Schedule

Arts Marketing Europe

9.30

Registration

Pick up your name badge and delegate bag and join us for a coffee before the conference starts.

10.00-10.45

Reaching New Audiences - Breaking the Model

Only through transformative change, rather than incremental, can we hope to deliver new audiences into our institutions. Learnings from Tate on how we broke our working models to deliver record numbers of new visitors to Queer British Art, Soul of a Nation and Uniqlo Tate Lates.

Chris Condron
10.45-11.15

A Rebel Year

Good Night Stories for Rebel Girls is a collection of stories about one hundred remarkable women and their extraordinary lives, from Ada Lovelace to Michelle Obama. Empowering and inspirational, these are true fairy tales for heroines who definitely don’t need rescuing. It was published by Penguin in March 2017, on International Women’s Day, having achieved astonishing success as a kickstarter in the US. We turned this into the publishing sensation of the year in the UK and beyond, inspiring numerous imitators and creating a storm of #rebelgirls online and all over the world.

From thinking outside the box in our approach to outdoor, to taking Rebel Girls into the classroom – this campaign taught us the ways in which physical books can inspire more than ever, as long as your campaign inspires too.

Ingrid Matts
11.15-11.45

Not Content, Contact is King; why serendipity management matters for meaning

Dutch Design Week (DDW) is a nine-day event with a complex target audience. DDW operates between audience, participants and media as a facilitator, sometimes as a client and more often as a platform. This all takes place in a delicate field that exists around content.

In the field of marketing, branding and PR, not a day goes by without another new tool or channel. Each one promising to reach vast audiences and to further maximize conversion. All can be achieved just by pushing the right content. From that moment on, it’s time to simply lean back and let the algorithms do their work. Well, that is what the future will have in store for us. But we all know it is only a part of the equation.

Raffaela will explain how content might be considered king, but contact is what propels a strong connection with your brand.  At Dutch Design Foundation (DDF), she implements strategies that bolster and encourage active interaction, inciting passionate engagement.

In her talk, Raffaela will share insights that she and her DDF team have gained and what has propelled Dutch Design Week into the top 3 design events worldwide in less than 5 years.

Raffaela Vandermühlen
11.45-12.00

Sponsor message

12.00-13.00Break

13.00-13.30

Ethos and Pathos: the thin line between culture and the profit making world

Selling culture in a multichannel digital world is a luxury. It’s something all commercial brands aim for. You could ask me: what do you sell? My reply would be: I sell music, festivals, bonding experiences, immersive realities. Positioning this cultural product in the marketplace would appear straightforward but  is actually counterintuitively difficult. Why? Market saturation. Copies of copies. Doppelgängers. So what does it take to make cultural communication unique? In my case, i believe that what makes our marketing unique is a focus on both Ethos and Pathos. Pathos meaning emotional appeal and Ethos; in this sense the power of music to influence emotions, behaviour, and even morality. We need to think outside the box when it comes to marketing cultural products, basing our communications on substance rather than trends. The answer isn’t always ‘video’. 

Georgia Taglietti
13.30-14.00

Van Gogh Museum’s brand revisited

The Van Gogh Museum welcomed a record number of visitors in 2017 and became the most visited museum in The Netherlands. With the ambition to grow even more, both globally and digitally. and introducing many different activities and new business concepts worldwide – the museum needed to re-shape the brand strategy.
Cas Boland, Head of Marketing, will tell you all about the new brand strategy of the Van Gogh Museum. Think: brand architecture, brand story, brand values, brand governance, internal branding and the revitalizing of its visual identity.
Cas Boland
14.00-14.30

Fortune favours the bold: developing audiences in China

In late 2016, Punchdrunk and partners SMG Live opened Sleep No More in Shanghai. A darkly cinematic re-telling of Shakespeare’s Macbeth, the production invites audiences to move freely throughout a five storey building housing over 90 different rooms and experiencing the epic story as they go.

The first show of it’s kind in China, it was also Punchdrunk’s first time in Asia. One year and over 300 performances later, find out what lessons have been learned along the way.

JoJo Tyhurst

14.30-15.00Break

15.00-15.30

Brand 'n' Branding

What is it? What’s it to do with me? Why should we? And what’s it worth? All valid questions around the word ‘brand’ – often especially when marketers talk to colleagues. Promoting your brand is part of most marketers daily, weekly, monthly and yearly responsibility but can become solely your responsibility.

How would your organisation react if you declared that brand had nothing to do with the marketing department…  that the organisation needs to rebrand – and that everyone has to contribute.

That’s maybe not technically the process we went through to rebrand the International Festival but we did discover a lot of issues to tackle and questions to ask.

Jackie Westbrook
15.30-16.00

Thinking Digital – the Museum as Publisher

The positioning of museums is undergoing huge change, prompted in part by the connected web and the disruptive change that the information age has introduced to human behaviour, human knowledge and creative expression. In a globalised and connected world, the authority of the museum is moving from singular authorship (around objects or works of art) to one of contextual authority. In order to remain relevant to its 21st century audience the museum must therefore think more like a publisher than an author.

We all know that the traditional marketing mix – with its emphasis on the promotion of a product – is not enough to attract and maintain an audience in an increasingly user-centred world. Our audiences are sophisticated consumers, familiar with the personalised and content-led marketing model that pervades in comparable sectors. They will not passively receive our information as fact (fake news!) and instead will synthesise their own opinion from a mix of their personal experiences of the world, the experiences of family and friends, as well as experts in the field. How then does the modern art museum respond?

Aoife will talk about IMMA’s digital strategy and its emphasis on a content-led approach that aims to provide IMMA’s audience with the tools to “co-author their experience”.

Aoife Flynn
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