Arte e Innovación

TRANSFORMING ORGANISATIONS WITH THE ARTS.
Comparative analysis

PROJECT 2009

PROJECT 2009

The Comparative analysis is produced within the work of the policy grouping TILLT Europe supported by the Culture Program strand 2 at the European Union. This group has committed itself to producing a package of studies to understand the impact of artistic interventions in business and in researchprojects, and to formulate recommendations on European policies that should support this type of intervention. The TILLT Europe project Management group consists of members from TILLT (Sweden), DISONANCIAS (Spain) and Social science centre in (Germany).

TILLT EUROPE ACTIVITY 1

TILLT EUROPE PROJECT - ACTIVITY 1

MANAGING ARTS AND BUSINESS COLLABORATIONS: A COMPARATIVE ANALYSIS OF FOURPROGRAMMES IN EUROPE

Roberto Gómez de la Iglesia Miren Vives Almandoz

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TILLT EUROPE ACTIVITY 1

Acknowledgments:
Pia Arebland and Roger Sarjanen from TILLT Arantxa Mendiharat from DISONANCIAS Irene Hediger and Prof. Jill Scott from ARTIST IN LABS Nema El-Nahas and John Hartley from Arts Council England

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TILLT EUROPE ACTIVITY 1

Over the last 10 years, it has become increasinglyaccepted that culture plays an important role in the economy of Europe, particularly in the development of the cultural industries, which contributes directly to the economy providing products and services for consumption, generating or fostering the development of other related industries. Back in 1997, the redefinition of the cultural sector broadening the scope of the traditional arts sectorto include the creative industries and services was a first step towards those policies that promoted further the new economy of culture. On the other hand, it has been also widely discussed that culture has also had an indirect impact and is able to play other economic and non-economic roles: By contributing through the practice of the arts to social inclusion, better education, health,selfconfidence and the pride of belonging, all of which have potential effects on, firstly, the well-being and happiness of individuals and, secondly, labour qualification and productivity. (From Matarasso’s studies on “Culture: Use or Ornament?”)
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By becoming influential in cultural and non-cultural company localisation and investment decisions through local aesthetics and cultural vibrancy andtheir impact on talent attraction, corporate image and employer branding. (As described by Florida in “The Rise of the Creative Classes”) By being a source of innovation for many non-cultural economic sectors. As reflected in the Study on the Economy of Culture in Europe: “Creativity is a complex process of innovation mixing several dimensions such as technology, science, management and culture.Culture provides tangible as well as intangible assets consisting of artistic heritage, processes, references and skills that interact with other skills and resources to foster innovation.” By becoming a powerful tool to communicate and share values in a changing society, where new economic paradigms are arising (“intangible economy” and “sharing economy”, tendencies as described in the KREA Reportentitled “Creativity & Culture”).

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Some of these aspects can be seen, studied and followed in practice through the experiences of collaboration between art and culture and other spheres that some programmes carried out in certain European countries always under the tutelage of a mediation party have been provided to both artists and organisations in the last years. The TILL EuropeProject develops this comparative analysis package as its main activity, in order to show and analyse some of these programmes and practices, state its common grounds and specificities, share general conclusions and lessons learned, provide advocacy and present specific case evidence that could help to better understand the potential not yet fully explored of these other roles of culture.

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