Cassiopea’s Strategy shapes our art customers’ future, combining business insight with the understanding of how technology will impact industry and business models. Our focus on issues related to digital disruption, redefining competiveness, global fine arts operating models, and talent and leadership helps drive both efficiencies and growth.

Whether focused on strategies for fine arts business initiative, technology adaption, we have the people, skills and experience to effectively shape expected results and value expected. We offer highly objective points of view with an emphasis on business first time right setting and technology to be used, leveraging our experience and competence.

Project Management

Being competitive is one thing, Staying that way is another.

Helping Insitutions & Museums to gain the attributes that keep them ahead in an increasingly turbulent market: today’s market lifecycles are characterized by violent success or dramatic decline. A “shark fin” not the old bell model curve. Competing requires strategies that encompass digital technology to gain agility, innovation and drive profitable growth in sustainable ways.<

  • Most focus on one sourcing exhibitions strategy and optimize it to become highly efficient, but that compromises their flexibility to make necessary operational changes to control expenses &amp; mitigate risks.
  • Too many companies default to the Known Good Die model, and pay the associated management fees, because it’s convenient but that unnecessarily adds 2 percent to 4 percent to their fine arts events cost structure.
  • Many fabless companies aren’t deploying the optimal strategy for their business because they use the wrong criteria to determine which sourcing strategy to adopt.
  • In short, fabless companies are squandering millions of dollars and eroding margins because of inefficient management

Three actions are critical to generating the greatest benefit:

  • Implement the business processes and systems capabilities needed to support each single exhibition or event
  • Use a product’s technology and position in the fine art product perr-to-peer lifecycle to determine which strategy use
  • Monitor the performance of each dynamic strategy to ensure the exhibition attains its desired cost and public

Increasing agility to fuel growth and competitiveness

Businesses are missing the link between cost reduction efforts and growth strategy. Executing cost reduction strategies to fuel growth is challenging, but it has to happen for a business to be competitive. Here are three actions companies need to take:

  • Organize for Fine Arts Business
  • Manage the Exhibition journey
  • Digitize to fuel sustainable day by day Tickets tracking

Fine Arts

  • Gallery Representatives & Facility Reports Review OFF-site and/or ON-site
  • Sponsor High Level Partners
  • Accurate Business Planning
  • Global Footprint Marketing Campaign
  • Artworks Selling (behind interested customer due diligence approval)
  • RFQ Management  & Accessible Catalogues (3llison Strategic Partner)
  • Multiple Original Artworks Collectionists (direct access)
  • Digital &Technological Providers
  • Contractual and Legal Support Team (multi-languages)

Art management professionals oversee the budget for artistic venues, using the latest business strategies to make the operation efficient while also showcasing the best artistic productions possible. We apply business administration technics and processes to the art world. It includes <strong>running the daily business operations of art institutions</strong> either private or public.

  • We develop knowledge, critical understanding and appraisal of relevant management models and approaches to strategic development, programming, planning and delivery of arts and culture
  • We provide insights into the various types of and settings for arts management functions with the range of professional opportunities in the creative and cultural sector
  • We identify the skills and practices required for careers in arts management, cultural policy and related professional practice, and to provide opportunities to learn and develop these skills
  • We stimulate critical debate, innovation and entrepreneurialism in relation to management principles and practices for the arts, and to consider how these might inform broader management practice

Performances Measurements in Fine Arts

Attendance, Audience Satisfaction, Number of Participants

What should be measured? metrics used to measure and impacts, such as audience numbers and audience experience. However, more critically thinking individual who had engaged in the arts can benefit his or her community. Participants also said there tends to be a focus on measuring what has been achieved, but not what is missing. Thus, KPIs should also aim to measure the latter in order to shift policymaking to fill these gaps.

Who should measure/be measured? besides having KPIs imposed by NAC on artists and arts groups, members of the arts community should also develop their own KPIs to measure the ffectiveness of NAC as an advoca space for artists to create art.

How should we measure? although the concept of KPIs is often associated with economics, even economists themselves have recognised the limitations of KPIs as a form of measurement. For instance, numeric measurements might be useful when they are representative or indicative of something and serve as a diagnostic tool, but the same measurement would cease to be valuable and effective if the number becomes a target.

Why should we measure? the need for having KPIs as a form of measurement to begin with. For instance, public expenditure in certain domains, such as defence and education, do not need any justification because society has agreed that they are important and necessary. Thus, insitutions should work towards a stage where the arts is acknowledged to be good in itself because it is art, and that there is no need to justify the utility of the arts instrumentally.

Our current context of internationalisation, globalisation, and the increasing global migration presents challenges and opportunities for the arts and cultural sector. With creative and aesthetic expressions inherently reflective of cultural ideas, knowledge and values, arts and cultural managers have a significant role to play in directing, administering and mediating intercultural understanding. This refers to the ability to know, accept, value, and empathise with alternative perspectives and perceptions of the world (Marginson and Sawir, 2011; Perry and Southwell, 2011)

By Victoria Durrer, Raphaela Henze and Ina Ros