Review / Masterclass: Cultural Entrepreneurship
The masterclass ‘Cultural entrepreneurship’ was organised by Prof. Annick Schramme PhD of the University of Antwerp, Faculty of Applied and Economic Sciences / Cultural Management, and the St Lucas University College of Art and Design Antwerp, Jewellery Design|Silversmithing department (SLA), headed by Hilde De Decker. Master’s students of both institutions were welcome to attend, as well as Master’s students of the Royal Academy of Fine Arts Antwerp.
introduction
The masterclass fitted in the context of ‘Afterschool’, an SLA research project which concentrates on strengthening postgraduate practice through a variety of means. The curriculum of the masterclass enables art students from various disciplines to collaborate with cultural management students in order to create a crossover of knowledge, thereby resulting in an extension of their networks.
In order to explore the concept of ‘Cultural entrepreneurship’ in this context, Prof. Annick Schramme PhD held an interactive lecture in which she invited the audience to approach the subject from multiple angles. She briefly outlined the history of cultural entrepreneurship and explained most of the related terms.
In order to explore the concept of ‘Cultural entrepreneurship’ in this context, Prof. Annick Schramme PhD held an interactive lecture in which she invited the audience to approach the subject from multiple angles. She briefly outlined the history of cultural entrepreneurship and explained most of the related terms.
After this overview of the basic principles, renowned Belgian artist Arne Quinze gave a lecture entitled ‘Cities are like open air museums’. His work consists of large, mainly wooden, and sometimes metallic, sculptures placed in a public area, such as a particular area of a city (the city centre, a bridge, a park or streets). Quinze claimed that his work reduces alienation between residents of that area. He creates structured chaos to encourage social interaction and communication in urbanism. He works with a team of 10 people to realise his projects all over the world from design to delivery. They are involved in every step of the process, ranging from multimedia aspects to engineering and the handling of legal aspects. He also employs a variable number of locals for each project to help with the more hands-on work. After the lecture, most of the questions raised from the audience related to the funding of the artwork (often by museums or governments, but also private sponsors) and its ecological impact (of high importance to Arne Quinze; when an artwork is removed, most of it is recycled).
Over the next few days, the students were asked to work together in small groups. The seven art students participating in this masterclass were asked to give a ‘pecha kucha’ on their master’s projects. The cultural management students had the chance to join one of the art students and help him/her set up their business plan, in order to fully become involved in cultural entrepreneurship. To guide the students with this business plan, Piet Callens, investment manager for entrepreneurs in the creative industry, was invited to lecture on cultural management. He explained the structure of a business plan with specific consideration for artists or persons with a creative occupation.
In turn, each group of students gave a substantial presentation of the creative business plan they composed.
In turn, each group of students gave a substantial presentation of the creative business plan they composed.
The last day of the masterclass was reserved for lectures given by four professionals in cultural management, each with a very different approach/position in their field.
The first speaker, Manuela Klerkx of the Klerkx Art Agency, explained that her agency helps connect selected artists with collectors (new and established ones) in a manner that suits both their needs. Her intention is not to replace the gallery as such, but to cooperate with all parties involved, acting as a mediator or manager. She entices collectors and artists in creative ways by coming up with miscellaneous projects. ‘A Room With a PreView’, for instance, enables a collector to spend a night in a hotel room with an artwork prior to the opening of an exhibition, while ‘Collectors Club’ is an eight-evening course on art collecting in a friendly atmosphere, targeting new art collectors from all walks of life.
Jasmijn Verlinden is project manager at the Flanders Fashion Institute, where she is primarily responsible for public relations and communication. The FFI informs, endorses and coaches fashion designers at the start of their career. Her talk focused on the importance of visual and communicative competence in building an artist’s practice, ranging from social media and (web) portfolio to live presentation and press releases.
After the break, it was the turn of Greet Vlegels of Studio Start. This Antwerp-based organisation provides affordable workshops for artists and creative entrepreneurs. They are currently working with 26 artists in 8 locations. Their practice goes beyond providing workspace. By matching the artists working in a same building, they encourage collaboration and extension of the artists’ network.
The last speaker, Jenke Van den Akkerveken, provided some insight into her activities as a former artist-assistant of sculptor Johan Tahon and her current position as gallery coordinator at Axel Vervoordt Gallery. As an artist-assistant she worked closely with the artist and mostly functioned as a communicator with the outside world, planned business strategies, and reflected on the work happening within. At Axel Vervoordt Gallery she essentially works on what is called ‘primaries’, organising and communicating on exhibitions at the gallery and at curated booths installed at various fairs.
The masterclass was seen as a success, since the goal was achieved of a crossover of knowledge between art students and cultural management students. Thanks to interesting talks, both parties’ insights were broadened, preparing them for their post-graduation phase.
Text: Broes van Iterson
www.broesvi.combroesvitrine.blogspot.nl
The first speaker, Manuela Klerkx of the Klerkx Art Agency, explained that her agency helps connect selected artists with collectors (new and established ones) in a manner that suits both their needs. Her intention is not to replace the gallery as such, but to cooperate with all parties involved, acting as a mediator or manager. She entices collectors and artists in creative ways by coming up with miscellaneous projects. ‘A Room With a PreView’, for instance, enables a collector to spend a night in a hotel room with an artwork prior to the opening of an exhibition, while ‘Collectors Club’ is an eight-evening course on art collecting in a friendly atmosphere, targeting new art collectors from all walks of life.
Jasmijn Verlinden is project manager at the Flanders Fashion Institute, where she is primarily responsible for public relations and communication. The FFI informs, endorses and coaches fashion designers at the start of their career. Her talk focused on the importance of visual and communicative competence in building an artist’s practice, ranging from social media and (web) portfolio to live presentation and press releases.
After the break, it was the turn of Greet Vlegels of Studio Start. This Antwerp-based organisation provides affordable workshops for artists and creative entrepreneurs. They are currently working with 26 artists in 8 locations. Their practice goes beyond providing workspace. By matching the artists working in a same building, they encourage collaboration and extension of the artists’ network.
The last speaker, Jenke Van den Akkerveken, provided some insight into her activities as a former artist-assistant of sculptor Johan Tahon and her current position as gallery coordinator at Axel Vervoordt Gallery. As an artist-assistant she worked closely with the artist and mostly functioned as a communicator with the outside world, planned business strategies, and reflected on the work happening within. At Axel Vervoordt Gallery she essentially works on what is called ‘primaries’, organising and communicating on exhibitions at the gallery and at curated booths installed at various fairs.
The masterclass was seen as a success, since the goal was achieved of a crossover of knowledge between art students and cultural management students. Thanks to interesting talks, both parties’ insights were broadened, preparing them for their post-graduation phase.
Text: Broes van Iterson
www.broesvi.combroesvitrine.blogspot.nl