European management models in contemporary arts and culture Museum of Contemporary Arts Novi Sad, 2010. Project by Biljana Mickov
Contemporary culture speaks directly to the important questions of our time and to the changing landscape of global identity. The cultural development is important!
We need the culture policy to support structuring cultural projects (artistic project, equipment...) and those projects can exert an influence all around the society; to ensure a good repartition of cultural facilities in urban or territory;
to support the artistic creation to give artist the opportunity to work in good conditions and give some ideas and movement to the society.
Nowadays, the challenge of good culture policy at any city and in the contemporary society has to be transversal in considering other dimension of a city and territory (social, education, economical, tourist) and everything is linked.
Exit festival City of Novi Sad
The objectives of making the good culture policy should include the definition of the culture policy model at the town level, multicultural, to supporting the culture diversities, to creating culture institutions network, to supporting alternative directions in culture and in new technologies, etc
The majority of European cities have based the cultural policies on four key principles: the cultural identity, the cultural diversity, the creativity, and the participation of citizens in cultural life.
The cultural development strategy should ensure that these principles are observed and interwoven in all policies. The programmes which have to resulting in higher participation of citizens in the cultural life should be specifically developed.
The programmes of individual cultural institutions included in the budget of the cities very often do not have dialogue: each institution operates individually, resulting in unequal quality. Connecting the cultural institutions would result in a stable level of common development.
I have determined four principles that could lead to a better impact of culture in local development. ( Biljana Mickov )
A. DECENTRALISATION The principle related to the decentralization in decision making and finance by recognizing creative originality and defense of the principle of the citizens right to culture. B. DIGITALISATION It has to promote the approach to digital dimension of any cultural project and of both local and global cultural heritage.
C. EDUCATION AND CITIZENS The principle of relating to achieving co-operation between cultural and educational policies is important for our society. D. URBAN PLANNING The positioning of culture parameters is important within the urban planning and establishment of regulations for the aesthetics of public facilities and collective property. This includes the projects for micro units in urban areas through visibility studies. The participation of culture facilities in the urban and rural territory (region, town) would be ensured.
The role of culture institution today. in many parts of the world, there has been a significant change in cultural institutions in the last 20 years visible through the large number of capital projects that have taken place. New museums and galleries have become flagship projects for many cities.
At the same time a number of factors, including technology, economic changes, new social theories, have changed the dynamic of the traditional walls of a museum or gallery. As all kinds of connections are possible and real, the institution can now exist online, in alternative adjunct, or off-site spaces.
It is also arguable that art has become increasingly linked to the themes of our times ecology, globalisation, communication, and cultural change ( Sophie Hayes).
The visitor experience is extremely important. There are staffs in the majority of galleries and museums who are dedicated to education; learning and interpretation. Furthermore most museums and galleries now also have dedicated physical spaces for education and learning.
Whitechapel gallery, London
visitor
The special rooms host families, schools, young adults, and a wide range of community groups to participate in practical and experimental activities involving traditional materials, new technologies and performance.
the Study Studio it is an intimate space for discussions, courses, artists professional development sessions, connection with Universities. The Project Gallery focussed on showcasing the work of the education department. These Galleries it is a core part of the visitor experience.
The institution works outside its own walls; recognising the impact of reaching out to an audience, rather than relying on a visitor experience. Arts education programmes do not focus on bringing schoolchildren into a museum, but are about encouraging, nurturing and sustaining a critical engagement in the arts as part of everyday life in the classroom, on the street, at home (Sophie Hayles).
I will not say that this relatively new focus on arts education is entirely driven by political agendas. I would suggest that it comes more from of artists and theorists developments in identity politics, shifts in artistic practise, new education theories, which led artists to challenge the institution. It questioning the role of a gallery/museum as a static, neutral space.
Arts have always been connected for various agendas: urban regeneration; economic development; social cohesion. In a Cities with opportunities there are many questions about how to create a level playing field in culture.
Successful engagement with visitors, audience or participants, is essential to the success of our work in the cultural sector. well managed relationship between art and audience, not only ensures our financial and public survival, but makes art meaningful as well.
The artists, curators and artistic directors that should just inform public about the art, let them know that the arts facilities exist, and then leave it to them to decide whether they want to participate. But the problem arises from the part where we are supposed to inform them about the art.
Communication is (at least) two-way process. We talk to real people, who have their own ideas, attitudes, interests and value systems and we must understand that in order to communicate effectively ( Jonathan Goodacre).
So, once we know more about our visitors we have the ability to adapt and produce our work in a way that they will appreciate. Communication!
A well thought through marketing approach is of fundamental importance for the creation of long-term sustainable cultural sector, providing it with a leading role in the very centre of society. The viewer, listener or appreciator of art is its integral part, as they complete the artistic work and give it meaning, and that is the business we are in so our job is to enable this process.
As the great Louis Armstrong said: The music ain t worth nothing if you can t lay it on the public. So let s bring the visitor into the view let s make the visitor appear (Jonathan Goodacre ).
Cultural institutions have become much more open, keeping go with social changes, as well as taking an active role in them.
Contemporary information and communication technologies can play an important role in the formation of a broad audience for cultural projects, for which the formation of a large audience is no longer the only priority. The promotion and encouragement of participation in culture are now considered the common, higher goal of cultural projects ( Esteve Caramés ).
- This means that culture project has to develop new services to achieve highest possible degree of availability. - services designed to promote unique cultural events taking place in cultural facilities, and opening clubs or custom spaces for the activities associated with the programme, as well as providing greater support for open events and leisure activities.
Arts and cultural management is increasingly becoming one of the major factors that facilitates mobility and development of society and cities at the global level. It raise the development and the democratization processes in society.