic innovations in different European countries. Especially the massive changes within the processes of migration and international artistic transfers make this perspective very relevant. Many cities and regions all over Europe are currently looking in the context of cultural tourism for a cultural profile which attracts not only the inhabitants of a single country but also a wider audience. How can we avoid the gaps of monocultural national approaches in the field of cultural actions?
Kim Inseon has been working for more than 15 years now in the Korean Art Scene and is specialized in Visual Arts. Inseon Kim worked for LOOP, an alternative art space after studying art history in New York. She got her experience from working in many galleries and curating the Busan Biennale, previously called PICAF Pusan International Contemporary Art Festival. Here Inseon Kim intended to present contemporary art in a more accessible way to the general public. Before opening her own alternative space and working as an art consultant for collectors, private companies and the Korean government, Inseon Kim worked in the Daelim Contemporary Art Museum, which is to promote excellence and achievement in the artistic community of the Seoul City area.
More than a year now, that Inseon Kim is directing her own space which provides a field for young artists and their development. She wants to allow the shift of the artist´s focus from commercial driven activities to purely experimental ones. In her opinion especially emerging artists strike to set high prices on their works and exhibit in commercial galleries to become attractive to collectors. However, at the same time young artists fear the commercialization of their art work as well as the limitation the art market sets them. Willing n Dealing therefore does not only offer consultancy but also a space to experiment with art and develop artistic careers.
Jazz musicians are often regarded as chronic loners, as individualists who fully concentrate on their art and work in ever-changing formations. However, to make that possible they need a fully functional, and in the best case, an internationally organized artistic network. In our latest newsletter, we exclusively publish a case study by Prof. Martin Lücke from Munich, which offers insight into how a European-wide partnership can look in practice.
VIVA | Performance Lab Cosenza is a contemporary art project supported by European network Trans Europe Halles. Through a festival (8th to 9th of December 2012) and capacity building workshops involving international artists and experts, and the local community, this project aims at developing the cultural offer of the city, its attractiveness for tourism and to professionalise the cultural actors and artists working in the city.
From the 8th to the 9th of December, some of the main exponents of the contemporary performance scene are invited to a two days festival to be held in the city centre. This festival, curated by Tania Bruguera and Cristiana Perrella, will be preceded by an intensive workshop involving emerging artists: during seven days, participants will have the opportunity to reflect on their current work and develop an individual performance which will be presented during the festival.