Art requires its own specific type of communication. Attention is a limited resource.
This also goes for cultural life. Communication has become a central interface. Museums need people who visit them, while exhibitions and events need the discourse they transmit. How can we use PR work to efficiently multiply content and themes and how can we generate public interest? From complex art festival to specific exhibition project, from professional city or museum marketing to the theoretical debate forum: art is a sensitive area that requires insider knowledge and contacts – especially in the case of a specific “information logistics and dramaturgy”. When an efficient relationship management is required between experts on the scene. When contacts must be established, knowledge exchanged, and contents and topics precisely formulated and communicated properly to the appropriate target group(s).
Art events and trade fairs are communication platforms. The market for art fairs is growing and art fairs dominate the art market.
Yet fairs and markets are also communication platforms for information transfers – the step from conversation to contract is often quite small. From targeted advertising strategy through PR event to the general „buzz“, trade fairs are interesting playing fields. Knowing the international gallery scene and its networks is just as important as being familiar with the rankings of current trends and hypes and the ability to differentiate between up-and-coming talents and timeless masters.
Corporate culture is also a form of culture.
Working at the interface between art, culture and business means recognising and exploiting potential avenues for using art and culture as communication platforms to make a company interesting. It is also important to secure fair partnerships as patrons that make art possible in the first place. It requires intensive mediation and considerable consulting expertise to protect and promote the interests of the various parties in order to identify innovative and economically beneficial solutions. The agency’s work results in tailor-made projects and events that generate public interest in the respective topics trigger processes within the company and create optimum synergies in networks of producers or multipliers.
The stage is set for professional communication in the fields of music, dance (and) theatre.
From classical to pop and easy listening –modern music covers a broad spectrum. The be-all and end-all of communication is still defined by the right form of address and the competent description of content in order to hit the right notes in the orchestra of communication strategies. As mediator between artists and audiences, producers and sponsors, we give content structure, develop topics, tie up loose ends, formulate messages, nurture contacts, create platforms and open channels – thus laying the groundwork for culture to fall on open eyes, ears and minds and enabling the arts to maintain a continuous presence and acceptance in the media.
The limits between art and film, between moving pictures and still images that move you, between visual and literary narration have long since been blurred.
Artists resort to cinematic methods or become directors, film-makers draw inspiration from art and artists become cult figures in the movies. They all share the narrative element. When mediating between text and image, communication also needs the right script – and it takes an expert team to formulate the right messages.
Architecture is more than just a constructed shell that defines space.
It is a sign of its time, an expression of its function, a monument of its philosophy, and the subject of both internal and public reflection. A museum and the idea behind a collection – both are granted a physiognomy through architecture. A cultural landscape discovers its trademark. A whole town receives its icons through the specific formal language of a particular building. Cultural tourism, with its vitalising powers, is seldom far behind. Architecture is also a form of communication – reason enough to fashion a professional engagement both with it and the discourse that surrounds it.
Culture has in the interim become a decisive factor in the choice of location.
It is an elementary component of urban self-image, as well as its outward representation. Its economic relevance and concomitant importance is burgeoning in the creative economy’s new dialogue. The interest in synergies often encounters the fear of instrumentalisation, the mutual field of interest doesn’t create an arena for cooperation, but rather one of conflict, posing a number of exciting questions: how can the perceived reality and image of a culturally-orientated city be initiated and guided convincingly? Where does city marketing get the necessary credibility and authenticity to create a bond between the communicators and producers of culture?
Culture and architecture are social themes – they are almost always dealt with in a cultural-political manner, and, often enough, dispensed with arbitrarily.
The growing scarcity of economic resources plays its part and duly undermines the culture lobby. Thus an engaged, committed, and critical articulation of social interests that considers expert knowledge as much as it heeds the desires of chief protagonists and the interested public, is more important than ever before. The process of forming cultural and political lobbies demands both an idealistic approach to the matter in hand, as well as a strategic procedure with regard to the responsible parties. Culture needs protection and sponsorship in order to preserve its existence as a salient quality of urban life. We are committed to this aim.