Arts Management and Society The videos in English and German and are also available with Arabic, English, German and Spanish subtitles. 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. 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. 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 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. 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”. 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 1/3 Future Role of Cultural Managers Cultural management must change to stay. 2/3 Future Role of Cultural Managers Cultural managers are translators and “justifiers” in cultural development processes. 3/3 Future Role of Cultural Managers Cultural managers are “Masters of Interspaces”. 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. 2/3 How to treat the Functions of Culture Culture’s impact on the individual is key. 3/3 How to treat the Functions of Culture Culture has legitimate interests of its own. Arjo Klamer 1/3 The values of art Regarding culture, it is more practical to talk in terms of values instead of utility. 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. 3/3 The values of art Art is a shared good that you acquire not by consuming it but by contributing to it. 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. 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. 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 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. 2/3 Arts between Production and Consumption Art can only be produced systematically by institutionalized structures that generate predictable success. 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 1/3 Contemporary Culture in Conflict Zones In a conflict-ridden area, culture is not a priority. 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? 3/3 Contemporary Culture in Conflict Zones Trust is an important element to build up relationships, both locally and internationally.