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Arts Production and Cultural Policy in Transformation | ACPT

International Research Cluster on the Transformation of Cultural Production in the Context of Social Change

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The Research Cluster

Keywords such as “globalisation,” “demographic shifts,” and “digitisation,” alongside changes in everyday work and life and the crises of the climate, the EU, and the democratic order as a whole, encompass the current upheavals facing society. Against this backdrop, the roles of cultural institutions, cultural policy, and cultural work are also changing profoundly. This research cluster investigates the connections between these societal developments and future potential forms of the production, distribution, and reception of the arts and culture. 

„Inside Partita“ Image: Arne Naert

How can cultural policy and cultural organisations react to the fragmentation of audiences, that is, of the public sphere? What challenges and changes do cultural organisations, institutions, and networks face, and what roles do they play in society in the wake of the current upheavals? Which forms of interpretation and action are being concieved by those involved in the production of art and culture under the current pressure to change? How are the self-understanding and working methods of artists and cultural managers shifting, and how is cultural policy being adapted in turn? To what extent is the “cultural audience” transforming? The ACPT cluster addresses these and other questions in various research areas. It analyses practices and formats of arts production, cultural organisations, and cultural-political discourses and their institutionalisation, as well as the reshaping of audiences and the cultural public.


Cultural institutions, their visitors, and cultural policy are interdependent and intertwined. The questions addressed in the cluster therefore require complex, multi-perspective approaches. Accordingly, the cluster operates internationally, interdisciplinarily, and across generations of scientists and practitioners. Subproject sponsors include the Volkswagen Foundation’s Off the Beaten Track initiative, the EU Commission’s Marie Skłodowska-Curie Innovative Training Networks, the Swiss National Science Foundation, and the Studienstiftung des deutschen Volkes.

Research Areas

Transformation of Presentation Formats

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Your question:

What effects do presentation formats have on various types of visitors? Which factors influence aesthetic experience? Is it the work and its appearance, the visitors with their prior knowledge, preferences, and expectations, or the curatorial or dramaturgical framing that decisively shapes the aesthetic experience of an artistic work? We investigate the complex interrelation of “subject,” “work,” and “form of presentation” in this ACPT research area on the basis of two multi-year international research projects: eMotion – Mapping Museum Experience, and Experimental Concert Research.

Research Projects


  • eMotion – Mapping Museum Experience (Prof Dr Martin Tröndle, Principal Investigator)

    eMotion – Mapping Museum Experience, sponsored by the Swiss National Science Foundation, examined the question of the interaction of space, object, and visitor in the context of the art museum. It focused on the psychogeographic effect of the museum and its objects on the experience of museum visitors. To better understand these relationships, eMotion applied and combined new methods of collection and presentation. We developed architectural, visual, and audio processes of data collection specifically for this art research project, and we additionally expanded the catalogue of previously used social science survey methods and forms of representation.

    Further information
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  • Experimental Concert Research (Prof Dr Martin Tröndle, Principal Investigator)

    The research project Experimental Concert Research (ECR), funded by the Volkswagen Foundation’s Off the Beaten Track initiative, investigates the effects of various presentation formats using the example of the classical concert. The classical concert is a highly developed form of performance and reception. But which parameters of this ritualised process are central to concert life and immersion? Which are irrelevant, and which are perhaps even obstructive? ECR conducts experimental research into the experiential potential of the concert as a specific form of presentation and reception for certain types of music. The central question of our research project is: What makes the experience of today’s classical music concert special?

    Further information
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Selected Publications


  • Tröndle, Martin (in print, 2020). Classical Concert Studies: A Companion to Contemporary Research and Performance. New York City: Routledge, 700 pages. 
  • Trönde, Martin et al. (upcoming): Integrated Methods. A pledge for integrative and interdisciplinary research, in: Oshin, Vartanian / Nadal, Marcos: The Oxford Handbook of Empirical Aesthetics, Oxford: Oxford University Press.
  • Tröndle, Martin (2018): Das Konzert II: Beiträge zum Forschungsfeld der Concert Studies, Bielefeld: Transcript, 490 Seiten. 
  • Tröndle, Martin / Greenwood, Steven / Bitterli, Konrad / van den Berg, Karen (2014): The Effects of Curatorial Arrangements. Museum Management and Curatorship, 29/2, 2014, 1-34. Doi: 10.1080/09647775.2014.888820 
  • Tröndle, Martin (Hg.) (2011): Das Konzert: Neue Aufführungskonzepte für eine klassische Form. 2. erw. Aufl., Bielefeld: Transcript, 398 Seiten. 
  • Tröndle, Martin / Tschacher, Wolfgang (2016): Art Affinity Influences Art Reception (in the Eye of the Beholder). Journal of Empirical Studies of the Arts, Vol. 34(1), 74-102. Doi: 10.1177/0276237415621187 
  • Tröndle, Martin (2014): Space, Movement and Attention. Affordances of the Museum Environment. International Journal of Arts Management, Fall 2014 (Vol. 17, no. 1), 4-17. 
  • Tröndle, Martin / Wintzerith, Stéphanie / Wäspe, Roland / Tschacher, Wolfgang (2012): A museum for the twenty-first century: the influence of ‘sociality’ on art reception in museum space. Museum Management and Curatorship, 27(5), December, 1-26. Doi: 10.1080/09647775.2012.737615.

Researchers

Tröndle, Martin Prof Dr
WÜRTH Chair of Cultural Production

Doctoral Candidates

Weining, Christian MA
“(Concert) Audience Typologies”

 

New Forms of Art Practice

Questions?
Your question:

In the changed geopolitical world order of the 21st century, artistic modes of production and work as well as artistic self-understanding have changed. Since the beginning of modernity, art theory and aesthetics have described the role of the arts in society as largely linked to the project of social emancipation, the self-reflection of the individual, and a specific concept of civil society. However, according to the sociologist Niklas Luhmann, this connection, which developed in the “functionally differentiated society” of the 18th century, seems to be eroding in the 21st, since the relationships between art, politics, the economy, and the public sphere are shifting.


In the course of these upheavals, profoundly contradictory developments are emerging. We can observe a growing market orientation of art production and a repositioning of the arts in an explosively growing cultural economy, as well as the so-called social turn in art. The latter describes the phenomenon whereby more and more artists are considering the shaping and transformation of social relations to be the most important aspect of their practices. They deal with social justice and politics, and have thus established a field of action commonly described by the terms “art activism,” “new genre public art,” “social practice art,” and “socially engaged art.”


The ACPT research area described here examines how new pathways, novel career paths, and alternate working environments emerge for artists through their studio practice within these upheavals. The focus here is on the rapidly growing large-scale production facilities of market-related art—the fabricators—where more and more artists are having their works produced, as well as the managerialisation of artistic work in large-scale studios, and, thirdly, the work designs of artistic collectives operating in an activist manner that strongly differentiate themselves from these fabricators.

Research Projects


  • FEINART – The Future of European Independent Art Spaces in a Period of Socially Engaged Art, Marie Skłodowska-Curie Innovative Training Network (ITN), European Training Network (Prof John Roberts, University of Wolverhampton, Coordinator | Prof Dr Karen van den Berg, ZU, chairwoman of the supervisory board & training coordinator | Björn Þorsteinsson, Háskóli Íslands | Dr Angela Dimitrakaki, University of Edinburgh)

    FEINART is an extensive collaborative project between degree-awarding research centres in political philosophy, art theory and practice, curatorial studies, and cultural management on the one hand, and arts institutions—mainly from the European independent arts sector—on the other. This collaboration marks the first interdisciplinary and holistic investigation of the democratic role and function of socially engaged art in Europe. As part of this aim, FEINART will train 11 early-stage researchers (ESRs) in the relevant academic and non-academic skills required to engage with the challenges of this changing artistic and cultural landscape. The 11 ESRs will be spread across four academic beneficiaries (University of Wolverhampton, England; University of Iceland; University of Edinburgh, Scotland; Zeppelin University, Germany) and seven partner organisations (Tensta Konsthall, Sweden; BAK—basis voor actuele kunst, Netherlands; State of Concept Athens, Greece; W-Est, Italy; tranzit.ro, Romania; Teatr Scena Prezentacje (Biennale Warsawa), Poland; and Icelandic University of the Arts). The selected partner organisations represent an exemplary cross-section of small-scale and larger independent spaces—project spaces, cultural centres, art labs, and research hubs—working under different demands and expectations and all providing invaluable support and resources to artists working in the area of socially engaged practice. As such, the FEINART training programme will provide invaluable data about the distribution, impact, and role of socially engaged art in Europe that will contribute to future funding policy recommendations, in particular in relation to state support of art beyond the traditional museum and various debates on art and public culture.

    Further information
EU Funding
  • The Artist Is Absent: The Artist as an Entrepreneur of Creativity and the Changing Representations and Practices of “Art” (Prof Dr Franz Schultheis)

    Today, as in the workshops of renowned Renaissance artists, the material execution of works of art is increasingly delegated to employees or outsourced to craft enterprises. “Head” and “hand” as well as “concept” and “realisation” move far apart and give way to a new understanding of the artist as an “entrepreneur of creativity.” By means of ethnographic field research, sponsored by the Swiss National Science Foundation, and based primarily on qualitative interviews with around 40 art producers in 10 selected production sites for artworks in Switzerland, Germany, Austria, the US, and Canada, this book project aims to explore this specific configuration of art production and its expression by looking at the changing perceptions and legitimations of art, as well as the changing roles of the artist and others involved in this division of artistic work.
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  • Book project: How Do Artists Work in the 21st Century? Cooperation Models, Studio Practice, and Knowledge Production in the Art Field (Prof Dr Karen van den Berg)

Selected Publications


  • Karen van den Berg, Cara Jordan, Philipp Kleinmichel (eds.): The Art of Direct Action. Social Sculpture and beyond, Berlin (Sternberg Press) 2019.
  • Karen van den Berg: Socially Engaded Art and the Fall of the Spectator since Joseph Beuys and the Situationists, in: Karen van den Berg, Cara Jordan, Philipp Kleinmichel (eds.): The Art of Direct Action. Social Sculptures and beyond, Berlin (Sternberg Press) 2019: 1–40.
  • Karen van den Berg: From Protest to the Production of Social Relations Socially Engaged Art and Activism in Germany since 2015, FIELD Journal of Socially-Engaged Art and Criticism, 2019; Jg. 2019 (12): 1–4. 
  • Andrea Glauser ,Patricia Holder ,Thomas Mazzarana ,Olivier Moeschler ,Valérie Rolle , Franz Schultheis (Hrsg.): Arts and Markets, London, Palgrave Macmillan Publishing (im Druck)
  • Christoph Henning, Franz Schultheis und Dieter Thomä: Kreativität als Beruf. Soziologisch-philosophische Erkundungen in der Welt der Künste. Bielefeld, Transcript, 2019.
  • Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft. / Journal of Cultural Management: Arts, Economics, Policy, Special issue: Wirtschaftsästhetik / Organizational Aesthetics, 2018 (4)2, Bielefeld: Transcript, 222 Seiten. Doi: 10.14361/zkmm-2018-0201

Researchers

van den Berg, Karen Prof Dr
Chair of Art Theory & Curating

Schultheis, Franz Prof Dr
Senior Professor for Sociology of Art and the Creative Economy

Doctoral Candidates

Rosenkranz, Marie MA
“Artistic Strategies in Brexit”

Brusa, Francesca MA
“Invisible Production”


 

Audience Transformation and the Change of Political and Cultural Publics

Questions?
Your question:

Changing audience formations, audience fragmentation, changing habits of use and behaviours, new types of tastemakers, new categories of (non-)visitors, novel habits of use, new cultural publics—all are sub-areas that touch on the question of how the transformation of cultural production affects the establishment of cultural publics with their audiences.

International Conference

The Future of Publics“ (22–27.07.2019)

  • ACS Summer Institute, ZU Friedrichshafen, Lake Campus
  • 40 international participants, five keynote speakers, and 26 seminars over five days

Selected Publications


  • Göttlich, Udo, Heinz, Luise, Herbers, Martin R. (Hg.) (2017): Ko-Orientierung in der Medienrezeption. Praktiken der Second Screen-Nutzung, Wiesbaden, Springer VS.
  • Göttlich, Udo, Heinz, Luise, Herbers, Martin R. (2018): Das Fernsehen und der Second Screen. Aktuelle Aspekte der mediatisierten Mediennutzung, in: Kalina, Andreas/Krotz, Friedrich/Rath, Matthias/Roth-Ebner, Caroline (Hg.): Mediatisierte Gesellschaften. Medienkommunikation und Sozialwelten im Wandel, Baden-Baden, Nomos, 71-86 (Tutzinger Studien zur Politik).
  • Göttlich, Udo, Herbers, Martin R. (2018): Speak your Mind: Mediatized Political Participation through Second Screen, in: Wimmer, Jeffrey; Wallner, Cornelia; Winter, Rainer; Oelsner, Karoline (Hrsg.): (Mis-)Understanding Political Participation. Digital Practices, new Forms of Participation and the Renewal of Democracy , London, New York, Routledge, 129-137. 
  • Göttlich, Udo, Heinz, Luise, Herbers, Martin R. (2017): Mediatisierte Medienrezeption. Der Second Screen und seine gegenwärtige Nutzung, in: Udo Göttlich, Luise Heinz, Martin R. Herbers (Hrsg.): Ko-Orientierung in der Medienrezeption. Praktiken der Second Screen-Nutzung., Wiesbaden, Springer VS, 9-28.
  • Göttlich, Udo, Heinz, Luise, Herbers, Martin R. (2017): Mediatisierte Medienrezeption. Neue Integrationswege der Ko-Orientierung?, in: Krotz, Friedrich / Despotović, Cathrin / Kruse, Merle-Marie (Hrsg.): Mediatisierung als Metaprozess. Transformationen, Formen der Entwicklung und die Generierung von Neuem, Wiesbaden, VS, 163-183.
  • Göttlich, Udo (2017): Öffentlichkeit durch Unterhaltung. Krise der Öffentlichkeit oder Herausforderungen der Öffentlichkeitstheorie?, in: Hahn, Kornelia; Langenohl, Andreas (Hg.): Kritische Öffentlichkeiten - Öffentlichkeiten in der Kritik, Wiesbaden, Springer VS, 115-132.
  • Göttlich, Udo (2017): Raymond Williams' Konzept der "mobilen Privatisierung" als Beitrag der Medien- und Öffentlichkeitskritik, in: Horak, Roman; Pohn-Lauggas, Ingo; Seidl, Monika (Hg.): Über Raymond Williams. Annäherungen, Positionen, Ausblicke, Hamburg, Argument, 164-177. 
  • Göttlich, Udo, Heinz, Luise, Herbers, Martin R. (2017): Second-Screen-Nutzung und die De-Mediatisierung des Fernsehens: Aktuelle Herausforderungen für die Kommunikations- und Medientheorie, in: Pfadenhauer, Michaela; Grenz, Thilo (Hg.): De-Mediatisierung. Diskontinuitäten, Non-Linearitäten und Ambivalenzen im Mediatisierungsprozess, Wiesbaden, Springer VS, 159-178.
  • Tröndle, Martin (Hg.) (2019): Nicht-Besucherforschung. Audience Development für Kultureinrichtungen. Wiesbaden: VS-Springer, 148 Seiten. Doi: 10.1007/978-3-658-25829-0Kirchberg, Volker / Tröndle, Martin (2015): The Museum Experience: Mapping the Experience of Fine Art. Curator – The Museum Journal, 58 (2), 169-193. Doi: 10.1111/cura.12106
  • Fachverband Kulturmanagement (Hg.) (2012): Zukunft Publikum. Jahrbuch Kulturmanagement 2012, Bielefeld: Transcript, 428 Seiten

Researchers

Göttlich, Udo Prof Dr 
Chair of Media & Communication Science

 

Transformation of Cultural Institutions

Questions?
Your question:

The question of the transformation of publicly funded institutions is addressed in two ways. Firstly, we ask: What challenges are (publicly funded) cultural institutions confronted with in regard to societal transformations, and what are their responses to these challenges? These questions touch on aspects of organisational learning, leadership, evaluation, and the strategic management of cultural institutions. Three current doctoral projects dedicated to these topics in the field of culture-specific organisational research consider these questions further.

Secondly, to accompany this internal perspective, we are examining an external one, namely the influence of cultural policy on cultural institutions. The question of which function culture should fulfil for society is negotiated in political agendas, funding guidelines, and position papers. Additionally, since the 1970s, Germany has developed various temporary funding formats, projects, and programmes that have clear objectives and require justifications for funding. This approach has led to quantitatively evaluated topics such as “audience development” becoming guiding principles in official cultural policy. Such issues are discussed at length in policy papers and funding guidelines, but how are these official guiding principles actually implemented in institutions? What changes in organisational structure and self-perception have they brought about? Individual case studies are used to examine which organisational challenges and social transformations institutions are responding to and how they are responded to them, as well as whether the dispositif of political “guiding formulas” and “institutional anchoring” is really consistent across publicly funded institutions, or whether breaks and opposing movements can be seen among them.

Research Projects


  • (Re-)presenting Artistic Performance: A Contextualized Framework for Evaluating Performing Arts Organizations (Dr Leticia Labaronne)


Selected Publications


  • Labaronne, Leticia / Tröndle, Martin (2019, in print): Managing and Evaluating the Performing Arts: Value Creation through Resource Transformation. Journal of Arts Management, Law and Society.
  • Tröndle, Martin / Stahl, Julian (2018): Toward a practical theory of managing the arts. In: DeVereaux, Constance (Ed.), Arts and Cultural Management: Sense and Sensibilities in the State of the Field. Oxon: Routledge, S. 247-266, doi: 10.4324/9781315164205. *
  • Bishop, Esther / Tröndle, Martin (2017): Tertiary musical performance education: An artistic education for life or an out-dated concept of musicianship? Music & Practice, Volume 3, 2017, online www.musicandpractice.org/volume-3/tertiary-musical-performance-education
  • Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft. / Journal of Cultural Management: Arts, Economics, Policy, Special issue: Cultural Leadership, 2019 (5)1, Bielefeld: Transcript, 181 Seiten. Doi: 10.14361/zkmm-2019-
  • Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft. / Journal of Cultural Management: Arts, Economics, Policy, Special issue: Evaluation im Kulturbereich II, 2017 (3)2, Bielefeld: Transcript, 216 Seiten. Doi: 10.14361/zkmm-2017-
  • Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft. / Journal of Cultural Management: Arts, Economics, Policy, Special issue: Evaluation im Kulturbereich, 2017 (3)1, Bielefeld: Transcript, 223 Seiten. Doi: 10.14361/zkmm-2017-

Researchers

Tröndle, Martin Prof Dr
WÜRTH Chair of Cultural Production

DeVereaux, Constance Assoc Prof
University of Connecticut

Doctoral Candidates

Stahl, Julian MA
“Organizing (Dis)Order: Kulturorganisationen in der Netzwerkgesellschaft”

 

Transformation of Cultural Politics

Questions?
Your question:

In some nation states (e.g., the US, Poland, Hungary, Italy, the UK, Israel, and Greece), populist and nationalist political movements are questioning the value publicly financed art and culture has for the community today. How is the (radical) political repositioning of these countries affecting their cultural policies? How are budget cuts, censorship, media control, a narrowed concept of culture, and attempts to politically control the management personnel of cultural institutions influencing cultural creation in these places? What influence do right-wing and left-wing populist parties in these countries and beyond exert on cultural-political discourse and artistic and cultural creation? This ACPT research area also examines opposing movements—in particular civil society–centered arts and culture initiatives—that may offer alternative governance formations.

A further part of this project is devoted to the emergence of cultural-political metadiscourses, such as “new cultural policy,” “cultural education,” and the “cultural struggle”—or the “Resistance against Modernity and Western Decadence,” as the slogan of the Polish right-wing populist Law and Justice (PiS) party puts it. How are these metadiscourses produced, and how do they become effective in the field of cultural politics? What influence do they have on funding decisions?

Image: Vasyatka1 (Wikimedia Commons)
Image: Vasyatka1 (Wikimedia Commons)

International Working Meeting “Cultural Policy Transformations: The Rise of Illiberalism”

The international working meeting “Cultural Policy Transformations: The Rise of Illiberalism” took place on 5 and 6 March 2020 at Zeppelin University. The conference addressed issues of current international cultural policy and transformation, and in particular the increased presence of illiberal, populist parties and movements in this field. Together with our international guests, ways of dealing with corresponding developments as well as possibilities for research cooperation were discussed.


Further information and report on the working meeting  

Selected Publications

  • Tröndle, Martin / Steigerwald, Claudia (2019): Anthologie Kulturpolitik. Einführende Beiträge zu Geschichte, Funktionen und Diskursen der Kulturpolitikforschung, Bielefeld, transcript.
  • Steigerwald, Claudia (2019): Kulturelle Bildung als politisches Programm. Zur Entstehung eines Trends in der Kulturförderung, Bielefeld, transcript.
  • Schad, Anke Simone (2019): Cultural Governance in Österreich. Eine interpretative Policy-Analyse zu kulturpolitischen Entscheidungsprozessen in Linz und Graz, Bielefeld, transcript.

Researchers

Schad-Spindler, Anke PhD
Post-Doc | Research Cluster Arts Production and Cultural Policy in Transformation

Tröndle, Martin Prof Dr
WÜRTH Chair of Cultural Production

 

Cultural Hybridity – Policy and Aesthetics in Contemporary Hybrid Cities

Questions?
Your question:

Preservation of culture and of cultural diversity are central policy aims at the international and national level. These dual aims have been connected to both economics (tourism, creative industries) and politics (local cultural development, empowerment of marginalised groups) as means to achieve positive governmental aims. The international organisation UNESCO, for example, has articulated cultural diversity and preservation of culture as central to their global mission.

Critics of these policies maintain that cultural preservation impedes the development of culture, retarding the natural dynamics of aesthetic processes present in society. Similarly, critique of “diversity” as a policy aim argues that it constrains and impedes beneficial social and artistic exchange by limiting creative innovation.

In contemporary society we are all more prone to live hybrid lives in culturally hybrid spaces.


With these realities as a backdrop, we look at cultural hybridity through policy, philosophies of art, and the aesthetics of everyday, practical life. A central argument is that in contemporary society we are all more prone to live hybrid lives in culturally hybrid spaces. Evidence may be seen in the fact that many global cities have come to be described as “hybrid” societies where cultures mix, almost seamlessly in the aesthetic realm. Identity, art, culture, and social engagement should operate differently, it seems, in culturally hybrid spaces.

Cultural hybridity is also the focus of challenge. Many people see its manifestation as a remnant of colonialism—the physical signs of cultural dominance and repression written in the art and architecture of a city.

Some questions to be answered is whether cultural hybridity requires policy support, and if so, what kind, precisely? Is it to be preserved and supported, or discouraged and eradicated? Is cultural hybridity an inevitable part of contemporary, globalised living that needs no policy intervention? Given cultural economic development in the 21st century, one could also ask if hybrid cities are necessarily and inevitably neo-liberal no matter where they exist? Finally, how do we understand artistic production in the context of cultural hybridity? How is it both supported and contested in political, social, and economic contexts.

Researchers

DeVereaux, Constance Assoc Prof
University of Connecticut

 

Team

Team Transformation der Kulturporduktion

Tröndle, Martin | Prof Dr

Questions?
Your question:
Martin Troendle

Speaker of the Cluster

Professor | WÜRTH Chair of Cultural Production

Since 2015, Prof Dr Martin Tröndle has held the WÜRTH Chair of Cultural Production in the Faculty of Communication and Culture at Zeppelin University, Friedrichshafen. His work deals with a large variety of topics, all revolving around the production, distribution, and reception of the arts. Tröndle was the principal investigator of eMotion – Mapping Museum Experience (2008–14), supported by the Swiss National Science Foundation. eMotion experimentally analysed the experiences of museum-goers, looking primarily at the museum architecture, art objects, and curatorial design and how these effect and affect the behaviour of museum visitors. Tröndle is now principal investigator of Experimental Concert Research (2018–), supported by the Volkswagen Foundation and others, a project that experimentally analyses the concert experience. Since 2014, Tröndle has been Editor-in-Chief of the peer-reviewed journal Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft / Journal of Cultural Management: Arts, Policy, Economics, and Society. Among others, he is the editor of the two-volume concert studies reader Das Konzert: Neue Aufführungskonzepte für eine klassische Form (2011, 2nd ed.) and Das Konzert II: Beiträge zum Forschungsfeld der Concert Studies (2018).

 

van den Berg, Karen | Prof Dr

Questions?
Your question:
Karen van den Berg

Karen van den Berg is Professor of Art Theory and Curating at Zeppelin University, Friedrichshafen. She studied art history, classical archaeology, and Nordic philology in Saarbrücken and Basel. Her doctoral thesis on Matthias Grünewald was supervised by Gottfried Boehm and received support through a Friedrich Naumann Foundation stipend. Van den Berg also earned the Max-Imdahl-Stipendium für Kunstvermittlung in 1994–96. From 1993 to 2003, she was a regular lecturer and research fellow for art history and theory at Witten/Herdecke University, and research stays and teaching posts have brought her to numerous internationally acclaimed institutions, including the Chinati Foundation in Marfa, Texas; Bauhaus University, Weimar; Parsons New School for Design, New York; and Europäisches Kolleg Jena. She was also a visiting scholar in the Department of Comparative Literature at Stanford University in California and a fellow at Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM) in Weimar. Her research focuses on the theory and history of display, museums, educational architecture, art and politics, artistic epistemes, art market studies, and studio practice.

 

Göttlich, Udo | Prof Dr

Questions?
Your question:
Udo Göttlich

Udo Göttlich is Professor of General Media and Communication Studies at Zeppelin University, Friedrichshafen. His main areas of work and research are media, communications and cultural sociology, reception and audience research, cultural studies approaches, theory of public sphere, and sociological theory.

 

Schultheis, Franz | Prof Dr

Questions?
Your question:
Schultheis, Franz

Senior Professor for Sociology of Art and the Creative Economy


Franz Schultheis is Senior Professor of Sociology of Art and Creative Industries at Zeppelin University, Friedrichshafen. He received his doctorate from the University of Konstanz, followed by his habilitation at the École des hautes études en sciences sociales, Paris, under Pierre Bourdieu. Prior to his professorship at Zeppelin University, Schultheis held posts at the universities of Neuchâtel, Geneva, and St. Gallen in Switzerland. He was also Research Councillor at the Swiss National Science Foundation (2000–10) and Vice President of the Swiss Science Council (2010–19), both in Bern, and has been President of the Bourdieu Foundation, St. Gallen, since 2007. Schultheis is a member of the editorial board of Actes de la Recherche en Sciences Sociales; co-editor (with Stefan Egger) of Pierre Bourdieu’s collected writings, published by Suhrkamp; editor of the series Questions sociologiques, released by Edition L’Harmattan, Paris; and Vice President of the publisher Les Éditions Raisons d’Agir, Paris.

 

DeVereaux, Constance | Assoc Prof

Questions?
Your question:
Constance DeVereaux

Research Associate | Research Cluster Arts Production and Cultural Policy in Transformation

Constance DeVereaux is Associate Professor and Director of the MFA program Arts Leadership and Cultural Management at University of Connecticut. She studied political philosophy, public policy, and legal theory at Claremont Graduate University in the US, completing her doctorate with the thesis: Artist, Citizen, State: A Theory of Arts Policy. As a Fulbright Senior Specialist, she has provided expertise to universities, municipalities, and organisations in South Africa, Romania, and Finland on matters of cultural policy, cultural management, and culture-led development. She is a member of the international research team UNESCO and the Making of Global Cultural Policy funded by the Australian Research Council. She serves on the executive editorial board of the Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft / Journal of Cultural Management: Arts, Policy, Economics, and Society.
Her research interests include culturally sustainable entrepreneurship, cultural hybridity, and the use of narrative for cultural policy analysis. Recent published works include Arts and Cultural Management: Sense and Sensibilities in the State of the Field and Narrative, Identity, and the Map of Cultural Policy: Once Upon a Time in a Globalized World. She has also published articles in Journal of Cultural Management and Policy, the Annals of Tourism, the Journal of Arts Management, Law, and Society, Kultūros Barai, and Philosophia.

 

Schad-Spindler, Anke | PhD

Questions?
Your question:
Anke Schad-Spindler

Post-Doc  |  Research Cluster Arts Production and Cultural Policy in Transformation

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Anke Schad-Spindler has been conducting international research and evaluation projects in the field of cultural policy since 2006. For 10 years, she worked for EDUCULT – Institute of Cultural Policy and Cultural Management, Vienna, after which time she started her own business. In 2017, she completed her PhD in Cultural Governance (with distinction) at the University of Music and Performing Arts, Vienna, with Prof. Tasos Zembylas. Her research was awarded an Award of Excellence by the Austrian Federal Ministry of Education, Science and Research. Since 2016, she has been a member of the board of the Fachverband Kulturmanagement e.V. (Professional Association for Cultural Management) in Vienna.


Personal Website

 

Labaronne, Leticia | Dr

Questions?
Your question:
Julian Stahl

Post-Doc | Research Cluster Arts Production and Cultural Policy in Transformation

Before joining academia, Leticia Labaronne studied performing arts in the United States and worked as a professional ballet dancer in Europe for over 10 years. She holds a Bachelor of Arts in International Studies from the United Kingdom and a Master of Science in Public and Non-profit Management from Switzerland. Since 2009, Labaronne has been working with the Center for Arts Management at the ZHAW Zurich University of Applied Sciences. In 2019, she became a Head of ZHAW’s Center for Arts Management and currently directs its executive Master of Advanced Studies in Arts Management programme. Between 2015 and 2019, Labaronne completed her doctoral thesis, “(Re-)presenting Artistic Performance: A Contextualized Framework for Evaluating Performing Arts Organizations,” at the WÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen. Her consulting and research focus is cultural policy, fundraising, and evaluation in the non-profit and arts sectors. The research focus of her doctorate—evaluation practices in the performing arts—was motivated by her previous artistic career, and Labaronne continues to apply her working knowledge of the field to the exploration of new research paradigms that can better capture the complexity of artistic activities and shed more light on creative processes in the performing arts.


Further information on Labaronne’s doctoral dissertation

 

Stahl, Julian | MA

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Julian Stahl

Julian Stahl undertook a Bachelor of Arts in Corporate Management and Economics at Zeppelin University, Friedrichshafen, and at Fairleigh Dickinson University, Vancouver, before completing his Master of Arts in Communication in Social and Economic Contexts at the Berlin University of the Arts. He is particularly interested in cultural organisations, and especially the immense changes such organisations are facing in the digital age. In addition to his scientific interest in the subject, he also works with PODIUM Festival Esslingen to investigate intersections between classical music and the digital realm. He is currently working towards his doctorate under Prof. Dr. Martin Tröndle at Zeppelin University, for which he is conducting a qualitative study in three production houses to deepen understanding of the organisational peculiarities of such cultural organisations, and which is supported the Studienstiftung des deutschen Volkes.


Further information on Stahl’s doctoral project (in progress)

 

Stockmann, Nico | BA

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Nico Stockmann

Graduate Assistant  |  Research Cluster Arts Production and Cultural Policy in Transformation & WÜRTH Chair of Cultural Production

Nico Stockmann completed his bachelor’s degree in Communication and Cultural Management with a minor in Corporate Management and Economics at Zeppelin University, Friedrichshafen, and the University of Tasmania, Hobart, Australia. Since 2015, he has worked in different functions at the WÜRTH Chair of Cultural Production at Zeppelin University, and also held a position as a process innovation and quality manager at CODE University of Applied Sciences, Berlin. Supported by a graduate scholarship from the German Academic Exchange Service (DAAD), Stockmann is currently completing a Master of Social Sciences in Global Politics and Communication at the University of Helsinki.

 

Aglibut, Coco

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Coco Aglibut

Undergraduate Assistant  |  Research Cluster Arts Production and Cultural Policy in Transformation

Coco Aglibut has been working toward her Bachelor of Arts in Sociology, Politics and Economics at Zeppelin University, Friedrichshafen, since 2016. Before joining the Arts Production and Cultural Policy in Transformation research cluster, she worked as a student assistant for Prof. Dr. Karen van den Berg in the Chair of Art Theory and Curating.