Business for Arts and Culture

Master - Venice

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The Master in Business for Arts and Culture provides an in-depth theoretical preparation, combined with a creative and managerial vision allowing students to define and manage specific projects and/or create start-ups within the cultural sphere. The range of institutions and partners include museums and the traditional sectors of the cultural heritage, the world of media and communications and the material culture.

The Master is designed for multi-skilled professionals - in the cultural industry - who can handle projects related to different areas (contemporary art, fashion, design, crafts, theater, music, events and performing arts) in a sustainable perspective, both at national and international level.

Career opportunities - At the end of the course participants can enter roles within structured organizations, cultural institutions, museums, create opportunities on their own, work in the field of non-profit organizations or manage a cultural project.

  • Start date
    March 2017
  • Duration
    1 Year
  • Attendance
    full-time
  • Language
    English

Target - The study path is designed for post-graduated students wishing for a job in the world of art market and cultural entrepreneurship, but it is also intended for professionals and consultants , interested in investigating their knowledge to take on different professional ventures and new entrepreneurial activities.

Methodology and structure - The main aim of the course  is to provide a strong theoretical background in relation to culture and creativity, coupled with a managerial vision related to design and cultural business start-up.  Starting from the observation that the cultural world is moving towards a new model based on entrepreneurship and projects, the master  train professionals able to handle the tools of culture in a sustainable way.

The Master is organized into four areas:

Area1_Key elements of contemporary arts
The theoretical basis on the contemporary cultural sector and its historical roots, both nationally and internationally. In particular, students get a solid preparation on contemporary arts and critics, followed by an in-depth analysis of the art system and the art market.

Area 2_Key elements of cultural project management
The operational  tools necessary to transform the knowledge in employment opportunities. The methodology starts from an economical and creative approach, providing students with fundamentals of cultural economics, business planning, project cycle management, marketing, crowd founding and engagement actions, followed by specific focus on how to create a cultural start-up or business activity.

Area 3_ Cultural sectors
Heritage, cultural industries and material culture: the third module analyzes the meaning of the word “culture” and offer the possibility to experiment the interaction between different aspects featuring this wide sector. fashion, design, handcraft, tourism, performing arts and new technologies.

Area 4_Enterpreneurship experience
The Final Project offers students a practical opportunity to start – or develop - their own career, using at best the theoretical/practical skills and methods learned.

Moreover, fieldtrips, lab activities, didactic visits, case histories represent an important asset during all the Master.

  • Area 1

    • Contemporary Art History & Its Latest Development

      The course aims at introducing students to selected artists of the present day and to the critical perspectives that contextualize their work. The lecture exposes students to pertinent debates within contemporary art history and theory and equips them with the necessary intellectual references to embark on various types of projects, whether within institutional frameworks or independently.
      The course considers Elements of Contemporary Art from 1960 to nowadays.

    • Critical Issues in Contemporary Art

      The course surveys key developments within recent art practice and theory. The lectures focus on different artistic movements - exploiting a critical approach. This approach is not art historical but rather theoretical, with subjects operating as the drivers through which texts and artworks are considered. The course will consist of sessions in which the participants is engaged in readings and discussions about the given topics.

    • Operators in the Contemporary Arts System

      The contemporary Arts Systems represent a paradigm shifts where the main protagonists are artist, gallerist, curator, collector, public, critic, but also professional that work for the organization of art fair or auction, art advisor and lawyer specialized in copyright and intellectual property.

      This course wants to introduce students to the current state of art production, art shows and art markets.

    • Analysis of a Cultural Event: the Venice 57th Art Biennale

      History of Biennale and its evolution in the years represent the base to introduce students to the 57th International Art Exhibition organized by Venice Biennale, which will be experienced by students thanks to specific thematic visit and meeting with the operators (Curators, Architects, Artist involved) and professionals working in the event organization, who will explain the “behind the curtains” of the event. The 57th International Art Exhibition organized by Venice Biennale will be experienced by students thanks to thematic visit and meeting with the operators (Curators, Architects, Artist involved) who will explain the “behind the curtains” of the event.

    • Art Market: Trends and Emerging Markets

      The course offers an overview of the fundamental structures of the contemporary art market and of the art business environment to understand how the economic conditions influence the performance of the market. Specific focus are realized on how the gallery and auction markets function; exploration of the notion of fine art as a financial investment; how to use art indices; how to estimate a work of art and the issues that influence pricing. But also the new directions in the market and a brief excursus on emerging markets are approached, with a deepen on the application of economic studies to analyze several specific art market.

  • Area 2

    • Key Elements of Cultural Economics

      The course is aimed at providing a basic knowledge of cultural economics and cultural industries. Students are expected to learn how cultural production and consumption are shaped by economic forces and the challenges posed by the organization of the creative processes.

    • Solving Problems Through an Indirect and Creative Approach

      The aim of this course is to explore the features of the arts system, in order to critically argue about the conventional praxes, actions and evaluations, and to elaborate a non-conventional approach based upon credible goals, effective actions, and appropriate indicators, overcoming the stratification of views related to past phenomena and expectations.

    • Project Cycle Management for Cultural Sector

      Project management is more and more an indispensable skill for any manager. Project design and management are indispensable tools to design projects that are attractive for support and funding, and that can be successfully implemented. The module aims to allows students to acquire knowledge and skills to formulate their own creative projects professionally. It will seek to impart/upgrade students’ competencies in formulation, implementation, monitoring and evaluation.

    • Business Planning for Cultural Sector

      What is a business plan? Why you must have a strategic business plan? How to write a good business plan? The course aims to give an idea of what is a business plan, what are the essential parts and, in particular, to clarify which are the elements that make a good business plan. The attention will be brought to the concept of economic model and sustainability and the importance of having a clear difference between "what could be" and "what we’d like it be". It will make sure to contextualize the reasoning in the particular field of cultural industries.

    • Crowd Funding and Engagement Actions

      The students acquire analytic competences in order to better comprehend the broader context and the markets in which the cultural organizations operate. A specific focus will be dedicated to digital fundraising techniques like crowd funding and new engagement approaches like crowdsourcing, new participatory techniques and digital campaign in comparison with the classical fundraising and sponsorship approach.

    • Marketing for the Arts

      The world of Arts has changed in the last years and marketing has become more and more part of the Arts, from the creation to the communication. Artists, curators, cultural institutions have to be aware about new tools and how the mind of the “consumer” works in order to answer to their needs. The course offers an original approach to the cultural projects considering them as a “product” with different targets (institutions, companies and consumers), in order to “design” the event and to communicate it in the proper way.

    • Social Media and the Arts

      Specific focus is dedicated to the social media impact so to have a clear overview of the most relevant social networks and their specific dynamics within the broader digital ecosystem. The students analyze social media best practices for arts institutions, exhibitions, galleries, artists and cultural events and get familiar with the toolkit to design and execute effective social media communication strategies for arts and culture.

    • Entrepreneurship in the Cultural Sector

      The main goal of the course is to build a strategic framework of project management within the cultural sector. Upon completing the course, participants will be able to describe how applying entrepreneurship to arts and cultural events can increase their audience and improve their economic viability. The course shows how to assess the feasibility of an arts or cultural based business idea through the presentation of a series of practical tools, theoretical frameworks and case studies to help understanding a lateral strategic approach to cultural management.

    • Public Museum and Private Foundation

      The course inspires students to develop and extend their awareness and understanding of what is a museums and what is its role in contemporary societies. To do that they are guided through an analyze of their history and evolution, focusing the attention on the differences between Private and Public sectors, the attendance and sense of identity (membership versus stewardship), as well as the important weight represented by architecture (content versus container) and the marketing and communications strategies.

  • Area 3

    • Cultural Event

      The definition of what we can consider as a “cultural event” and a “cultural product” is done in a practical way, browsing different case histories, analyzing the offer, the new actors and roles. Museums, foundations, company museums, ethno museums, hybrid places (from hotel, to restaurants, to public spaces): all these venue could be considered as “producer of culture”, but not only. Through individual workshops and presentation, the students will achieve a good knowledge about event designing and producing in cultural field, enriching the vocabulary of event design and the knowledge about the way a plurality of actors performing the mission for the brand, their territories, and their cultural diversity.

    • Cultural Heritage

      The course offers an analysis of creativity in cultural heritage sectors, having as point of reference Europe and Extra-European countries. Thanks to a dynamic approach students work on real case histories so to deep the different sense of “heritage”, the attitude’s limits and discuss the value existing behind the concept.

    • Arts Foundation - Focus

      Venice represents a unique occasion to keep in touch with some of the most important Contemporary Art Foundation in Italy and around the world. Guggenheim Foundation, François Pinault Foundation, MUVE – Civic Museums of Venice Foundation , Fondazione Bevilacqua la Masa, and some other will be object of specific fieldtrips and meetings with responsible operating in the different areas, so to better understand how they works.

    • Fashion and the Arts

      Art, communication and fashion represent three crossing environments. Prada, Luis Vuitton, but also Trussardi and Benetton have created specific Foundation investing in Arts and culture, becoming some of the most important Patron for emerging artists. But these choices represent also an important tool of communication that the course will analyze from an original point of view.

    • Material Culture

      Material culture is defined as the “physical evidence of a culture in the objects and architecture they make, or have made”, as well as an “interdisciplinary field that examines the relationship between people and their things, the making, history, preservation, and interpretation of objects”. Starting from that, the course offers a wide overview on different subject as the interaction between Handcraft and Design, Gastronomy, Tourism, Architecture and urban development, Performing Arts, etc.

  • Area 4

    • Final Project

      Three months to elaborate and write the Final Project, simulating a real work experience in cooperation with other students or alone. Assisted by a Tutor, the students will choose one or more sectors and build a specific cultural business plan, analyzing and develop all the different aspects involved, arising from the competences and knowledge gather during the Master course.

Remarkable is that teacher who accomplishes himself what he teaches to others.
(Italian proverb)

IED faculty are professionals that daily face the market. Here you can read their bios.

Aldo Buzio - Course Coordinator

Aldo Buzio - Course Coordinator
PHD in Cultural Heritage at the Politecnico di Torino, MA in Communication Sciences and post-graduate in Cultural Projects for Development. Deputy Director at Silvia Santagata Research Centre and Tutor for the Master World Heritage and Cultural Projects for Development at ITC-ILO, researcher in the field of cultural economics, lecturer in various post-graduate courses. He collaborated in the realization of cultural projects and start-up for various institutions.

Enrico Bertacchini

Enrico Bertacchini
Researcher at UniTO, assistant professor at the Department of Economics and Statistics “S. Cognetti De Martiis”, University of Turin and fellow of CSS-Ebla and Nexa Center for Internet & Society. His main research interests deal with cultural economics, creative industries and common-based models for the production of  cultural goods.

Renzo Di Renzo

Renzo Di Renzo
Creative Director of Fabrica and Artistic Director of Fondazione Claudio Buziol he’s been involved in art and communication for over 20 years. He curated many exhibitions included Future Pass, official collateral event of La Biennale 2011. He is a board member of Villaggio Globale International, which organizes exhibitions, cultural events and territorial marketing projects. He is the founder and Creative Director of an international design and communication studio, HEADS Collective, operating in the commercial field.

Diana Marrone

Diana Marrone
Journalist, PR, lecturer. During her advanced studies in international relations and different professional experiences, she went on with her activity of cultural planner and founded PR│UNDERCOVER. As contributing editor she worked among others with Il Manifesto/Alias, BBC Radio, World Service, Cultframe.com and New Cultframe.com, Undo, NAI Publishing, b_books Berlin, among the others. She is co-founder and co-editor of the online literary magazine and offline readers' club Slow Words People and Stories from this World.

Enrico Poretti

Enrico Poretti
Digital Strategy and Social Media Director at Discovery Communications Italy. He has more than 10 years of experience in digital content, social media management, marketing and business development in companies like Discovery, The Walt Disney Company and Yahoo! Italy. In 2006 he took part in the production team of the Olympic Games Ceremonies in Turin and began his career in corporate and marketing communication.

Alessio Re

Alessio Re
UNESCO Consultant, Deputy Director CSS-EBLA. PhD in conservation of heritage and landscape, he has both academic and professional experience in managing policies and projects for cultural and environmental heritage, with a specific interest in the relation between heritage and the economic dimension of sustainable development. He is currently Deputy Director and Programme Manager of the World Heritage studies area of the Centro Studi Santagata and Adjunct Professor at the University of Torino. Since 2008 he’s been working as consultant intern for important institutions.

Peter Tomlinson

Peter Tomlinson
He has twenty-six years professional experience in the field of enterprise development, including long term project experience in Latin America, the Caribbean and the South Pacific. He has been managing the Enterprise, Microfinance and Local Development technical programme for the International Training Centre of the ILO in Turin, Italy for 16 years. He’s specialized in entrepreneurship training, business development services, value chain development, socially responsible enterprise restructuring.

Alessandro Bollo

Alessandro Bollo
He is one of the founders of Fondazione Fitzcarraldo, an international independent centre for research, training, planning, and documentation of cultural, arts and media management based in Turin, Italy, where he is currently responsible for the Research and Consultancy Unit. He also works as a Professor of Marketing and Communication of Cultural Heritage and Activities at Politecnico in Turin, and as a lecturer at various courses for cultural operators. He worked as Coordinator of the Cultural Observatory of Piedmont.

Jonathan Watkins

Jonathan Watkins
Jonathan Watkins has been Director of Ikon Gallery since 1999. He has been working in London for years as Curator of the Serpentine Gallery and Director of Chisenhale Gallery. He has curated a number of large international exhibitions including the Biennale of Sydney, Quotidiana, Tate Triennial, Shanghai Biennale, Sharjah Biennial. He was on the curatorial team for Europarte, Milano Europa 2000 and Riwaq . He curated the Iraqi Pavilion for the Venice Biennale 2013 and has written extensively on contemporary art.

Claudia Ohel

Claudia Ohel
German nationality and based in Torino, she is Consultant and Trainer for project management, monitoring and evaluation and is a certified PRINCE2 practitioner. She mainly operates within international projects in education and professional training. She collaborates on a stable basis with ITC-ILO, where she teaches in various Masters and other courses. Previously she worked for 8 years at the European Union as Program Manager.

Davide Baruzzi

Davide Baruzzi
Co-founder and Project Designer at BAM! Strategie Culturali and Creative Director of Craq Design Studio. With an international education and working experience, Davide is a cultural management consultant and practitioner with main focus on cultural innovation and audience development strategies.

Raffaele Solaini

Raffaele Solaini
He received the Ph.D. in Semiotics from the University of Bologna, under the guide of Umberto Eco. He started teaching at the University of Pavia and since 2006 he teaches Semiotics, Rhetoric and Branding at the European Institute of Design. Former columnist for the online paper Affaritaliani.it, he commented on communication phenomena and social trends. He worked with the most important market research agencies. Among his major clients, Ace, Scavolini, Mercedes, Telecom Italia, Enel, Italian Premiership.

Simone Menegoi

Simone Menegoi
Independent critic and curator based in Verona and Milan. He started his activity as journalist, contributing to a number of art and design magazines (as Artforum, Mousse and Kaleidoscope) and to the Italian daily Corriere della Sera. Since 2005, he has curated exhibitions in private and public spaces, in Italy and abroad. Currently he cooperates as Coordinator of Per4m project at Artissima, International Fair of Contemporary Art.

Massimo Negri

Massimo Negri
Director of European Museum Academy, he is member of the Scientific Committee of the Museum of the Duomo of Milan, of the Scientific Committee of Brescia, MUSIL Museum project science and Space communication LINK Cab & Brussels Tour. He collaborates with several universities, foundations and museums in the field of exhibition planning and professional development. Among his most recent works the new Museum of the history of Bologna and the project for a Museum of the trip for the Italian Touring Club. He was a founding partner of modern and contemporary art fair MIART, Milan.

Alessia Pannella

Alessia Pannella
Graduated in Law with a thesis on European Community Law at Ferrara University, she focused her work in the field of art law, having both galleries and artists as clients. Passionate collector of Contemporary Art, over the years she has organized exhibitions and contributed to the editing of several art catalogues.  She teaches art and copyright law and has a regular column on the Art Report magazine.

Pietro Ripa

Pietro Ripa
He graduated in Economics and Business at the University of Pavia, took a post-graduate degree in Accounting and Corporate Finance. He currently is Head of the Private Banking unit at the Banca Carige Group After having held office as Investor Relations Manager at the Banca Carige Group, MPS, Abn Amro, Antonveneta and Credem. Moreover, he has been Senior Art Finance Advisor for Axa Art and Art Defender. He is the author of several papers on the Economics of Arts and Culture. He has created and directed the MPS Art Weekly Report.

Martina Gambillara

Martina Gambillara
Graduated in Economics and Management of Art at Cà Foscari University, Venice. Thesis: Analysis of the development of the Chinese contemporary art market during the period 1991-2010. She has been working for art galleries and auction houses and since 2011 she’s Art Market Editor for Artribune magazine, focusing on emerging markets, trends, auction sales.

Michele Trimarchi

Michele Trimarchi
Vice President of the Fondazione Teatro Comunale at Bologna since 2015, has extensively assisted italian public administrations and private organizations on creativity and cultural economics and policy. Active in international cultural co-operation (MENA, Indonesia, India, Brazil), he is member of the editorial board of Creative Industries Journal and Professor of Economic Analysis of Law (University of Catanzaro) and Cultural Economics (University of Bologna).

Giacomo Nicolella Maschietti

Giacomo Nicolella Maschietti
Journalist at ClassNBC since 2007, he works on the concept, realization and direction of several TV programs related to art market and auction, in collaboration with Christie’s and Sotheby’s. He writes for monthly magazine as Class, Gentlemen, Flashart Arte and Antiquariato. He is the founder of CHOOZE.it, web magazine on lifestyle sector.

Francesco Fassone

Francesco Fassone
Architect and Designer, he took his first steps in the field of the theater, together with Maestro Eugenio Guglielminetti. In 2001 he began his set designer training, which led him collaborating with very important theaters and festivals, both on the Italian and international scene, for which he created installations and performances. He wrote several publications in the field of research, investigating the contact spheres between the theatrical and architectural language.

Marco Trevisan

Marco Trevisan
Arts Manager, worked for the Pegghy Guggenheim Collection (in charge of Corporate Relations), FMR Franco Maria Ricci (luxury publishing house, in New York for 2 years), as Director for the Affordable Art Fair, Milan and Rome, and as Managing Director for Christie's Italy. At present he works ad consultant for the Christie's group.

Eugenia Morato

Eugenia Morato
After a degree in Arts Economics and Business Administration, she followed her passion for web and new media and started collaborating with brands and small companies on digital marketing & communications projects. Since 2012, she has been Digital Strategist and Content Manager of Very Creative People working with companies of several fields. She is also Cultural Planner working on cultural branding and content marketing projects. As freelance Reporter, she collaborates with the magazine Pubblicità Italia, covering international marketing and advertising events.

Paolo Graziano

Paolo Graziano
Professor of Political Science and Policy Analysis at the University of Padua and Research Associate at the European Social Observatory, Brussels. He is also Honorary Professor at the Glasgow School for Business and Society – Glasgow Caledonian University. He held Visiting Positions at the most import universities. He also worked as consultant for several social and cultural NGOs, local Italian public administrations and agencies, the Italian Prime Minister Council and the European Commission.

Pietro Calore

Pietro Calore
Controller Manager of  Fondazione Musei Civici di Venezia he was also Responsible for the Permanent Observatory on the visitors at the marketing department at the same institution. In addition to budgeting and evaluation of the overall business management, he is responsible for financial planning for the organization of exhibitions and national and international events and the preparation of projects funded by the European Union.

Carlotta Scioldo

Carlotta Scioldo
She studied Art and Theatre Studies, developing since 2011 research activities on dramaturgy in the performing at a.pass - advance performance and scenography studies in Antwerp. She managed many project in Italy, Greece, UK, Belgium and Germany. She curated workshop in various contexts, such as a.pass, BA Performance Practice, Stalker Teatropeercoaching, Rete Anticorpi XL. She is the Italian correspondent member for the International dance Committee (Ngo UNESCO). In 2015 she co-conceived and co-curated the project Ricerca X_research & dramaturgy, based at Lavanderia a Vapore, Turin.

Vittorio Falletti

Vittorio Falletti
Professor of economics of art at the Albertine Academy of Fine Arts of Turin, Member of ICOM-International Council of Museums, former Scientific Secretary of Fondazione Rosselli. Director of the house of art and architecture La Giardiniera in Settimo Torinese and Member of executive of Eurispes Piemonte of the Italian Association of Studies on Museums. He is Program Manager of the area Museum and Contemporary Art of CSS-Ebla and author of several scientific publications and of art criticism pieces.

Paola Borrione

Paola Borrione
Paola Borrione works on new technologies, cultural economics and in particular on cultural districts like food and fashion. For ten years she worked for IRES Piemonte (regional institute of social-economic research) where she focused on local media system, on the analysis of the Italian regional socio-economic contexts (www.sisreg.it), on social innovation. She also worked the PISA-OCSE program for Piedmont. She is Researcher at CSS-Ebla, Centre for the Economics of Culture.