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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:
_https://goo.gl/3OZfcx _).
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.
References
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/ uclouvain.be) <mailto:(andrea.catellani /at/ uclouvain.be)>
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:
http://sites.uclouvain.be/rec/index.php/rec/about/submissions
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.
Contacts:
Andrea Catellani, (Andrea.catellani /at/ uclouvain.be)
<mailto:(Andrea.catellani /at/ uclouvain.be)>
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/ collectiana.org)
<mailto:(Axel.gryspeerdt /at/ collectiana.org)>
C/o Collectiana Foundation
B-1050 Brussels
(Axel.gryspeerdt /at/ uclouvain.be) <mailto:(Axel.gryspeerdt /at/ uclouvain.be)>
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/ uclouvain.be) <mailto:(andrea.catellani /at/ uclouvain.be)>
Tél. 32 (0)10 47 27 63 - GSM 32 (0)487 62 46 14
www.uclouvain.be/lasco.html <http://www.uclouvain.be/lasco.html>
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