Vera Allmanritter

Vera Allmanritter is currently working as a scientific project manager for the "Non-visitors-research-project" which is conducted by the Institute for Museum research Berlin in cooperation with visitBerlin and financed by the Senate Department for Culture and Europe, Berlin (Germany). Prior to this, she was research fellow at the Department of Cultural Policy at the University of Hildesheim and at the Jewish Museum Berlin as well as coordinator of the Center for Audience Development at the Free University of Berlin. She is recognized for her research, publications and teaching in the fields of cultural management, cultural marketing, visitor research, audience development, and empirical research methods.

Lifestyles among visitors of cultural institutions –
basic research for cultural management, cultural policy and cultural institutions

It is well known within cultural management research that the ongoing shift from a society of social classes to a society of different lifestyles in Germany has caused a declining explanatory force of sociodemographic factors concerning cultural institutions’ (potential) visitor`s behaviour. Still, depending on the underlying understanding of the term, the existence of diversity among visitors of cultural institutions is usually measured by their sociodemographic composition. This is not surprising, considering that the instruments designed for the measurement of lifestyles usually use a highly complex analysis method. In a pilot project financed by the German Federal Commission for Culture and Media a shortened survey instrument by sociologist Gunnar Otte was tested in a large-scale visitor survey. This presentation will provide insights into the theoretical approach of his instrument, first results of its application in visitor studies as well as implications of the study for cultural management research and practice.



Gesa Birnkraut
University of applied sciences Osnabrück, Germany

researcher, consultant, trainer

Prof. Dr. Gesa Birnkraut holds a diploma in business administration and arts management. Her PhD was on the topic: “Volunteering in arts institutions in a comparison between the US and Germany”. She is a professor for strategic management at the University of applied sciences Osnabrück at the Master for Non Profit Management. She is also the general manager of the arts management consultancy Birnkraut|Partner arts+business consultants and head of the board of the non profit Institut fuer Kulturkonzepte. More information under or


W. F. Garrett-Petts
Thompson Rivers University

Will Garrett-Petts is Professor and Associate Vice-President of Research and Graduate Studies at Thompson Rivers University. He is former Research Director of a humanities-led national research program exploring the cultural future of smaller communities. His recent books include Cultural Mapping as Cultural Inquiry (Routledge 2015); Whose Culture is it, Anyway? Community Engagement in Small Cities (New Star Books 2014); Writing about Literature (Broadview Press 2013); Imaging Place (Textual Studies in Canada 2008); Artists’ Statements and the Nature of Artistic Inquiry (Open Letter 2007); The Small Cities Book: On the Cultural Future of Small Cities (New Star Books 2005); and PhotoGraphic Encounters: The Edges and Edginess of Reading Prose Pictures and Visual Fictions (University of Alberta Press 2000). His most recent book is Artistic Approaches to Cultural Mapping: Activating Imaginaries and Ways of Knowing (Routledge 2018), co-edited with Nancy Duxbury and Alys Longley. He is currently engaged in exploring questions of artist-led research, cultural and vernacular mapping, and the artistic animation of small cities.

Artist-led cultural mapping: a catalyst for the re-imagination, and re-formation, of municipal power hierarchies.

Alongside the municipal cultural mapping movement, a growing number of arts-based researchers and community developers have been working to explore the dimensionality and potentials of place and community—through forms of cultural mapping rooted in creative practice (Duxbury, Garrett-Petts, et al, 2019). As Novak-Leonard and Skaggs (2017) note, “there is a hypothesis stemming from within the arts and cultural field that a policy paradigm focused on artists’ roles in community change, development, and placemaking is taking hold.”  While not without their own biases, forms of creative cartography are seen by many to do a better job than dominant municipal cultural mapping practices in uncovering the intangible dimensions of place, including the emotions, sensations and relationships that inform and comprise the life-world—what Raymond Williams calls “structures of feeling” (1973.) By tapping into these structures, arts-based cultural mapping “animat[es] and honor[s] the local, by giving voice and definition to the vernacular” (Duxbury, Garrett-Petts, et al, 2019).



Dr. Lisa Gaupp
Leuphana University of Lueneburg, Institute of Sociology and Cultural Organization, Germany

diversity, festivals, politics

Lisa Gaupp studied cultural studies, intercultural & international studies and ethnomusicology at the universities of Lüneburg, Barcelona and Hanover as a fellow of the German National Academic Foundation. Her doctoral thesis focuses on mechanism of “othering” in “intercultural” policies in the field of popular music (Open Access:
In her postdoc research she analyzes curatorial strategies regarding cultural diversity at transnational Performing Arts and music festivals. Lisa Gaupp lived in the USA, Haiti, Guatemala and Spain and was the Executive Manager of the 2009 Hannover International Violin Competition (Stiftung Niedersachsen).

Beyond Diversity – The Politics of Global Music Cultures

The paper analyzes the politics of diversity in global music cultures. Diversity issues have become one of the key issues in the economy, in public life and in governance – in particular in the cultural field. However, the more diversity becomes present and visible, the more it appears to be regulated, policed, and standardized in various ways and with different purposes, ranging from political debates about the “limits of tolerance” up to stereotyped forms of cultural hybridity in fashion or advertisements as well as in arts management and its educational fields.
One of the most urgent tasks in arts management today is the deconstruction of such exotic representations, othering processes and established Eurocentric political and educational concepts. It is crucial to address the continuing biases and assumptions underlying arts management education as well as arts programming – not only show how the arts serve politics, but to explore possibilities to avoid these othering processes.
In order to do so, some examples as to how diversity is standardized in narratives taking place in public debates and in academic discourse as well as in festival curating processes will be unraveled. For example, in the area of „intersectional diversity“, music festivals will be presented that follow the goal of creating a more inclusive environment. Many music festivals are organized by politically active or at least engaged organizations which are now trying to achieve, for example, a gender balance within their artists’ roster. Moreover, in the field of „diversity in the arts“, the goal is to increase the visibility of  artistic diversity, also on a global level. Last but not least, the narrative area “mediating diversity” has the same goal but on the level of the audiences. The audiences attending art performances should become more diverse.
As such, the notions of politics and domination are at the center of these practices. Power is established and de-established by assigning differences, by controlling and sanctioning deviance, leading for example to standardization and thereby to the institutionalization of diversity. The paper will discuss how, by applying a transcultural perspective to diversity in arts management research and teaching as well as in practice, it is indeed possible to avoid the biases underlying education and curating processes.



Michael Habersam
University of Innsbruck, Department of Organisation & Learning, Austria

Curiosity, evaluation impact, culture & education

Born 1965, Vienna, Austria; in 1996 PhD (Controllíng as Evaluation) at Private University Witten/Herdecke, Germany; Habilitation (Management of Public Hospitals) 2008 at University of Innsbruck, Faculty of Business and Management.
Research: Evaluation of organizational performance and impact in the fields of Arts & Culture and Higher Education
General business administration-/management-theory, focusing on ontological, epistemological, and methodological aspects of theory-building
Teaching in BA, MA and PhD courses; Program Director, Bachelor Program Management & Economics
Latest publication: Habersam, M., Piber, M. and Skoog, M. (2018) "Ten years of using knowledge balance sheets in Austrian public universities: A retrospective and prospective view", Journal of Intellectual Capital, Vol. 19 (1), pp.34-52. [link]


Raphaela Henze
Heilbronn University, Germany

Arts Management Professor specialisation in Globalization and Internationalisation

Raphaela Henze is professor of Arts Management at Heilbronn University in Germany and Co-Investigator of the Arts & Humanities Research Council funded, international and interdisciplinary network Brokering Intercultural Exchange ( Prior to joining Heilbronn University, Raphaela Henze worked in several senior management positions in universities, ministries, and non-profit organisations. Her main research focus is on the impacts of globalization and internationalization on arts management and arts management education as well as on the role of arts and culture in times of raising populism. She has published widely on these topics and has been a speaker at numerous international conferences.
Raphaela Henze, studied law at Humboldt-University Berlin and Paris X-Nanterre in France, received her Ph.D. from Ruhr University Bochum, was a postdoc in the Law, Media & Culture Project at Yale Law School, USA, as well as at the National Institute for Educational Policy Research (NIER) in Tokyo, Japan. She holds an MBA from the University of London.

The master’s tool will never dismantle the master’s house

Keywords: language, terminology and narratives, inequalities, espistemicide
This paper is about power mechanisms inherent in our (knowledge) system, particularly focusing on the language we use in arts management practice. The discussion presented will explore language in two ways: as regards one’s native tongue in which arts management practice is conducted as well as the terminology of the profession (especially the one used in international contexts).
The paper reflects on the learning Victoria Durrer from Queen’s University Belfast and I gained in building the UK Arts and Humanities Research Council-funded international and interdisciplinary research network Brokering Intercultural Exchange ( over the last two and a half years. In doing so, the paper strives to identify the blind spots and fault lines particularly in our methodologies of participation. Based on the works by Spivak, Hall, Bloch, Butler, Jullien, de Sousa Santos, and Williams this shall be the beginning of a longer process of a) trying to overcome inequalities and misunderstandings when it comes to language and terminology in our discipline and b) involving new narratives of those we came to call “hidden voices”, who have been absent from our “Western” discourses for too long.

The paper is based on a thorough review of the literature and narratives used particularly in European arts management as well as on empirical research that involved arts management researchers from several different countries among them China, Taiwan, Singapore, France, Germany, the Netherlands, UK, Denmark, Finland, Spain, Malta, Turkey, Bulgaria, Italy, Austria, Solvenia, Australia, Columbia, Brazil, Argentina, Puerto Rico, USA, Canada, Lebanon, and India . They all contributed their definitions of some of the most frequently used terms in current (international) arts management debates e.g. ‘inclusive society’, ‘community engagement’, and ‘equality’.



Christian Holst
Zurich University of Arts, Cast/Audiovisual Media, Switzerland

Lecturer and Researcher

Christian Holst is a lecturer and researcher at the Zurich University of the Arts, subject area Cast/Audiovisual Media. He also teaches digital cultural communication as a lecturer at various universities, e.g. Leuphana University Lüneburg and HAW Hamburg. He previously worked at the Zurich Opera House and the Oldenburg State Theatre. Holst is co-founder and board member of stARTconference.

Cultural branding and Co-Creation

Digitalisation has multiplied the possibilities of cultural negotiation processes and thus made more people cultural actors and competent co-designers of cultural brands. For cultural institutions, this means that the sovereignty to interpret their own brand presentation is diminished. Brands become object of unauthorized appropriation and representation by third parties. From the point of view of the institutions, the question therefore arises how the variety of representations of  their offer can be stimulated in their interest and a contoured (brand) profile can be created.
The lecture presents the concept of co-creation as a possible answer to this development. In this concept, the public is not understood as a passive addressee of cultural branding, offers and the associated services. The public is rather seen as a competent co-creator and partner, who confidently claims to participate in cultural negotiation processes.


Sharon Karsten
Simon Fraser University; Director, Comox Valley Art Gallery

Sharon Karsten is a Ph.D student/researcher, community developer and civic activist. Her current dissertation research through Simon Fraser University (Vancouver, Canada) explores the role of art institutions in enacting and/or constraining transformative social-democratic potentials within small city contexts. This line of inquiry is carried-over into Sharon’s work as a cultural manager – currently she serves as Director of Comox Valley Art Gallery, a non-profit, contemporary, small city art institute through which she has initiated numerous citizenship and community activation projects. Sharon brings over 20 years of cultural management and community development experience to her quest to enact rooted and sustainable forms of arts-based transformation.

Artist-led cultural mapping: a catalyst for the re-imagination, and re-formation, of municipal power hierarchies.

Alongside the municipal cultural mapping movement, a growing number of arts-based researchers and community developers have been working to explore the dimensionality and potentials of place and community—through forms of cultural mapping rooted in creative practice (Duxbury, Garrett-Petts, et al, 2019). As Novak-Leonard and Skaggs (2017) note, “there is a hypothesis stemming from within the arts and cultural field that a policy paradigm focused on artists’ roles in community change, development, and placemaking is taking hold.”  While not without their own biases, forms of creative cartography are seen by many to do a better job than dominant municipal cultural mapping practices in uncovering the intangible dimensions of place, including the emotions, sensations and relationships that inform and comprise the life-world—what Raymond Williams calls “structures of feeling” (1973.) By tapping into these structures, arts-based cultural mapping “animat[es] and honor[s] the local, by giving voice and definition to the vernacular” (Duxbury, Garrett-Petts, et al, 2019).


Dr Sue Kay, freelance, France/UK

researcher, consultant, trainer

Sue has a background in arts management and cultural administration. She has held senior management positions in three theatres, all of which had significant volunteer involvement – the last one having a volunteer force of 460. She has worked as a cultural planner (Arts Council England South West), subject director for arts management (Dartington College of Arts), and as executive director of the erstwhile regional cultural consortium for South West England. Since 2005 she has operated as a freelance consultant, educator and trainer. She has an MA in Cultural Management from City University and a PhD in Leadership Studies (focusing on cultural managers in micro-scale theatre organisations) from the University of Exeter. Now based in France, and formerly a board member of the European Network of Cultural Administration Training Centres, Sue works outside the UK on a regular basis in Central and Eastern Europe, Nordic Baltic countries and the Southern Mediterranean region.

Time to change the tune? Cultural volunteering as cultural participation

Anyone who is a cultural volunteer will have a good idea of why they do it and what they value about it. Anyone who has managed cultural volunteers will have an experiential understanding of the benefits and challenges of working with them. And those who have studied cultural volunteering contribute valuable theoretical insights in respect of both the above. Yet it is arguably still the case that – regardless of the different contexts and traditions in which cultural volunteering takes place ­– the default setting is that cultural volunteers are primarily a ‘resource’ to be ‘used’ whether they serve on a board or take part in day to day operations. Our concern is that this emphasis obscures the power of cultural volunteering as a discrete and legitimate form of participation in culture. This interactive workshop is an invitation to put our heads together, share our experiences and explore where some serious paradigm shifting might take us!



Natasha A. Kelly

Natasha A. Kelly has a PhD in Communication Studies and Sociology from the University Münster. Born and bred in the United Kingdom and raised in Germany, she considers herself to be an »academic activist«, two important features that can be seen individually, but never separately from each other. Rooted in the Pan-African culture of her Jamaican heritage, her political and academic works relate to the past, present, and future of the African Diaspora in Germany. This is also the focus of her numerous art installations that have been shown in museums throughout Germany. Since 2015 Natasha’s annual performance »M(a)y Sister«, which is dedicated to the Afro-German poetess and activist May Ayim, has been shown at the HAU Theatre in Berlin. Her first documentary film »Milli’s Awakening« was screened at the 10th Berlin Biennale for Contemporary Art from June to September 2018 and received the Black Laurel Film Award as Best Documentary Feature in October 2018. For more information see:

Milli’s Awakening

In the works of many German Expressionists, Black women were merely portrayed as »objects of desire«. Ernst Ludwig Kirchner, for example, was less interested in exploring the anatomy of the female body. Rather, he wanted to feel his own manhood through the alleged »bondage to nature« of his motives. In 1911, at the height of German colonialism he painted »Sleeping Milli« naked on a couch. The only source of his inspiration was his male sense of eroticism. While numerous art historians take the aesthetics as well as the sexual fantasies of Kirchner in the focus, the documentary film »Milli’s Awakening« wants to immerse in the thought and emotions of his »muse« and let Milli awake figuratively: Black female artists of various generations, who have overcome the common colonial stereotypes and have formed their own self-determined identity as Black Women within the white German majority society report on their challenges in and with German art institutions, visual representation and political and social exclusion.


MMag. Irene Knava, MAS
AUDIENCING, Österreich

Beratung, Training und Co-Kreation für Kulturbetriebe

Ist Expertin für Publikum, Kulturerlebnis und Kulturelles Wirkungsmanagement. Sie ist systemische Organisationsberaterin, zertifizierte Qualitätsmanagerin, Wirtschaftstrainerin und Lehrbeauftragte an Hochschulen in Österreich und Deutschland. Mit ihrer Agentur AUDIENCING begleitet Irene Knava Kulturbetriebe seit 2009 mit Beratung, Training und Co-Kreation beim Change zur besucherorientierten Kulturorganisation. In den AUDIENCING Labs spannt Irene Knava Dialogräume auf – zuletzt Let`s Talk Diversity! – und entwickelt co-kreativ mit der Kulturbranche innovative Musterlösungen. Zuletzt erschien ihr Buch ISO FOR CULTURE: Qualitätsmanagement für Kulturbetriebe bei Facultas, Wien. Ihr nächstes Buch AUDIENCING Reloaded! ist in Vorbereitung. Sie studierte Theater-, Film- und Medienwissenschaft, Kunstgeschichte, Betriebswirtschaft und Kulturmanagement in Wien und war 15 Jahre in Führungsfunktionen in Kulturbetrieben tätig.

Diversität wirksam umsetzen und im Zeitablauf evaluieren
Kulturelles Wirkungsmanagement als neues Instrument für Kulturbetriebe

Kulturelle Diversität ist für viele Kulturbetriebe eine große Zielsetzung und Herausforderung. Die Zusammensetzung der Stadtgesellschaft soll sich in Publikum, Programm und Personal widerspiegeln und Institutionen somit ein Spiegelbild der sie umgebenden Gesellschaft sein. Dies bedeutet einen Change Prozess für die Ziele und Strukturen öffentlicher Kulturbetriebe, die mit Organisationsentwicklung und Veränderung bisher wenig Umgang fanden. Wie lässt sich Diversität in den Zielen und Arbeitsstrukturen des Kulturbetriebs etablieren? Wie lässt sie sich im Zeitablauf evaluieren und wie lassen sich konkrete Veränderungen sichtbar machen?
Der Vortrag präsentiert die partizipativ erarbeiteten Ergebnisse der AUDIENCING Labs zu den Themen Diversität im Publikum und Let’s Talk Diversity! (2017-2018, 130 Teilnehmer*innen) und setzt diese in Bezug zum Konzept des Kulturellen Wirkungsmanagements, das von 2015 bis 2018 von Irene Knava gemeinsam mit 150 Vertreter*innen von Kulturbetrieben co-kreativ entwickelt wurde.



Prof. Dr. Thomas Knubben
Institut für Kulturmanagement der Pädagogischen Hochschule Ludwigsburg

Kulturwissenschaftler, Leiter Master-Studiengang

Studium der Geschichte, Germanistik und Empirischen Kulturwissenschaft in Tübingen und Bordeaux; Promotion an der Universität Essen. 1985 - 2002 leitende Funktion im kommunalen Kulturmanagement, seit 2003 Professor für Kulturwissenschaft und Kulturmanagement am Institut für Kulturmanagement der Pädagogischen Hochschule Ludwigsburg und Leiter des Masterstudiengangs.
Zahlreiche Veröffentlichungen im Spannungsfeld von Kulturgeschichte, Kunst und Kulturmanagement, darunter Essays und Kataloge zu Paul Klee (1995), Wols (1997), Joseph Beuys (1998), Emil Nolde (1999), Andy Warhol (2000), Otto Dix (2002), Marlene Dumas (2003) und Auguste Rodin (2005); kulturgeschichtliche Monografien: Hölderlin. Eine Winterreise, Tübingen 2011; Mesmer oder die Erkundung der dunklen Seite des Mondes, Tübingen 2015; sowie Studien und Publikationen zu kulturmanagerialen Fragestellungen: Zukunft für Musikschulen, Bielefeld 2007 (mit Petra Schneidewind);  United in Diversity? Cultural Policy and its Dimensions, Ludwigsburg 2011 (Ed. u.a.);   Sharing Diversity. Culture as a Resource for Future Europe and its Dimensions in four European Countries: Bulgaria, Finland, Germany and Poland, Helsinki 2013 (Ed. u.a.); zuletzt: Weltkulturatlas. Kultur in Zeiten der Globalisierung, Stuttgart 2019 (Hg. mit Erich Schöls und Uli Braun).

Genossenschaften galten angesichts ihrer Entstehungszusammenhänge immer als „Kinder der Not“.

Im Jahr 2016 wurde „die Idee und Praxis, gemeinsame Interessen in Genossenschaften zu organisieren“ in die UNESCO Repräsentativliste des Immateriellen Weltkulturerbes aufgenommen. Damit fand eine sozio-ökonomische Organisationsform ihre offizielle kulturelle Anerkennung, die in ihrer modernen Erscheinungsform angesichts der Spannungslagen im Transformationsprozess vom feudalen Zeitalter in die industrielle Gesellschaft erfunden wurde. Schon zuvor hatte die UN der Genossenschaftsbewegung die Referenz erwiesen und das Jahr 2012 zum „International Year of Cooperatives“ erklärt. Dass diese Anerkennung zu diesem Zeitpunkt erfolgte, hängt damit zusammen, dass die Genossenschaftsbewegung nach einer längeren Phase der Stagnation seit wenigen Jahren einen neuen Aufschwung erfährt und ihre Geschäftsfelder in Wirtschaftssektoren ausgedehnt hat, die traditionell nicht zu ihrem angestammten Aktionsbereich gehören. Dazu zählen auch die Kulturgenossenschaften. Ermöglicht wurde die Erweiterung des Handlungsraums für Kooperativen auf europäischer Ebene durch die Schaffung der Rechtsform der Societas Cooperativa Europea und auf nationaler deutscher Ebene durch die Novellierung des Genossenschaftsrechts 2006.
Genossenschaften galten angesichts ihrer Entstehungszusammenhänge immer als „Kinder der Not“.
Auch die derzeit knapp 100 Genossenschaften in Deutschland, die im engeren oder weiteren Sinne dem kulturellen Sektor zugeordnet werden können, verdanken ihre Gründung großenteils defizitären Umständen wie der drohenden Schließung von Kultureinrichtungen oder dem Mangel an kultureller Infrastruktur und der daraus erwachsenen Notwendigkeit direkten solidarischen Handelns in Eigenverantwortung.  Zugleich stellt sich jedoch die Frage, ob die Organisationsform der Genossenschaft aufgrund ihres Selbstverständnisses und ihrer strukturellen Anlage, wirtschaftliche Orientierung mit gemeinwesenorientierten Förderzwecken zu verbinden, neue und nachhaltige Potentiale in der Gestaltung aktueller (kultur-)politischer Transformationsprozesse bietet.
Die Präsentation geht dieser Frage auf der Basis eines Mappings von Kulturgenossenschaften in Deutschland vor dem Hintergrund entsprechender europäischer Entwicklungen nach und diskutiert anhand von Fallanalysen Potenziale und Grenzen des Ansatzes im Hinblick auf die Forderungen nach erweiterter Partizipation breiterer Bevölkerungskreise, nach Stärkung der Diversität der Beteiligten und nach neuen demokratischen und transparenten Formen der Governance kultureller und kulturpolitischer Prozesse.



Dr. Annette Löseke
Lecturer Museum Studies, New York, University Berlin

Expanding Empirical Research in Politically Controversial Times: From Audiences to Stakeholders to Citizens.

By discussing the current right-wing backlash in many countries, this paper explores implications for empirical research and strategy building, and asks how museums might become agents of change in politically controversial times. In order to stir debate, the paper explores the hypothesis that the focus of audience research and participation and outreach programmes in the cultural sector has so far been too narrow in two main respects: 1) the focus on arts organisations and arts- related experiences (as opposed to values and political opinions); and 2) the focus on audiences (as opposed to stakeholders).
ad 1) Building on recent literature (e.g. Witcomb, Xenophobia: Museums, refugees and fear of the other, in Knell 2018), museum directors and managers need to reconsider their (potential) audiences as citizens, and reach out to those audiences that, for example, sympathise with current populist movements. Hence, museum managers need to rethink segmentation models, identify segmentation strategies that correspond with values that shape political opinions, and redefine their target groups.

ad 2) Empirical researchers need to expand the current focus on audiences (whether as visitors or users or participants). Not only do empirical researchers need to find out more about audiences' motivations; research is also needed to analyze potentially controversial motivations and values by a broader range of stakeholders. These might include left- or right-wing political activists; politically centrist audiences that might be concerned or worried by current controversial debates about 'diversity' and 'identity'; museum staff that might need to redefine their professional roles; and private donors and influential members of friend schemes.
Hence, in addition to well-established segmentation models such as demographic models, lifestyle groupings or experience-related categories (e.g. Falk 2009), empirical researchers in the cultural sector need to adopt research methods and approaches as applied, for example, in the political sector. Research is urgently needed to analyse political opinions, identity-related values and emotions about controversially debated topics such as diversity, equity, inclusion and participation, as well as gender and race or ethnicity-related issues. Rather than new research methods, the paper suggests to refocus research and learn from neighbouring disciplines such as political sciences.

Drawing on Elaine Heumann Gurian (On the Importance of And, in MacLeod et al 2018) and Isolde Charim's notions of plurality, insecurity and 'deregulated' space (Ich und die Anderen, 2018), museum managers further need to reconsider what sort of public space museums might produce and provide. How could museums develop a progressive political agenda while at the same time consider a wide range of values and address progressive as well as centrist or conservative audiences? How could we reconsider the role and civic responsibility of private funders? How might private funders respond if public institutions are challenged by rightwing parties, and public funding for diversity and outreach programmes is cut?

By exploring the outlined topics, I seek to discuss how to redefine audiences and other stakeholders as citizens, reshape the role of arts organizations, and reconsider organisational infrastructure, managerial practice and programming. How could we rethink museums as public, politically participative spaces?


Adelheid Mers
School of the Art Institute of Chicago, USA

Associate Professor, Cultural Management

Visual Artist, Performative Diagrammatics

Adelheid Mers is a visual artist who has developed and works through Performative Diagrammatics, a practice that includes elements of notation, consultation, carnivalesque, installation, and video. Her research draws on close work with others, exploring cultural ecologies at multiple scales. Educated at the University of Cologne, University Düsseldorf, Kunstakademie Düsseldorf and the University of Chicago, she is Associate Professor and previous chair of the department of Arts Administration and Policy at the School of the Art Institute of Chicago. Currently on sabbatical, she was a Visiting Lecturer at the Bauhaus University Weimar, in the Media Environments Department (2018), and teaches on-line for the Leuphana University Lüneburg Professional School/Goethe Institut MACUMA program (2018/19); is co-lead, with Doris Ingrisch, of an Art-Research Pilot project at mdw; and works towards an exhibition in Berlin, at Kunstverein Tiergarten Nord in March/April 2019.

Workshop: For an Art of Emigration: ‘Many Figures Make A Ground’

Culture shock happens when a traveler returns home. To make the familiar seem strange is part of the role of art. What this workshop can do is to make familiar ways of thinking strange, by drawing on embodied knowledge. An art of emigration considers the value of de-familiarization to audiences, and ultimately to communication among co-located, but disparate constituencies. The workshop “Many Figures Form a Ground’ takes participants through a process of transpositions that mimic artistic processes of making things strange, through multimodal experimentation.
A team of facilitators, including Adelheid Mers, Hanne Pilgrim (mdw), and Sarah Hermanutz (BUW) will lead a 45-minute narrative and performative sequence that opens with a brief introduction, operates through facilitator prompts and mutual counsel among participants, and culminates in a simultaneous performance by all participants. The game sequence is to be followed by discussion and joint assessment of the experience, along with a theoretic contextualization that will elucidate diagrammatic concepts at work.


Dr. phil. Robert Peper
Hochschule für Musik und Theater Hamburg, Deutschland

Postdoktorand und Netzwerkforscher

Studium der Angewandten Kulturwissenschaften an der Leuphana Universität Lüneburg mit einjährigem Auslandsaufenthalt in Cardiff (Wales); danach Promotion (Dr. phil.) zum Thema „Netzwerke in kulturpolitischen Veränderungsprozessen – eine Analyse am Beispiel der Stiftung Historische Museen Hamburg“; Weitere Tätigkeiten: wissenschaftlicher Mitarbeiter am Institut für Kulturpolitik der Kulturpolitischen Gesellschaft e.V. in Bonn, freiberuflicher Kultur- und Netzwerkberater, Lehrbeauftragter in Lüneburg und Trier, Transfer- und Innovationsassistent an der Leuphana Universität und Sales Manager in einem Hamburger Start-Up.
Robert Peper ist seit 2017 Postdoktorand und wissenschaftlicher Mitarbeiter am Institut für Kultur- und Medienmanagement (KMM). In den letzten Jahren hat er zahlreiche qualitative und quantitative Netzwerkanalysen im Bereich der Kulturberatung durchgeführt (z.B. in Thüringen, Brandenburg, der Metropolregion Rhein-Neckar, Ulm, Düsseldorf, Hannover und Kassel).


Die Präsentation wird die Ergebnisse einer Netzwerkstudie zur nachhaltigen Stadtentwicklung mit einem besonderen Augenmerk auf die Bedeutung künstlerischer und kultureller Initiativen und Organisationen vor Ort vorstellen. Diese Studie wurde im Rahmen der interdisziplinären Forschung „Stadt als Möglichkeitsraum“ erhoben, die von 2015 bis Ende 2018 stattfand. Aus einer netzwerktheoretischen Perspektive heraus postulierten wir, dass künstlerische und kulturelle Akteure stark an diesem Netzwerk teilnehmen und Einfluss auf die Stärke und die Orientierung des Netzwerkes nehmen.
Die Daten zur quantitativen Netzwerkanalyse wurden 2017 mittels einer standardisierten Online-Befragung unter Organisationen und Projekten der nachhaltigen Stadtentwicklung in Hannover erhoben.  Akteure wurden nach ihren Relationen zu Kooperationspartnern. Relationen wurden weiter differenziert nach symmetrischen und asymmetrischen Beziehungen. Zudem wurde die Zentralität der Akteure im Netzwerk erhoben und die Existenz von Teilnetzwerken erfasst. Grundsätzlich lässt sich feststellen, dass kommunalen Verwaltungsstellen die wichtigsten Positionen im Netzwerk innehaben.  Die Akteure sind stärker vernetzt, wenn sie bürokratisch institutionalisiert sind, und sie sind schwächer vernetzt, wenn sie flexibel als temporäre Projekte und Initiativen arbeiten. Während kommunale Einrichtungen hier steuernd wirken können, sind insbesondere künstlerisch-kulturellen Organisationen auf Hilfen anderer Akteure des Netzwerkes angewiesen.

Das an die Mitwirkenden widergespiegelte Ergebnis einer relativen Dominanz kommunaler Schnittstellen und einer relativen Ohnmacht künstlerisch-kultureller Organisationen wurde von den Beteiligten unterschiedlich bewertet. Generell kann man von einer struktur- oder einer agency-orientierten Bewertung der Netzwerkergebnisse sprechen. Zum einen (strukturalistische Deutung) wird die Dominanz als Machtmonopol kritisch betrachtet, da eine Abhängigkeit von Schnittstellen-Akteuren ausgenutzt werden könnte. Zum anderen (interaktionistische Deutung) wird aber die Mächtigkeit einiger Akteure im Netzwerk als reversibel angesehen, weil, ausgehend von Harrison Whites Konzept gemeinschaftlicher Identität, eine monopolistische Machtausübung durch gemeinschaftlich vereinbarte Regeln und Wertvorstellungen verhindert werden kann. Hier wird insbesondere von den künstlerisch-kulturellen Organisationen im Netzwerk erwartet, dass sie durch die Vermittlung kritischer Kulturwerte in das Netzwerk hinein diesen „public conduct“ (Blokland) oder diese „policy conventions“ (Sennett) im Sinne eines egalitär eingestellten Netzwerkes erhalten.


Piber, Martin
University of Innsbruck, Department of Organisation & Learning, Austria

serendipity, impact, art

Martin is professor at the Department of Organization and Learning at the University of Innsbruck/Austria. He is and has been teaching in several BA-, MA-, PhD-, MBA, and further education programs in Austria, Germany, Italy, South Africa, Spain, and Sweden. His research and his publications focus on strategizing and the management of cultural organizations, the practices and theory of management control and performance measurement, the relevance of culture for society, aesthetics, and business ethics. Since 2009 he was visiting professor at the University of Cape Town/ZA, the University of Pavia/I, and the University of Stockholm/S. Since 2012 Martin is scientific director of the Executive MBA program of Innsbruck University and the Center of Science and Training in Bregenz/Austria. His background includes strategy and change projects for several private and public organizations – especially in the fields of culture and the arts. 


This paper gives an extensive review of the past development and possible future directions of the evaluation framework for ECoC projects. An analysis of the methodological and epistemological assumptions of goal-setting processes, performance measurement instruments, and evaluation procedures sheds light on the influence of evaluative practices on the implementation of ECOC-projects. We also pose the question, how long-term-effects can be addressed and evaluated adequately. In terms of further developments, we will especially analyse to what extent the obligation for all ECoCs to evaluate themselves supports diversity, and if a systematic use of visualizations and narratives can contribute and complement or even partly replace existing evaluative frameworks. The results will allow to estimate to what extent evaluative action can assess success, what evaluation and monitoring frameworks contribute to what evaluation targets and what conclusions we can draw for future ECoC projects.


Anke Schad
Researcher, facilitator, Austria

Anke Schad completed her PhD in Cultural Management at the University of Music and Performing Arts Vienna with distinction in 2017. The Austrian Ministry of Science and Research awarded her PhD-thesis on Urban Cultural Governance with the Award of Excellence. She works as an independent scholar, evaluator and facilitator in the areas of cultural policy and management, international cultural cooperation, and cultural education and learning. Since 2017, she accompanies the Goethe-Institut under a framework contract in various international collaboration projects in the areas of urban cultural development, European cultural politics and creative industries. Since 2016, Anke Schad is a member of the board of the Association of Cultural Management.

Who decides? Arts, citizenship and diversity of expressions between normative claims and real political problems

The presentation examines decision-making processes on funding for the arts and culture in Austria. Despite intentions to depoliticize decision-making in institutions owned by public authorities according to economic governance principles (Bundeskanzleramt Österreich 2012) in the course of privatization (Tschmuck 2008), interest-driven interventions of political representatives have not decreased. Apart from the general budgeting decisions, this applies specifically when it comes the selection of leadership positions (Wimmer 2011; Schad 2019) and the selection of jury and advisory bodies (Schad 2019). The power position of political representatives (who are largely homogeneous, there are for example more mayors called Josef than female mayors) coincides with a range of discriminatory factors, such a legal framework excluding a growing proportion of the Austrian population from representative political processes due to their foreign citizenship.
The consequence: asymmetrical power structures and intersectional discrimination thwart the normative demand to strive towards a diversity of cultural expressions on all levels. Yet, civil society actors find ways to voice theirs concerns, most notably through social media campaigns. The presentation briefly outlines the general cultural policy structure in Austria and obstacles as well as opportunities to facilitate a broader participation in decision-making. Cases of decision-making for arts and cultural budgeting on the local and provincial level in Austria are examined based on data generated through interviews with politicians, administrators and cultural professionals as well as policy documents and digital media sources. The analytical approach combines Boltanski and Thévenot’s typology of Orders of Worth (Boltanski and Thévenot 2006) as a framework to analyse argumentation and justification with Clarke’s Situational Analysis 
(Clarke 2005) as a framework to analyse power relationships between actors and other elements. Who decides about funding for the arts and culture? Who uses what kind of arguments? Who is excluded of the decision-making arena, whose voices remain unheard (Spivak 2003) and for what reasons? What kind of strategies do civil society actors use to voice their concerns? On the normative level, the examination of these questions is fundamental to a diversity of cultural expressions as an indicator for democratic quality (Council of Europe 2016).



Lisa Stuckey
Institute for Art Theory and Cultural Studies

Academy of Fine Arts Vienna, Austria

Lisa Stuckey is a doctoral candidate at the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts Vienna. In her research project, she examines investigative aesthetics between art and jurisdiction in the work of Forensic Architecture.
Stuckey studied Art & Communication and Art & Media at the Academy of Fine Arts Vienna and the Royal Institute of Art Stockholm. She works as an independent curator and guest lecturer. Curatorial Projects: Prisoners of Venus. A Video Exhibition (Academy of Fine Arts Vienna, 2016), Posthuman Complicities (xhibit, 2017), I hear the waters’ song (mumok cinema, 2017), and Nor Heat Nor Gloom Of Night (Tiger Strikes Asteroid Los Angeles, 2018). Guest lectures: Brut Künstlerhaus, Volksbühne Berlin, Institute for Art Theory and Cultural Studies, and Literaturhaus Wien.
Currently she is Junior Fellow at IFK International Research Center for Cultural Studies in Vienna.


Based on the term “artist-as-ethnographer,” that Hal Foster coined in 1995, this paper proposes the “artist-as-detective”. These figures share common ground regarding institutional critique and new areas of inquiry imported to the museum. However, the latter shifts its attention to the use of media in courts and tribunals­, noticeable especially when it comes to the agency “Forensic Architecture”. Based on the discourse initiated by Eyal Weizman, who founded the agency to disclose current political and ecological crimes, the presentation focuses on its (artistic) habitus. This is to challenge the claim of art being merely a platform such as the appropriation of ‘aesthetics’ as an investigative method.
Is the figure of the “artist-as-detective” suitable to grasp this contemporary phenomenon, or is it just an offers of proxy? Using civil disobedience both as a means of protest and to generate counter-information, the format of a cosmopolitical engaged ‘case’—which can be ordered by civil society—implies: critique has become a service.



Gudrun Wallenböck
MdW, EUNEPA, hinterland, Austria

Intercultural Arts Management, Focus Middle East

Gudrun Wallenböck is the founder and artistic director of hinterland galerie, founder of hinterland design and co founder of sitios – a global network on urban solutions for public space. hinterland galerie is an independent art space and platform dedicated to the promotion of intercultural and interdisciplinary projects. Since its inception hinterland has remained committed to supporting the work of emerging and established artists from the Middle East and in particular artists living and working in Iran. Gudrun has been part of the program team for two European Capitals of Culture. Since 2009 she is working as a curator and arts manager for international and intercultural projects. She is a senior consultant at EUNEPA. She holds a Master´s degree in Architecture, a Master´s degree in cultural management and she is now working on her PHD on “Challenges of intercultural Curation, mainly between the Middle East and Europe”. She is also part of the advisory board of the SIMORGH Foundation based in Vienna.

Curators as peace workers?
The challenges of intercultural curation of contemporary art in the non-profit cultural sector, taking Austria and Iran as an example.

What can art exhibitions achieve across cultures? What role does the curator play in light of bridge-building and working against (cultural) prejudices amidst the social-political concerns of the present world paradigm? The challenges for curators of contemporary art who mediate and work between different cultures and countries is the main issue of this talk.
I will discuss and try to examine these strategies for intercultural curation and arts management. Through the aesthetics of artworks, and the relevant discussions that these can generate, we can learn much about people and their culture that paves the way for understanding. It is the curator´s mission to display and communicate the artists´ works to the world. With our work as a curator we need to create awareness and build bridges for better mutual understanding. Key questions addressed by this paper include examining the why of intercultural curatorial practice, and how such practice may function.



Aleysia K. Whitmore
Assistant Professor of Ethnomusicology, University of Denver, USA

EURIAS Research Fellow, IMéRA, Aix-Marseille Université, FRANCE

ethnomusicology, cultural policy

Aleysia K. Whitmore is an Assistant Professor of Ethnomusicology at the Lamont School of Music, University of Denver and a EURIAS Research Fellow at IMéRA, Aix-Marseille Université. Her research focuses on the world music industry, globalization, and cultural policy. Her current book project shows how musicians, industry actors, and audiences create, promote, and consume West African and Cuban musics in the world music industry. Other research projects examine how cultural policies engage with diverse music practices in the southeast of France. She has published articles in Ethnomusicology and MusiCultures. She has taught popular music, world music, and classical music courses at Brown University, Boston College, the University of Miami, and the University of Colorado Denver. She holds a BMus from the University of Toronto (Canada) and AM and PhD degrees in ethnomusicology from Brown University (USA).


France has historically promoted Western musics’ roles in furthering national values. What happens when the government begins supporting world musics? How do policy makers frame these musics’ value to the nation—especially in the context of increasing tensions surrounding immigration and racism? This paper shows how music and policy professionals promote world musics by combining existing discourses about musics’ value to the nation with emerging ideas about cultural diversity. These professionals (e.g., concert organizers, government employees) feel that world music projects should promote French national values and identity and foster cultural pride in the diverse communities they serve—work often seen as threatening French egalitarianism by promoting one community over others (communitarisme). Drawing on ethnographic research in France in 2017 and 2018, I show how music and policy professionals negotiate these tensions as they reframe musics’ value in an increasingly diverse nation.



Mag. Karin Wolf
Direktorin des Instituts für Kulturkonzepte

Personalentwicklung, Führungskräfte-Training, Lehraufträge zu Kulturmanagement

Gründerin und Direktorin des Instituts für Kulturkonzepte, Wien. Studium der Theater-, Film- und Medienwissenschaft, Kunstgeschichte (Wien, Amsterdam, Berlin), European Diploma in Cultural Project Management. Seit 1999 Lehraufträge zu Kulturmanagement u.a. Universität Wien, Donauuniversität Krems, Kunstuniversität Graz, Karl-Franzens-Universität Graz und Kunstuniversität Belgrad. Curriculum und Leitung des Universitätslehrgangs „Kultur & Organisation“ an der Universität Wien (2000-2010.) Persönliche Arbeitsschwerpunkte: Personalentwicklung in Kulturbetrieben, Teamentwicklung und Führungskräftetraining, Jobcoaching und Karriereplanung, Präsentations- und Moderationstraining.

Kulturmanagement an der Schnittstelle von Stadtentwicklung und Kulturvermittlung

In Wien gibt es eine Reihe von Stadtentwicklungsprojekten (Seestadt Aspern, Nordbahnhof, Sonnwendviertel) in denen aktuelle und zukünftige Fragen des miteinander Lebens und Wohnens verhandelt werden. Diese Gebiete sind Anziehungspunkt für innovative Wohnprojekte und soziale Initiativen, die aktuelle gesellschaftspolitische Themen nicht nur diskutieren, sondern in vielfältigen Projekten und Konzepten Antworten finden und Modelle ausprobieren.
Diese Dynamik wird von Kulturinstitutionen zunehmend genutzt werden: Stichworte „Outreach und Audience Development“. In der Ausbildung zukünftiger KulturmanagerInnen wird es immer wichtiger, Kompetenzen des Agierens an Schnittstellen zu vermitteln und sich jenen gesellschaftlichen Handlungsfeldern zu widmen, in denen viel Innovation gefordert ist: Die Frage des zukünftigen gesellschaftlichen Miteinanders ist dabei ein ganz zentrale und berührt unterschiedliche Disziplinen von der Soziologie über die Architektur und Organisationstheorie bis hin zur Stadtpolitik. Auf der Ebene der Ausbildung sollten Studierende all dieser Disziplinen bereits während des Studiums gemeinsame Konzepte und Projekte entwickeln und in die Stadtentwicklung eingebunden werden.



Edith Wolf Perez, M.A., mdw, Austria

Dance, community, social cohesion

Already during her dance education at the Laban Centre London, Edith Wolf Perez started to work in inclusive, participatory dance projects and has led community dance interventions in various settings in Germany and the UK.
After moving to Vienna, her work has taken a different direction: she became a journalist and in 1989 co-founded a dance magazine, followed by the online magazine that she continues editing. She also writes for national and international trade magazines and newspapers. She is a speaker at international professional conferences.

She is holding an M.A. in European Cultural Policy from the University of Warwick, has co- authored an international report about cultural policies in 42 European countries, and, in the last 15 years, has co-managed European projects in the area of arts and education.
Edith is currently undertaking a PhD candidate at the Faculty of Music Sociology at the University of Music Vienna. The title of her thesis is: “Migrancy as a Narrative of Contemporary Dance”.

Community Dance Performance – A Strong Case for the Arts?

“Community Dance” refers to a particular dance practice, choreography and/or training, with amateur dancers often leading to a theatre performance. Research based evidence suggests that this practice empowers participants towards self-determination thus promoting active citizenship.
While an increasing number of community projects take place, “mainstream” choreographers are distancing themselves from the notion of community dance, even if they are working with non-professional dancers. Why? Are community dance performances per se artistically less valid? Is it a lesser art, if social, educational, or health issues come into play in the artistic creation? Or do they rank higher than artistic merits? Following the argument of Raymond Williams, is community dance performance a way of moving contemporary dance from the tight context of “art” to the inclusive notion of “culture”?

The negotiation of the above questions will be illustrated with examples from the practice of dance performances with non-professional dancers in diverse contexts.