Transcript Slide 1

Cultural organizations in
Europe:
Towards a sustainable relation
with the world of business
Paul Dujardin
Kraków, 24.10.2012
Creativity
“Creativity is individual.
Innovation is collective.”
“Therefore success is the result of
an enterprise to innovate and of
the capacity of individuals to be
creative.”
“Unlike innovation, creativity is a
rupture, a lightning.”
Luc de Brabandère, The Boston Consulting Group
Creative entrepreneurship
• = The process of integrating 2 freedoms:
1. Artistic freedom as immaterial content
oriented value
2. Enrepreneurial freedom as material value,
supportive to immaterial cultural values
= Connetction between 2 seemingly seperate
worlds:
1. Enrepeneurial spirit of the cultural world
2. Creative spirit of the entrepeneur
Source: Utrecht School of the Arts
Culture and Creative Industries
• In the EU the CCI’s account for 3.3% of GDP and employ
6.7 million people (3 % of total employment).
• Between 2008 and 2011 employement in the CCI’s proved
more resilient than in the EU economy as a whole.
• Only in Flanders, 120,000 people are now active in these
industries which account for 3% of the national GDP.
Sources: European Commission: ‘Promoting cultural and creative sectors for growth and jobs in the EU (2012)
2010 European Competitiveness Report
Eurostat
Culture and Creative Industries
The size of CCI enterprises
• The vast majority (80%) of the CCI’s are micro-enterprises: smaller than 10
people.

responsible for only a modest percentage of the total turnover of the CCIs
(18%)
• The number of large-scale enterprises (more than 50 employees) is
marginal: less than 1%

responsible for more than 40% of the annual turnover
• The missing middle: Medium sized enterprises are almost abesent. There
is a substantial difficulty for small enterprises to grow into medium-sized
firms.
Source: Utrecht School of the Arts
Culture-based creativity
• Study NESTA - Creating
Innovation:
– “Firms who spend twice the
average amount on creative
inputs are 25% more likely to
introduce product innovations.”
– “Firms that have supply chain
linkages with creative industries
typically offer more diverse and
higher quality products.”
Culture-based creativity
• European Commission - Innovation
Union:
“Innovation is increasingly driven by
non-technological factors such as
creativity, design and new organisational
processes or business models.”
• The European Commission calls for
cross-sectoral linkages:
“The CCI’s need multi-disciplinary
environments where they can meet with
businesses from other industries.”
Culture-based creativity
European Creative Industries Alliance
- An open platform that brings together policy-makers and
business support practitioners from 28 partner organizations and
12 countries
- The results of the pilot actions will feed into broader regional
and national discussions on how future business support in
general, and for creative industries in particular, should be
planned and implemented in order to increase the innovation
capacity and the value creation in creative industries and in those
industries that are or could be directly benefiting from a close
cooperation with creative industries.
- Overall aim: to shape a community in Europe that actively
supports creative industries as a driver for competitiveness, job
creation and structural change by developing and testing better
policies and tools for creative industries.
Business as usual?
The philosophy of Andy Warhol
Case 1: Arteconomy
• Founded in 2001 by Michel Espeel en Julie
Vandenbroucke, from the metallurgic company
Espeel - Belgium
• Arteconomy connects art and the economy
through various forms of collaborations:
- long term projects with artists in companies,
- workshops for artists and entrepreneurs and
ateliers where artists and entrepreneurs can
meet
- Arteconomy wants to stimulate a broad range of
people to think about art and the economy.
Seminars, lectures, workshops and open
discussions help to develop and enrich
Arteconomy and others.
Case 1: Arteconomy
•
How do projects come about?
– The initiative can come from a company, an
organization or an artist.
– Arteconomy finds a suitable partner.
– Financial agreements between the partners
are made at the start of the project.
– Openness, respect and generosity of all
participants towards each other is necessary.
– There are long term projects and short term
projects.
– The arteconomy projects aim at economic,
social and artistic innovation.
Case 1: Arteconomy
• Glassworks by Kris Vleeschouwer & Siemens
– The artist Kris Vleeschouwer was looking for the help
of a company to develop the necessary technology for
a monumental art work for the Prize Young Belgian
Painting 2005 (the Belgian Turner Prize).
– This collaboration strengthened the image of Siemens
as an innovative company while at the same time it
meant an engagement in a broader social context.
– Siemens was not acting as a sponsor for the artist but
rather as a facilitator.
– Kris Vleeschouwer received the Prize Palais des Beaux
Arts for this art work. Moreover, the project
contributed largely to his international breakthrough
as an artist.
Case 1: Arteconomy
http://www.youtube
.com/watch?v=Esbn
aF5PZdE&feature=pl
ayer_embedded
Case 2: Cittadellarte
• Cittadellarte was founded in 1998 by the Italian artist
Michelangelo Pistoletto
• “a laboratory, a generator of creative energy that generates
unedited processes of development in diverse fields of
culture, production, economics and politics. “
• Objective: to operationally take artistic interventions into
every sector of civil society to contribute responsibly and
profitably to address the profound changes of our age.
Case 2: Cittadellarte
• Structure: different cells or offices. Each
office carries out its own activity addressing
specific areas of the social system.
• Goal: to produce a responsible
transformation of global society, starting
from their smaller local dimensions.
• Categories: Art, Education, Ecology,
Economy, Politics, Spirituality, Production,
Work, Communication, Architecture,
Fashion and Nourishment.
Case 2: Cittadellarte
The Economics Office
•
committed to developing ideas for a new economic practice
based on the concept of “human value”, intended as the
primary element in individual and social well-being.
•
It has established the Human Values Bank, to invest in these
values as specific items of economic attention, considering them
as capital whose return is a social profit.
•
The Human Values Bank is a development outline based on the
right to consume and the establishment of rules that break
down the economic barriers between nations, societies and
individuals.
=> Manifesto of Art and Enterprise (2002)
Case 2: Cittadellarte
The Economics Office
 Italy in Person project
•
•
•
intends to develop all the human and environmental richness
of each territory
to arrive at a new way of conceiving production, that considers
quality of life, all of the people directly and indirectly involved in
the phenomenon of production and the impact it has on both
the landscape and society.
The international plan centres around a primary exhibition, an
artistic installation to be presented at international trade fairs
and event promoting Italy as Country System, meaning inserted
in exhibitions of Italian products of excellence.
Case 2: Cittadellarte
Agency for creativity
=> Project: AIM - Attraverso i Muri
AIM represents a path of research and project planning
that involves Cittadellarte, the Biellese Industrial Union,
and the businessmen of the territory.
AIM proposes innovative ways to promote a territory,
rediscovering and valorising points of strength.
AIM puts into relation the energy of the company with
that of art and proposes, through the architectural requalification of industrial factories, a new rapport
between the ethics of production and the aesthetics of
art.
Case 3: the Centre for Fine Arts
The Centre for Fine Arts is…
A building by the visionary
architect Victor Horta
A visionary cultural project,
known today under the brand
name BOZAR.
How can a visionary project as
BOZAR be a partner to prepare
a creative and innovative
Europe?
Back to the wonder years
King Leopold II and the Mont des Arts
The 4th Palace in the government district
The Royal Palace
Le Palais des
Beaux-Arts
The Palace of the
Nation
The Palace of
Justice
Back to the wonder years
A laboratory for the
exchange of ideas
• After the Great War, it was
art that would save the
world.
• Exchange between
disciplines
• Exchange between nations
Back to the wonder years
Belgian entrepreneurs meet the arts
Back to the wonder years
Victor Horta – Arts & Crafts
Fine arts and applied arts
Industrial design
A crossroad of creativity
Citizens
Businesses
Artists
Science &
Research
Culture &
Creative
industries
A crossroad of creativity
• The Centre for Fine Arts is a key driver of creative industries
and entrepreneurs :
– Around 1.3 million visitors every year, including ‘European’ from the
institutions
– Around 30,000 artists and creative entrepreneurs supported between
2004 and 2011.
– The Centre believe in the importance of creative industries in a global
context.
A crossroad of creativity
• The Centre for Fine Arts stands not only for the classical ‘fine’
arts and the esthetical and socio-cultural aspects of art.
• The Centre for Fine Arts wishes to be a catalyst for CCI’s by
offering literally space for developments in architecture and
town planning, film industry, photography, printing industry,
design, fashion and digital applications.
• VISIBILITY - Within this showcase the Centre for Fine Arts
strengthens the bonds between the cultural world and the
business world , stimulates collaboration towards new
concepts, products and services, and shows the results of this
interaction.
A crossroad of creativity
Some examples (non-exhaustive):
- 2010: Laurent Ney. Shaping Forces
- May 2012: Colloquium “Towards a
New Re-construction after 311 in NorthEast Japan”
- 2013: Scholten & Baijings: colour
one mini
A crossroad of creativity
FORUM
The Centre for Fine Arts
becomes…
A hub for creativity and
divergent thinking
A crossroad of creativity
• Forum: future events (non-exhaustive):
– Corporate Funding for the Arts in
Challenging Times (November).
– Debate with Salman Rushdie (November).
– Conference on “Manifesto – For Europe!”,
with Guy Verhofstadt and Daniel CohnBendit. (December)
– Etc.
Thank you