The videos in English and German and are also available with Arabic, English, German and Spanish subtitles.
Hans Abbing
Hans Abbing 1/3 Audience Building and framing of artworks
Marketeers have the right and the duty to ask the leaders of art organization for their mission and goals, and to critically discuss these from the perspective of audience building.
Hans Abbing 2/3 Audience Building and framing of artworks
The twenty-first century still shows the mission of established art organizations of classification, conservation, insulation and ritual framing of artworks.
Hans Abbing 3/3 Audience Building and framing of artworks
In the twenty-first century most publics and audiences are less interested in the still dominant classification of established art organizations.
Chris Dercon
Chris Dercon 1/3 The Impact of Arts Institutions
Today, arts managers from all kinds of cultural organizations are asked to make a social impact and to engage more diverse audiences.
Chris Dercon 2/3 The Impact of Arts Institutions
Arts institutions have become places for events and encounters, for learning and participation and have to make sure the public enjoys being “there”.
Chris Dercon 3/3 The Impact of Arts Institutions
Arts institutions will have to extend themselves through diverse networks and digital media and will be increasingly asked to commercialize these symbolical, social links.
Patrick Föhl
Patrick Föhl 1/3 Future Role of Cultural Managers
Cultural management must change to stay.
Patrick Föhl 2/3 Future Role of Cultural Managers
Cultural managers are translators and “justifiers” in cultural development processes.
Patrick Föhl 3/3 Future Role of Cultural Managers
Cultural managers are “Masters of Interspaces”.
Péter Inkei
Péter Inkei 1/3 How to treat the Functions of Culture
The instrumental nature of culture. The variety of purposes it can serve – beyond its own “inherent” aims.
Péter Inkei 2/3 How to treat the Functions of Culture
Culture’s impact on the individual is key.
Péter Inkei 3/3 How to treat the Functions of Culture
Culture has legitimate interests of its own.
Arjo Klamer
Arjo Klamer 1/3 The values of art
Regarding culture, it is more practical to talk in terms of values instead of utility.
Arjo Klamer 2/3 The values of art
In order to realize the values of art, you have to create a good that you share with others.
Arjo Klamer 3/3 The values of art
Art is a shared good that you acquire not by consuming it but by contributing to it.
Arjo Klamer 1/3 Thinking in terms of four spheres
When we want to valorize arts, we have access to the spheres of the market, governance, the social sphere and the oikos.
Arjo Klamer 2/3 Thinking in terms of four spheres
The social sphere is where interactions and exchanges take place. Reciprocity is the driving force. It’s the domain of friendship.
Arjo Klamer 3/3 Thinking in terms of four spheres
When the government is the source of financing, cultural organizations have to consider the social logic.
Volker Kirchberg
Volker Kirchberg 1/3 Arts between Production and Consumption
Art worlds are networks of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produces art.
Volker Kirchberg 2/3 Arts between Production and Consumption
Art can only be produced systematically by institutionalized structures that generate predictable success.
Volker Kirchberg 3/3 Arts between Production and Consumption
Today, more people trespass from one taste culture into another, they become so-called “omnivores” of cultural taste.
Adalet R. Garmiany
Adalet R. Garmiany 1/3 Contemporary Culture in Conflict Zones
In a conflict-ridden area, culture is not a priority.
Adalet R. Garmiany 2/3 Contemporary Culture in Conflict Zones
How can art and culture and cultural institutions be enabled to address relevant issues through the medium of art?
Adalet R. Garmiany 3/3 Contemporary Culture in Conflict Zones
Trust is an important element to build up relationships, both locally and internationally.
