Archive for 2017

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[ecrea] Call for paper: Collection and Corporate Communication - Art and Memory

Wed Feb 15 20:58:20 GMT 2017

*Call for papers: Collection and Corporate Communication - Art and Memory*


Journal: /Recherches en communication /(Link to the call for paper: _ _).

Issue coordinated by Andrea Catellani and Axel Gryspeerdt (Catholic University of Louvain, Belgium).

The aim of the issue is to examine the relationship between collections owned by businesses and organizations in the broad sense (excluding organizations specifically dedicated to museum activity), on the one hand, and internal and external communication of these same organizations, on the other. In particular, how do organizations manage their collections and museums? What communication policies do they have in this area? How do they avoid the dispersion of existing collections? Do they have a future? What role do new technologies play in this regard? What do businesses and organizations do about cultural and historical heritage and how do they value it?

Many companies and organizations have taken the initiative to create heritage collections of art and frequently contemporary art, or to set up collections that evoke the history of their activities by putting them in a wider industrial or technological context. Collections that evoke the history of distribution, rail transport, information technology, aviation, military ... have emerged and new projects are being developed. In addition to these initiatives, there is also the invitation of artists in residence who get in touch with the staff of companies and organizations, most of the time with a goal of mutual valorization.

These various initiatives could with no doubt be interpreted as a manifestation of the meeting between different worlds or "cities" (merchant, industrial, civic, etc.), according to the terminology of Boltanski and Thévenot 1991. This encounter between the industrial world or public institutions, on the one hand, and the world of art and collections, on the other, certainly not unprecedented in history (if one thinks of the multifaceted phenomenon of patronage, for example), could also be read as a specific form of legitimization, and even "justification" of economic or political power. The corporate collection and museum is a language that speaks of the organization, and invites the public to see it in a new way.

Companies and organizations are at the head of a considerable patrimony, which by its extent can sometimes compete with the public museums. More and more often, their collections are no longer visible only to art lovers, but they meet new audiences in a logic of citizen responsibility.

Among the organizations that have undertaken this process and have created their own collections, we can distinguish between different cases of relation between collections and communication strategy. These cases can become subject of analyzes based on different theoretical frameworks and which mobilize different methodologies. The objective is, each time, to identify models of visibility and staging of a heritage, but also of an organization. Case studies are therefore possible, but also comparative analyzes and attempts to generalize and identify more global trends.

One can distinguish thus:

• Organizations that use their collection to create public relations opportunities or to foster business relationships with their clients or prospects. The question will be raised of the cultural and social responsibility for highlighting collections (eg limited or widely open access), visibility or discretionary practices, the strategies and perceptions of the various actors involved;

• Organizations that implement internal communication strategies, basing on their collection. They sometimes go so far as to invite artists to create original works inspired by their field of activity; • Organizations that, taking a social responsibility approach, consider their duty as a "citizen" enterprise to contribute to the preservation and enhancement of the artistic and cultural heritage of a community;

• Organizations that implement image or notoriety strategies. The corporate collection becomes, in a way, an identity element of the organization;

• Organizations that create a creative, inventive and innovative working environment for their staff and encourage meetings between their staff and artists, basing on collections of contemporary art. This posture particularly highlights the relationship between corporate collections and corporate culture;

• Organizations for which the collection represents the scenographic memory of their activity. This posture particularly highlights corporate collections as an element of memory of the organization.


Appleyard (Charlotte) et Slazmann (James), 2012, /Corporate Art Collection, A Handbook to Corporate Buying/, Lund Humphries in association with Sotheby's Institute of Art.

Boltanski (Luc) and Thévenot (Laurent), 1991, /De la justification. Les économies de la grandeur/, Paris, Gallimard.

Cousserand (Isabelle), 2009, «Les musées d'entreprise, un genre composite», /Revue Communication et Organisation/, n ° 35, p. 192-213.

Drouguet (Noémie), 2015, /Le musée de société. De l'exposition de folklore aux enjeux contemporains/, Paris. Armand Colin.

Frèches (José), 2005, /Art et compagnie, l'art est indispensable à l'entreprise/, Paris, Dunod

Jacobson (Marjory), 1993, /Art and business; new strategy for corporate collecting/, London, Thames and Hudson.

Lindenberg (Morgane) and Oosterlinck (Kim), 2011, "Art collections as a strategy tool: a typology based on the Belgian financial sector", /International Journal of Arts Management/, 13 (3), p. 4-19.

Lisbonne (Karine) et Zurcher (Bernard), 2007), /L'art avec pertes ou profits? Des compétences de l'art dans l'entreprise/, Paris, Flammarion.

Martorella (Rosane), 1990, /Corporate Art/, New Brunswick, Rutgers University Press.

Moureau (Nathalie), 2016, /Collections et entreprises. Liaisons interdites ou amour de raison?/ Axa-Art, Paris.

How to reply to the call for proposals:

Please send your proposals (up to 5000 signs, all inclusive) by e-mail to (andrea.catellani /at/ <mailto:(andrea.catellani /at/> before 31 March 2017. The abstracts will include a title, 5 bibliographical references and names, e-mail address and function of the author.

Abstracts will be evaluated by the issue directors, including the relevance of the theme to the issue. The answer will be given very quickly (no later than April 21).

Authors whose abstract has been accepted are invited to submit the full version of the paper (maximum 30,000 characters) on the journal's website no later than 30 June 2017.

The articles will be checked for anonymity and submitted to the "double-blind" evaluation by the journal's review committee. The response will be provided by September 15, 2017.

Articles submitted and accepted for publication in this issue are published one by one on the site, at the time of their finalization, without waiting for the whole issue to be ready for publication.

Drafting of the article in its final version: 30.000 signs maximum (spaces and references included, abstract and keywords not included) per article, if possible embellished with illustrations (free of rights). Full presentation methods are available at:
Calendar :

31 March 2017: Submission of the abstract of the article (max 5000 signs).
     21 April 2017: Response on the acceptability of the summary.
30 June 2017: delivery of the full version of the article on the journal's website.
     15 September 2017: notification of the reply of the reading committee.

Andrea Catellani, (Andrea.catellani /at/ <mailto:(Andrea.catellani /at/>
C/o COMU, Universite catholique de Louvain
Ruelle de la lanterne magique, 14 boite L2.03.02
B-1348 Louvain-la-Neuve, Belgium

Axel Gryspeerdt, (Axel.gryspeerdt /at/ <mailto:(Axel.gryspeerdt /at/>
C/o Collectiana Foundation
B-1050 Brussels
(Axel.gryspeerdt /at/ <mailto:(Axel.gryspeerdt /at/>
C/o COMU, Universite catholique de Louvain
Ruelle de la lanterne magique, 14 boite L2.03.02
B-1348 Louvain-la-Neuve, Belgium

Mr. Andrea Catellani
/PhD, professeur
Responsable de la finalité de master « Gestion de la communication d’organisation et des relations publiques » - Coordinator of the master program « Management of Organizational Communication and Public Relations » Directeur du laboratoire pour l'analyse des systèmes de communication des organisations (LASCO) - Director of the Laboratory for the Analysis of Organizational Communication Systems (LASCO)
/Ecole de communication - COMU
Ruelle de la lanterne magique, 14 bte L2.03.02 B-1348 Louvain-la-Neuve
(andrea.catellani /at/ <mailto:(andrea.catellani /at/>
Tél. 32 (0)10 47 27 63 - GSM 32 (0)487 62 46 14 <>



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