cultural brands 2015

Annual

European

Cultural

Brands

2015

–

Causales

Official Print Partner:

Causales – Cultural Marketing and Cultural Sponsoring Ltd.

www.cultural-brands.com causales business club

consulting & mediation

culture invest congress

ISBN kultur marken jahrbuch

978–3–9816125–2–3 cultural brand award

annual of cultural brands

Annual of Cultural Marketing and Cultural Sponsoring

causales

EDITORIAL Dear Readers, Global economic and social developments pose huge challenges for cultural policymakers, arts organisations and their partners. By establishing business management and marketing processes within public and private cultural institutions, private businesses assuming cultural responsibility and the rethinking of cultural policies open new development perspectives for the synergy of culture, business, public funding and media throughout Europe. For the preservation and development of the arts we need adaptive cultural policy frameworks, an increase in state funding, the support of the civil service sector and a market with its mechanisms. A thriving cultural market includes many different cultural offerings and a demand for theatres, museums and festivals to visit, along with national and international cultural tourists. And is part of a European cultural sponsorship market, in which private investors and sponsors create user-oriented services for their social responsibility. This cultural sponsorship market we have now analysed for the first time, as a part of a study from the perspective of European cultural institutions. The results of this study are on page 8 and show a high level of professionalisation of European cultural institutions in their marketing efforts and their positioning as cultural brands. The findings of the study show how cultural institutions from the European countries assess their sponsorship activities and what motivates them to work with sponsors and investors. With this inaugural publication of the Annual of European Cultural Brands, we are trying to make a contribution towards stimulating sponsorship activities in Europe and have consulted many significant experts from politics, culture and business on the subject. Furthermore, you also get an interesting overview of selected European cultural institutions with their sponsorship opportunities for 2015, in order to assist you in finding the most appropriate partner for your national and European commitment. Practical examples from represented organisations in the Annual should inspire you to find your suitable partners and to become a significant player within the European culture market. We would be delighted to serve you further, cultural institutions or culture investors, to advise you on your marketing and sponsorship activities and choices. We also wish to express our gratitude to all partners, promoters and other contributors to this publication. We hope this publication gives you many an interesting insight into the growing cultural sponsorship market and above all: a good read! Warm regards,

Yours Eva Nieuweboer

Yours Hans-Conrad Walter

Editor of Annual of European Cultural Brands, CEO Causales

GUIDEPOST Staatstheater Hannover, Lighting concept ÂŠ SPIE GmbH

Introduction at page 6

Expert Papers and Interviews

Cally Spooner – Cally Spooner, And You Were Wonderful, On Stage, 2014. As part of BMW Tate Live, Tate Britain. © Tate 2013 (Gabrielle Fonseca Johnson for Tate Photography)

Best Practices at page 28

Successful Entrepreneurial Cultural Sponsoring Dedications in Europe

Cultural Brands 2015 at page 40

Attractive Cultural Sponsoring Offers in Europe

Causales at page 121

Your Service Provider for Cultural Marketing and Cultural Sponsoring

Expert Papers and Interviews

“BMW LSO Open Air Classics” auf dem Trafalgar Square in London © Kevin Leighton/LSO

P a g e Key Note 8 The European Cultural Sponsorship Market– Quo Vadis? Evaluation of the first European cultural sponsorship market survey, from the perspective of cultural institutions by Causales – Cultural Marketing and Cultural Sponsoring

causales

Expert Paper

1 4 P r i v a t e C u l t u r a l F u n d i n g: European perspectives Prof. Dr. Andreas Wiesand, Executive Director of the European Institute for Comparative Cultural Research (ERICarts)

Interview

18 Dr. Thomas Girst Head of BMW Group International Cultural Engagement

Interview

20 Prof. Dr. Klaus-Dieter Lehmann President of the Goethe-Institut

Expert Paper

24 Sponsoring 2.0 Targeted use of social media in cultural sponsoring. Prof. Dr. Lorenz Pöllmann, professor of media and event management at HMKW – University of Applied Science for Media, Communication and Management, Berlin, Germany

Expert Paper

26 Full programme for cultural real estate SPIE provides scope for culture with KulturRAUM

KEY NOTE

The European Cultural Sponsorship Market – Quo Vadis? Evaluation of the first European cultural sponsorship market survey, from the perspective of cultural institutions by Causales – Cultural Marketing and Cultural Sponsoring Ltd. www.cultural-brands.com Themes of the first European Cultural Sponsorship Survey 2 : _Significance of sponsorship income in the financing and communication mix of European cultural institutions _Formations of performance and counterperformance _Management with respect to planning, execution and monitoring of sponsorship _Satisfaction within the framework of the partnership

How sensitive the relationship between culture and the market can become can be seen in the heated debate regarding the Transatlantic Trade and Investment Partnership between the USA and the EU and the hitherto unforeseeable consequences for European cultural institutions and producers. The drop- off of publicly supported investment1 because of an unrestricted market economy is haunting the minds of many cultural creatives. Culture needs a protective zone, in which it can move by economic market mecha-

251 cultural institutions from Belgium, Bulgaria, Germany, Finland, France, Greece, Luxembourg, Austria, Romania, Switzerland, Slovenia, Spain and the Czech Republic provided their input to the survey, sharing with us – anonymously – their experience of working with sponsors from the economic sector The aim of the survey: _Illustrating the quality of sponsorship management of European cultural institutions _Transparency and highlighting of future perspectives for the European cultural sponsorship market.

251 European study participants from the multi-faceted cultural sectors of _music concerts and festivals _museums _galleries _stage and music theatre _libraries, archives and high schools _orchestras _film festivals, film and TV production _choirs and singing groups _performance and ballet _literary events _art exhibitions and competitions _cultural administrations _bookshops _studios and artist workshops _tattoos (musical event) 25% of the respondents reach up to 50,000 visitors within a radius of 100km.

“BMW LSO Open Air Classics” on Trafalgar Square in London © Kevin Leighton/LSO

nisms and evolve freely. Culture-promoting companies respect this protected zone and contribute with their investments, which are an extension of public funding, to maintain it. This is just one of the conclusions drawn from the first European Cultural Sponsorship Survey, carried out in February 2014 by Causales – Cultural Marketing and Cultural Sponsoring Ltd.

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1. The culture sponsorship market potential in respective European countries is at an average of around EUR 166.6m 3. Culture is an extremely attractive cooperation partner, as it possesses aspects missing from general economic markets: emotion, energy and passion. The motivation for investing in culture is not exclusively based in the assuming of social responsibility, but it

equally rests upon corporate communication strategies such as image and brand maintenance. The establishment of a cultural brand 4 is the basis for appealing to professional sponsor and the successful courtship of the limited communication budgets of private companies. Among a company’s most important selection criteria for a cultural sponsorship enga-

gement are the strategic positioning, unique selling proposition (USP), a distinctive market presence, qualitative performance, competitive reach, media reach and relations, along with a transparent sponsorship concept based upon convincing business arguments.

Population 5

Investment in culture by the private economy in EURm 6

Per capita expenditure in EUR

Belgium

11.142.000

89.000.0007

7,99

Bulgaria

7.305.000

–

Germany

81.890.000

350.000.000

4,27

5.414.000

17.400.000

3,21

France

65.697.000

494.000.000

7,52

Greece

11.280.000

–

531.000

–

8.462.000

50.000.000

5,90

21.327.000

–

Countries of participating cultural institutions

Finland

Luxembourg Austria Romania Switzerland

7.997.000

Slovenia

2.058.000

–

Spain

46.218.000

45.000.000

0,97

Czech Republic

10.515.000

–

ø 166.628.571

ø 6,43

121.000.0008

15,13

KEY NOTE

European cultural sponsorship partnerships overview _Trend towards a small pool of 3â&#x20AC;&#x201C;9 sponsors _Typical duration of cooperation is 1â&#x20AC;&#x201C;4 years. _90% of the sponsors are from the same region as the cultural institution _At 46%, SMEs (with up to 500 employees) are the most common cultural investors // large companies are 5.9% behind. _Media companies (+9.1%, 2 nd place) and the hotel and catering industry (+8.4%, 4 th place) are investing in culture more and more //Effect: upgrade of cultural core services, increase in quality, excellent sponsor integration perceived positively by customers.

Exclusion criteria _weapons industry _ the tobacco industry _the erotic industry _political parties and religious groups _negative influences related to human rights _employment rights or environmental issues

2. European cultural institutions are increasingly banking on sponsorship as a ďŹ nancing and communication instrument Sponsorship has gained in significance in the finance and communications mix that has been shown by previous studies within the German-speaking cultural sponsorship market in 2005, 2007, 2010 & 2013: cultural institutions continually increased their income from sponsorship in this time. A benchmark figure for Europe has been unavailable, but a similarly positive outlook is forecasted here. Sponsorship, with 11.3%, is the third-most important component of the financing mix, ahead of foundation money and donations. Public investment and primary and secondary operating income (for an explanation of terms please see GerlachMarch p.98) are the two sources ahead of sponsorship in Europe. Also worth pointing out is the meaning of sponsorship as a means of communication. 5.6% of German-speaking cultural institutions indicated that strategic sponsorship activities were a form of brand maintenance in 2013. In 2014, 11.5% of European cultural institutions said that the conveyance of more positive image components of the sponsors to their own brand was common practice.

3. At a European level focus lies increasingly on compliance Because of a close link between communication and sponsorship, the coordination of sponsorship activities has, at 22.4%, settled comfortably into the marketing and communication activities of cultural institutions. 19.2% of the surveyed said that sponsorship appeal and maintenance is a top priority. In 6% of these cases there was a specialised department dealing with the management of sponsorships. In contrast, 4.5% of cultural institutions had no dedicated sponsorship activity. Before the sponsorship appeal is made, only 32% of respondents defined a sponsorship concept with respective services. Other preparations, such as the definition of strategic targets (15.3%) and ethical guidelines (36.8%) were relatively rarely looked at. Further crucial factors in a cooperation agreement were based on the fit between sponsor and cultural institution in terms of target markets (67%), image (59%) and location (58%). From the perspective of the companies, incentives to enter a sponsorship partnership, apart from to the above-mentioned relevant target groups, image and location, are the communication efforts of the cultural institution and the reach of the communication channels used. Proof of reach is a decisive marketable factor for the company's sponsorship activity as an operational expenditure in order to fulfil the company's communication targets.

It is likely this trend will continue. 95% of the surveyed cultural institutions are currently working with one or more partners from the private economy. 74% of them are of the opinion that the importance of cultural sponsorship as a means of finance and communication will increase. Overall, and in direct comparison to the previous studies of the German-speaking countries, an expansion of the gross marketing reach of cultural institutions can be observed. More print media (+3.5%), radio (+3.4%) and TV (+2.3%) is being used, which is registered as media data through media companies. The most commonly used communi10

SERVICES OFFERED BY CULTURAL INSTITUTIONS 2014 printed materials (flyer, brochures, etc.)

66,7

limited quota of free tickets/VIP tickets

58,0

public relations and press releases

58,0

free participation in special events, e.g. previews, etc.

55,1

Internet page(s), social media channels like Facebook, etc.

53,6

outdoor advertising (on posters, on public transportation, etc.)

46,4

industry exclusivity

47,8

opening remarks of the sponsors in publications, openings, etc.

44,9

banners, flags

39,1

free catalogues or the like

34,8

discounts of tickets

33,3

measures for motivation staff

29,0

free space utilization in our institution for sponsors events

27,5

printed adverts

26,1

integration in presentations

24,6

product placement & sales of sponsors products, etc.

15,9

special services

10,1

free fan merchandise

7,3

TV commercials

5,8

radio commercials

5,8 0

valid per cents

cation channels are still online and social media (92.2%), the recommendation market or word-of-mouth advertising (87.8%) and the classic public relations (84.3%). The integration of the brand values of the sponsor in PR (58%) and in printed media (66.7%) constitute the main part of services offered and enable the sponsors to gain a better access to the consumer market. The significance of free or VIP tickets (58%) and access to special events such as previews and meet-andgreets (55%) is worth pointing out. Sponsors use these aspects to further develop their direct contacts to customers, suppliers and distributors and to set up meetings in an artistic and sophisticated environment. In order to ensure an effective sponsorship engagement that appeals to the target markets, most of the surveyed cultural institutions (60.5%) use a three-way synergy between themselves, the sponsors and media companies. Media partners, with their reach capacity, extend the presence of the sponsorship engagement into the public realm. The added value of a sponsorship makes working with media partners attractive to 24.4% of the cultural institutions who are not yet tied in to such an agreement. For a mere 2.3% of cultural institutions, part-

nerships with media companies are excluded on the basis of journalistic objectivity and neutrality. A professional media partnership will be agreed on an advertising level (classic ad slots) within a cross trade agreement with a publisher or media sales department, which includes the sponsorship information without threatening the editorial integrity of the publication.

Cultural Institution

target groups

Media

Sponsor

source: Triangle of Sponsorship by Bruhn (1998), S. 32

KEY NOTE

Sponsorship designation rankings: 1. Main/co-sponsor or partner(45%) 2. Media partner (42%) 3. Project sponsor or partner (20%) 4. No attribute given (20%) 5. Other (15,9%): Partner, sponsor, official partner, with kind support from etc. 6. Event sponsor or partner (14,5%) 7. Presenting sponsor or partner (5,8%) 8. Gold, silver and bronze sponsor (2,9%)

The most importans added values of cultural sponsorship in an overview _The most important values added by cultural sponsorship – overview _Development of effective advertising measure for uses of both parties _Snowball effect: Attractive sponsors attract further partners _Strengthening of the regional network _Extended target market appeal _Increase in quality through inclusion of the sponsors’ services and products _Learning effect related to a better customer orientation _Permanent examination of one’s own measures in terms of effectiveness

A further potential stumbling block of sponsorship management, mentioned by some 15% (+3% on the previous year) of cultural institutions, is that compliance guidelines of companies prevent passing on free tickets, special discounts or other material benefits, an issue that posed a negative aspect of sponsorship for 7% (+2% on last year) of cultural institutions working with sponsors. For cultural institutions themselves the compliance9 field can lead to complications. If the advertising value and sponsorship services should not be in an appropriate relation to each other, severe taxation consequences may apply and have a direct impact on the cultural institution (e.g. withdrawal of its non-profit status, private liabilities for the board, possible loss of jobs); even a nonspecific sponsorship contract may attract the attention of the financial authorities to initiate an investigation.10 With the exception of a few - Austria is one example - there are still no mandatory frameworks11 for compliance. To ensure that companies do not withdraw from sponsoring altogether because of fear of legal ramifications and image damage, the development of a European compliance standard is highly desirable. They would contribute to ensuring a protective zone for culture, as mentioned earlier, which would be supported by an entrepreneurial cultural promotion. How valuable sponsorship investments are can be seen in the figures of specific means of support. 20% of cultural institutions say that without the involvement of sponsors, some projects or events would not be possible. In 20% of the cases, investments were directed to the umbrella brand to cover rising overheads such as rent and personnel. But investment in content-related projects (42%) is still the most common form of engagement. 94.4% of cultural institutions assured that the presence of a sponsor would not auto-

matically have an influence on the artistic product or within the framework of a cultural event. The sponsor's involvement in juries or the availability of industry expertise is generally seen as a positive. The survey results also refelct the increased professionalism of sponsorship agreements. 70% of European cultural institutions carry out monitoring activities, a 13.2% increase in the German-speaking survey. Cultural institutions mostly determine the success of sponsorships using quantitative and/or qualitative media resonance analyses (30.4%). In addition, surveys of test and focus groups are carried out (14.5%). Recall and recognition tests are becoming more and more popular, in which the memory performance of the target groups are determined in relation to the sponsorship partner. 28% of the controlling is carried out after the closing of specific projects, 23% measure the success of the sponsorship after the completion of the project and 16% measure success during the sponsorships. 4. European Cultural Sponsorship Market – Quo vadis? The first step has been taken - summarising the European cultural sponsorship market in figures and drawing reliable conclusions is a task both holding responsibility and posing a challenge. 251 cultural institutions from 13 different nations have shared their experience on working with the economic sector for the first time. Without doubt they demonstrate how important corporate investments are, as to present themselves as cooperation partners, some of whom have already entered private professional sponsorship agreements with companies (ref. Chapter 3, 32%) and have pointed out urgent issues that need to be addressed. The first European Cultural Sponsorship Survey draws the following conclusions:

1. The cultural sponsorship potential in projects and coordination of the marketing individual European countries added up and communication mix in the context of to around EUR 166m.12 sponsorship projects. Furthermore, we have also developed several unique products to 2. 74% of European cultural institutions ack- stimulate the cultural market further. Among nowledge the increasing importance of them are the Cultural Brand Yearbook, the sponsorship. Annual of European Cultural Brands, the web portal for cultural marketing and cul3. Compared to study results from the Ger- ture sponsorship www.cultural-brands.com, man-speaking countries, sponsorship as the Cultural Brand Awards and the Culture a means of funding and communication Invest Congress. already has a greater significance. Kristin Just, Eva Nieuweboer, Kira Potowski, 4. Indispensible to sustainable cultural fun- Hans-Conrad Walter ding is knowledge transfer, exchange with industry experts and intermediary services. 32.5% of the surveyed cultural institutions therefore see the work with external agents and service providers as indispensable. 5. While the acquisition of sponsorships from corporate funds are be well received by 75% of the respondents, 22% of the cultural institutions experience problems with compliance, which is dealt with inconsistently throughout Europe. Causales – Cultural Marketing and Sponsoring Ltd. has been advising companies in strategic planning of sponsorship processes since ten years, and selects the most attractive cultural projects for social involvement. Causales advises cultural projects in brandbuilding processes and finds appropriate sponsors from the economic sector. Since its foundation, Causales has brought together more than 220 sponsorship partnerships between culture, business and media organisations in the German-speaking area, with a combined seven-figured financial value.

1 Particularly endangered would be the European Film Funding. 2 Editor’s note: Causales carried out surveys of the Germanspeaking cultural sponsorship market in 2005, 2007, 2010 and 2013 and demonstrated, by comparing the study results, the trend towards professionalisation within the cultural market: www.kulturmarken.de/fachwissen/ causales-studien 3 The calculation has no claim to general validity since the figures are related solely to the countries of the survey participants. The data for business cultural promotion through Europe is also extremely unreliable. 4 The word brands Cultural Brand® and Cultural Brands® are registered trademarks in the register of the German Patenting and Branding Office and are protected. 5 www.wikipedia.org/wiki/Liste_der_L%C3%A4nder_ Europas, last retrieved June 22, 2014 6 Source „Media & Cultural Financing Information by Country“ , European Institute for Comparative Cultural Research gGmbH (ERICarts) 7 Flandern, 2011 8 www.20min.ch/finance/news/story/Sozialsponsoringlaeuft-dem-Sport-den-Rang-ab-11412198,last retrieved June 22, 2014. 9 The term “compliance” describes the entirety of all reasonable behavioural measures to which a company, its organisational members and employees should be expected to adhere, with respect to legal permissions and restrictions. Beyond that, the compliance of the corporate business practice should also be in line with all societal guidelines and values and with moral and ethical guarantees. 10 Further elaboration: Risch-Kerst, Mandy: Compliance – As a Part of Modern Corporate Leadership in the Culture Sector, published at www.kulturmarken.de/fachwissen/ fachbeitraege/1264-compliance-als-teil- modernerunternehmensfuehrung-im-kulturbereich (last retrieved June 26, 2014) // More on the tax law aspects of sponsorship: RSM Verhülsdonk: Sponsorship. Taxation Frameworks for Promoters and the Promoted, released on www.verhuelsdonk.de/pub/info/downloads/bro_ sponsorring.pdf (last retrieved June 26, 2014) 11 In Germany and France there are non-binding guidelines such as the German Corporate Government Codex www.dcgk.de/de/, and a basic programme from the French economic competition authority Autorité de la concurrence: www.autoritedelaconcurrence.fr/doc/ document_ cadre_conformite_10_fevrier_2012.pdf (both retrieved on June 26, 2014) 12 The calculation has no claim to general validity since the figures are related solely to the countries of the survey participants. The data for business cultural promotion through Europe is also extremely unreliable.

Our core services include: marketing and sponsorship advice, development of marketing and sponsorship concepts, matching of culture and businesses for sponsorship 13

EXPERT PAPER

Private Cultural Funding: European perspectives Prof. Dr. Andreas Wiesand, Executive Director of the European Institute for Comparative Cultural Research (ERICarts)

www.ericarts.org

In 2014, the global sponsorship market is estimated to reach a total of ca. 55 billion US $ or 40bn EUR, according to US sources1. If we take these figures for granted, Europe would account for a share of roughly 11bn EUR or slightly over 25%. While large parts of this type of investment go into sports and smaller ones into education and research, social causes and environmental purposes, figures for some of the European countries indicate that culture, including heritage, often ranks second. In a conservative estimate, we can assume that annually funds in the range of 2 to 3bn EUR contribute to cultural events, to the work of institutions and heritage sites or to artistic productions (excluding, of course, investments made by media/creative industries companies themselves). To this one could add other forms of private (cultural) support, including, but not limited to: _Foundations and special funds, some of which play an important role in cultural life (e.g. in Denmark, Italy, the Netherlands, Portugal or the UK); _Citizens’ associations, including “Friends of…” societies associated with museums etc.; _Individual donations, increasingly in the form of “Crowdfunding” – a new method of sponsorship especially for innovative, sometimes even controversial, start-ups that is enabled by contemporary Internet technologies and is said to have successfully contributed about 735 million EUR (2012) to the financing of some 470 000 European projects.2

Despite such impressive figures, we need to be aware of the fact that reliable statistics validating the role of private or corporate contributions in the overall support to culture exist only in a few countries, as evidenced in the national profiles of the Council of Europe/ERICarts “Compendium of Cultural Policies & Trends in Europe”.3 In addition, we should not overestimate the impact of this type of funding: While it may be considered as a relevant supplement to traditional sources of finance from the public purse or from banks in some (mostly Western) countries, it plays only a marginal role in others, due also to unfavourable or complicated tax regulations. A study for the European Parliament4 found private contributions to reach, on average, 2–4% of comparable public public budgets for culture. Another aspect to consider is the volatility of corporate cultural funding in times of economic crisis. Contrary to some beliefs, chances to balance, at least in part, cuts in state and city budgets, are highly improbable. The “substantial negative effects of the economic downturn on total giving” are described in the Italian “Compendium” profile: “Whereas donations, and in particular individual donations, have been less affected, banking foundations have been significantly hit: –35 % between 2008 and 2011, with a strong acceleration of –20% in the last year. This is bad news for the cultural sector, as banking foundations represent, by far, the core of private giving to culture and the arts in Italy.”

Similar cutbacks are mentioned in other country profiles, e.g. in the Netherlands, Romania or Spain, and it clearly needs special conditions such as those existing in Monaco to come to different results: In the Principality, 11.4% of the overall funding on culture – 44m EUR in 2012 – came from private sponsors.

nance structure of a non-profit foundation [stichting]. Towards the end of the 20th century, these public-private organisation models returned to prominence. In the 1990s, both central government and the municipalities distanced themselves from museums. The museums were privatised; they became foundations with an autonomous management, separated from the subsidising governments. Due to the economic crisis of 2008 and the growing focus on the “value” debate, cultural institutions had to devote more energy to obtaining private income…

Comparing corporate funding with individual donations, “Friends of…” societies and volunteers working in museums and other cultural institutions, the Swedish “Compendium” author reaches this conclusion: “Civil society support of culture appe- Private associations and foundations: Next to ars to be far more important than business”. government subsidies, funding comes from private associations and foundations… The Two national examples (Source: Council Prince Bernhard Cultural Foundation is one of Europe/ERICarts “Compendium”, 15th of the largest private cultural foundations edition, 2014) in the Netherlands. It stimulates the conservation of nature and culture by supporThe Netherlands: Cooperation models and ting over 3500 initiatives, individuals and additional forms of ﬁnancing projects every year. “Before state funding came into being, the cultural support system in the Netherlands was built around private initiative and social associations. In the second half of the 19th century, many important Dutch museums were initiated, mostly in cooperation with municipalities… After World War II, central government intensified policy-making in the field of the arts and culture. From the 1960s on, almost all major institutions received subsidies from the state. But many of them were still managed by private board members. Together with central govern ment, the board members formed the gover-

Friends’ societies and volunteers: A growing number of subsidised cultural institutions have friends’ societies or private support systems. These allied organisations derive their income from membership fees, gifts and legacies. Especially in the museum sector, friends’ societies can play an important role … In times of economic recession, cultural institutions are more dependent on volunteers. In the museum sector, the number of volunteers increased by 59 % between 2001 and 2011… Sponsorship: In the 1990s, the Ministry of Education, Culture and Science drew up a code

for the sponsors of cultural events, called Code Cultuursponsoring. In this code, various rules for a sponsor relationship are defined and the framework for sponsorship agreements is stipulated. The most important aspect of the code is that, in principle, the sponsor is not allowed to influence the actual content of the activity organised by its cultural public partner… Donations: The government wants the cultural sector to become less dependent on government subsidies and to generate more money from private sources. For this reason, the Ministry of Education, Culture and Science set up the Cultural Entrepreneurship Programme (2012–2016). Cultural organisations and producers are supported in their entrepreneurial efforts and helped with advice, coaching and supervision to find alternative funding… [In addition,] the government aims to support donations to the arts and culture with its Gift and Inheritance Tax Act and donation campaign. Crowdfunding, the practice of funding a project or artist by raising small amounts of money from a large group of people, mostly via the internet, is gaining ground in the Netherlands. Since the state budget cuts to culture were announced in 2011, a lot of artists and institutions have started using the crowdfunding model to (attempt to) finance their projects, albums, plays etc.”

Lisa Van Woersem with Robert Oosterhuis

Serbia: An interrupted tradition “Philanthropy and donations to art and culture developed in Serbia in the 19th century… when the new bourgeoisie felt responsible to support the creation of national cultural institutions. The Serbian National Theatre in Novi Sad, and all the other theatres in Vojvodina, had been created exclusively through private support and donations... After World War II, private ownership of property was banned and the only form of private support to the arts was made by individuals to museums, etc., or by collectors operating in the art market. However, enterprises (socially owned) acted as “corporate donors” up until the economic crises at the beginning of the 1990s. Nowadays, a small number of enterprises use sponsorship as part of their marketing strategy, mostly supporting art production with services or with goods. A revitalisation of the Serbian economy as well as legal provisions are needed to create more efficient partnerships between the business sector and culture. Recently, new art and business partnerships have been created by foreign companies that operate in the Serbian market (Aktavis, Telenor, Philip Morris, LUKOIL, Mercedes Benz etc.) ... In 2007, as an instrument for promoting corporate philanthropy, the VIRTUS Award was introduced by the Balkan Fund for local initiatives. Research on corporate philanthropy in Serbia (2008) has shown that more than 46% of companies like to support cultural activities ... [However,] the number of possible donors (foreign foundations for example) is very small, because the law does not currently provide sufficient incentives to stimulate private investment in culture.” Milena Dragicevic Sesic with Hristina Mikic

1 www.statista.com/statistics/ 196898/global-sponsorship-spendingby-region-since-2009/ 2 Communication from the EU Commission: Unleashing the potential of Crowdfunding in the European Union, Brussels: COM(2014) 172 final, based on estimates in Massolution (2013): Crowdfunding Industry Report 2012 3 www.culturalpolicies.net 4 Klamer, Arjo et al (2006): Financing the Arts and Culture in the EU. Brussels: European Parliament

ANZEIGE ?

INTERVIEW

BMW Group

www.bmwgroup.com/culture Education and professional career: Dr. Thomas Girst studied art history, and completed American and German studies at Hamburg University and New York University. 1992 – 2002, Thomas Girst was founding editor of the “Außenseite des Elementes”, an international anthology of contemporary literature and art. 1999 – 2003, he was Research Manager at the Art Science Research Laboratory in New York under the directorate of Stephen Jay Gould, Harvard University. 2006 – 2009, he was a member of the executive board of the Arbeitskreis Kultursponsoring (AKS) in the Kulturkreis der deutschen Wirtschaft im BDI e.V. (Association of Arts and Culture of the German Economy at the Federation of German Industries). He is also a board member of Spielmotor e.V. and the Förderverein des Architekturmuseums (Foundation of the Museum of Architecture) in Munich. Since 2009, he has taught at the Institut für Theaterwissenschaften (Institute for Theatre Studies) of the Ludwig Maximilian University in Munich and at the Academy of Arts, Munich as well as at the Zurich University of Applied Sciences, School of Management and Law, since 2011. Publications since 2012 include: “Marcel Duchamp in München”, ed. (Prestel), 2013 “The Indefinite Duchamp” (Hatje Cantz), 2014 “The Duchamp Dictionary” (Thames and Hudson), “BMW Art Cars”, ed. (Hatje Cantz), “Art, Literature and the Japanese American Internment Experience” (Peter Lang)

Dr. Girst, you are a pioneer of international cultural sponsoring, have a broad spectrum of experience due to your activities for cultural formats and are very successful in culture communications for BMW. How do you assess the current balance of power within the European cultural sponsorship market with regard to supply and demand? First of all I believe what makes our approach unique and so successful is that we do not consider ourselves a sponsor but rather a partner. Partnerships are long-term and sustainable, at least they should be – whereas sponsorship hops from event to event and the company is interchangeable as the interaction is just about the monetary transfer it makes possible. We come to the table with a global network within the cultural realm and over forty years of experience in many fields and genres. As for Europe, we actively engage in every country. The conditions outside Germany are certainly somewhat harsher, for people, with the UK dependent on corporate contributions and other countries cutting the government budget for the arts.

The BMW Group is one of the most successful manufacturers of automobiles and motorcycles worldwide and one of the major industrial enterprises in Germany. With BMW, MINI and Rolls-Royce the company today has three of the strongest premium brands in the automotive sector. Vehicles produced by the BMW Group set the highest standards in terms of aesthetics, dynamics, technology and quality, thereby underscoring the company’s technological and innovative leadership. In addition to a strong market position in the motorcycle business, the com- Which European countries is the BMW pany is also successful with the brand BMW Group active in as a cultural sponsor and in the financial services sector. which mechanisms does the BMW Group use to provide a very special beneﬁt with Dr. Thomas Girst has been head of BMW Group its cultural engagement? International Cultural Engagement in Munich since 2003. While in New York between 1995 We are active with dozens of cultural iniand 2003 he was a cultural correspondent tiatives in many European countries. The and columnist of the Tageszeitung (TAZ). As UK, for example, is the only country in which a journalist, he writes articles on art, lite- our three brands BMW, Rolls-Royce, and rature and business for both German and MINI are being produced. Here we are partNorth American newspapers and magazi- nering with the Tate Modern, the London nes. Moreover, he has published books on Symphony Orchestra (LSO), as well as Friemodern and contemporary artists. ze Art Fair, among others. With the awardwinning BMW Tate Live we introduced the performing arts in a pioneering way into the

museum and beyond. What is more beautiful than a choreographed body moving through space? Grace is a movement, Burke once said. With almost six million visitors per year the Tate is at the forefront of defining the museum anew for the 21st century, an innovative energy and spirit that we certainly share in the scope of its ambition.

luable to humankind and it thrives best wit- of today and tomorrow. As for Europe as a hout interference or a set of coordinates that whole, partnerships on this level can only be may limit its creative force. of interest for the major companies while smaller businesses may take into consideration not so much the limitations of the natiUnusual formats such as “BMW Tate Live”, on-state but rejoice in celebrating the diffe“Staatsoper für alle” and the “BMW rences of the magnificent heterogeneity that Guggenheim Lab” have set trends in cultu- local initiatives can bring to the table. To enral communications. Which criteria is your gage in Europe culturally is not to strengthen BMW LSO Open Air Classic has tens of thou- choice of cultural providers and cultural the least common denominator but to make sands of Londoners gather every year on Tra- formats that are to be sponsored based on? apparent the beauty of the boundless. falgar Square for a great musical experience, brought to you free of charge by one of the We do not choose the formats, we develop finest orchestras in the world. This is BMW them. We have experience and an interna- Which developments do you predict for the returning something to the community it is tional network we can bring to the table, with- European culture market, especially with a successfully operating in, this is our defini- out ever interfering with the creative free- view to those that offer culture, invest in tion of good corporate citizenship. As for dom or the curatorial integrity of the insti- culture or sponsor it respectively? Frieze art fair, we were partners from the tutions we partner with. The BMW Group is beginning and also joined them when they a premium car manufacturer, we choose It remains essential that cultural diversity branched out to New York. When they first museums and opera houses that we consider is protected by politics and government funopened in Regent’s Park in 2003, we belie- on eye level. We want to be at the innovati- ding. Culture with its heterogeneous facets ved that Frieze would soon become one of ve forefront of any new development – this and manifold genres is what makes it so enrithe most important international art fairs also goes for our cultural initiatives. The ching, giving each and every one of us the – and it did. Other examples from many dif- BMW Guggenheim Lab came into being long opportunity to delve into thousands of years ferent European countries would include before “pop up” was a household word in the of mankind’s history and make our achieJazz Festivals all across Eastern Europe, with creative world. With BMW Tate Live we pay vements come alive for us. Educational forthis amazing multifaceted format being one tribute to the importance of performance mats will become more important as more of our worldwide pillars of cultural enga- art, for which only the Tate as a major insti- and more companies turn to running their gement. In France, we focus on photography, tution has a space uncompromised by the cultural endeavors out of foundations. Both as partners of Paris Photo and Paris Photo white walls that usually define a museum. investors and those that offer cultural conLos Angeles, as well as enabling an establitent should become more creative – not only shed scholarship for young photographers. between each other but also in regard to the We do the same in Spain where since the Are there different cultural-political and possibilities yet untapped. There is a world1980’s we are championing young contem- ﬁscal framework conditions for corporate wide attention competition, for the goods porary with the “Premio de Pintura”, in col- cultural sponsorship within European of companies as well as for cultural programs. laboration artists with the Spanish Crown. countries? And which criteria can boost Together, we can develop the USP necessary All of this is done with an understanding corporate cultural engagement in Europe? to keep standing tall on the shoulders of that what we do honors our commitment to giants. From both sides we need to make sure corporate citizenship. Everything we enga- At the moment, we unfortunately see many not to sell out culture and jointly provide ge in outside of our core business is done for governments cutting down on public spen- space in which it can thrive. the reputation and the visibility of our com- ding, including culture. Hopefully, this devepany and its brands. At the same time, we lopment will not last. For some time now it Dr. Girst, thank you very much for the act responsible, we engage in a way which is a known fact that within our postindus- interview. ensures that nothing interferes with the trial societies, the creative class is essential onlooker’s or listener interaction with a to economic growth. Not only that, it makes work of art or a symphony. Culture is inva- life worth living, especially in the big cities 19

INTERVIEW

The Goethe-Institut

www.goethe.de Prof. Dr. h.c. Klaus-Dieter Lehmann is President of the Goethe-Institut. He was born in Breslau on 29 February 1940. He studied mathematics and physics at the Universities of Cologne and Mainz, also passing two state examinations in library science. He became Director of the City and University Library of Frankfurt am Main and was made Honorary Professor for Business Information Systems at the Goethe University of Frankfurt am Main. Later he was appointed to the post of General Director of the German Library at Frankfurt am Main, a position he also held at the United Libraries of Leipzig, Frankfurt and Berlin, later the National Library of Germany. He was also President of the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation) in Berlin and has been President of the GoetheInstitut since 2008. Prof. Dr. h.c. Klaus-Dieter Lehmann is a member of the Academy of Sciences and Literature in Mainz, as well as the BerlinBrandenburg Academy of Science and Honorary Member of the Bavarian Academy of Fine Arts. Along with countless other honorary positions he is also Chair of the Administrative Council of the Germanisches Nationalmuseum in Nuremberg, member of the Administrative Council of the Deutsches Museum, member of the board of trustees at the German Academy for Language and Literature in Darmstadt, Chair of the Advisory Committee and Member of the Board of Trustees of the German Federal Cultural Foundation, and Vice-Chair of the Board of Trustees of the Cultural Foundation of the States. The Ludwig-Maximilian University of Munich awarded him an honorary doctorate in 2001. In 2010 he became Honorary Senator of the Humboldt University in Berlin. He is holder of the Order of Merit of the Federal Republic of Germany, the Order of Merit of Berlin State, the “Kulturgroschen” award of the German Cultural Council and high distinctions from France, Austria and Italy.

On behalf of the Federal Republic of Germany, the Goethe-Institut performs tasks related to overseas cultural and educational policy. Around two thirds of the budget – some 208 million euros at the moment – is given to the Institute by resolution of the Bundestag via the Foreign Office, while a third – around 143 million euros – is earned through language courses and examinations as well as sponsorship. The existence of the big projects is more dependent than ever on people and institutions who support the Institute’s work. The acquisition of third party funds through sponsorship and donations, also from successful applications to the EU, has become © Andreas Wrobbel essential to our work. Additional funds from foundations and private promoters mean we This German cultural institute operates are able to take on and conduct outstanding throughout the world promoting knowledge projects aimed at promoting European inteof the German language abroad, fostering gration and international understanding. international cultural collaboration and conveying a comprehensive image of Among the sponsors and donors to the Germany. In times of new global challenges, Goethe-Institut are large German corporatithe work of the Institute is aimed at achie- ons who operate internationally and are ving a deeper mutual understanding bet- highly successful. Is the commitment of ween cultures and an enhanced perception these companies tied to the Goethe-Institut of Germany throughout the world. The umbrella brand, or do they commit to cultuGoethe-Institut currently consists of 160 ral projects in their regions where you have institutes and liaison offices in 94 countries. contact points and carry out cultural proThrough a network of Goethe-Instituts, jects? Goethe Centres, cultural societies, reading rooms and language learning and examinati- One just as much as the other. The Goetheon centres, the Institute has played a central Institut initiates global projects from Gerrole in foreign culture and educational poli- many supported by sponsors and donors. cy for over sixty years. Frequently the companies are already inProfessor Lehmann, you are President of the best-known German cultural brand worldwide, with more than 1,000 contact points in 127 countries and 3,000 employees. The Goethe-Institut reaches 25 million people annually with its cultural events. A crucial pillar of the programme is the teaching of language as a cultural medium.Who ﬁnances the Goethe-Institut and how do you ﬁnance the projects you initiate?

volved in the regions in which the Institute carries out projects, with local branches and offices for example. The most important unique selling point of the Institute, which at the same time is a guarantee for optimal fulfilment of its mission, is the global network with which it reaches more distant locations where German corporations are still not so active. An example for a successful partnership with companies and industrial associations alrea-

dy operating locally is the ‘Germany Year’ initiative from the Foreign Office. ‘Germany + Brazil 2013-2014’ goes under the heading ‘Where Ideas Meet’ for example. The initiative serves to deepen and expand GermanBrazilian relations, to raise the visibility of the partnership and inspire new co-operations. The BDI Brazil Board, the Goethe-Institut, the Federal Ministry of Education and Research (BMBF) and the Federal Ministry for International Cooperation (BMZ) are sponsors of the project. The project management in Brazil is in the hands of the BDI. Premium Partners are Allianz, Bayer, BASF, BMW, Bosch, Lanxess, Mercedes-Benz, Siemens, VW and ZF. For the Germany Years in China, India and Russia the project management was the Goethe-Institut’s responsibility. With its extensive offers to companies to sponsor the Goethe-Institut, the Institute is also a part of the European cultural market with its supply and demand. What makes the Goethe-Institut so interesting for a collaboration with industry? The Goethe Institute has enjoyed an outstanding reputation as a German dialogue partner for the world at home and abroad for over 60 years, supporting projects with an exceptional profile and high impact in the public sphere. In its world-encompassing network it works closely and sustainably with local educational and cultural institutions. Our international partnership work and the integration of our institutes in the cultural life of the host country create trust and credible, sustainable processes of mutual understanding. The Goethe-Institut has a wide range of educational and language courses and organises cultural projects in all sectors with a panEuropean profile. Thanks to its interdisciplinary approach, companies with different individual profiles can profit in equal measure from the long-standing expertise of the

Goethe-Institut. Sponsors and foundations can become involved in promoting the German language in the education sector by supporting further education or exchange projects. Within the programme they can make a contribution to mutual cultural understanding. Every year the Goethe-Institut reaches 25 million visitors with its cultural projects as well as 246,600 language course participants. As project partners, sponsors and donors receive diverse and unusual opportunities for addressing target groups. Together we reach these people and create the fundamental conditions for lasting partnerships and ties. Which current Goethe-Institut projects in Europe are best suited for a partnership with the industry?

res: figures which reflect the many and diverse European realities of life. But these figures do not by any means give a graphic picture of the diversity of life in Europe as it could be – there is a story behind every informative figure. It is precisely these stories that the project wishes to bring to the fore: in the form of video films from the different countries dealing with noteworthy statistical data from the EU area, along with performances by theatre groups who tackle these realities of life – such as the Münchner Kammerspiele. All the short videos and performances are brought together on an interactive map on the internet. But beyond Europe the Goethe-Institut is conducting exciting projects geared towards cooperation, for example in the digital domain the project ‘MOOC Cultural Marketing.’ MOOCs (Massive Open Online Courses) are free-ofcharge and access-free courses on an online platform. MOOCs are enjoying increasing popularity in Germany as well. They are not based on filmed lectures or static e-learning courses; rather they use the medium of video and the opportunities offered by the internet in a new way, linking it with social media and interactive elements and creating space for an active exchange between students. In the context of its cultural management education the Goethe-Institut, together with the Leuphana University in Lüneburg and the HFF in Munich, is designing an MOOC in Cultural Marketing which will go online in January 2015. From anywhere in the world every aspiring cultural manager with internet access can take part in the Goethe-Institut’s MOOC, exchange opinions with colleagues, work out new solutions and take away concrete knowledge. Practical insights are provided by cultural institutions in Budapest, Lagos, Santiago de Chile, Bangkok, Shanghai and Berlin.

The Goethe-Institut has a large project portfolio perfectly tailored to collaboration with industry. Here are three prime examples: Through the initiative “Mit Deutsch in den Beruf” (“German for Your Career”), the Goethe-Institut has reacted with a trans-national commitment to pressing questions connected with career, language and mobility in Europe. In Portugal, Spain, France, Italy and Greece we offer schoolchildren, students, graduates, young skilled workers, experts and partner organisations not only the usual language courses, but also training-related and vocational projects which can lead to a German-speaking career. These informative events, aimed at improving inter-cultural communication, are in great demand in a Europe increasingly characterised by occupational mobility. As part of a special call for proposals by the Board concerning “The Future of Europe”, the Central and Eastern European Region is implementing a large-scale project dealing with the diverse realities of life on the continent. Many people are talking about Europe Many thanks for taking the time to talk at the moment and most of it is about figu- to us Professor Lehmann.

ANZEIGE ?

EXPERT PAPER

Sponsoring 2.0 Targeted use of social media in cultural sponsoring. Prof. Dr. Lorenz Pöllmann, professor of media and event management at HMKW – University of Applied Science for Media, Communication and Management, Berlin, Germany. nication targets. In this manner, sponsoring, seen from the cultural institution’s perspective, serves as a financing instrument and constitutes acquisition marketing. For the sponsor on the other hand it is a communication tool and thus part of sales marketing. It is therefore worthwhile for cultural institutions to consider the goals, which their intended sponsors may achieve through their engagement. These generally include:

www.hmkw.de l.poellmann@hmkw.de Prof. Dr. Lorenz Pöllmann is Associate Professor of Media and Event Management at HMKW – University of Applied Science for Media, Communication and Management, Berlin, Germany. He studied Arts Management and Cultural Tourism Management in Freiburg and Frankfurt (Oder). He did his PhD on Theater Marketing and the Use of Social Media. After working as a project manager in an arts marketing agency in Berlin he was research associate at the Chair for Arts Management at the European-University Viadrina in Frankfurt (Oder). For several years Lorenz Pöllmann is arts management consultant and lecturer at various universities.

The rise of social media has changed the structure of communication in the sponsoring process and gives new options for the distribution and evaluation of sponsoring messages. Sponsoring is an important auxiliary instrument when it comes to financing institutions and projects in the cultural arena. Cultural sponsoring can be understood as a form of cultural engagement for corporate businesses, which can employ their support of artists, cultural groups, institutions or projects as a marketing tool (see Bruhn 2010: 198; Hausmann 2011: 97).

Increased level of recognition _An image transfer between the cultural institution and the sponsor _Employees’ motivation _Improved relations with customers _Integration into the local environment _ Achievement of corporate social responsibility _Increased sales of the sponsor’s product

These targets already indicate that an engagement through sponsoring must always be picked up by the media in order to achieve the desired effect. It is only when a business is recognised for supporting a cultural project, that enhancement of a sponsor’s image Through this kind of engagement, sponsors is possible. Thus, sponsoring requires chaninvest in cultural projects and institutions nels of communication – a task traditionalin order to achieve their corporate commu- ly assigned to the media.

Sponsor

Cultural Institution target group

(1) Media

(2) Social Media Figure 1: Sponsoring Triangle 24

The classical triangle of sponsoring draws upon this division of roles, and categorises the parties in the sponsoring process in the following manner: (1) Sponsor, (2) Cultural Institution and (3) Media, all of which are striving to reach a mutual target group (see Bruhn 2010: 16). This classical division has been subject to change over the past few years due to the rise of social media. Social media consist of online applications, which are defined by their users’ interaction and participation and are based on user-generated content: i.e. they provide a platform (e.g. Facebook, Tumblr) which enables a mode of communication between users that is interconnected; allows for the use of multimedia and is not dependent of the user’s geographical location (see Pöllmann 2013: 107). It is therefore highly relevant, that the rise of social media has brought about a radical change in the media landscape: it has become significantly easier to become the sender of a message, thus challenging the mass media’s traditional monopoly. This leads to a modified perspective on the sponsoring triangle (see figure 1). Whilst in traditional sponsoring, the role of sender is predominantly fulfilled by the media, in sponsoring 2.0 there are, all at once, four senders: 1 Media: The media remain important channels, but they are no longer solely responsible for circulating the message of the sponsor’s engagement.

tent for their target groups. Aside from the become more significant due to the widepossibilities listed above, sponsoring gene- spread use of social media. rates new content that businesses can communicate. References _Bruhn, Manfred (2010): 4 Visitors: Last but not least, visitors are Sponsoring, Wiesbaden amongst the most important distributors of _Hausmann, Andrea (2011): information as they can make sponsoring Kunst- und Kulturmanagement, messages go viral. Frequently, they will gladly Wiesbaden use large photo walls, which also feature _Pöllmann, Lorenz (2013): sponsor logos and the name of the event, as Der Einsatz von Social Media a backdrop that they can pose in front of for in der Kommunikationspolitik their own photos, which are subsequently von Theatern, Aachen distributed via social networks. The application of social media as a sponsoringtool holds many advantages for cultural institutions and sponsors alike. Due to the additional opportunities for communication, cultural institutions can offer more opportunities for promotion in return, which benefits the acquisition process. Additionally, social media monitoring tools make it easier to evaluate the reach and response to the sponsors’ communications; quantitatively, when “likes”, “shares” or pages views are calculated or qualitatively, when comments and distribution are evaluated centred around the characteristics of a particular target group.

2 Cultural Institutions: Cultural institutions can report on their business partnership through their own online communication channels, thus enabling them offer the guarantee of posting via social media.

These advantages aside, it is worth considering that there is only a limited amount of tolerance for posts that feature advertising in the context social media; it is therefore important that the sponsoring messages are formulated in an interesting and appealing manner. It is also worth noting, that with the involvement of visitors as distributors of information also entails a loss of control over sponsoring-related communication.

3 Sponsors: Many businesses have integrated social media communications into their online marketing strategy. They then face the challenge of providing interesting con-

Taking all these aspects into account, social media offer many valuable opportunities for the implementation of cultural sponsoring, which – in all likelihood – will only 25

EXPERT PAPER

Full programme for cultural real estate SPIE provides scope for culture with kulturRAUM

www.spie.de

Staatstheater Hannover © SPIE GmbH

The combination of effective lighting and saving energy was long considered an unsolvable problem for theaters and opera houses. Working with the multi-technology service provider SPIE, however, the Niedersächsische Staatstheater Hannover GmbH has now succeeded in installing energy saving ornamental lighting. For directors, the effects and warm tones created by lighting are hugely important. The challenge today lies in meeting artistic demands in the face of constantly rising energy costs. For this reason the Niedersächsisches Staatstheater Hannover decided to give its lighting a refurbishment in energy efficiency terms, but the specifications it set out for the new lighting concept – drawn up by SPIE – were Staatstheater Hannover Lighting concept © SPIE GmbH

very clear: “The new lighting had to be fully dimmable, feature warm colors and, apart from low electricity consumption, also had to be adaptable to the theater’s lighting control system,” says SPIE lighting designer Gerhard Backhaus. The focus was only on the ornamental lighting in the grand hall of the opera house where the gigantic crystal chandeliers and the cove lighting were refurbished. The crystal chandeliers had been previously used 20-watt lowvoltage halogen lamps while the coves (light apertures for indirect light) were even still using 25-watt lightbulbs. Unusually, SPIE’s lighting concept made use of LED technology in this special area. For the service provider this is the technology of the future that meets the need for both longevity and low electricity consumption. Light tests and the complete refurbishment were carried out during the theater’s sixweek summer break. The director had to be 100 percent convinced – not only with regard to the color temperature but also the dimmability. “We managed to reduce brightness in a harmoniously gentle way so that the audience doesn’t notice any annoying transition to stage lighting. With regard to the

cove lighting, we not only minimized electricity consumption but also optimized the quality of the light,” Gerhard Backhaus says. Ultimately the concept won over the Staatstheater Hannover because of its exceptional figures for energy cost minimization: The 540 lightbulbs used for cove lighting were replaced with 4,000 LEDs, thus reducing electricity consumption by 80 percent. For the gigantic crystal chandeliers, the experts replaced 1,350 low-voltage halogen lamps with 1,200 LEDs, resulting in a 90 percent cut in energy consumption. kulturRAUM from SPIE therefore makes it possible to give effect lighting an energy efficient makeover, saving a great deal of energy and freeing up more of the budget for art – while preserving or even improving on the existing lighting performance. The Hannover event center, Schloss Herrenhausen, which SPIE operates and markets, is an entirely different kind of project. Here the company signed a ten-year lease agreement with the owner and founded an operating company, Schloss Herrenhausen GmbH specifically for the project. The multi-technology service provider is now responsible for all event and facility management at this premium property, and for its commercial success. Event management duties include the acquisition, organization and staging of events, inclusive of catering. “Here we guarantee the smooth and professional running of events, and we work in this area with local suppliers and service providers,” says Christiane Peter of Schloss Herrenhausen GmbH, who is responsible for sales and marketing. Facility management services at the Schloss include both technical and infrastructural building management – such as servicing and maintenance of the technical building systems including a modern geothermal plant – and reception services. “There are also specific services for event venues such as the operation of event technology, parti-

cipant management, scheduling and materials planning, or security concepts for bigger events,” Christiane Peter explains. SPIE has many years of experience with operating cultural and event venues. O2 World in Hamburg and the Bundesliga Stadium in Nuremberg number among the company’s clients, for example. With the “kulturRAUM” label the multi-technology service provider bundles all services for cultural real estate – always with the aim of creating as much scope as possible for art and culture.

Head of competence center event locations and product manager kulturRAUM © SPIE GmbH

Schloss Herrenhausen, Hanover © SPIE GmbH

Schloss Herrenhausen, Foyer © SPIE GmbH

Best Practices

„Crazy Robots“ GISAIab Workshop at AVL © GISAIab

Successful Entrepreneurial Cultural Sponsoring Dedications Page 30

AUSTRIA AVL Cultural Foundation

GERMANY 32

BMW Group

GAZPROM Germania

German Savings Banks Association

SWITZERLAND 38

Bally Cultural Foundation

BEST PRACTICE AUSTRIA

AVL Cultural Foundation: Human beings at the centre Concerning the necessity of art

www.avlcf.com/art-in-science

Thus art is indespensible for technology – and technology for art The mindset of AVL List GmbH, an inter national high-tech company and developer of propulsion and test systems in the automotive sector with company headquarters in Graz, is characterised by a long tradition of promoting the arts. As a logical extension of this core concept, the AVL Cultural Foundation has established itself since 2007 as a promoter and partner for choice innovative art and culture projects at the intersection between art, science and technology; the foundation does not shy away from taking

innovative paths. The progression along this line is based on the need to make room for creative ideas and promote an open dialogue between art and technology. This is about interdisciplinarity, about linking previously separate fields and thereby providing more freedom of choice. The focal point of the program “Art in Science – Science in Art” provides an interaction with topics that are at the intersection point between art, science and technology. Project processes from various artists, scientists and communal cooperations throughout various developmental phases and

“Art and culture are important elements of society and human life. These human endeavours provide a holistic view of the world, which is becoming more and more important due to an everincreasing complexity of life. To create meaning is to promote interaction between art and technology.” Kathryn List, Chairman of the Board of AVL Cultural Foundation Photo © C. Jungwirth

results are shown on the digital arts & science platform in order to facilitate a dynamic dialog between art and science. Moreover, cooperative relationships connect the AVL Cultural Foundation to choice inspired partners, festivals, international art organisations and aspiring as well as established artists.

„Crazy Robots“, GISAlab Workshop at AVL. Photo © GISAlab

ENGAGE: Art and culture up close and personal According to the fundamental concept that the artistic advancement process is also part of the innovation processes of science and technology, AVL Cultural Foundation supports creative processes even within the high-tech company AVL. It creates space and opportunity for employees and the public to participate in an art-based exchange: The exhibition series “AVL Artists” presents contemporary paintings from in-house artists. In the AVL kindergarten, the cooperation

Musik 3.0: ivotion at the Helmut List Halle © K. Huber

partner “Klassik4Kids” inspires the youngest members of the AVL family by promoting an appreciation for classical music. Time and again, targeted art interventions and art impulses on the company premises attempt

to realise new concepts; these events urge people to expand their point of view as creativity energies are set free even outside of one’s own work areas. The Art of Technology The Helmut List Hall, successfully built based on the acoustic expertise of of AVL List GmbH, is not only, is not only a flexible and brilliant concert hall, event location for congresses and balls as well as a CD recording studio, but also a playground for projects that transcend the boundaries between art and science. The project “MapLab”, supported by the AVL Cultural Foundation, is a think tank and laboratory for visual art and 3D mapping. An international team of artists and technicians is working on new possibilities for stage design in connection with various visual arts forms (e.g. light design, mapping, analog). Exploring technological possibilities for art was also a component of the spectacular performance by the band “ivotion” together with VJ Ma.K.os from Munich, which was successfully held at the Helmut List Hall at the invitation of the AVLCultural Foundation. This unique and futuristic link between technology, independently developed complex high-tech instruments, such

as the multi-touch screen instrument “Nyx”, and high-quality music and vocals fascinated the audience and provided a glimpse into the inexhaustible variety of sound improvisation.

DOWNLOAD THE APP NOW. See the most recent and exciting meetings of art and science with the AVL Cultural Foundation app.

BEST PRACTICE GERMANY

The BMW Group’s commitment to culture Creative partnerships at eye level

www.bmwgroup.com/culture

From London via Basel, Munich and Berlin, all the way to China and India; from promoting up-and-coming young talents via long-term partnerships with leading arts and cultural institutions, all the way to developing innovative formats with museums and opera houses around the globe – the BMW Group’s involvement in the cultural field is as diverse as it is sustainable.The main focus of its long-term commitment is set on modern and contemporary art, jazz and classical music as well as architecture and design. For over 40 years, the BMW Group has initiated and been engaged in hundreds of cultural cooperations worldwide. One important pillar of this cultural commitment was established in the 1970s – the BMW Art Car Collection. The very first BMW Art Car, designed by Alexander Calder, instantly won

Cally Spooner – Cally Spooner, And You Were Wonderful, On Stage, 2014. As part of BMW Tate Live, Tate Britain. © Tate 2013 (Gabrielle Fonseca Johnson for Tate Photography)

over the hearts of the public when it took part in the 1975 24 Hours of Le Mans. Since then 17 major international artists have designed BMW models, such as Roy Lichtenstein, Andy Warhol, Robert Rauschenberg and Jeff Koons. For almost 40 years, these “rolling sculptures” have fascinated art and design enthusiasts as well as lovers of cars and technology the world over. Whether live performances or an exclusive art guide – when it comes to fine arts the BMW Group’s engagement is diverse, including the major events in the international art calendar: Besides the Art Basel and its two offshoots in Miami Beach and in Hong Kong, as well as the Frieze Art Fair and the Frieze Masters in London and New York, the BMW Group cooperates with the Gallery Weekend Berlin, the Berlin Biennale for Contemporary Art and the abc – art berlin con-

Conductor Daniel Barenboim at “Staatsoper für alle” in Berlin © Staatsoper unter den Linden

temporary. Furthermore the BMW Group supports the TEFAF in Maastricht, the Paris Photo in Paris and Los Angeles, the Korea International Art Fair and the Kochi-Muziris Biennale in India. BMW’s commitment to art further focuses on cooperations with leading museums and institutions. Together with the Tate Modern in London, BMW has introduced the innovative format “BMW Tate Live”. Since 2011 international audiences have been able to watch performance art via live streams on the internet across world time zones. A key partnership links BMW with the Independent Collectors, the world’s first online network for collectors of contemporary art. As a joint publication from this partnership, the “BMW Art Guide by Independent Collectors” offers an unique overview of 218 publically accessible private contemporary art collections.

“Oper für alle” on Max-Joseph-Platz in Munich © Wilfried Hö sl, Bayerische Staatsoper

project “Oper für alle” was launched in 1997 in close cooperation with the Bavarian State Opera House and, according to former Mayor Christian Ude, has meanwhile become a “civil liberty of Munich” – with thousands of visitors attending each year. In 2007, the format was also launched in Berlin under the name “Staatsoper für alle” in joint collaboration with the State Opera House Unter den Linden. The international expansion of this concept has been realized since 2012 through a cooperation with the London Symphony Orchestra – the “BMW LSO Open Air Classics”, an annual live concert free of charge on Trafalgar Square. China is planned as the next stop of this format.

prestigious annual BMW Welt Jazz Award to international ensembles. Under a different motto each year, six ensembles perform in their own free Sunday concerts before the winners are selected by the jury in a grand finale. In all the cultural activities the company is involved in, the BMW Group guarantees absolute creative freedom – as this is just as essential for groundbreaking artistic work as it is for major innovations in a successful business.

BMW’s promotion of music also embraces young talent. The Munich Philharmonic Orchestra’s education initiative “Spielfeld Klassik” has joined forces with BMW to pursue unusual ways of winning children and adolescents over to classical music.

Also on the side of classical music, BMW has Each spring, the sound of jazz can be heard fostered long-term collaborations with from the BMW Welt in Munich. Here, a highrenowned institutions. The award-winning calibre panel of expert judges presents the 33

BEST PRACTICE GERMANY

GAZPROM Germania Energy unites people www.gazprom-germania.de www.spielendrussisch.de

With Russian roots, a European orientation, and Berlin headquarters, GAZPROM Germania builds bridges between Germany and Russia. We work to promote a new perception of Russia here in Germany, and a stronger Russian interest in Germany and Europe – all true to our motto, “energy unites people”. GAZPROM, our parent company, is the world’s largest producer and exporter of natural gas, producing 488 Gm³ of natural gas in 2013 – enough to supply 222 million households. It exported 162 Gm³ of that to Europe. With a

sian Film Week events in Berlin and have helped make possible performances by world-renowned ensembles including Moscow’s Bolshoi Ballet and St Petersburg’s Mariinsky Theatre. Focusing on the younger generation The promotion of young people is a key goal of our sponsorship activities. We support young singers from around the world at the Rheinsberg Castle Chamber Opera and youth orchestras such as the Baltic Sea Youth Philharmonic, which gave its debut performance

“The Bundescup Russian language competition is about cultural exchange between Germany and Russia. Two young people learning each other’s language together brings both closer, promotes mutual understanding, and nurtures cultural coexistence. And by holding the final at Europa-Park, we want to give schoolchildren an incentive to participate and give it their all.” Vyacheslav Krupenkov, Senior Managing Director, GAZPROM Germania GmbH

value chain encompassing exploration, production, transport, storage, and direct delivery, GAZPROM has supplied natural gas to Europe for over 40 years – reliably and sustainably. Strengthening German-Russian exchange Our energy partnership is based on reliability, responsibility, and trust – values we feel obligated to not just as a partner in business, but as ambassadors of German-Russian friendship. Our social sponsorship, sports sponsorship, and cultural sponsorship brings people from Germany and Russia together. Giving Russian artists the chance to perform in Germany is just as much a part of our corporate philosophy as ensuring a sustainable supply of natural gas. We have long sponsored the German-Russian Festival and Rus34

in Berlin in early 2014. And together with our partners at Russian Film Week, we have also worked to enable collaboration between film students from Potsdam, Germany and Moscow, Russia. By bringing young cosmopolitans from Germany and Russia together, we’re helping to build our common future. Bundescup Russian language competition GAZPROM Germania has been main sponsor of the Bundescup Spielend Russisch Lernen Russian language competition since 2007. The Bundescup competition, which runs from May to October, offers school children from throughout Germany a fun way to learn – or improve their command of – the language of Dostoevsky and Pushkin. The competition is organized by Deutsch-Russisches

The winners of the 2013 grand final © Deutsch-Russisches Forum e.V.

Forum e.V. and is open to schoolchildren aged 13 years and over. Players participate in teams of two – one who already has knowledge of the Russian language, and one who doesn’t. This approach gives young people who have no prior knowledge of Russian a first look at Russia’s language and culture. More than 20,000 schoolchildren have taken part in the Bundescup since 2007, in just over 1,000 school-based heats. By offering our long-term commitment to this project, we aim to help introduce young people to the Russian language and awaken their interest in Russia, its culture, and its people – after all, language is the key to mutual understanding.

As a special impetus for the winners of the regional finals, GAZPROM Germania hosts the grand finale at Europa-Park in Rust, near Freiburg, Germany’s largest amusement park. At the grand finale, 16 teams from 10 German states compete not only on their Russian knowledge and vocabulary, but on a rally through Europe that features the blue fire Megacoaster powered by GAZPROM, white water rafting in the Norwegian fjords, and the vastness of space with a visit to Russia’s Mir space station. To end the event, all finalists meet at GAZPROM’s Experience Energy attraction, where they learn more about the long journey that Russian natural gas takes on its way to Europe.

Bundescup Russian language competition at Europa-Park © Deutsch-Russisches Forum e.V.

BEST PRACTICE GERMANY

German Savings Banks Association Working together to promote the arts

www.dsgv.de

In their various regions the savings banks provide support for choirs, concerts, art projects, readings, children’s festivals and much more. Every year, they and their partners within the association spend some EUR 150 million on art and culture, thereby con tributing towards the preservation of a diverse cultural landscape. This makes the Savings Banks Finance Group the biggest non-government promoter of the arts in Germany. The German Savings Banks Association (Deutscher Sparkassen- und Giroverband – DSGV) is the umbrella organisation of the Savings Banks Finance Group. With its cultural fund

hensive, long-term cooperation with two of Germany’s leading museum associations. Since 2011 it has been the main sponsor of the National Museums in Berlin (Staatliche Museen zu Berlin). In conjunction with Berliner Sparkasse and DekaBank Deutsche Girozentrale, the Savings Bank Cultural Fund supports major exhibitions as well as enabling projects in the field of education and publicity and helping enhance the public image of the museums. In 2011 the competition “MAKE A WISH!” (“WÜNSCH DIR WAS!”) was set up to encourage children and young people to submit their ideas for the museum of the future. Participants putting forward

“Promoting art and culture is part and parcel of our commitment to the community. As regional credit institutions regulated by public law, it goes without saying that our involvement in the regions in which we operate extends beyond our basic core business.” Georg Fahrenschon, President of the German Savings Banks Association

it supports projects in the fields of the visual arts and classical music. The fund was first set up in 1999 in order to join with partners in the Savings Banks Finance Group to identify flagship projects that underline the wideranging commitment of the Savings Banks and their partners throughout Germany to supporting the arts. The Savings Bank Cultural Fund selects regional projects of national significance, promoting them and providing them with supra-regional publicity. The Cultural Fund has proved a reliable partner for cultural organisations and has often provided support that goes beyond mere sponsorship.

the most creative ideas are able to realise them with the support from the museums – and the most visionary project that cannot be implemented within the framework of the competition is awarded a “Utopia-Prize” (“Utopiepreis”). The Savings Banks Finance Group became involved with the Staatliche Kunstsammlungen Dresden (State Art Collections in Dresden). With support from the Ostsächsische Sparkasse Dresden, the Ostdeutscher Sparkassenverband, all the savings banks in Saxony, the LBS Ostdeutsche Landesbausparkasse AG, the Sachsen Bank, Sparkassen-Versicherung Sachsen, DekaBank Deutsche Girozentrale and the Savings Bank Cultural Cooperation with museums Fund supported outstanding cultural highAn important focus for the activities of the lights such as “The Sistine Madonna – RaphaSavings Bank Cultural Fund is on compre- el’s iconic painting turns 500” in 2012 were 36

Jim Rakete, Photographic portraits by 2012 scholarship holders © Villa Massimo, Photo: Sebastian Bolesch

enabled, together with the reopening of important museums such as the historic “Green Vault” in 2006 and the Albertinum in 2010. The Savings Banks Finance Group is also involved in museum-based education projects. The aim of this cooperative approach is to preserve the cultural heritage of Dresden and Saxony, strengthen its public profile and underline its significance in terms of cultural and artistic history. Promotion of exhibitions In addition to working with museums, the Savings Bank Cultural Fund also supports exhibitions of exceptional quality throughout Germany. One of the highlights in 2014 was the project “KARL DER GROSSE. Macht Kunst Schätze” (CHARLEMAGNE. Power Art Treasures), which was jointly supported by the Savings Bank Cultural Fund, Sparkasse Aachen and the Sparkassen-Kulturstiftung

Rheinland. Marking the 1,200th anniversary of Charlemagne’s death, this three-part exhibition focused on his life and works. The joint effort between the two organisations made it possible to offer comprehensive support and at the same time communicate the savings banks’ regional and supra-regional commitment to a wide public. Villa Massimo Evening Every year, recipients of scholarships from the German art institute Deutsche Akademie Rom Villa Massimo invite the public to an evening in Berlin’s Martin-Gropius-Bau at which they present their works. This unusual art event was first held in 2007 at the initiative of the Savings Bank Cultural Fund as part of its policy of making art and culture accessible to a broader public. The evening is now one of the most important cultural events in Berlin.

Jugend musiziert In 2013 the Savings Banks Finance Group was given a Cultural Brand Award in the category “Cultural Investor of the Year” for its ongoing, broad-based support for the young musicians’ competition “Jugend musiziert”. Around three quarters of savings banks and their associations support Germany’s leading competition for young classical musicians. The DSGV supports the national competition and also offers a special prize for family ensembles as well as sponsoring the concert series “Meisterschüler – Meister” for the musicians of the future.

Winners of the Savings Banks’ Special Award for Family Ensembles at the final concert in the 2013 national “Jugend musiziert” competition in Nuremberg. Photo: Jugend musiziert / Erich Malter

BEST PRACTICE SWITZERLAND

The Bally CULTURAL Foundation

www.fondazionebally.ch

In the Bally universe, luxury is a lifestyle, a tangible concept that coherently translates into the quality and details that our craftsmen put into every Bally product created. A philosophy of production, expression of a true corporate culture over the years, has led Bally to make products comparable to real artistic expression. It is therefore to be consistent with their artistic values, Bally decided to bind to the Ticino, his chosen land, investing in culture and creative local talents, which will have the opportunity to be supported and submitted in cantonal and international level. In order to join his own history and TRADITION in the visual arts to a stronger presence in the territory of Ticino as Company of this territory, Bally has therefore decided to undertake an important task of social communication. The Bally Cultural Foundation’s sole objective is to try and highlight real talent resident in the Italian part of Switzerland that will have the opportunity to be promoted and supported internationally by one of the world’s most famous brand in the luxury sector.

AN IMPORTANT CONTRIBUTION For one year Bally Cultural Foundation will support the “Bally artist of the Year” by presenting its work in some of the world’s capitals of culture and fashion during exclusive events. Locally in Ticino, Bally will organize an exhibition of the artist’s work in one of the beautiful Ticino museums and will also purchase one of its pieces to become part of the Foundation’s permanent collection.

PARTICIPATING IS EASY Become a “Bally Artist of the Year” is an opportunity not to be missed, and for this reason we urge you to immediately send your application by filling out in the website: www.fondazionebally.ch

BOARD OF TRUSTEES The “Bally Foundation for Culture” includes among its members, from the world of Ticino culture, able to reveal a picture of skills, experience and integrity.

Today the members of the Foundation are as follows: Stefano Sacchet – President Bally ARTISTS GianLuca Serra – Member Since 2007 Bally Cultural Foundation looks Mihaela Smickoski – Member again for artists excelling in the figurative arts such as painting, sculpture, photogra- THE ARTISTIC COMMITTEE phy and graphics. The Foundation’s board Edo Bertoglio – Photographer will evaluate all the candidates and will no- and director minate the “Bally Elisa Bortoluzzi Dubach – Consultant Artist of the Year”. in the fields of public relations, foundations and sponsoring Caterina Carletti – SUPSI Professor Ivo Soldini – Sculptor Roberto Mazzantini – Expert in communications

Cultural Brands 2015

GERMANY (p.66) _Dortmunder U _jazzahead! _Karneval der Kulturen – Carnival of Cultures _Nordkolleg Rendsburg _OZEANEUM Stralsund _Staatsoper im Schiller Theater Berlin* _Stiftung Kunstsammlung Nordrhein-Westfalen _Wintergarten Varieté

DENMARK (p.54) _Designmuseum Denmark

UNITED KINGDOM (p.108) _Tate

BELGIUM (p.48) _BELvue

LUXEMBOURG (p.88)

SWITZERLAND (p.104)

_City of Luxembourg _Luxembourg`s National Museum of History and Art

_Basel Tattoo _Museums-PASS-Museés

FRANCE (p.60) _Institut du Monde Arabe _Le Louvre Lens _Le Voyage a Nantes

PORTUGAL (p.96) _Serralves Foundation SPAIN (p.102) _Donostia/ San Sebastian 2016

LIECHTENSTEIN (p.86) _Liechtenstein National Museum

MALTA (p.92) _Valletta 2018

AUSTRIA (p.46) _Mozarthaus Vienna

FINLAND (p.58) _Helsinki Festival

ESTONIA (p.56) _Art Museum of Estonia

POLAND (p.94) _WrocĹ&#x201A;aw 2016

HUNGARY (p.82) _Ludwig Museum SLOVENIA (p.98) CROATIA (p.50) _Zagreb Film Festival

_Ljubljana Festival _Moderna galerija

ITALY (p.84) _Egyptian Museum of Turin GREECE (p.80) _Museum of the City of Athens CYPRUS (p.52) _Pafos Aphrodite Festival

* On page 118/119 41

CULTURAL SPONSORSHIP: LAWS, SCHEMES AND TARGETS IN SELECTED EUROPEAN COUNTRIES

MAIN LAWS OUTLINING TAX DEDUCTIONS FOR PRIVATE/CORPORATE SPONSORS OF ARTS & CULTURE Sponsors’ Ordinance (1987) + regional legislation (tax breaks)

GOVERNMENT SCHEMES PROMOTING BUSINESS SPONSORSHIP IN THE ARTS & CULTURE Some Regions (Länder) and cities offer special public contributions/services

Belgium (Flanders)

No legal provision for corporate tax deductions of cult. investments

PPP programme (attractive for commercially proﬁtable projects)

Belgium (Wallonie)

No legal provision for corporate tax deductions of cult. investments

Bulgaria

Corporate Income Tax Act (2002): deductions increased from 5% to 10%

Croatia

Law on Capital Gains Tax (NN 177/04) and Law on Direct Taxes (NN 177/04): Donations of more than 2% of the annual income need Ministry of Culture certiﬁcate Act No. 586/1992: Business entities can deduct the value of a donation for cultural purposes from their tax base if the value of the donation is at least 2000 CZK Act nr. 1389 (2004): max. 25% of the donation deductible

COUNTRY Austria

50m ¤ (2013) = 1.94% of total public cultural funding: mainly ﬁne arts, performing arts and music 89m ¤ (2011), mainly concerts and festivals of classical music, art exhibitions Information not available Popular music concerts, literary publications, festivals, theatre performances Concerts, festivals, art exhibitions

6.6m ¤ (2011), mainly for ﬁlm and contemporary arts

Museums, art and music festivals

Income Tax Act (1999): companies can deduct up to 3% individuals up to 5% from their taxable income for donations to non-proﬁt organisations or 10% of last proﬁts Income Tax Act: corporate donations for the arts, science or the preservation of Finnish cultural heritage tax deductable within certain minimum and maximum limits Law on the Development of Sponsorship (1987)/ Mécenat Law (2003)

0.13m ¤ (2012): Private business sector has not yet shown major interest in sponsoring culture

No policies to encourage business sponsorship

17.4m ¤ (2008) business sponsorship for visual art (art museums, main ex-hibitions), music (classical + popular, events) music theatre (operas, musicals)

Projects launched by the Ministry of Culture to attract private sponsorship

Germany

Directive of the Ministry of Finance (BMFSponsoring-Erlass 1998): Series of tax breaks

Incentives mainly on the local government level

According to ADMICAL around 494m ¤ investments in music, museums/ exhibitions, performing arts 350m ¤ (2010), mostly for ﬁne arts and music

Greece

Law 3525/2007: tax exemptions

Central bureau to certify bona ﬁde causes of cultural sponsoring proposals

Music and arts

Hungary

Non-Proﬁt Act (CLVI/1997): Up to 150% of donations to“Public Beneﬁt Organisations” tax-deductible (limit: 20% of a company’s tax base); up to 30% of personal taxes can be deducted for charitable purposes

Performing Arts Law (2008) provided extra state support for theatres, symphony orchestras and dance groups

4,3bn HUF = 16.5m ¤, mostly for performing arts and classical music, large festivals, ﬁne arts, ﬁlm

Ireland

Tax Consolidation Act (1997): Tax breaks to encourage business sponsorship

Arts2Business Programmes; Arts Sponsor of the Year Award

Italy

Law 342/2000: deduction of donations and sponsorship

Reshaping + extension of tax reliefs for donations + sponsorship + for investments in the cinema industry as well as through the institute of “concessions”

Law on Enterprise Income Tax (1995): Tax Rebate of 85% for amounts donated to budget institutions (companies with functions delegated by the Ministry of Culture), as well as to foundations/ societies registered in Latvia. Law on Charities + Promotion (1993 amended in 2011): defines administrative procedures of promotion, rights of donors & recipients, tax exemptions, control + accounting of donations + relief Article 112, Income Tax Law (L.I.R., 1967): Exemptions for donations to bodies recognized to be of public interest Corporate financial assistance to recognised nonprofit organisations and/or to the Arts Fund eligible for tax deductions (2008) Gift & Inheritance Tax Act (2012) covers a number of aspects of fiscal law in order to make “giving to culture” fiscally attractive. The act also introduces a new multiplier of 125% which applies to donations made to cultural institutions. Additionally there exist different tax incentive schemes relevant for the arts, media & heritage

Costs of corporate social infrastructure facilities (education, culture, sports etc.) can be tax-deducted, if service fees are lower than market prices, or free of charge

3.9m ¤ (2010); Deloitte survey: 12% of cult. institutions' turnover from private/corporate sponsorship 391m ¤ (2011), mostly for cultural heritage, musical and performing arts, exhibitions and cultural events Information not available

Czech Rep. Denmark Estonia Finland France

Latvia

Lithuania

Luxembourg Malta The Netherlands

“Promethea” Association (linking the cultural and the economic world, mainly through sponsorship) No

MAIN FIELDS ATTRACTING PRIVATE SPONSORSHIP

“Maecenas of the Year” award introduced by the Ministry of Culture in 2010

Theatre, Music, festivals

Public events (festivals), heritage

Information not available

Cultural events, festivals

Cultural Sponsorship Code (1990): Defines rules for sponsors & beneficiaries & sets framework for sponsorship agreements. Cultural Entrepreneurship Programme 2012-16 (Ministry of Education, Culture & Science) supports entrepreneurial efforts of cultural organisations & producers (coaching, advice, supervision...) to find alternative funding

287m ¤, (2011), mostly for ﬁne arts and music

A FIRST OVERVIEW PREPARED BY OLIVER GÖBEL AND PROF. DR. ANDREAS WIESAND (ERICarts INSTITUTE)

MAIN LAWS OUTLINING TAX DEDUCTIONS FOR PRIVATE/CORPORATE SPONSORS OF ARTS & CULTURE Tax legislation in Norway provides no speciﬁc incentives for private sector investment in culture

GOVERNMENT SCHEMES PROMOTING BUSINESS SPONSORSHIP IN THE ARTS & CULTURE N0

MAIN FIELDS ATTRACTING PRIVATE SPONSORSHIP

Income Tax Act (1993, amendments 2003): Deductions of donations up to 10% (legal persons) or 6% (individuals). Law on income tax of individuals (2007) simplifies deduction procedure of 1% of annual income tax for donations to public benefit organisations Statute of Patronage (Law 74/99): regulates different types of patronage & sponsorship & increases available tax incentives (the highest level for long term contracts). Law 52A/2006 limits fiscal benefits to donations to public & non-profit sectors Law on Sponsorship and Donations (1999)

Cultural Sponsoring Code (2011): A set of rules for both sides. The code has no legal force, it acts as guidance and its usage is completely voluntar

Cultural institutions, large scale performances, ﬁlm productions

Music, ﬁne arts, large scale events

Information not available

Publishing, Film, Music

Serbia

Corporate Tax Law: permits deductions on income tax for cultural activities

Cultural centres, theatres, festivals, events

Slovakia

Direct allocation of 2% from the individual income tax rate and corporate income tax to registered NGOs active in the arts and heritage Corporate Income Tax Act: 0.3% deduction for donations to various good causes & also a special deduction for culture of 0.2% of taxable income, with the possibility of averaging over a 3 year period Tax Exemptions Act for Non-proﬁt Organisations and on Sponsorship (2002): Income tax exemption for donations to non-proﬁt bodies and public administration No law to encourage private sponsorship of culture and the arts

Concerts, heritage, festivals (ﬁlm, music…), ﬁlm production, music & theatre performances, art exhibitions

Cultural centres, events and festivals

45.1m ¤, mainly classical music and painting

Culture and Business Forum

Donations/contributions in the form of sponsorship are tax deductible (10% of net profits on federal level & specific regulations in the Cantons, e.g. tax deduction up to 100% in the Canton of Basel Law 5228 on Incentives for Cultural Investment and Enterprises (2006): Benefits, mostly under control of the Ministry of Culture and Tourism, range from income tax withholding deductions or reductions in social security employer contributions to discounts in water and energy tariffs Review of Charity Tax Law introduced major simplifications & improvements to the treatment of gifts to charities, including a tax efficient way to donate shares. Goals were to encourage private support of charities, among them many UK arts organisations & to complement public money given to the arts, museums & heritage

No, except on the local level

SEK 93bn (2002): ca. 50% of funds go to museums & art galleries, the rest to theatre & dance 300–500m CHF; Companies corporate identity to be promoted via their own concerts/theatre tours or through projects developed with artists/cultural institutions Heritage, art exhibitions and museums, festivals, ﬁlm

COUNTRY Norway Poland

Portugal

Romania

Slovenia

Spain

Sweden Switzerland

Turkey

Some incentives on the local level, mainly in Istanbul, or for speciﬁc events

Business Sponsorship, Incentive Scheme, Arts & Business (A&B) advocates mutual beneﬁts of partnership between the private sector and the arts. There are a number of schemes to encourage public-private partnerships using tax relief

65.78m ¤, (2006), mainly festivals, theatres and orchestras

816m ¤ (2009), mostly for exhibitions, dance, music, theatre, festivals, heritage

Source: © Information from country profiles of the Council of Europe/ERICarts: Compendium of Cultural Policies and Trends in Europe, 15th edition, 2014 (www.culturalpolicies.net), and from national sources. In most cases, figures include contributions from foundations and other private donors.

MEDIA & CULTURAL FINANCING INFORMATION BY COUNTRY

CULTURAL FINANCING1

MEDIA

COUNTRY

Main TV companies (acc. to viewer shares, all channels); (P) = public org.

Public cultural investments (nat./ regional/local)

Public cult. invest. per Private cultural inhabi- sponsoring in mio.¤6 tant (partly estimates)

Der Standard; Die Presse; Kronenzeitung; Kurier; Salzburger Nachrichten De Morgen; De Standaard; Het Laatste Nieuws; La libre Belgique; Le Soir 24 Chasa; Duma; SEGA; Standart; Trud

ORF (P); ProSiebenSat.1 Media; RTL Group; ATV; Servus TV VRT (P); Medialaan; RTBF (P); RTL Group; SBS Belgium; TF1

2 410m ¤ (2012)

286 ¤ (2012)

N/A (Flemish State 2010: 839m) 156m ¤ (2009)

N/A

32.4%

24sata; Jutarnji list; Novi list; Ve ernji list

HRT (P); NOVA TV; RTL Hrvatska

313m ¤ (2011)

72 ¤ (2011)

ca. 4m ¤ (2013 CiV survey)

65%

51.2%

Phileleftheros; Politis; Simerini

PIK (P); Mega Channel; ANT1; PLUS TV

N/A

Czech Republic

73%

37.7%

TV NOVA; TV Prima; T (P); TV Barrandov

93%

54.8%

1 113m ¤ (only Ministry 2011) 2 236m ¤ (2011)

105 ¤ (2011)

Denmark

Ceské Noviny; Dnes; Lidove Noviny; Právo; Pražský deník Ekstra Bladet; JyllandsPosten; Morgenavisen

N/A (increasingly developed) N/A

Estonia

80%

39.4%

Eesti Päevaleht; Õhtuleht; Postimees

252m ¤ (2011)

187 ¤ (2011)

Finland

89%

43.5%

945m ¤ (2009)

177 ¤ 17.4m ¤ (2008) (2009)

France

82%

39.0%

Aamulehti; Helsingin Sanomat; Iltalehti; IltaSanomat; Turun Sanomat Le Figaro; Le Monde; Les Echos; Liberation

ETV (P); Eesti Media; Modern Times Group; Baltic Media Alliance Yleisradio (P); MTV Oy; Nelonen Media; SBS France Télévisions (P); TF1; M6 Group; Canal+ Group

ca. 7.7bn ¤ (only Ministries 2013)

118 ¤

Internet userrates2 (% of total population)

Facebook user rates3

Austria

81%

35.5%

Belgium

80%

47.2%

Bulgaria

54%

35.8%

Croatia

65%

Cyprus

Main national daily newspapers4 (in alphabetic order)

BNT (P); bTV; NOVA TV; TV7

TV2; DR (P); Modern Times Group. SBS

50m ¤ (2013)

89m ¤ (2011, Flanders only) N/A (currently 29 ¤ (2009) limited)

300 ¤ (2011)

0.13m ¤ (2012)

494m ¤ (2012)

(2013,only nat.Minist ries)

Germany

88%

31.2%

BILD; Die Welt; Frankfurter Allg. Zeitung; Süddt. Zeitung; taz

ARD (P); ZDF (P); Pro SiebenSat.1 Media; RTL Group

ca. 10bn ¤ (2010)

350m ¤(2010) 117 ¤ (2010)

Greece

56%

35.7%

Mega Channel; ANT1; Alpha Satellite Television; ERT (P)

508m ¤ (2011)

45 ¤ (2011)

Hungary

71%

42.8%

Eleutherotupia; Kathimerini; Ta Nea; To Ethnos Magyar Hírlap; Magyar Nemzet, Népszabadság

RTL Group; ProSiebenSat.1 Media; Magyar Televízió (P)

559m ¤ (2009)

N/A 56 ¤ (2009)

Ireland

82%

46.2%

RTÉ (P); TV3 Television Network; BBC; UTV Media

233m ¤ (2012)

38 ¤ (2012)

3.9m ¤ (2009)

Italy

69%

37.9%

Evening Herald; Irish Examiner; Irish Independent; The Irish Times Corriere della Siera; Il Giornale; La Repubblica; La Stampa

RAI (P); Mediaset

ca. 6.6bn ¤ (2011)

108 ¤ (2011)

391m ¤ (2011)

Latvia

72%

18.9%

Diena; Latvijas Avize; Neatkarı¯ga¯

LTV (P); Modern Times Group

251m ¤ (2010)

52 ¤ N/A (2010) (limited)

Liechtenstein

89%

33.7% (2012)

L. Vaterland; L. Volksblatt

1FLTV (P)

24m ¤ (2012)

658 ¤ (2012)

N/A (highly developed)

Lithuania

65%

31.7%

Lietuvos rytas; Lietuvos Žinios; Respublika

131m ¤ (2012)

44 ¤ (2012)

N/A (limited)

Luxembourg

94%

44.7%

Luxemburger Wort; Tageblatt; Letzebuerger Journal

LRT (P); Modern Times Group; UAB Laisvas nepriklausomas kanalas RTL Group; M6 Group

53m ¤ (2013)

99 ¤ (2013)

N/A (well developed)

Malta

79%

53.0%

Malta Independent; Times of Malta

TVM (P); One Productions Ltd.; NET Television

27m ¤ (2011)

63 ¤ (2011)

N/A (increasingly developed)

Montenegro

50%

44.2% (2012)

Dan; Pobjeda; Vijesti

RTCG (P)

N/A

N/A (currently limited)

CULTURAL FINANCING1

MEDIA

COUNTRY Internet userrates2 (% of total population)

Facebook user rates3

Netherlands

95%

45.2%

Poland

72%

25.7%

Portugal

62%

43.3%

Romania

58%

Serbia

Public cult. invest. per inhabitant

Private cultural sponsoring in mio. ¤6 (partly estimates)

Main TV companies (acc. to viewer shares, all channels); (P) = public org.

Public cultural investments (nat./ regional/local)

AD; De Telegraaf; De Volkskrant; NRC Handelsblad; Trouw Dziennik Gazeta Prawna; Fakt; Gazeta Wyborcza; Rzeczpospolita Correio da Manhã; Diário de Noticias; Jornal de Notícias; Público

RTL Group; NPO (P); SBS

3.4bn ¤ (2011)

203 ¤ (2011)

287m ¤ (2011)

TVP (P); Polsat; ITI

2 026m ¤ (2012)

54 ¤ (2012)

N/A (limited)

Media Capital; Impresa; RTP (P)

888m ¤ (2009)

69 ¤ (2009)

N/A

24.6%

Adev rul; Gândul; Jurnalul National; Romania libera

MediaPRO; Intact; TVR (P); Realitatea Ca avencu; ProSiebenSat.1 Media

885m ¤ (2010)

41 ¤ (2010)

N/A

56%

43.4% (2012)

Blic; Danas; Politika

RTS (P); Pink International Company; ANT1; B92

217m ¤ (2008)

24 ¤ (2008)

N/A

Slovakia

78%

37.1%

Pravda; Sme

224m ¤ (2006)

46 ¤ (2006)

N/A (currently limited)

Slovenia

76%

36.6%

Delo; Dnevnik; Vecer

RTVS (P); Central ¤opean Media Enterprises; J&T Finance Group Central ¤opean Media Enterprises; RTVSLO (P); ANT1 Atresmedia; Mediaset;

272m ¤ (2007)

135 ¤ (2007)

N/A

Spain

70%

37.4%

TVE (P)

5.8bn ¤ (2011)

126 ¤ (2011)

45m ¤ (2012)

Sweden

93%

54.4%

ABC; El Mundo; El País; El Periódico La Razón; La Vanguardia Aftonbladet; Dagens Nyheter; ETC; Expressen; Svenska Dagbladet

SVT (P); TV4 Group; MTG; ProSiebenSat.1 Media

2 746m ¤ (2011)

129 ¤ (2011)

Switzerland

85%

35.7% (2012)

Blick; Le Temps; Neue Zürcher Zeitung; TagesAnzeiger

2 057m ¤ (2011)

260 ¤ (2011)

58m ¤ (JB Kulturmarken 2014)

Turkey

49%

39.3% (2012)

Cumhuriyet; Hürriyet; Milliyet; Radikal; Sabah; Vatan

SGR/SSR (P); RTL Group; ARD&ZDF; ProSiebenSat.1 Media; ORF Çalık Holding (ATV); Do an Media Group (Kanal D); Ciner Media Group; TRT (P)

137m ¤ (2013)

N/A

United Kingdom

88%

52.3%

Daily Mirror; Daily Telegraph; Financial Times; Sun; The Guardian; The Independent; The Times

BBC (P); ITV Network; Channel 4 (P); Viacom

ca. 5bn ¤ (2009)

78 ¤ (2009)

816m ¤ (2009)

Main national daily newspapers4 (in alphabetic order)

Source 1: Council of Europe/ERICarts; "Compendium of Cultural Policies and Trends in Europe"; 15th edition; www.culturalpolicies.net, except where indicated

Source 2: Eurostat; Internet World Stats; 2013. Source 3: Internet World Stats; 2013. Source 4: mainly eurotopics.net (2014) Source 5: European Audiovisual Observatory; Council of Europe/ERICarts; "Compendium of Cultural Policies and Trends in Europe"; 15th edition; www.culturalpolicies.net 6 According to the Council of Europe/ERICarts; "Compendium" and to a 2006 Study of Arjo Klamer et al. for

the European Parliament, private support to culture, including business sponsorship, amounts to 2-5% of comparable public budgets in most "Western" countries (lower in most of Eastern Europe, higher only in a few countries, e.g. NL and UK). 7 Excluding broadcasting and publishing.

AUSTRIA

Mozarthaus Vienna the life and work of a musical genius in focus

www.mozarthausvienna.at place of location: Domgasse 5, A–1010 Vienna legal form: GmbH/PLC year of foundation: 2006 number of employees: 25 catchment area: worldwide events per year: 50 concerts inter alia in cooperation with Bösendorfer visitors per year: 140,000

Domgasse 5 is the only surviving Mozart apartment in Vienna, where the composer lived in grand style from 1784 to 1787. Nowhere else did he compose as much music as here. Mozarthaus Vienna presents three exhibition levels focusing on Mozart’s life and work in this former apartment. Visitors are offered a wide-ranging presentation of the time in which he lived, his most important works and the apartment, adapted by Wien Museum. The exhibition looks at the years Mozart spent in Vienna when he was at the highpoint of his creativity. The tour starts on the third floor of the building with the composer’s personal and social position in Vienna. The presentation on the second floor deals with his work as an opera composer and his fellow musicians and composers. The apartment on the first floor shows the rooms in which Mozart and his family actually lived. At the end of the tour is the Mozarthaus Vienna shop. There is also a self-service café with snacks and hot and cold drinks. Mozarthaus Vienna has an extensive event programme ranging from concerts to book presentations and symposiums. The Bösendorfer Room in Mozarthaus Vienna, a concert and event room in cooperation with piano manufactory Bösendorfer, can be rented for private functions, events or celebrations. Exclusive packages with a tour of the museum and a concert can be arranged, and it is even possible to get married in these incomparable and unusual surroundings.

SPONSORING OFFER benefit gross industry contacts: further details upon request advertising media: billboards, A0-, A1-, A2- & A3-placards, tickets, programme booklets, event flyers, website newsletter, facebook, press releases, press conferences, promotion stands, free tickets, discounts, incentives, roll-ups, sponsor event banner cost per mile: further details upon request partnership value: further details upon request

CONTACT INFORMATION Mag.a Christina Redl Events & Marketing t +43 (0)1 512 17 91-70 c.redl@mozarthausvienna.at

A museum with cultural importance for Vienna’s image Audio guides are available free of charge in eleven languages for adults and eight languages for children up to twelve years of age. More than 85 % of the visitors are tourists in Vienna, which represents the importance of the museum for Vienna’s cultural image in the world. How about making the famous marzipan and nougat Mozart Balls, or learning how to dance as in Mozart’s time? For customers who would like to get a different experience of Mozart or immerse themselves actively and creatively in the composer’s world Mozarthaus Vienna offers workshops with a great programme for large and small from all over the world, combined with a fascinating guided tour of the museum. Special Exhibition at Mozarthaus Vienna 2015 Mozart’s opera The Magic Flute, which was premiered in 1791, is not only one of the best known compositions, but also one of the most frequently performed operas in the world. To take account of the importance of this work the special exhibition 2015 in Mozarthaus Vienna is dedicated to The Magic Flute. This exhibition will be curated by the German cultural scientist Jan Assmann.

BELGIUM

The BELvue – much more than a museum www.belvue.be place of location Place des Palais 7 B-1000 Brussels, Belgium

The BELvue Museum, which opened 21 July 2005 to celebrate the 175th anniversary of the creation of Belgium, is much more than a museum. The 18th century heritage building, next to the Royal Palace, is an activity centre – a living museum – where visitors, particularly young people, can experience democracy and history through the permanent collection, dynamic temporary exhibitions and activities for the general public and the educational sector. More than 750,000 visitors have experienced the BELvue since its opening. The BELvue is located close to the city’s famous art museums and the Royal Park, in a former hotel from the 18th century. The hotel – and now the museum – is located at the scene of the 1830 Belgian Revolution, which led to independence. The King Baudouin Foundation (KBF) created the BELvue Fund with a view to creating a museum as a place where young people and other visitors could learn about and interpret Belgium’s history, socioeconomic development, institutions and the monarchy. KBF is an independent public benefit foundation that is active in Europe and internationally. The Foundation is committed to creating better justice, democracy and diversity in society. The BELvue Fund is endowed, with the museum using 4% to 5% of the market value of the endowment for operational expenses. The BELvue also opens its doors to an average 40 private events per year. These and other commercial activities, including the successful restaurant and bookshop, generate about 25% of the museum’s annual budget. The BELvue also has a close partnership with the archaeological site of the Coudenberg, located underneath the museum and neighbouring buildings. The BELvue manages the ticketing for this site and rental for special events.

History, democracy and education CONTACT INFORMATION Nine rooms are dedicated to the milestones of An Lavens Belgium’s history since 1830, with the reigns Manager BELvue t +32(0)2 545 08 03 of each of the country’s monarchs depicted in lavens.a@kbs-frb.be the corridors. More than 1,500 documents, historical photographs, film archives and artefacts portray key moments in the country’s history.

Creating a museum dedicated to history was no easy task. There are many sensitivities to balance in Belgium, a country with many intersecting lines of culture, religion, politics and language. To create a “politically correct” exhibition, we created a scientific committee comprised of historians from the country’s various communities. The displays are interactive and engaging – a format that brings history alive and encourages visitors come to their own conclusions rather than being confronted with a traditional interpretation of people, places and events. MuseumNightFever © BELvue/ F.Toussaint

Since 2005, numerous temporary exhibitions have been held on topics relating to history, democracy or cultural heritage. These exhibits examine in greater depth some of the themes from the permanent exhibit and attract new visitors to the museum. The BELvue’s Education Department organises free activities and classes for young people aged 10 to 18 on the values, institutions and challenges of democracy, as well as various aspects of Belgian history. Interviews with Belgian parliamentarians and chats with European parliamentarians give participants hands on experience with democracy and a deeper understanding of national and European political processes. Designed by young people for young people Through creative outreach and engagement, the BELvue has attracted thousands of young people. The secret to success? Activities are designed by young people for young people, which means the activities appeal to them and are popular. In addition, admission to the museum is free for them. For example, Museum Night Fever, organised in partnership with youth associations, has proved a huge success. In 2014, concerts and performances brought more than 9,000 visitors over the course of a few hours. Keeping an eye on the future By attracting young people and the general public to the BELvue, we hope to keep raising public awareness about the values and the importance of democracy and citizenship not only through learning about history, but also through insights on the Belgium and Europe of today and tomorrow. Being in Brussels, the capital of Europe, is not only an added value, but also creates an extra responsibility for the BELvue. In this way, we try to contribute to the mission of the King Baudouin Foundation: working together for a better society. © BELvue/M. Ochsner

CROATIA

Zagreb Film Festival

www.zagrebfilmfestival.com place of location: Varšavska 3 HR-10000 Zagreb year of foundation: 2007 number of employees: 150 (during the festival-time) director: Boris T. Matic´ executive director: Hrvoje Laurenta producer: Lana Ujdur program coordinator: Selma Mehadžic´ visitors per year: 60,000 general sponsor: Hrvatski Telekom finance support: Zagreb City Office for Culture, Croatian Audiovisual Center, MEDIA Program

Bibs with award Albert Kapovic´

Hrvoje Laurenta and Boris T. Matic at Opening day of 10 th ZFF 2012 photographer Nina Ðurðevic´

Zagreb Film Festival has been presenting the latest and most interesting debutant auteur films! For the twelfth time, from 19–26 October 2014, the festival will offer more than one hundred films from all over the world, divided in ten different programs.The festival will take place on several locations – Europa, Tuškanac and MSU Cinemas. Screenings will also take place in the Zagreb Dance Center and Zagreb Puppet Theater, and other in Rijeka, Varaždin, and cities to be confirmed.The main program will offer feature-length and short fictionfilms and documentaries. Checkers program will present the latest Croatian short film production. ZFF has a few regular side programs: this year, My First Film (selector: Nenad Polimac) is focused on Romania. Bib for Kids will once again entertain children with miraculous cinematic adventures and it will be realized in cooperation with the Embassy of Denmark. The exceptionally popular Great 5 program will treat us once again to new films from Spain, France, Italy, Germany and Great Britain.In addition to the above mentioned programs, festival brings along some new programs: e.g. 100th anniversary of World War I will be commemorated with the program of films dedicated to this historical event. We should not forget to mention here the exceptionally attractive educational program Industry and the usual numerous side events.

photographer Nina Ðurðevic´

The Zagreb Film Festival award is called The Golden Pram, created by Nedjeljko Mikac, and the best authors will receive monetary prizes alongside with the award. Golden Pram for the best feature film (4,000 Euro), Golden Pram for the best documentary film (1,000 Euro), Golden Pram for the best short feature film (1,000 Euro), Golden Pram for Best Croatian Film in Checkers Program (HRK 10,000). Screenwriters workshop Palunko – Jury consisting of young filmmakers will select the best script. The film based on the winning will be produced by Croatian Film Association and in cooperation with Propeler Film. It will premiere in Checkers competition program at the next year’s ZFF. 50

Cinema Europa is an iconic Zagreb movie theater and a protected cultural heritage and C O N T A C T I N F O R M A T I O N national treasure of the Republic of Croatia. It was commissioned by the wealthy ZagrebDubravka Tomic´ Head of Marketing based Müller family and built by architect Srec´ko Florshütz in 1924/25. The City of Zagreb t +385 1 4829477 bought the cinema after a successful campaign organized by Zagreb Film Festival and Croadubravka.tomic@ zagrebfilmfestival.com tian Film Association. In the early 2008, ZFF was entrusted with the managing of the Cinema Europa in order to turn it into a regional center of cinematic art. Ever since, it has nurtured a program that makes it the leading regional institution for screening of independent contemporary films and a venue for almost all festivals and events in Zagreb. The cinema currently consists of a large auditorium with 500 seats; Müller Hall with 80 seats; a gift shop, two lobbies accommodating exhibitions, performances, music events, small-scale events and lectures, a bar and a space where audience can mingle before and after events; and offices of Zagreb Film Festival. The activities and programs of Cinema Europa are supported by the City of Zagreb, Croatian Audiovisual Center, Ministry of Culture and Ministry of Entrepreneurship and Crafts. As our efforts have been recognized by EU institutions, in 2008 Cinema Europa became a full member of Europa Cinemas Network and the International Confederation of Art Cinemas (CICAE). Our programs are also supported by European Union’s MEDIA program. In 2013, the Ministry of Culture passed the Decision declaring Cinema Europa a protected cultural heritage and national treasure of the Republic of Croatia. Inside Cinema Europa, waiting for projection on ZFF

HIGHLIGHTS We’ll continue with development of the program’s quality, and work on expanding the festival’s activities throughout the year and in other Croatian areas. We will continue to insist on cooperations with other institutions in order to realize programs with high standards, e.g. a cooperation between Academies of Dramatic Arts in Belgrade, Sarajevo and Zagreb (which we initiated in 2013), a cooperation with European Parliament (Lux Prize) and Media Business School or Erich Pommer who will conduct an intensive workshop (so far it’s defined that we’ll host Erich Pommer in 2014 and Media Business School in 2015). Part of our program should be presented during the whole year (some workshops, especially Bib for Kids, and masterclasses).

photographer Nina Ðurðevic´

Long-term plan is to be networked with other cultural institutions. We have been collaborating with European cultural institutes in Croatia (EUNIC) for years, and now our aim is to further develop this network of collaborators, with an exchange of branding and cultural contents. Part of this network would also include public libraries, restaurants, bars, mediatheques etc.

11th Zagreb Film Festival, Bib for Kids, Cinema Europa photographer Nina Ðurðevic´

CYPRUS

Pafos Aphrodite Festival

www.pafc.com.cy place of location: Pafos Medieval Castle, Cyprus legal form: non-profit organization number of employees: 100 visitors per year: 7,500 sources of finance: state, private organisations, own revenues, e.g. ticket sales and advertising institutional sponsors: Ministry of Education and Culture, Cyprus Tourism Organization, Electricity Authority Cyprus, Cyprus Telecommunications Authority supporter: Envitec A.E. hospitality sponsor: Kanika

Pafos, a city in Cyprus that is a listed UNESCO World Heritage site, is hosting for yet another year the “Pafos Aphrodite Festival”. This year on September 5, 6 and 7 Pafos Aphrodite Festival Cyprus is presenting in co-production with the lyric organization Opera Futura from Verona and the participation of the Cyprus Symphony Orchestra W.A. Mozart’s “Cosi Fan Tutte”. The festival is taking place for the 16th consecutive year at the square of the Medieval Castle at the port of Pafos, a very beautiful and full of character venue that can only embrace the opera of Mozart.

media partners: Cyprus Broadcasting Corporation “Kathimerini” Newspaper SPP Media Group Cyprus Russian Media Group Cyprus Vestnik Kipra Cyprus My Destination Cyprus annual budget: 800,000 Euro

SPONSORING OFFER target groups people between 20 – 60 years old foreigners and locals

benefit © Photo LARKO, pafos

Pafos Aphrodite Festival Cyprus is a company established in 1998 as a result of the corporation of the main organized bodies of Pafos District, aiming to promote Pafos as an international centre of high profile cultural events, thus contributing to the international promotion and elevation of Cyprus in the culture and tourism sectors.

gross industry contacts: up to 4,633.750 advertising media: billboards, A1-, A2- & A3-placards, tickets, programme booklets, event flyers, postcards, direct mails, website, newsletter, banner/skyscraper, facebook, press releases, press conferences, inclusion of the sponsor in content at events, free tickets, discounts, incentives, merchandising cost per mile: 0,43 – 10,79 Euro partnership value: 2,000 – 50,000 Euro

sponsorship packages Members of this non-profit organization are the Municipality of Pafos, the Municipality of Geroskipou, the Municipality of Pegeia, the Pafos Chamber of Commerce and Industry, and the Cyprus Hoteliers Association – Pafos District Committee. Pafos Aphrodite Festival Cyprus’ main objectives are:

Depending on the level of sponsorship, companies can get access to different assets including: use of logos, category exclusivity, tax benefits, sponsor recognition, tickets and hospitality, event creation etc. Major Sponsor Main Sponsor Sponsor Supporter Media Sponsor Hospitality Sponsor

a) Organization and management of an international artistic event that will take place on a yearly basis at the Medieval Castle Square in Pafos. b) Organization and management of any other cultural events within the Pafos District. C O N T A C T I N F O R M A T I O N Stella Shepi Manager t +357 26822218 info@pafc.com.cy

Pafos Aphrodite Festival was organized for the first time in 1999, and since then has become one of the most popular and anticipated cultural events in Cyprus. On the square just in front of the Castle, a lot of cultural events take place, the most distinguished of which is the “Pafos Aphrodite Festival” which is held every year in the beginning of September and hosts opera productions by acknowledged opera theaters from abroad. The Castle itself acts as part of the sets as the whole square is transformed into a big open-air stage attracting thousands of opera lovers to attend this enchanting Festival.

DENMARK

Designmuseum Danmark

www.designmusem.dk place of location: Bredgade 68 DK-1260 Copenhagen type of business: state museum year of foundation: 1890 number of employees: 50 shows/exhibitions per year: 5–7 visitors per year: 95,000 financing sources: Ministry of Culture Denmark Danish Agency for Culture, Private foundations Sponsors and partners Friends of the Museum

Designmuseum Danmark is one of Scandinavia’s central exhibition forums for Danish and international industrial design, decorative and applied arts. The museum’s collections, library and archives constitute a central resource centre for the study of design and its history in Denmark. The museum brings together and documents the contemporary developments within industrial design, decorative and applied arts. Designmuseum Danmark undertakes research into the history of art and design, taking as its point of departure the museum’s own collections, and presents the results in exhibitions, publications and educational material etc. Designmuseum Danmark (originally named TheDanish Museum of Decorative Art) was founded in 1890 by the Industriforeningen i København (now Dansk Industri – The Confederation of Danish Industries) and the Ny Carlsberg Museumslegat. It first opened to the public in 1895 in a completely new museum building situated on what is now H.C. Andersens Boulevard, in the very centre of Copenhagen. Right from the start the main purpose of the museum has been to disseminate a concept of quality within design. Since 1926, Designmuseum Danmark has been housed in one of Copenhagen’s finest rococo buildings, the former King Frederik’s Hospital. This edifice was built during the reign of King Frederik V in the years 1752–57 to designs by the architects Nicolai Eigtved and Lauritz de Thurah. In the early 1920s the building was renovated and refurbished to suit museum purposes by the architects Ivar Bentsen and Kaare Klint. The museum garden, The Grønnegård, is a public space and can be enjoyed by everyone during museum opening hours. In the summer it serves as the performance space for the Grønnegård Theatre’s productions for children and adults. The museum café also has outdoor serving during the summer. Standing exhibitions Designmuseum Danmark disseminates central lines of development within the history of design. In the new exhibition of 20th century Danish applied arts and industrial design, the history of Danish design is seen in the light of the period’s aesthetic discussions and social, technical and economic conditions. Around such central figures as Poul Henningsen, Kaare Klint and Arne Jacobsen, design and architecture are brought together in the museum’s interpretation of the century’s dreams and reality.

Designmuseum Danmark Photo: Pernille Klemp

Another standing exhibition at Designmuseum Danmark is the exhibition “Across All Frontiers”. This exhibition takes it point of departure in the world exhibitions from the second half of the 19th century which became the international scene for the new style “Art Nouveau”. On display are some of the museum’s purchase of modern foreign applied art acquired at the 1900 World Exhibition in Paris, together with contemporary Danish applied art from 1880 and into the 20th century.

SPONSORING OFFER target groups For all ages both with general and more specific interest in Danish design and design history.

CONTACT INFORMATION Nikolina Olsen-Rule Head of communications t +45 33 18 56 80 nor@designmuseum.dk Wegner – Just one good chair. Photo: Pernille Klemp

HIGHLIGHTS OCTOBER 2014 – SEPTEMBER 2015 Wegner – Just one good chair 3 April – 7 December 2014 Hans J. Wegner (1914–2007) was one of the most prolific designers the world has ever seen. His furniture paved the way for the international breakthrough of Danish Design. With this exhibition, Designmuseum Danmark celebrates the 100th anniversary of Hans J. Wegner’s birth. Cupboards, cabinets & chests – private storage furniture over the ages 1 November 2013 – 6 September 2015 This exhibition presents examples from furniture history with objects which stand out due to their design qualities, superior material finish or unusual ornamentation. Furniture for the people! – Børge Mogensen 100 years 23 May 2014 – 11 January 2015 Designmuseum Danmark celebrates the 100th anniversary of furniture architect Børge Mogensen’s birth with a presentation focusing on his social agenda. Practice makes perfect – Kaare Klint’s School of Furniture 27 June 2014 – 27 February 2015 This exhibition highlights professor and architect Kaare Klint’s (1888–1954) importance as a teacher of Danish architects and designers at the Royal Danish Academy of Fine Arts, School of Architecture, where he was known for his extensive analytical studies of spatial design. Fashion and fabric – fashion and textiles through 400 years Opens 5 December 2014 In December 2014, Designmuseum Danmark opens a permanent exhibition of fashion and textiles from the museum’s vast collections. Century of the Child 16 January – 30 August 2015 This exhibition focuses on Nordic design for children, with a particular emphasis on Danish contributions to the field.

Dress with ostrich feathers by Erik Mortensen. Designmuseum Danmark. Photo: Pernille Klemp

ESTONIA

Art Museum of Estonia

www.kunstimuuseum.ee

The Art Museum of Estonia, founded in 1919, has by today grown into several museums. Historical ecclesiastical art from the Middle Ages up to the Baroque period is displayed in the Niguliste Museum, foreign art from the 16th to 20th century is displayed in the Kadriorg Art Museum, the art collection of Johannes Mikkel in the Mikkel Museum, the art of Adamson-Eric, a modernist Estonian artist of the 20th century, is displayed in the Adamson-Eric Museum, and Estonian art from the 18th century until today is housed in the Kumu Art Museum. The collection of the Art Museum of Estonia is constantly supplemented by earlier art, as well as by contemporary art. Kumu museum – Art Lives Here! Kumu is the headquarters of the Art Museum of Estonia, as well as the largest and most impressive exhibition venue in Estonia. In 2008 Kumu received the European Museum of the Year Award. This is a noteworthy international recognition of Kumu’s aspiration to become a truly contemporary art museum, which is not just dedicated to collection, conservation and exhibition, but is a multifunctional space for active mental activity, from educational programmes for small children to discussions about the nature and meaning of art in the modern world. It is Kumu’s ambition to constantly participate in the Estonian and international art worlds, to which a contribution is made by the 250-seat auditorium, with its film programme, performances, concerts, seminars and conferences, the educational centre, with programmes and courses directed at various age groups, and the library, with the widest selection of art literature in Estonia. Kumu’s role is to be both an educational and entertainment centre, a booster of art and artistic life, a place for reflection that carries a message of stability, a place that creates and provides experiences, and a creator and interpreter of meanings. Kumu is interested wide variety of artistic practices in international art field, therefore in 2015’s program you can find Hilma af Klint together with Ryoji Ikeda and Raymond Pettibon.

Kumu Photo Kaido Haagen, 2005

HIGHLIGHTS Niguliste museum – Rode Altarpiece in Close-up History, Technical Investigation and Conservation of the Retable of the High Altar of Tallinn's St. Nicholas’ Church. (2013 – 2015) This large-scale project will last several years and is focused on the conservation of the Late Middle Ages retable of the high altar in St. Nicholas’ Church. The retable is one of the grandest and best preserved northern German altar retables from the Late Middle Ages. The retable was commissioned from the workshop of the famous Lübeck master Hermen Rode in 1478, and it arrived in Tallinn in 1481. More than forty saints and biblical figures are depicted in the retable and its dimensions place it among the largest retables from the 15th -century Hanseatic cities. Extensive conservation work was carried out between 1978 and 1992. The main sections of the retable were restored at that time, but the splendid sculptures are still only partly conserved. The conservators of the Art Museum of Estonia aim to complete the cleaning of the sculptures, and the conservation work will be accompanied by thorough research. It will also be possible to observe the conservation 56

Project coordinator Hilkka Hiiop presenting the touchscreen set up in Niguliste, introducing the iconography of the altar, 2014

work which will be set up in the choir of C O N T A C T I N F O R M A T I O N St. Nicholas’ Church; the history of the reta- Art Museum of Estonia ble, and the progress of the conservation Weizenbergi 34/Valge 1 10127 Tallinn, Estonia work will be presented in the form of an t +372 602 6001 exhibition that will grow over time. The muuseum@ekm.ee plans for the next few years include an international conference, books and other publications, educational programmes and workshops. A touch-screen installation will provide visitors with information about the history of this splendid retable, the saints depicted therein and their legends.

Kadriorg Art Museum – Voyage pittoresque The Artist-Brothers von Kügelgen in Germany, Russia and the Baltic Sea Region (2014 – 2016) Voyage pittoresque is an art and exhibition project which examines the regional visual history of 18th century Europe and its current field of meaning. By dealing with the ideals and works of Enlightenment Era artists who transcended the borders between countries and people, we will also deal more broadly with cultural memory in the Baltic Sea Region in the triangle comprised of the German and Russian historical legacies and the national identities of the Baltic countries. The aim of Voyage pittoresque is to organise three exhibitions (in Tallinn, Helsinki and Koblenz) of works by Franz Gerhard and Karl Ferdinand von Kügelgen. The exhibitions will differ based on the collaborating country, thereby offering several viewpoints related to the artists’ activities and emphasising their topicality in the cultural memory of the specific region. Another output of the project will be a publication combining various contemporary approaches to the work of the von Kügelgen brothers and the artistic life of the Baltic Sea region at the turn of the 19th century. It can also be used as a catalogue for all three exhibitions. In addition to an exhibition exchange and related publications, a special effort will be made to organise specially targeted seminars, a joint public programme, a website and a film.

Autoportrait of Franz Gerhard Kügelgen, 1798?

FINLAND

Helsinki Festival

Helsinki Festival is the largest arts festival in Finland, organized annually in late summer. The festival’s aim is to make art accessible for all. Helsinki Festival programme lineup features classical and world music, circus, dance, theatre, a children’s programme, cinema and a range of urban events. Helsinki Festival operates under the auspices of the Helsinki Week Foundation, established by the City of Helsinki. Helsinki Festival also includes the Night of the Arts that will transform Helsinki into a stage for hundreds of cultural events, performances and surprises. In 2014 Helsinki Festival will also focus on power relations surrounding the built environment. The festival will be at its most visible at the Kansalaistori Square, where Helsinki Festival’s KoeHelsinki urban oasis will have its base. KoeHelsinki is a park filled with art and exciting experiences. Many of the events taking place there will be free of charge.

www.helsinkifestival.fi place of location: Helsinki legal form: Foundation (Helsinki Week Foundation) year of foundation: 1968 catchment area: international number of employees: Full-time: 10, Sub-contracted: approx. 10 –50 shows/events per year: approx. 200 visitors per year: over 200,000 sources of finance contributions from the public: 2,2 millions from co-operation with companies: 0,7 million financial support from City of Helsinki: 1,5 millions support from the Ministry of Education and Culture: 0,2 million annual turnover in Euro: 4,6 millions

Ester Rada Photo: Dean Avisar

Elisabeth Leonskaja Photo: Julia Wesely

partners, sponsors and suppliers Partners: Elisa, Helsingin Sanomat, OP-Pohjola Group Sponsors: Accenture, Restel Hotel Group, HOK-Elanto, RAY Suppliers: Akun tehdas, Capman, HEKU, Stopteltat

Michael Clark Company: animal/ vegetable/mineral; Harry Alexander Photo: Jake Walters

Helsingin juhlaviikot 15.–31.8.2014

HIGHLIGHTS HELSINKI FESTIVAL 2014 15.8.–12.10. – Tatzu Nishi: Hotel Manta of Helsinki 15.8. – Elisabeth Leonskaja 15.8. – Ester Rada 16.8. – Los Lobos 19.8.–20.8. – Back to Back Theatre: Ganesh Versus the Third Reich 19.8.–20.8. – Esa-Pekka Salonen, RSO, Mariinsky Theatre & Dominante: Orango 21.8.–22.8. – Toronto Symphony Orchestra 25.8. – Laurie Anderson & Kronos Quartet: Landfall 27.8. – Ginger Baker Jazz Confusion 28.8.–30.8. – Michael Clark Company: animal/vegetable/mineral 7.9. – Staatskapelle Berlin & Daniel Barenboim

CONTACT INFORMATION Anu Kauppi Marketing Manager t +358 40 520 1234 kauppi@helsinkifestival.fi

Staatskapelle Berlin & Daniel Barenboim Photo: Monika-Rittershaus

Los Lobos Photo: Los Lobos

FRANCE

Institut du monde arabe

www.imarabe.org place of location: 1, rue des Fossés Saint-Bernard Place Mohammed V F-75236 Paris Cedex 05

IMA ©Fessy

The Arab World Institute was established as a foundation under French law thanks to a partnership between France and the member States of the Arab League; the AWI’s vocation is to enlighten as many people as possible – both in France and Europe – about the contribution of Arab culture to world civilisation, and to promote interchange between East and West.

CONTACT INFORMATION Adèle Parrilla Director of Sponsorship t +33 (0)1 40 51 39 74 aparrilla@imarabe.org

Located in the heart of Paris, next to the river Seine, the Institute building is now recognised as an iconic symbol of the universal heritage of architectural modernity; when it opened in 1987, the Arab World Institute rapidly became part of the capital city’s rich cultural fabric. From the outset, the AWI comprised an Arab-Muslim art museum, an Auditorium, a Language and Cultural Centre, and a bookshop. Over the years, the Institute has always maintained a highly diversified programme of cultural events, which has incorporated every aspect of Arab art and culture, including music, film, dance, the plastic arts, and photography; it has also furthered the debate of ideas and intellectual exchange through numerous symposiums, seminars, and conferences, and the publication of a quarterly review, Qantara. The Institute also offers courses in Arab language and culture.

Façade Sud IMA ©Fessy

FRANCE

Musée du Louvre-Lens A Unique Experience www.louvrelens.fr place of location: Musée du Louvre-Lens BP 11 62 301 Lens cedex Northern France

The Musée du Louvre-Lens, located at the heart of a coal mining area on a site once occupied by pit now reclaimed by nature, is one of the world’s largest museums. Its collections are displayed in a boldly contemporary building designed by the Japanese architects Kazuyo Sejima and Ryue Nishizawa of SANAA. Officially opened on the 4th December 2012, the museum now enjoys international acclaim as a unique must-see attraction. The Musée du Louvre-Lens is ‘another Louvre’, a Louvre ﬁrmly focused on the future. It is a place for living, sharing and exchanging ideas, offering visitors: _ regularly renewed exhibits chosen from over 200 major works conserved at the Louvre and displayed here in the Galerie du Temps with its unique chronological, cross-discipline approach to the history of art from the 4th millennium BC to the mid-19th century _ Two major international temporary exhibitions per year _ Special exhibitions in the Pavillon de Verre (Glass Pavilion) _ Behind-the-scenes access to the secret lives of the works on display The Louvre-Lens also represents a major initiative to promote cultural decentralization and democratization and regional development. As a catalyst for transforming the social and economic fabric of the area, it can only play its part successfully by working in true synergy with other organisations at local, national and international levels.

Musée du Louvre-Lens © SANAA/Kazuyo Sejima et Ryue Nishizawa – IMREY CULBERT/Celia Imrey et Tim Culbert MOSBACH PAYSAGISTE/Catherine Mosbach– Muséographe: Studio Adrien Gardère © Hisao Suzuki

Sejima et Ryue Nishizawa – IMREY CULBERT/Celia Imrey et Tim Culbert – MOSBACH PAYSAGISTE/Catherine Mosbach– Muséographe: Studio Adrien Gardère © Philippe Chancel

SPONSORING OFFER sponsoring packages Depending on the level of investment, companies can get access to different assets including: branch and/or category exclusivity, tax benefits, sponsor recognition, tickets and hospitality, event creation etc. Tailor made sponsorships will be available in addition to the offer of the Cercle Louvre-Lens Entreprises.

OUTSTANDING CONTEMPORARY ARCHITECTURE A SETTING FILLED WITH GLASS AND LIGHT The museum merges gracefully and harmoniously into its surroundings.

CONTACT INFORMATION Raphaël Wolff Head of communications and external relations t +33 (0)3 21 18 62 10 raphael.wolff@louvrelens.fr

The decision to open the new museum on the site of what was formerly a coal mine reflects its intended role in transforming the coalfield while at the same time respecting its rich industrial past. Altogether the museum covers an area of 28,000sqm, its grounds extending 360 metres on either side of a central building with walls made of transparent glass. The buildings on the east side of the reception hall – the Grande Galerie, comprising the Galerie du Temps and the Pavillon de Verre – mainly house collections from the Louvre. On the west side of the reception hall are the Temporary Exhibition Gallery and La Scène, a ‘new generation’ auditorium offering programmes directly associated with the exhibitions.

FRANCE

Nantes: visionary and creative

www.nantes-tourisme.com

Once a busy seaport in the estuary of the Loire, the fascinating city of Nantes was chosen in the old times by the dukes of Brittany as their historical capital. If the city still boasts a unique architectural heritage with its magnificent Château des ducs de Bretagne, a Renaissance-style castle nestled in a fortress, a medieval quarter and one of the highest cathedrals of France - it has been transformed in the last 20 years probably more than any other city in France. It is not only a vibrant and young metropolis often rewarded for its top-quality of life – Nantes was also Green Capital of Europe in 2013 – but a city where art has literally been integrated in all possible aspects, making it a true example of how artists can turn a city upside down! The Nantes-born writer Jules Verne would most likely not believe how creativity has made its way in Nantes: from narrow streets to boulevards, walk along the 15-kilometre long green trail, literally painted on the ground to enable visitors not to get lost, and you will be amazed by an incredible diversity of styles, atmospheres and artworks. From 19th century Passage Pommeraye covered with an impressive glass-roof to the 20th design icon Station Prouvé; from the new Court House built by Jean Nouvel to the 18 gigantic rings of Daniel Buren (les anneaux!) displayed along the lively Quai des Antilles, on the banks of the Loire; and up to Le Nid, the panoramic terrace of the 32-floor high Tour de Bretagne, everything in Nantes is about transforming landscapes and visions into art. In which other city can you also ride a mechanical Elephant or a marine creature in a 35-metre high merry-go-round? In Nantes, culture and art are contributing factors of cohesion, and creativity a tool for economic leverage. It does not only make inhabitants proud of their city, but make them feel actors of all changes, and ambassadors of Nantes’ spirit. And when it comes to culture, Nantes is among the first in France in terms of budget spending. It also hosts an increasing number of artists, and theatre troops like the world famous Royal de Luxe.

CONTACT INFORMATION Xavier Theret Head of International Promotion and Relations t +33 2 51 17 48 60 Xavier.THERET@lvan.fr

Le Voyage à Nantes - www.levoyageanantes.com The cultural project Le Voyage à Nantes not only encourages art and culture in the city, but invites every summer artists from all over the world to use Nantes as a playground for their creativity. In 2014, the city counts with many impressive artworks: from Vincent Mauger on a square surrounded by classical buildings, Elsa Tomkowiak in the city’s Opera or Claude Ponti in the Jardin des Plantes. At the same time, some of the Chinese artist Huang Yong Ping’s artworks are to be discovered in the Hab Galerie, and while Ryoji Ikeda’s installation Superposition can be seen at the Lieu Unique, for the first time in Europe; some of Fernand Léger’s pieces can be admired at the Musée des Beaux-Arts. To make the green trail even more surprising, various attractions have been created: lively barbecues that can be used by everyone, a funny ball pool, and even the Cantine, a restaurant-bar offering local and fresh products. Estuaire Nantes–Saint-Nazaire - www.estuaire.info Art and landscape. The Estuaire project, also run by Le Voyage à Nantes, is a unique collection of 29 artworks created by internationally renowned artists that enables visitors to discover the Estuary of the Loire and its diversity of landscapes, by boat, by car or bicycle. All along the 60 kilometre stretch of the estuary, between Nantes and the Atlantic port of Saint-Nazaire, the 29 artworks make this trail an absolutely original experience, and magnify a particular natural setting or landscape. The result is an unexpected combination of realizations and installations, like the Villa Cheminée of Tatzu Nishi, which seems to play with a neighbouring colossal power plant; or the Serpent d’Océan, a gigantic aluminium snake skeleton from Huang Yong Ping surging out of the sea, playing with the tides; and even the largest painting of Felice Varini, spreading over a 2 kilometre-long line that can be seen from a view point of a roof terrace located in the port of Saint-Nazaire.

GERMANY

Dortmunder U

www.dortmunder-u.de place of location: Leonie-Reygers-Terrasse D-44137 Dortmund legal form: public insitution number of employees: 57 event and exhibitions space: 5,000 sqm special exhibitions per year: 30 events per year: 1,200

“Change through culture – culture through change.” This was the motto for the 2010 European Capital of Culture in the Ruhr Region. It expresses the way in which culture, art and the creative scene can help former industrial regions gain in significance and attraction. Dortmunder U, opened during the year of the European Capital of Culture, is an impressive example. Former Union Brewery was converted into a center for art, education and creativity and a unique institution emerged, peerless in Germany for its architecture, its programming diversity and topicality. Nine partnering institutions work together under the roof of Dortmunder U: Museum Ostwall for modern art, HartwareMedienKunstverein, the Technical University and University of Applied Sciences, U2 (a department responsible for cultural education in the digital age especially for youths and children), a media library, a cinema and ecce (european centre for creative economy). Three different gastronomic locations complete the selection of events and exhibitions on offer. A seven-story interior elevation for art distinguishes the building and stands for openness and transparency, characteristics that define the institution's program as well. Dortmunder U is all about the dialog between art, academia, science, creativity, design, architecture, media and society in the 21st century. Its exhibitions, events and projects especially focus on the connection between art and digital media. Alongside the presentation of art, art education also plays an important role, sometimes with a view to the culture of the everyday. The building’s open-ended interior elevation with its array of escalators “drives home” the impressiveness of the building’s height of 75 meters. The top story is an architectural gem: from the U’s “cathedral” with its outside patio visitors may enjoy a unique view of the entire Ruhr Region. The top story is a preferred location for conferences and prestigious events. On weekends its ambience is used by a regionally trendy Club. It goes without saying that Dortmunder U also partners with major cultural events in the Ruhr Region, such as the so-called Museum Nights (“Nacht der Museen”), Culture of Industry Nights (“Nacht der Industriekultur”), Youth Culture Nights (“Nacht der Judendkultur”) and Science Nights (Nacht der Wissenschaft). Dortmunder U's varied cultural program inspires culture aficionados, art lovers, movie goers and architecture enthusiasts, yet it also has unforgettable experiences in store for ordinary visitors,

who are impressed by the unique, large-scale film installations by film maker Adolf S P O N S O R I N G O F F E R Winkelmann, which crown the building, adorn the interior art elevation and the target groups Art and culture lovers of all ages from all over Germany with a buildingâ&#x20AC;&#x2122;s foyer. focus on the Rhine-Ruhr metropolitan region.

Nationwide and international acclaim for Dortmunder U has confirmed the expectations benefit to which the remodeling of the Union Brewery gave rise. Within the shortest time the U gross industry contacts: General sponsor: up to 37.5967 million has become a symbol of cultural change in the region and a defining landmark for Dort- Premium sponsor: up to 19.5442 million mund and for the region as a whole. Its proximity to the German Football Museum (to be advertising media: billboards, A0- & A1-placards, tickets, opened in mid-2015) and its central location across from the main train station are addi- catalogues, programme booklets, event flyers, postcards, direct mails, website, facebook, sponsor tional marks of distinction for the U. Not only does the institution create identity at home, banner/skyscraper, press releases, press conferences, logo integration in advertisments, promotion stand, it is also a popular public meeting place and an attractive tourist destination. By way of sponsoring partnerships Dortmunder U offers companies the opportunity to reach their target groups emotionally, to address a variety of interest groups through a broad spectrum of events and to position themselves clearly in an innovative cultural environment.

inclusion of the sponsor in content at events, free tickets, discounts, roll-ups, sponsor event banners cost per mile: general sponsor: further details upon request premium sponsor: further details upon request partnership value: further details upon request

sponsorship packages As a general sponsor you will have a unique opportunity by using an extensive communication to achieve diffrent target groups. The general sponsor occurs in all publicity measures and obtains the absolute industry exclusivity. As a premium sponsor you can reach all visitors of the house. By binding to one of the the three sponsoring partners you can reach your targeted audiences. As the presenting partner, the main sponsor or co-sponsor can support special exhibitions and festivals.

CONTACT INFORMATION Jasmin Vogel Marketing/Sponsoring t +49 (0)231 50-24693 jv@dortmunder-u.de

Foto: Hannes Woidich

GERMANY

jazzahead!

Worldwide, jazzahead! is the only international music trade fair with an integrated showcase festival spotlighting the jazz genre. For many years, the event has been successfully expanding and has seen an increase in exhibitors of 20 % in 2014 alone. The registered participants hail from 50 countries, with a focus on Europe. A distinctive feature of jazzahead! is that the trade fair and showcase festival are always open to the general public, as well.

www.jazzahead.de place of location: DE-Bremen year of foundation: 2006 legal form: GmbH presenter: MESSE Bremen/ WFB Wirtschaftsförderung Bremen GmbH

The showcase festival presents contemporary high-quality jazz from an annually changing partner country, from Germany, Europe and overseas. With this special festival format, jazzahead! has established itself as one of the most important international networking spaces for jazz musicians. Bands that perform here have previously applied and been selected by an international jury of industry experts.

number of employees: 5 full-time 2 freelancers catchment area: international with regional focus events per year: Festival spanning several weeks with around 120 events. Core time of the festival centered around the music trade fair which takes places during four days at the end of April. visitors per year: around 22.000 (2014) sources of finance: market profits, sponsoring, support for the German Jazz Expo with federal funding, funding from the respective partner country current main sponsor: YAMAHA further partners & sponsors: partners from the partner country (2015: France) Dorint Park Hotel Bremen swissôtel Bremen Die Sparkasse Bremen swb Beck’s BSAG Bremen NordWestBahn ex main sponsors & partners: ŠKODA Auto Deutschland (until 2014) Maritim Hotel Bremen media partners: ARD (coordinated by Radio Bremen) ARTE Concert Weser-Kurier Jazzthetik Jazzthing Jazzpodium Kulturnews KulturPort Canadian Singer Chloe Charles at jazzahead!’s Overseas Night © Jens Schlenker

In 2011, an extension to the showcase festival has been introduced which encompasses locations all over the city of Bremen: the clubnight. In 2014, as many as 27 venue promoters took part. In contrast to the showcases (short concerts), the clubnight presents concerts in their “traditional”, longer form, attracting a mostly regional audience.

SPONSORING OFFER target groups The target group is 25 years and older and comprises of both an international and a regional audience, as well as those interested in music and the arts.

Lively trade fair: jazzahead! © Gabriele Witter

Based on the internationally most important jazz trade fair, with the clubnight and the benefit gross industry contacts: up to 18,467,474 extensive partner country program with many cultural events, a regional arts and advertising media: billboards, A1- & A3-placards, displays culture festival was brought into being; it is this special development which provides at over 1.000 places, programme booklets, event flyers both international notability as well as regional recognition. While jazzahead! as a at over 1,000 places, postcards, website, newsletter, sponsor banner/skyscraper, press releases, press trade event with an integrated showcase festival is the largest networking platform for conferences, tickets, attainment of potential for communication measures in sponsor company, logo the jazz branch, a festival with music, art and culture takes place in Bremen. jazzahead! is not only an international “must go event” for the jazz industry – it is also an arts and culture festival which is open for all. While the international scene meets, exchanges and negotiates, the general public is right there – not only at the concerts.

integration in advertisments, promotion stands, inclusion of the sponsor in content at events, free tickets, discounts, incentives, roll-ups, sponsor event banner, merchandising cost per mile: 0,27 – 2,71 Euro partnership value: 5,000 – 50,000 Euro

sponsorship packages visitor numbers More than 2,800 international professionals from 50 countries registered for jazzahead! Main Sponsoring Trade Fair & Arts and Culture Festival Trade Fair Sponsoring 2014. In total, as many as 22,000 visitors were counted at the arts and culture festival. Sponsoring of the Showcase Stages Sponsoring VIP Lounge The visitor number increased by 54 % compared to the previous year.

Charnett Moffet, showcasing artist 2014

jazzahead! in Bremen: Trade fair and culture festival

Sponsoring Delegates’ Bags Sponsoring Catering Areas Sponsoring jazzahead! Compilation Sponsoring online (Apps & Website) Sponsoring German Jazz Expo Sponsoring jazzahead! Award Festival Sponsoring Sponsoring Module Partner Country Program Sponsoring Single Event of the Partner Country Program Sponsoring Module jazzahead! ŠKODA clubnight Sponsoring Module Showcase Festival Sponsoring Concert Evening Sponsoring Gala Concert with Main Act Sponsoring Children and Youth Program Sponsoring online (Apps & Website)

CONTACT INFORMATION Sybille Kornitschky

HIGHLIGHTS 2015

project management t +49 (0)421 3505 268 kornitschky@jazzahead.de

10-year anniversary partner country: France Open Air stage at Marktplatz Bremen opening gala arts and culture festival gala concert at concert hall “Die Glocke” arts and culture crogram in the public space clubnight

GERMANY

Karneval der Kulturen – Carnival of Cultures Berlin presents itself as an European metropolis with the festival “Carnival of Cultures”. With approximately 1.35 million visitors and more than 5,800 active participants it is one of the biggest summer festivals in Europe. The “Carnival of Cultures” is a unique urban festival in the world due to its significant cultural diversity. Each year, the Kreuzberg-Blücherplatz is transformed into a space of music, dance and performance. Berliners and artists from around the world perform on four stages and one off-stage area, four days long.

www.karneval-berlin.de location: tourism magnet/ area district Kreuzberg in Berlin, the capital of Germany legal form: N.P.O. (Werkstatt der Kulturen)

More than 350 booths with culinary delicacies and handicrafts expand the artistic programme of the various stages, so the street festival meets everyone’s taste. Highlight every year is the one-day street parade on Whitsunday, which crosses the Berlin district Kreuzberg. Whether Brazilian samba, urban beats or angels on stilts - over 5,000 different participants rehearse for months and prepare costumes and decorations for the floats well in advance. The parade takes place over a distance of four kilometre and is a transcultural spectacle with 750,000 spectators.

year of foundation: 1993 catchment area: local, regional, national, international number of employees: 20 (Werkstatt der Kulturen) during Carnival of Cultures various associated companies and over 300 freelancers

Berlin reports a rising number of visitors and overnight stays during the past 10 years. With 2.8 million overnight stays each year, the district Friedrichshain-Kreuzberg holds 11.2% of the total 24,900.000 Berlin-nights. Friedrichshain-Kreuzberg alone represent an increase of 80 percent since 2005. This is due to the variety of subjects related to tourism offers. From the idyllic stroll along the “Landwehr Canal” with the family to the party scene on Orange road, visitors can do everything here. Kreuzberg offers families, singles, young and old enough space to unfold. Above all, artistic diversity is the hallmark of Kreuzberg: the art space “Kreuzberg/Bethanien” presents works by contemporary artists, in the three venues of the theater “Hebbel am Ufer” are experimental forms of theater performed and at the Martin-Gropius-Bau and the world famous Jewish Museum exhibitions of international standing take place year round.

visitors & participants per year: around 1,35 million visitors and over 5,800 active participants events per year: once a year next event: 22. until 25. May 2015 in Berlin-Kreuzberg expected visitors: 1,350.000, 750,000 visitors from those present at the street-parade

Karneval der Kulturen © Daniela Incoronato

SPONSORING OFFER target groups active families with children active and experience-orientated Berliner (singles, couples and group of friends/peer group) // Berlin-tourists cosmopolitan, digitally networked und highly mobile high interest in discovering new things/something special and to meet new people

sponsoring packages

Karneval der Kulturen © Daniela Incoronato

addressing the needs of the target group for cultural diversity and contemporary music culture. putting your brand in an urban and non-ordinary environment. benefiting from the experience effect of the carnival and anchoring your brand values in the minds of the target group. using a theme island of customers and integrating your products and services. you will be included in the exclusively produced carnival trailer and use the advertisement allotments from media partners in order to communicate your social commitment. you can use large reach of out-of-media and special forms of advertising to communicate your brand message. you enter into a dedicated network of supporters and develop important contacts from the regional political and economic landscape.

Berlin fascinates people around the world with its lively and cosmopolitan character and the “Carnival of Cultures” has helped decisively to shape this image since 1996. It is a metropolis where people from 168 different countries are at home and approximately 25% of the population has an ethnically diverse background. The creation of multicultural experiences make a valuable contribution to a more open society. Carnival tourists, as well participants and journalists, will not just increase the revenues in the classic tourism industry, such as hospitality and catering services. A retail services will also benefit, including car rentals, public and private cultural institutions, clubs and bars, event service provi- C O N T A C T I N F O R M A T I O N ders such as security and law enforcement services, copy shops, administrative and transVassiliki Gortsas c/o Werkstatt der Kulturen lation services, exhibition and fair fitters, parking garages, gas stations, telecommunit +49 (0)30 609770 22 cations and photographic industry as well as credit intermediation, public transport and info@karneval-berlin.de taxi companies. Arts and culture diversity is a key motive for visitors to travel from all over the world to Berlin. Approximately 60% of national visitors and almost 80% of guests from abroad create its special atmosphere and image of a living cultural center a center of attraction. The Carnival of Cultures is a brand and must not be missed as a cultural ambassador. It is also a continuous investment in the image of the metropolis Berlin.

GERMANY

Nordkolleg Rendsburg

www.nordkolleg.de place of location: Rendsburg legal form: NPO ltd. attendee days per year: 21.000 interior floor space: 3 lecture rooms (50, 60, 200 people), 10 seminar rooms, 78 rooms with 150 beds, restaurant with 120 places exterior floor space: Park-style garden area covering 8,000m 2 number of employees: 38 events: 450 seminars, conferences, readings, concerts and other events ex and existing sponsors and promoters: State of SchleswigHolstein, District of RendsburgEckernförde, City of Rendsburg, Sparkassenstiftung Schleswig-Holstein Savings Bank Foundation, State Cultural Society of Schleswig-Holstein, Arno Schmidt Foundation, Media Society of Hamburg Mittelholstein Savings Bank Group, Schleswig-Holstein State Music Council, Schleswig-Holstein Music Festival Foundation Association of Cooperatives, State Society of High Schools SchleswigHolstein, Nordkolleg Funding Society City of Rendsburg, Büdelsdorf, UV Nord among others

Acadeny for Cultural Education Nordkolleg Rendsburg is an academy for cultural education, a conference centre with hotel service and the location of countless cultural societies, organisations and institutions. The academy specialism departments offer seminars and conferences across the themes business of culture, literature and media, language and communication, and music. The conference house is available for events of all type. The Nordkolleg is stamped with the seal “Service Quality Germany” and is one of only five such conference centres in Germany with five stars in “Child and Youth Travel Quality Management”. As the northernmost member of the “Bibliotels (library hotels)”, the Nordkolleg offers readers a particularly pleasant experience. Another special draw for guests and visitors of the academy is the park-style Nordkolleg garden. All year round, across 8,000m2 of space, are all manner of blossoming flowers and diverse fruit trees to admire. The inviting seating areas in the quiet corners of the extensive gardens create the finest seminar room of all in the summer.

media partner: NDR Kultur annual turnover: 2 Million Euro

The Nordkolleg lies between the North-Baltic canal and the Eider, in the idyllic “countryside between the seas” at the heart of Schles-

SPONSORSHIP OFFER target groups Adults seeking further education, educators (teachers, tutors, music school teachers), seniors (Music academy for seniors and choirs etc.), youths (jazz, classical music, technology), sutdents of Scandinavian and Baltic studies (language courses), Norwegians, Swedes and Finns (business German courses), cultural managers, businesses in culture and creative, culture hobbyists, garden enthusiasts, culture and city tourists.

beneﬁt gross industry contacts: up to 2,006,320 advertising media: A3-placards, entry tickets, programmes, event flyers, postcards, direct mail marketing, internet page, newsletter, banners/ skyscrapers, facebook, press releases, press conferences, logo integration into advertising, promotional stands, advertorial content related to events, free tickets, discounts, incentives, roll-ups, event banners. cost per mille: 2,49 – 14,95 Euro partnership value: 5.000 – 30.000 Euro

sponsorship packages

wig-Holstein. The academy offers a perfect setting for a combination of learning and relaxation. It is well known far beyond national borders for its networking competence, development and attainment of its targets, along with its pretty gardens and the excellent and oft-praised kitchen. It captures cultural inspiration and involves itself with current discourses on cultural education in Schleswig-Holstein.

You have the opportunity to support, either as a premium, main or project sponsor, one of the different departments of the Nordkolleg. As a partner of education, you present the esteemed seminar and conference programmes of the four departments. As a garden partner, you present all mediaeffective events, campaigns and publications to do with our park-style garden - a place of inspiration and relaxation. As a facility partner, you present the popular and much-praised all-round service. Our kitchen is both written and talked about - always positively. As a wellness partner you present the residence of our guests from arrival to departure. The pleasant rooms, the sauna and leisure programme will be rendered a particular highlight of the stay through your commitment.

HIGHLIGHTS 2014/2015 Orchestral academy of the Schleswig-Holstein Music Festival, Summer Shower Reading Night, Long Reading Night, Living Room Readings, Culture Salon, Poerty Slams, Open Gar- C O N T A C T I N F O R M A T I O N den 2014 with the midsummer festival, Educational Course “Popular Music in the Church.” Guido Froese

CEO t +49(0)4331-1438-12 guido.froese@nordkolleg.de

GERMANY

OZEANEUM Stralsund A declaration of love to the seas

On the 11th of July 2008, the German Chancellor, Angela Merkel, attended the opening ceremony of the OZEANEUM on Stralsund’s Harbour Island. This fourth, and youngest, branch of the German Oceanographic Museum is Germany’s largest federally funded museum construction project. The spectacular new building, designed by Behnisch Architekten, has given the harbour of the UNSECO World Heritage city, Stralsund, a contemporary accent. Since its opening, the OZEANEUM has developed into a popular tourist attraction. With annually more than 800,000 visitors, the German Oceanographic Museum as a whole has advanced to one of Germany’s most visited museums. The aquaria of the northern seas in the OZEANEUM, together with the colourful tropical and Mediterranean aquaria in

www.ozeaneum.de place of location: Stralsund legal form: gemeinnützige GmbH year of foundation: 2007 catchment area: Bundesweit, europaweit number of employees: 65

floor space: 8,700 m²

J.-M. Schlorke

visitors per year: 550,000 funding: In contrast to other museums of comparable size the OZEANEUM receives no public funding. Sponsors and donations can support the museum to realize new exhibition projects. ex and current sponsors & promoters: Greenpeace WWF Konsortium Deutsche Meeresforschung Ostdeutsche Sparkassenstiftung Sparkasse Vorpommern a. o. ex and current media partners: GEO NDR Ostsee Zeitung Nordkurier a. o.

the older MEERESMUSEUM branch, make Stralsund a leader in ocean aquaria in northern Europe. In May 2010, the OZEANEUM Stralsund received the European Museum of the Year Award. Large seawater aquaria in the OZEANEUM take visitors on a unique underwater journey through Europe’s northern seas. The tour through the Baltic Sea begins at Stralsund’s waterfront. Visitors can discover the diverse marine flora and fauna at our doorstep as they journey from the waters of the bodden, to seaweed meadows, chalk cliffs and all the way to Scandinavia’s rocky coast. In the River Mouth Aquarium, the biggest fish of the Baltic Sea, the sturgeon, can be seen. The North Sea Aquarium building presents habitats from the North Sea, the North Atlantic and the Arctic Ocean. The largest tank, holding 2.6 million litres of water, is populated with shoals of fish, several ray species, two nurse sharks and a 2.5-metre sand tiger shark. The museum was designed such that in each exhibition, the vibrant aquaria complement valuable scientific specimens collected by researchers over decades. The OZEANEUM houses the biggest Baltic Sea exhibition in all of Europe and includes a special plankton display, an interactive Baltic Sea panel, a relief model and large triangular showcases. Further exhibitions include The World Oceans – Diversity of Life and The Children’s Sea. The new exhibition, Exploration and Utilization of the Seas with a virtual diving tour, opened in the summer of 2011.

A 2.6 million litre tank is the biggest aquarium at the OZEANEUM with a panoramic view into the open Atlantic Ocean with fish shoals, rays and sharks. © OZEANEUM Stralsund / J.-M. Schlorke

SPONSORING OFFER target groups all age groups, especially families day-trippers and weekenders, also from Poland and Scandinavia pupils tourists with higher income, interested in culture and senior citizens interested in education guests interested in watersports tourists in acitivity holidays and interested in nature topics

benefit cross industry contacts: further details upon request advertising media: billboards, A0-, A1-, A2- & A3-placards, tickets, publications, programme booklets, event flyers, postcards, direct mails, website, newsletter, facebook, press releases, press conferences, attainment of potential for communication measures in sponsor company, logo integration in advertisements, inclusion of the sponsor in content at events, incentives cost per mile: further details upon request partnership value: further details upon request

sponsorship packages Truly breathtaking is the 1:1 Giants of the Seas exhibition. Lifelike replicas of whales, big Exhibition sponsoring fish and a giant squid in their original sizes are suspended from the ceiling of a large hall. Theme year sponsoring The largest Giant of the Seas is a 26-metre long blue whale. This mighty mammal is joined Presentation of „Become a Beach Detective! – Tour” Adopt a penguin by a diving sperm whale fighting with a giant squid, an orca, and a humpback whale toget- Media partnership her with its young. A further highlight is the multimedia show with penetrating calls of the blue whale, songs of the humpback whale, and clicks of the sperm whale, which the- C O N T A C T I N F O R M A T I O N Jens Oulwiger se mighty animals use to ommunicate and locate prey at great depths. Head of Marketing & Sales t +49 (0)3831 2650620 Jens.Oulwiger@ ozeaneum.de

Another main attraction of the OZEANEUM is the facility for Humboldt penguins on the rooftop terrace. The underwater acrobatics of these magnificent swimmers can be observed through the aquarium window as well as at the water surface. In June 2011, the first penguin offspring was born. A second one followed in March 2012. In addition to its time-honoured lecture series, the German Oceanographic Museum hosts classical and rock concerts underneath the Giants of the Seas, as well as theatre productions, film screenings, and weddings. Conferences are held in the adjoining historical warehouses.

HIGHLIGHTS Exhibitions: World Ocean, Exploration & Utilization of the Seas, A Children’s Sea, 1:1 Giants of the Seas Aquaria: 45 aquaria invite to a journey from the Baltic Sea to the North Atlantic Ocean, with jelly ﬁsh, sturgeons, sharks and rays and other Special topic 2014: Protection of the seas from plastic garbage Special topic 2015: “deep sea” crime scene museum at January/February, crime fun for the children’s at the museum family summer at July/August

GERMANY

Stiftung Kunstsammlung Nordrhein-Westfalen www.kunstsammlung.de place of location: STIFTUNG KUNSTSAMMLUNG NORDRHEIN-WESTFALEN K20 GRABBEPLATZ K21 STÄNDEHAUS F3 SCHMELA HAUS legal form: A private foundation under the exclusive sponsorship of the Federal State of North Rhine-Westphalia year of foundation: 1961 catchment area: worldwide board of management: Dr. Marion Ackermann Dr. Hagen W. Lippe-Weißenfeld number of employees: 90 full-time, approx. 60 honorary, approx. 50 volunteers (honorary) exhibitions per year: approx. 12 events per year: approx. 160 visitors per year: approx. 280.000 financing: Annual appropriation for personnel, operating, and material expenses from the Federal State of North Rhine-Westphalia. Exhibition-related third-party funds from public and private foundations. Revenues generated by the museum via entry fees, gastronomy, rental income from bookshops, contributions, sponsoring, merchandise, etc. ex and existing sponsors: Breuninger, Daimler AG, Heinendruck GmbH, Hogan Lovells International LLP, Lichterfest in the HSBC Trinkaus & Burkhardt AG, Ständehauspark KPMG AG, Linklaters LLP, of K21 Merck Finck & Co.,Privatbankiers, © Andreas Hamacher National-Bank AG, National-Bank AG, Schwarzkopf, SparkassenKulturstiftung Rheinland, Stadtsparkasse Düsseldorf, Stadtwerke Düsseldorf, Steinway-Haus Düsseldorf, Stiftung Kunst, Kultur und Soziales der Sparda-Bank West and many more annual turnover: ca. 14,5 Mio. Euro in 2013

During its 50 year history, the Kunstsammlung Nordrhein-Westfalen has built up an singular international profile as a museum of the twentieth century. But the spectrum of this collection of the Federal State of North Rhine-Westphalia – whose initial core was a large purchase of works by Paul Klee – has long extended right up to the present day. The building that houses the K20 am Grabbeplatz, with its distinctive black granite façade, was inaugurated in 1986. This splendid yet restrained edifice allows the outstanding qualities of the works in the permanent collection, as well as those in temporary exhibitions, to occupy center stage. Completed in 2010 was an extension building that has since served as a venue for acclaimed retrospectives of works by Joseph Beuys and the US-American sculptor Alexander Calder. With major works by artists such as Pablo Picasso, Henri Matisse, and Piet Mondrian and a wide-ranging ensemble of approximately 100 drawings and paintings by Paul Klee, the permanent collection of the Kunstsammlung provides a singular perspective of classical modernism. The inventory of postwar American art includes works by Mark Rothko, Franz Kline, and Pop artists such as Robert Rauschenberg, Jasper Johns, and Andy Warhol; essential to the collection as well are works by Joseph Beuys, Gerhard Richter, Tony Cragg, and Imi Knoebel. The nearby F3, the Schmela Haus, complements the collection as a “rehearsal stage” for the latest developments in art. The protected landmark building by the Dutch architect Aldo van Eyck (1918–1999) – inaugurated in 1971, and the first building in the Federal Republic built specifically as an art gallery – is now used as a venue for lecture and discussion series. Opened in spring of 2002 as an additional location for the Kunstsammlung was the Ständehaus am Kaiserteich, the former seat of the Landtag of the Federal State of North Rhine-Westphalia. Surrounding the central, spacious piazza of the K21 are four architectural wings and encircling arcades. The creative conversion of this imposing structure, which exemplifies the historicist style of the late nineteenth century, gave us a modern museum building with a striking domed glass roof, a feature that shapes the building’s aesthetic while providing a spacious exhibition area on the uppermost story. The individual spaces of the K21 are often used in alternation as the settings for special, site-specific artist’s rooms. Participating artists have included Katharina Fritsch, Monica Bonvicini, Kris Martin, and Hans-Peter Feldmann. As a long-term project, Tomás Saraceno has installed a gigantic, accessible network construction at a height of 25 meters beneath the glass copula. A museum with three different venues, the Kunstsammlung of the Federal State of North Rhine-Westphalia has access to more than 11,000 square meters of exhibition surface.

Dinner below the cupola of K21

Evening event on the Piazza of K21

HIGHLIGHTS 2014/2015

SPONSORING OFFER Exhibition “To Egypt! The Travels of Max Slevogt and Paul Klee” target groups Age: the majority over 50, many children, and a normal from September 6, 2014 to January 4, 2015 at the K20 Grabbeplatz distribution from the 20–50 age group More than 15 years separate the Egyptian travels of the painters Max Slevogt and Paul Klee Gender ratio of visitors: ca. 60 % female respectively: while the Impressionist Slevogt captured his impressions of the Orient with Educational background: the majority with Abitur or unidegrees (white-collar worker, freelancers, retirees) directness in a singular cycle of paintings in spring of 1914, the motifs developed by Klee versity Geographic origin: predominantly Düsseldorf and surrounin 1928-29 are wholly committed to a modern conception of the image. The exhibition ding region, but many national and international visitors juxtaposes the works of these two artists for the first time and offers insights into the as well Distinctive feature: a significant proportion of our visitors fundamental artistic upheavals that occurred on the threshold between Impressionism are art and cultural professionals, i.e. artists, designers, theater workers, architects, etc., and are correspondingly and Classical Modernism. cosmopolitan, receptive to experimentation, and openminded.

Festival of Lights in the Ständehauspark, September 19-21, 2014 The Kunstsammlung Nordrhein-Westfalen invites you to take part in three days of open benefit air concerts, artistic illuminations, romantic boat trips on the Kaiserteich, and gastro- gross industry contacts: further deatails upon request nomical highlights in the park around the K21. A special highpoint of the weekend will advertising media: billboards, A0-, A1-, A2- & A3-placards, tickets, programme booklets, event flyers, postcards, be Friday evening’s club night in the K21. direct mails, website, newsletter, social-media (facebook, Youtube, twitter, online-magazine # 32), press releases, press conferences, attainment of Exhibition “Uecker”, potential for communication measures in sponsor from February 7 to May 10, 2015 at the K20 Grabbeplatz company, logo integration in advertisments, logo The sheer enormity of the artistic oeuvre of Günther Uecker, who launched his career in integration in local public transport, inclusion of the since the 1950s, now receives an essential presentation. The exhibition will survey the ear- sponsor in content at events, free tickets, discount on ticket allowance, incentives, sponsor event banners, ly years when Uecker was a proponent of monochrome painting, his membership in the merchandising ZERO Movement, as well as the sculptural work incorporating nails, a common object that cost per mile: further deatails upon request has virtually become the artist’s trademark. Selections from his paintings, object art and partnership value: from 5,000 Euro sculptural work, film, bibliophilic exhibits, manifestoes, and stage and costume designs sponsorship packages testify to the persevering activities of an inventor of ideas who strives to contribute to Exhibition partner Business partner humanity’s spiritual development. Education partner Media partner Material sponsorship partner Sponsor

Exhibition “Miró: Painting as Poetry”, June 13 to September 27, 2015 at the K20 Grabbeplatz This will be the first exhibition devoted to Joan Miró’s relationship to literature and his friendship with major twentieth-century authors such as Ernest Hemingway, Henry C O N T A C T I N F O R M A T I O N Sandra Miller, André Breton, and Guillaume Apollinaire. Miró, who read unceasingly in his stuChristmann dio during work breaks, referred explicitly to specific texts in his works. During the 1920s, Managing Director he worked on an extensive series of works to which he referred as the Peintures-Poéme, ArtPartner Relations GmbH A company of which form at the heart of this presentation. The works in this series demonstrate how Stiftung Kunstsammlung Miró’s symbolically-charged abstractions emerged through an interplay with literature. Exhibition “Agnes Martin” from November 7, 2015 to February 21, 2016 at the K20 Grabbeplatz Four major European and American museums are joining forces to survey the artistic achievements of this American artist, ranging from the experimentation of the 1950s to the ripe late works. Her oeuvre, understated in its commitment to abstraction, developed in the milieu of Abstract Expressionism and minimalist tendencies. Despite its reductive qualities, Agnes Martin’s pictorial universe is characterized by an overwhelming richness, and is capable of providing the patient eye with enthralling visual experiences.

Nordrhein-Westfalen t +49 (0)211 – 8381 220 christmann@ kunstsammlung.de

GERMANY

Dream world under a starry sky

www.wintergarten-berlin.de legal form: GmbH/PLC year of foundation: 1992 theatre “Wintergarten Varieté”/ operating-GmbH since 2009 catchment area: Europe-wide number of employees: approx. 40 –45 events per year: approx. 300 visitors per year: approx. 105.000 sources of finance: own income, sponsorship ex and existing sponsors and partners: Bechstein Radeberger Lindner ex and existing media partners: Berliner Verlag Berliner Morgenpost TIP Berlin 105.5 Spreeradio 104.6 RTL

Wintergarten Varieté Berlin. This name stands for show, variety and music – entertaining, charming and diversified. Meret Becker or the Tiger Lillies, Max Raabe or Eckart von Hirschhausen, newcomers or international stars of the variety scene: this is where the world meets in a unique atmosphere of mirrors, wood, dark red velvet and the legendary starry sky. “Europe’s most beautiful variety”, a “jewel among varieties”, “Berlin’s probably most beautiful theater” – these are the superlatives used by the press to talk about the beauty of the Wintergarten. Every 3-4 months the Wintergarten presents a new variety show from its own production on the pulse of the time with music and excellent acrobatics. The world’s most renowned artistes have always performed at the Wintergarten. For the younger visitors there are, in addition, magical kids’ shows, and on Monday and Tuesday, the Wintergarten Spotlights feature many different artistes from the fields of concert, literature, cabaret and performance. Let yourself also be seduced in culinary terms, before or during the show, from a selection of sophisticated snacks to a classical 3 course menu, paired with an excellent bottle of wine, a glass of champagne or an inspiring cocktail. At Friedrichstraße the history of the Wintergarten started in 1880. In 1900 it was one of the best among the 80 Berlin varieties. No novelty, no sensation and none of the major entertainers was able to go past the Wintergarten: the most well known girl troupes performed here, virtuoso artistes, the clowns Grock and Charlie Rivel, the wonder juggler Rastelli as well as the escape artist Houdini. During the 20s names such as Claire Waldoff and Otto Reutter marked the reputation of the house. In 1944 only the legend of a big name, Wintergarten Varieté, remained after a bombing raid. On September 25, 1992 the Wintergarten Varieté re-opened at its current location. The press cheered: Berlin had its Wintergarten back!

2014+2015 BREAKIN’ MOZART (classical music, breakdancing, artistry – from and with Christoph Hagel and the DDC-Company) © flow n mary

Today the theater is not only very popular with the Berliners. As a result of word-ofmouth recommendations and the media, the Wintergarten reaches a broad international audience and is recommended by Time Magazine as a cultural experience for Europe. More than 4 million visitors attended the extravagantly produced shows since the re-opening.

HIGHLIGHTS SPIELZEIT 2014/15

SPONSORING OFFER target groups age: 30 + Berliners and visitors to Berlin

benefit gross industry contacts: further details upon request advertising media: billboards, A0-, A1- & A3-placards, tickets, printed material, programme booklets, event flyers, direct mails, e-mailings, e-newsletter, website, banner/skyscraper, advertisments, advertising spots cost per mile: further details upon request partnership value: 5,000 – 75,000 Euro

The world’s best acrobatics with the most extraordinary ideas of presentation of the hottest acrobats and directors, combined with live music, wherever it makes sense and is feasible – that’s exactly what the Wintergarten Varietéin Berlin stands for. This will also apply in 2015 when the revival of the successful show BREAKIN’ MOZART will combine acrobatics with the music of Mozart – and with Breakdance! – in a phenomenal way and something completely new will emerge. Or if before that, in fall / winter 2014, the world of magic takes over and incredible things happen in the MAGICAL MYSTERY SHOW, sponsorship packages From production partner of individual shows via co-sponsorhip whilst the Wintergarten Varieté is transformed into a somnambulistic place of illusions. to premium partner of the theater for a year or more, there are extensive and attractive opportunities for the presence of your THE MAGICAL MYSTERY SHOW – the Magicians’ Show company. We invite you to put together an individual sponsorship October 15, 2014 – February 18, 2015 concept from a comprehensive portfolio which goes perfectly BREAKIN‘ MOZART (probably from February 18, 2015) with your company. CONTACT INFORMATION Wintergarten Open Air Georg Strecker Since 2013 the Wintergarten Varieté has been the only Berlin-based theater to present Managing Director once a year an open air variety show – and with this idea it has met a highly interested t +49 (0)30-58843450 audience and secured a large media impact. The excursion of the rock variety show “Foreinfo@wintergarten-berlin.de ver Young” under the genuine starry sky of one of Germany’s most beautiful open air stages, the Kindl Bühne Wuhlheide, enthralled thousands of spectators. At the same place the soul variety show ALL NIGHT LONG will present the world’s most well known soul hits on September 13, 2014 – made visible for the eye through spectacular performances of the most renowned artistes that the Wintergarten Varieté normally produces at Potsdamer Straße in Berlin Tiergarten. The soul variety show ALL NIGHT LONG: September 13, 2014, Kindl Bühne Wuhlheide Wintergarten SPOTLIGHTS: On Mondays and Tuesdays At the beginning of the week the Spotlights are on the program of the Wintergarten. These are individual events in the genres cabaret, concert, literature and performance. Artistes such as the exceptional contortionist David Pereira, rock musician Carl Carlton, cabaret icon Werner Schneyder with his own songs, opera singer Anna Maria Kaufmann (together with Roncalli clown Peter Shub) and many others ensure entertaining, diversified evening events. Christmas time is family time: ZIMT & ZAUBER The Advent period is a fairytale period.Every year the Wintergarten Varieté presents “Zimt & Zauber” (Cinnamon & Magic), the traditional series of events for families – in co-operation with the Berlin kids circus CaBuWaZi (location: Springling “Marzahn”) and the Berlin Fairytale Days: with Advent pastry, coffee or cocoa. This year “Peter Pan” flies over the Wintergarten stage for an adventurous journey to Never-Never Land. ZIMT & ZAUBER 2014: Peter Pan, Nov. 23, 30 and Dec. 07, 14, 21, 22, 23, 28, 2014

GREECE

Museum of the City of Athens – Vouros-Eutaxias Foundation Code 1842 Break the Code www.athenscitymuseum.gr place of location: 5–7 I. Paparrigopoulou Street 10561 Athens, Greece legal form: N.P.O. year of foundation: 1973 catchment area: local, regional, national number of employees: 15 Full-time, 20 Volunteers interior usable area space: 2,000 sq. meters events per year: approx. 70 events (lectures, presentations, book launches, exhibitions) visitors per year: 10,000 visitors (including 6,000 school children) between August 2013–August 2014

The Museum of the City of Athens

The Museum of the City of Athens – Vouros-Eutaxias Foundation complex comprises two 19th century listed buildings which belonged to the Vouros and Eutaxias families. The Museum of the City of Athens focuses on the modern history of Greece, with particular emphasis on Athens after the city became the capital of the new Greek state. The Museum’s permanent exhibition includes items from the household of the first royal couple and pieces of furniture, paintings and other objects that belonged to the Vouros and Eutaxias families. The collection is continuously enriched with donations and acquisitions. The Museum organizes exhibitions, seminars, workshops, lectures, musical events and educational activities. One of the Museum’s main concerns is our educational role vis-à-vis the public. New technologies enable museums to find interactive solutions to the problem of improving public access to knowledge and collections. Ease of access, the enjoyment to be derived from it, consistency and the use of the right tools are key elements that museums should provide for visitors. The design and development of the educational program Code 1842 amply demonstrates and successfully incorporates these requirements. Code 1842 is a game that employs riddles to sharpen critical thinking and keep the participants involved and alert. They also encourage team work and enhance social skills. Therefore the riddles are key to the game’s evolution. Code 1842 involves five teams of five members each, for a total of 25 participants. The game’s duration is 90 minutes and is conducted in Greek or English (French will be added in 2015). Each team follows a predetermined route with key points (exhibits) where participants must solve a riddle in order to proceed in the game.

Athens 1842 Scale Model Overview

Athens 1842 Scale Model Example of Use

Each team is assigned a team leader (a member of staff) who helps the participants to fami- S P O N S O R I N G O F F E R liarize themselves with the Museum, taking them on a brief tour. Following this, the players target groups gather in front of the scale model of Athens and watch a short high-resolution film with a Children ages 6-18 Young Adults brief description of the building chosen by the team leader as the starting point. The film Adults will provide participants with details about the architecture and the history of the build- Local Residents ing. At the end of the film, the leader provides the team with a smartphone or tablet (one National and International Visitors per team) containing the first riddle. benefit advertising media: programme booklets, direct mails, website, banner/skyscraper, facebook, promotion stands, free tickets, discounts, incentives, roll-ups, event banners, merchandising

Participants must solve the first riddle to find a specific exhibit in the Museumâ&#x20AC;&#x2122;s collection. There they will find a code to be entered in the smartphone/tablet. This will reveal a brief description and stories related to the object. Hidden in these texts is a number that unlocks C O N T A C T I N F O R M A T I O N Katerina Grigoriadi a new riddle which allows the players to proceed to the next object, repeating the process Head of Educational Program until the end of the game. t +30 210 3231397 mveathen@otenet.gr

After each team finds the last exhibit in the allotted time, they will be given a number which forms a part of the final code before returning to the scale model. There all the teams will work together to find the hidden word. Having garnered a basic knowledge about the buildings and their historic associations at the Museum, the participants will then be taken on a tour around the historic center of Athens of the actual buildings they encountered in the game under the guidance of their team leaders. Their names will also be added to the invitation list for Museum events.

King Ottoâ&#x20AC;&#x2122;s throne room in the Museum of the City of Athens

HUNGARY

Ludwig Museum – Museum of Contemporary Art www.ludwigmuseum.hu location: Palace of Arts, Budapest, Komor Marcell St. 1. type of business: state museum founded: in 1989 visitor number per year: 75.000 shows/events per year: 8–10 number of employees: 50 – 55 financing institution: Ministry of Human Resources other financial sources: Peter and Irene Ludwig Foundation National Cultural Fund of Hungary Friends Of Ludwig Museum Public Benefit, sponsors and partners prior and current sponsors, promoters and media partners: Mastercard Raiffeisen Bank Samsung Siemens

The Ludwig Museum – Museum of Contemporary Art is the only public collection in the country that presents local and international artists on a common platform. Thus, as a regional centre in Central Europe, it plays a decisive role in contemporary art scene. The German couple, Irene and Peter Ludwig, founders of the Ludwig Museum, Budapest, had a collection of more than twelve-thousand pieces of artworks ranging from the Antiquity to Contemporary Art. Works of art that had been donated or lent by the Ludwigs, are on display at 30 museums worldwide, including institutions in Budapest, Cologne, Vienna and Beijing. The Ludwig Museum collects and displays masterworks of modern and contemporary art. Its thoroughly selected permanent collection that consists of nearly 600 items preserves valuable pieces of American pop art (Andy Warhol, Claes Oldenburg, Robert Rauschenberg etc.). While focusing on Eastern and Central European art, it also gives a special emphasis on presenting Hungarian art of the 60's to present days in an international context. Since 2005 the Ludwig Museum is housed in the impressive building complex of the Palace of Arts, and occupies 12,000 square meters. As a main institution of both local and international art scene, the museum dedicates itself to the continuous research as well as to the presentation of remarkable results, radical turning points and important artists of contemporary art. The museum regards its primary task to mediate contemporary art, also to provide a qualitative selection, as well as to present such artistic position, that sensitively reflect social, artistic and philosophical problems. Due to its popular programmes (programmes inspired by the allied arts, educational lectures, exclusive events, museum education workshops), also to its activities intended for professionals (curator training, museum educational and museological research, artist-in-residence programme) the Ludwig Museum has become a decisive factor regarding both Hungarian and regional visual culture.

annual turnover in Euro/Budget: 1,2 mio. interior usable area of the museum building: Partners of the Ludwig Museum are offered access to the exclusive museum premises for company event purposes.

SPONSORING OFFER target groups 18 – 60 years old locals and visitors who are interested in art 6 – 18 years old young people within the frame of museum education programmes people with special needs

HIGHLIGHTS OCTOBER 2014 — SEPTEMBER 2015

sponsorship packages Exclusive Partners Project Partners for temporary exhibitions Event Partners Media Partners

Revolutions | Revolution, anarchy, utopia 17 October 2014 – 4 January 2015 An exhibition that, regarding time, spans from the 80’s to present days and, regarding space, focuses mainly on Central and Eastern Europe, presents and elaborates the “revo- C O N T A C T I N F O R M A T I O N Nóra Demo˝k lutionary thought” through particular radical gestures of contemporary art. New permanent exhibition (under planning) 9 October 2014 – 31 December 2015 Our reconsidered and rearranged permanent exhibition will display our best known artworks while also focusing on the characteristics of the extensive collection of the Ludwig Museum.

cultural manager t +36.20.245.9976 demok.nora@ ludwigmuseum.hu

//////////fur//// NO PAIN NO GAME. 12 March – 3 May 2015 Cooperative and interactive exhibition on passion for gambling organized in cooperation with the Goethe Institute, Budapest. Photos by Vilmos Zsigmond (Organised in the framework of the Budapest Spring Festival) 10 April – 21 June 2015 A selection from the lifework of the Hungarian born photographer and cinematographer who gained international reputation and even won an Academy Award. Extravagant Bodies: Extravagant Age 28 May – 2 August 2015 The exhibition that is realized in cooperation with international partners, identifies the issue of old age as something that makes visible the premises on which contemporary society is founded, and, at the same time opens up possibilities of their critique. Contemporary Russian Art (under planning) 9 July – 20 September 2015 Ludwig Goes Pop September 2015 – January 2016 A travelling exhibition developed within the international network of Ludwig Museums worldwide, will be shown in several European cities. It presents pop-art tendencies both in Western and Eastern Europe. © Balázs Glódi /Ludwig Museum – Museum of Contemporary Art

ITALY

Egyptian Museum of Turin

place of location: Via Accademia delle Scienze 6 I-10123 Torino

The Egyptian Museum of Turin is entirely devoted to Egyptian art and culture. It is also one of the most visited museums in Italy. It has the world’s second most important collection of Egyptian antiquities, and is the most significant and largest museum of its kind outside of Egypt. Ever since the Museum was founded in 1824, it has attracted not only tourists and enthusiasts of Egyptology, but also prominent scholars. Over half a million visitors – in 2013, more than 540,000 people visited the Museum, a 24.8% increase compared to the previous year – have made the Egyptian Museum the ninth most visited museum in Italy, and one of the 100 most visited museums worldwide. The Egyptian Museum of Turin is currently under going major renovation, to be completed by 1 April 2015. Despite the on going work, the museum is being kept open for the public. Until April 2015, a new museum it inerary entitled Immortals. The Art and Knowledge of the Ancient Egyptians, inaugurated in August 2013, will offer the public a more up-to-date approach to the museum and a more direct relationship with the artifacts, thanks to the possibility of observing them from every angle. The museum is aiming to achieve full compliance with the most up-to-date international standards. Once the renovation is completed, the Egyptian Museum’s display surface area will have almost doubled, increasing from the present 6,500m2 to 10,000m2. Presently, the Museum has approximately 2,500 artifacts on exhibit (“Hypogeum”, Tomb of Kha and the Statuary). The rest of the collection, which comprises roughly 32,000 artifacts, is not open to the public at the moment, partly because of conservation concerns, and partly because many artifacts, while extremely interesting for scholars, lack a strong museo graphical appeal. King Thutmose III, New Kingdom, Dynasty XVIII (1479–1425 B.C.) © Fondazione Museo delle Antichità Egizie Torino

The new management of the museum has a keen interest in investigating connections between objects by exploring the history of their discovery or reconstructing burial assemblages, looking beyond Turin to flesh out the picture with links to objects in other museums and Egypt itself.

The main aim of the new museum is thus to place even more emphasis on the archeological and historical context of the objects. Photographs and multimedia will be used to emphasize the landscape that was the original setting of the objects, and thereby bring Egypt back into the galleries. The building housing the Egyptian Museum of Turin is, and has always been, the Palazzo dell’Accademia delle Scienze. Designed in 1678, is generally attributed to Guarino Guarini, but its construction was probably directed by Michelangelo Garove. The “Fondazione Museo delle Antichità Egizie di Torino” was officially constituted on October 6, 2004, and is the Italian state’s first venture into museum management also involving the private sector. The Foundation was constituted by the Ministry for Cultural Heritage and Activities - which transferred to the Foundation the management of the museum’s collection for 30 years - along with the Piedmont Region, the Province of Turin, the City of Turin, the Compagnia di San Paolo, and the CRT Foundation. Since November 19, 2012, the President of the Foundation is Evelina Christillin. Since April 28, 2014, the Director of the Egyptian Museum of Turin is Christian Greco.

LIECHTENSTEIN

Liechtenstein National Museum www.landesmuseum.li place of location: Vaduz: main museum building of the LLM with three venues, two of which are historic buildings Vaduz: Postmuseum Vaduz: Treasure chamber of the Prinicipality of Liechtenstein (opening planned for April 2015) Schellenberg: Farm Peasant’s House

“Apple Blossom Egg” by Peter Carl Fabergé. Hallmark Michail Jevlampijevitch Perchin. St. Petersburg, 1901. Gold, diamonds, Siberian nephrite. © Liechtenstein National Museum,

legal form: Foundation under public law year of foundation: 1954 number of employees: full-time: 24 volunteers: 8 catchment area: worldwide events per year: 100 visitors per year: approx. 50,000 sponsors and supporters of the past two years: Oerlikon Balzers AG Hilti AG ThyssenKrupp Presta AG IvoclarVivadent AG Bank Frick Centrum Bank Foundation Interlingua Anstalt Inficon AG Neutrik AG and approx. 50 further sponsors and supporters media partner: Die ZEIT friends’ association: Freunde des Liechtensteinischen Landesmuseums e.V.

Photo Sven Beham

Liechtenstein National Museum The main museum building in Vaduz showcases the archaeology, history, art, culture as well as the natural history of Liechtenstein, drawing upon over 3,000 exhibits in some 40 galleries. The Postmuseum in Vaduz is dedicated to Liechtenstein’s famous postage stamps. The Treasure chamber in Vaduz presents the Principality’s treasure chamber, while the Farm Peasant’s House in Schellenberg is devoted to agrarian life around the year 1900. Many fascinating special exhibitions on a variety of topics are testimony to the sheer breadth of the subject matter of this interdisciplinary museum. Main museum building In two historical buildings dating back to the middle ages, and in a modern annex that has been driven deep into the mountainside, a wide variety of rare to unique exhibits are presented in over 40 galleries with a total surface area of some 2,000 sqm. Visitors are enchanted and surprised by over 3,000 disparate exhibits. These relate a great deal about the eventful history, the interesting culture and the unusually varied natural environment of the Principality of Liechtenstein. In addition to unique, especially valuable and very special exhibits, space is also devoted to simple and day-to-day matters. This provides deep insights into the compact sovereign state at the heart of the Alps. In addition, fascinating exhibitions of international importance on the widest possible variety of topics are also presented in a state-of-the-art special exhibition section. Postmuseum The Postmuseum houses the complete collection of all Liechtenstein postage stamps issued since the year 1912. These are worldfamous, due to their outstanding aesthetics and the advanced methods and technologies deployed. Many exhibits are presented together with the original designs produced by exceptional artists and designers, providing fascinating insights into the creation of the postage stamps. In addition, documents and equipment from Liechtenstein’s postal history are also presented. Superb little special exhibitions focus on the world of postage stamps, letters and communications.

Treasure chamber of the Prinicipality of Liechtenstein The Treasure chamber of the Prinicipality of Liechtensteinis scheduled to open in April 2015, and will exhibit the jewels and valuables of the Principality of Liechtenstein and the world of the Princely House, the Apple Blossom Egg from Fabergé and original moonstone collected by the Apollo 11 and 17 missions. Farm Peasant’s House Some of the very latest concepts for low-energy buildings and sustainable construction were already being applied here some 500 years ago. The house consists of a timber frame insulated with moss and lichen. Even pegs and nails were made of wood. Iron was avoided. The configuration, the low ceilings and the few windows in the rooms reduced the S P O N S O R I N G O F F E R amount of energy required for heating. The beams were even numbered when the buil- target groups ding was relocated over 300 years ago, enabling the structure to be reassembled at a new Persons interested in the history, art, culture, customs, natural environment and philately of the Principality of site. The house dates back to 1518, and was moved to new locations on several occasions: in Liechtenstein, as well as those interested in current global the years 1687 and 1793/1794 and most recently in 1992/1993. Today the house provides affairs. Interested persons of all ages and levels of educational extremely interesting and authentic insights into the life and times of agrarian Liechten- attainment, mostly with medium or higher household net incomes. stein around the year 1900. Visitors can rediscover vanished aspects of life that were still Origin: national (50 %), international (50 %), the latter mostly commonplace in many parts of the Alps up until the fifties and sixties of the last century. from the German-speaking, Russian, Asian (China, Japan, India) and American regions.

H I G H L I G H T S O C T O B E R 2 0 1 4 T O S E P T E M B E R 2 0 1 5 benefit In addition to many individual events such as concerts, readings, lectures, theatre etc., the following special exhibitions, inter alia, attract further visitors:

gross industry contacts: further details upon request Advertising materials: catalogues, flyers, posters, banners, exterior and interior advertising spaces, digital platforms (e.g. homepage, facebook, Youtube, apps), radio and television, VIP previews, customer events and contacts as well as exclusive guided tours cost per mile: further details upon request partnership value: 1,000 – 200,000 Euro

We eat the world Available foods are becoming increasingly varied and sourced from increasingly distant climes. What does this mean for us and for our natural environment? What makes good sense, and what merely represents excessive consumerism? Visitors are guided through various countries and their particular products, and are introduced to sponsorship packages Combine the reputation of the Principality of Liechtenstein’s the complexity of our food and diet.

high-quality and unique interdisciplinary museum with its remarkable reputation for the special, the exquisite and the exclusive. We offer you a variety of partnerships of different natures and lengths in the print, media and digital fields. You have the opportunity to use previews, customer events, exclusive guided tours and customer contacts. A number of important cities are located within a radius of only 250 km, including Zurich (100 km), Lucerne (130 km), Basel (190 km), Innsbruck (170 km), Munich and Stuttgart (240 km) as well as Milan (250 km). As principal sponsor and sponsor you support an internationally active and high-profile museum, and in return receive attractive benefits in the form of advertising and customer events.

Marilyn – The Strong Monroe. Women’s Emancipation after the Second World War This exhibition throws light on the development and emancipation of women, drawing upon the example of the most photographed woman of the 20th century – the Hollywood icon Marilyn Monroe. The exhibition presents many of the actress’s original personal belongings, such as clothing and shoes, accessories and make-up-items from often famous as well as private film documents such as diaries and her testament. Special items of clothing are also shown from her Hollywood role models and contemporary Hollywoodstars such as Jean Harlow, Vivien Leigh and Elizabeth Taylor. The presentation of exhibits relating to Marilyn Monroe focuses in particular on individual items that illustrate Monroe’s emancipated side. Visitors gain an entirely new understanding C O N T A C T I N F O R M A T I O N of the movie icon and her contribution towards society. Prof. Dr. Rainer Vollkommer

Director t +423 239 68 20 rainer.vollkommer@llv.li

View showing the exhibition “Gladiators and the Colosseum. Heroes and Architecture in the service of the powerful.” © Liechtenstein National Museum, Photo Sven Beham

LUXEMBOURG

„Summer in the City“ in Luxembourg www.summerinthecity.lu event organisation: Luxembourg City Tourist Office (LCTO) www.lcto.lu location: City of Luxembourg legal form: a.s.b.l. (e. V.)

Luxembourg is a unique, thousand year old fortress city and modern day European capital. The dynamic, open and welcoming city, which enjoys a constantly growing tourism trade, celebrates culture and its unusual setting in the summer months with a programme of music, art and live events that resonates across its urban landscape. The Summer in the City programme opens each year on June 21 with the internationally recognized “Fête de la Musique”, which is now celebrated in over 110 countries. The festivities close at the start of September with the last day of the Schueberfouer, one of the biggest annual funfairs in Europe.

year of foundation: 1933 catchment area: Luxembourg and catchment area of the greater region incorporating Saarland, Rhineland-Palatinate, Lorraine and Wallonia as well as international audiences on site number of employees: 26 permanent employees in the fields of tourism and culture, 60 seasonal employees and 130 certified tour guides event locations: Summer in the City summer programme, open-air in public spaces LCTO-events and concerts each year (2013): 535, of which 374 take place between June and September audience figures per event: between 5,000 und 20,000 spectators depending on location sources of finance: City of Luxembourg, Ministry of Culture, Ministry of the Economy, own revenue, sponsorship selection of current partners and potential sponsor’s fields of activity for Summer in the City: banks and financial services, mobile and communications, automobile marques, energy suppliers, hotels, transport, insurance, beverages including wine, crémant (sparkling wine) producers and breweries, fuel suppliers, opticians, sports equipment and clothing, fashion Official media partners (depending on the event): RTL, L’Essentiel, LuxemburgerWort, Tageblatt, Le Quotidien, Le Jeudi, Radio 100,7, Radio Latina, Eldoradio

Luxembourg is a city that moves, that vibrates, that even manages to transform its pavements and squares into palaces of culture under open skies. These “made in Luxembourg” events, which are free of charge, are becoming more and more attractive to a broad international audience. Indeed, each year tens of thousands visitors attend Summer in the City. The following talent and selection criteria are established for the Summer in the City events: _Variety of the cultural and artistic presentations _Enjoyment, fun and entertainment for all _Social inclusion: all events are open to a broad audience and promote healthy, multicultural togetherness _Territory: performances and presentations take place in public spaces or in cultural venues located within the City of Luxembourg. THE ANNUAL HIGHLIGHTS OF THE SUMMER IN THE CITY EVENTS PROGRAMME: Fête de la Musique – www.fetedelamusique.lu Location: Luxembourg, city centre, Place Guillaume II Date: 21 June from 10.30 a.m. into the night The Fête de la Musique is an ideal platform for a musical-cultural exchange on a regional and international level. Music acts from a variety of genres perform in the streets and public spaces for a broad audience. Each year the Luxembourg Philharmonic Orchestra (OPL) performs on the Place Guillaume II to signal the official start of the Summer in the City campaign. The concert programme includes rock, pop and film music classics or masterpieces of classical music interpreted by the philharmonic orchestra and renowned soloists. MeYouZik festival – www.meyouzik.lu Location: Luxembourg, city centre, Place Guillaume II Date: Saturday in early July, from 12 noon to 1 a.m. MeYouZik is an urban world music festival that includes live electronic and acoustic concerts as well as DJ sets on three stages on the Place Guillaume II, the Place Clairefontaine and the rue du Saint-Esprit. In addition, the Place Clairefontaine host the MeYouVillage featuring all sorts of culinary options as well as information stands set up by various NGOs and institutions.

SPONSORING OFFER target groups Anyone of any age interested in urban open-air cultural events. Residents of the greater region incorporating Saarland, Rhineland-Palatinate, Lorraine and southern Belgium as well as international visitors to the city. Blues’n Jazz Rallye © LCTO Claude Piscitelli

benefit advertising media: logo integrated into brochures, on

Rock um Knuedler festival – www.rockumknuedler.lu flyers and posters as well as on onsite event banners, on event homepages, in promotional films shown on giant Location: Luxembourg, city centre, Place Guillaume II outdoor screens, presence and presentation at press Date: Sunday in early July, from 2.30 p.m. to midnight conferences and in press releases, meet and greet events, Rock um Knuedler has been attracting crowds of more than 15,000 fans into the capital promotional and/or merchandising stands and street city for over 20 years. It is a fundamental part of the city’s festival programme. The main marketing operations agreed in advance. Lion Stage is host to Luxembourg acts and international headliners, while the smaller partnership value: from 7,000 euro Horse Stage serves as a barometer of the latest rock and pop trends. Recent headliners to sponsorship packages have honoured the Lion Stage on the Knuedler have included Mike and the Mechanics, As a strategic partner you have the opportunity to either participate in the entire Luxembourg City Tourist Office BAP, Roger Hodgson (formerly of Supertramp), Texas, Ben Harper and Simple Minds. Summer in the City programme, or to sponsor single events for one year or more. You will be taking advantage of the excellent reputation of established events and benefit from the positive image the programme has with audiences from the Grand Duchy and the greater region of Saarland, Lorraine and Belgium. As well as the media partnership, we can offer you the unique city landscape for unusual client events. We will gladly compile individual solutions that can effectively connect your brand message with our events in a crowd-pleasing manner.

Blues’n Jazz Rallye – www.bluesjazzrallye.lu Location: Luxembourg, Grund and Clausen neighbourhoods Date: Saturday in mid July, from 7 p.m. to 3 a.m. The annual Blues’n Jazz Rallye turns Grund and Clausen upside down every summer. Over 20,000 enthusiastic music fans descend into the valley neighbourhoods, where they can see and hear Dixieland, mainstream, fusion, boogie-woogie, Chicago Blues and Latin Jazz being played on ten open-air stages and in numerous bars and restaurants. International CONTACT INFORMATION headliners and local acts provide a real party atmosphere. Tom Bellion Streeta(rt)nimation – www.streetartnimation.lu Location: Luxembourg, city centre, pedestrian zone Date: mid August, Saturday from 3 p.m. to Sunday 9 p.m. For two days in the middle of August the Streeta(rt)nimation festival transforms the centre of Luxembourg into a breath-taking, colourful fantasy world full of imagination, wonder and laughter. Over 25 impressive international artist troupes present poetic, comic, acrobatic and fascinating or quirky performances in shimmering costumes.

Director t +352 22 28 09 touristinfo@lcto.lu

Maryline Arthkamp Marketing & Event Sponsoring t +352 4796-4795 maryline.arthkamp@lcto.lu

LUXEMBOURG

Luxembourg’s National Museum of History and Art The National Museum of History and Art is not only one of Luxembourg’s top cultural attractions, but also a scientific institution with a clearly defined legal mandate.

www.mnha.lu place of location: Marché-aux-Poissons L – 2345 Luxembourg

In addition to holding several special exhibitions each year, the National Museum of History and Art makes Luxembourg’s national collections in archaeology, national history, fine arts and applied arts available to the general public. A “prologue” offers visitors a first insight into the history of the country and the background of the museum’s public collections.

legal form: State museum year of foundation: 1946

The museum’s archaeological collections illustrate the history of Luxembourg from the early Stone Age to the early Middle Ages. Among the highlights are a spectacular series of late Celtic aristocratic graves as well as the Roman mosaic of Vichten with its depiction of the nine Greek muses. The numismatic collection includes coins from several periods inviting visitors on a journey into Luxembourg’s economic and monetary history.

catchment area: Luxembourg City and the greater region number of employees: 98 full-time Interior floor space of the buildings: MNHA: 7,500 m 2 Special exhibitions: 1,000 m 2 Conference room: 180 m 2 Reception rooms: 600 m 2

M3E: 1,800 m 2 Special exhibitions: 300 m 2 Auditorium: 300 m 2 Special exhibitions and events per year: 5 special exhibitions in 2014 approx. 15 academic events and lectures 1,370 guided visits and workshops per year Visitors/users per year: approx. 100,000 people in 2013

Special highlights: Bouts, Rosso and Isabey The collection of Old Masters – unique for the greater Luxembourg region – begins with some important Italian paintings of the 13th to the 15th century (including Giacomo del Pisano and Don Silvestro dei Gherarducci). In their new colour-coordinated décor, our redesigned exhibition rooms present a number of works never shown before. These treasures include a magnificent diptych by Albrecht Bouts (1451/55–1549), the famous “Bacchus, Venus and Cupid” by Rosso Fiorentino (1494–1541) and the impressive “Procession with the Holy Sacrament” by Louis Gabriel Eugène Isabey (1803–1886). The collection of modern and contemporary art (including Cézanne, Magritte, Picasso, Alechinsky, Jorn, Knoebel, Zao Wou-Ki) is now being shown in newly renovated premises. It includes Neo-Impressionist paintings (e.g. Guillaumin, Cross, Rysselberghe) as well as works of the Ecole de Paris after 1945 (Estève, Le Moal, Manessier, Bissière, Poliakoff, Lapicque etc.) and paintings by representatives of the Nouvelle Figuration (Adami, Aillaud, Arroyo).

Part of the new permanent exhibition is dedicated to the most representative works of S P O N S O R I N G O F F E R Luxembourg art from the 19th century to this day. target groups Visitors from home (50%) and abroad (50%)

Edward Steichen “reloaded” benefit The Department of Decorative and Popular Arts is housed in three old townhouses in rue gross industry contacts: further details upon request Wiltheim used by the MNHA. Here, the new permanent exhibition “From Mansfeld advertising media: placards, tickets, programme booklets, to Design (1500–2014)” explores Luxembourg’s home décor and applied arts through the event flyers, website, facebook, press conferences, logo integration in advertisements, free tickets, discounts, centuries. A new permanent exhibition of works by world-famous photographer Edward incentives cost per mile: further details upon request Steichen also awaits visitors at this location. partnership value: further details upon request

One institution, two museums sponsorship packages On 13th July 2012, the Musée Dräi Eechelen – Fortress, History, Identities opened its In our exhibition projects we offer various options for companies to share various presentation and communication doors under the direction of the National Museum of History and Art. forms with MNHA. We will work together to develop a special package tailored to the needs of your company.

The central theme of the permanent exhibition on the ground floor of the Museum is the history of the fortress of Luxembourg from its early days in the 15th century to its demo- C O N T A C T I N F O R M A T I O N lition in 1867 and its consequences for the city and the country. The narrative is chronoMichel Polfer, PhD logical, starting in the late Middle Ages with the capture of Luxembourg city by the BurDirector t +352 479330-1 gundians in 1443. Symbolically, the tour winds up with the construction of the Adolphe michel.polfer@mnha.etat.lu Bridge in 1903, for which some remnants of the fortress had to be demolished. Important events of different periods are illustrated in detail in the casemates of the fort, for instance the siege by Vauban in 1684 or the last partitioning of Luxembourg in 1839. The permanent exhibition shows over 600 original objects and documents largely unknown to the public so far. The museum building in the former keep of Fort Thüngen, is itself an important element of the permanent exhibition. With its underground galleries and mines, it is to a large extent still preserved in the original condition of its final expansion phase of 1836/37. A special room presents a selection of historic photographs showing the structural condition of the fortress shortly before and during the demolition. A multimedia room offers access to a database and to audio-visual documentation that will allow the visitor to delve deeper into the central themes of the permanent exhibition. The upper floor has an auditorium for film screenings or lectures as well as a room for special exhibitions.

The Musée Dräi Eechelen, the former keep of Fort Thüngen, is itself an important element of the permanent exhibition. © MNHA/Tom Lucas

MALTA

Valletta 2018 European Capital of Culture: Experiencing Cultural Identity Afresh www.valletta2018.org The City: Valletta started to be built in 1565 and its name derives from its founder, Grand Master of the Order of the Knights of St. John, Jean Parisot de la Valette. Also bearing the title of UNESCO World Heritage Site, the city stands above the picturesque Grand Harbour. It is surrounded by impressive bastions and forts and is also home to the gem of Baroque art and architecture St John’s co-Cathedral. Accessibility for visitors: The Malta International Airport is situated 10 kilometres from Valletta Main annual festivals and cultural events: Malta Arts Festival www.maltaartsfestival.org VIVA – Valletta International Visual Arts Festival www.viva.org.mt Valletta Green Festival http://tinyurl.com/m9nnkw9

Valletta, “a city built by gentlemen for gentlemen” is Malta’s capital – the administrative and commercial centre of the island – named European Capital of Culture 2018. Valletta 2018 challenges both the local and international perception of Valletta as largely a city of heritage, seeking inspiration in the island’s built environment while giving it a temporary calling. The Valletta 2018 Foundation, which is responsible for Valletta’s journey towards the title of European Capital of Culture in 2018, acts on the vision to set in motion a process of culture-led regeneration of Valletta and its surrounding harbour area in which all Maltese and Europeans can engage. The city is an open-air museum and the grid of narrow streets, boasting some of Europe’s finest art works, churches and palaces, makes it a living experience. Valletta’s contemporary character marks it out as not merely a re-enactment of the past, but a dynamic and creative space city within which all Maltese citizens can explore their cultural identity afresh within a constantly changing environment. Valletta 2018 is a journey on which Maltese people have embarked.

CULTURAL PROGRAMME. Themed: Generations, Routes, Cities, Islands Valletta Green Festival One of the projects met with great enthusiasm this year was the Valletta Green Festival a weekend-long event held between the 9th and 11th May, which transformed one of the largest open spaces in Valletta, Pjazza San Gorg with a huge floral carpet of some 80,000 potted plants. The project will be held every year in May and is intended to grow further over the coming years. VIVA: Valletta International Visual Arts Festival The Valletta International Visual Arts Festival 2014, will be held between the 1st and the 7th September and the line-up of local and international visual artists includes Mieke Bal, Maria Lind, Democracia, Austin Camilleri and JP Azzopardi. Maltaâ&#x20AC;&#x2122;s first Curatorial School - an intensive one week curatorial programme with international speakers from various European institutions, will also be held as part of VIVA. Annual international Euro-Med conferences Valletta 2018 is launching a series of annual international conferences dealing with different aspects related to cultural relations in Europe and the Mediterranean. The first conference will be held on the 4th and 5th September at the University of Malta, Valletta Campus. It invites speakers from across Europe and North Africa to discuss matters related to the common histories and geo-political realities of Europe and the Mediterranean within the spheres of international relations and cultural diplomacy.

POLAND

European Capital of Culture Wrocław 2016 Spaces for Beauty In 2016 the city of Wrocław will become the European Capital of Culture 2016 and the UNESCO World Book Capital. These titles reflect the character of the city marked by its vibrant cultural life, openness of its inhabitants, unique history as well as dynamic development.

www.wroclaw2016.pl place of location: Wrocław, the capital of Lower Silesia, South-West Poland

In the last few years the city significantly improved its cultural infrastructure, just to mention a few completed sites: a renovated building of the Wrocław Opera, refurbishment of the Centennial Hall or new seats of the Academy of Fine Arts and the Capitol Music Theatre. Next year an enormous building of the National Forum of Music will be opened to public. A cutting-edge Nowe Z˙erniki estate will be constructed as a contemporary reference to the historical WUWA exhibition (“Wohnungs- und Werkraumausstellung” exhibition of modernist architecture started in 1929). First buildings of WUWA II will be erected in 2016.

city profile: Wrocław is one of the biggest Polish cities. At various times it also formed a part of the Kingdom of Poland, Bohemia, Hungary, the Austrian Empire, Prussia and Germany; it became part of Poland again in 1945, as a result of the border changes after WW II. Currently one of the most dynamically developing cities in Poland, with many global com panies choosing Wrocław for its accessibility and convenient geo graphical location as well as increased inflow of young, and well-educated talents from other regions and countries. A popular tourist destination, valued for its vibrant cultural offer, international ambience and a constantly im proving transport and technical infrastructure.

Yet ECOC 2016 in Wrocław is not only about the infrastructural improvements, but it also involves hundreds of socio-cultural projects carried out in the city. This is why Wrocław won the tough competition between Polish cities contending for this title. Today we know that the abundance of cultural offer for 2016 has surpassed the expectations of the authors of the winning application of Wrocław. There are 8 curators working together towards a diverse programme that will include different artistic disciplines and will adhere to the highest standards. Although a detailed programme of the ECOC 2016 events will be announced in mid-2015, some plans can already be revealed. As Wrocław’s sister ECOC 2016 city is Donostia San Sebastian, special Spanish and Basque accents will be present as well.

accesibility for foreign visitors: Wrocław-Copernicus Airport; numerous international train and coach connections

Opera. One of the venues of the ECOC events will be the Municipal Stadium in Wrocław built for the EURO football championships 2012. In June 2016 it will host the Zarzuela superproduction which will involve over thousand artists, including 50 dancing teams and 80 choirs from the region of Lower Silesia, as well as some outstanding Spanish artists and musicians. The event will be prepared by Ewa Michnik, a director of Wrocław Opera and it will be directed by Jose Cura, a world-famous tenor.

The European Capital of Culture Wrocław 2016 project is run primarily by Impart 2016 Festival Centre, a municipal cultural institution established in 2012. sources of finance: municipal funding, donations, sponsorships sponsor: KGHM PolskaMiedz´ media partner Polish Public Broadcaster TVP

Performance. Chris Baldwin, a British S P O N S O R I N G O F F E R director previously responsible for organis- target groups ing the Cultural Olympics 2012 in London, will People of Wrocław with special focus on the groups in danger of cultural exclusion prepare four large-scale public space events Polish and international visitors that will engage inhabitants of Wrocław. Businesses and investors The open call for one of these events – BRIDGE sponsorship packages BUILDERS – started in June 2014. Young The European Capital of Culture Wrocław 2016 gratefully people of Wrocław can apply to participate welcomes offers of sponsoring and support for the artistic and Grunwaldzki Bridge © W. Jurewicz in this programme, submit their ideas for social programmes. Sponsoring the ECOC 2016 project in Wrocław can be a vital opportunity for enhancing brand visibility in Poland an artistic transformation of a selected bridge in the city and obtain funding for their project. and constitute an excellent form of implementation of the CSR (corporate social responsibility) activities. Bespoke sponsorships The final results of their endeavours will be presented in June 2015. will be available in addition to the following categories: Global Partners Premium Partners Presenting Partners Project Partners Media Partners

Visual arts. Since 2013 there have been international exhibitions of grandmasters of painting. From Cranach to Picasso and The Brueghel Family attracted more than 150 thousand visitors. From 24th of July until 16th of November 2014 the Municipal Museum of Wrocław will host the Picasso-Dali-Goya. Tauromachia exhibition related to the Spanish traditions and heritage. There are next exhibitions of grand masters planned for years 2015 and 2016. CONTACT INFORMATION IMPART 2016 FESTIVAL CENTRE On average, there will be two ECOC events held each day in 2016. The city will host hun- t +48 (0)71 343 29 62 sekretariat@impart.art.pl dreds of concerts, exhibitions, performances and other attractions. Many of the planned activities and events have already started and are available to inhabitants and visitors.

HIGHLIGHTS 2014/2015 – A SELECTION OF EVENTS October 2014: 5 th edition of the American Film Festival; The ANGELUS Central European Literature Award; Bruno Schulz Festival; International Short Story Festival; ISCM World Music Days. From October 2014 onwards: Artists in Residence programme. Until mid-November 2014: Picasso Dalí Goya. Tauromachia – The Bullfight exhibition. From October – December 2014: the second edition of the MicroGRANTS programme in which individuals can submit their ideas and obtain funding and administrative help to carry out their projects. December 2014 – January 2015: A large design-related exhibition (details tbc.) April 2015: 51st edition of Jazz nadOdr Festival May 2015: 4th edition of HALO ECHO – The Child-Created Animation Festival June 2015: finale of the BRIDGE BUILDERS project – one day mass happening; 3rd edition of the European Literature Night; 3rd edition of BASK The Open Lab of Basque Culture July 2015: 15th edition of New Horizons International Film Festival August 2015: SOFA – School of Film Agents September 2015: 3rd edition of the International Festival of Theatre for Children

PORTUGAL

Serralves Foundation

Designed by Portuguese Pritzker prize-winning architect Alvaro Siza, the Serralves Museum of Contemporary Art is the Foundation’s primary exhibition space. The Museum houses the Serralves Collection of Portuguese and international contemporary art, which spans a period from the 1960s to the present and includes works by Luc Tuymans, Mel Bochner, Christopher Williams, Matt Mullican, Richard Serra, Robert Morris, among many others. The Museum aims to foster the understanding and appreciation of contemporary art and culture through it’s collection, temporary exhibitions, performances, and educational programs.

www.serralves.pt place of location: Rua D. João de Castro, 210 4150-417 Porto, Portugal legal form: N.P.O. year of foundation: 1989

In addition to serving as the Foundation’s head office, The Serralves Villa constitutes an important extension of the Museum of Contemporary Art and is reserved for the presentation of temporary exhibitions. Originally designed as a private residence by the architect Charles Siclis, by the decorator and architect Jacques Émile Ruhlmann, the Villa, along with the Serralves Park, was commissioned by the second Count of Vizela, Carlos Alberto Cabral. Constructed on the outskirts of Oporto between 1925 and 1944, the Serralves Villa is a significant example of art deco style.

number of employees: 90 employees and 94 regular volunteers catchment area: international visitors per year: 423,054 in 2013 sources of finance: state, private companies and individuals, own revenues

The Serralves Park spans 44 acres and includes a variety of harmoniously interconnected spaces: formal gardens, woodlands, meadows and a farm. Designed by the architect Jacques Gréber in the 1930s, it constitutes a singular reference within Portugal’s landscape heritage. The Park presents a privileged opportunity to come into contact with nature and appreciate the wide diversity of trees, shrubs and herbaceous plants of both native and exotic species. Visitors to the Park will encounter sculptures from the Serralves Collection that are permanently on display.

current main sponsors: BPI Super Bock Fundação EDP BES Sonae Sovena Cerealis

HIGHLIGHTS 2014/2015 SPONSORING OFFER Special commemoration in 2014 target groups The Serralves Foundation celebrates two major anniversaries in 2014: the 25th anniver- All age groups, especially people interested in contemporary art, architecture and/or nature, families, schools and tourists. sary of the Serralves Foundation, founded in 1989, and the 15th anniversary of the opening of the Serralves Museum of Contemporary Art in 1999 sponsorship packages Main Exhibitions: SONAE/SERRALVES Project 2014: Nairy Baghramian / until 14 December 2014 Monir Sharoudy Farmanfarmain / 9 October 2014 – 11 January 2015 The SAAL Project / 31 October 2014 – 1 February 2015 Oskar Hansen: Opening modernism / 29 January – 4 May 2015 Can the museum be a garden? Serralves Collection / 5 February – 27 September 2015 Monika Sosnowska / 19 February – 31 May 2015

There are different options and packages regarding the level of sponsorship and the area or activity supported. Please contact us to know more about it.

CONTACT INFORMATION Odete Patrício Managing Director t +351 22 615 65 00 dir.geral@serralves.pt

Bioblitz – 24 and 25 April 2015 www.serralves.pt/pt/actividades/bioblitz-serralves-2014/ Serralves em Festa – 30 and 31 May 2015 www.serralvesemfesta.com/en Autumm Party – 27 September 2015 www.serralves.pt/en/education/families-and-children/autumn-party/?actividades=Futuras&menu=352

One of the exhibition rooms at the Serralves Museum of Contemporary Art

View of Serralves Art Deco Villa from the Park

SLOVENIA

Ljubljana Festival At the Heart of Your Experience

www.ljubljanafestival.si www.facebook.com/LjubljanaFestival year of foundation: 1953 number of employees: 23 general and artistic director: Darko Brlek visitors per year: 52,000 honorary sponsor in 2014: mayor of the city of Ljubljana Zoran Jankovic´ general sponsor in 2014: Telekom Slovenije sponsors in 2014: Spar Slovenija, d. o. o., Zavarovalnica Tilia, d. d., Riko, d. o. o., Hypo Alpe Adria Group, Zavarovalnica Triglav, d. d., Petrol, d. d., Kemofarmacija, d. d., Lekarna Ljubljana, Krka, d. d., Pivovarna Union, d. d., Javna razsvetljava, d. d. sponsors of the individual events in 2014: Telekom Slovenije, d. d., Riko, d. o. o., Embassy of Republic of Italy, Unione Italiana, Università Popolare di Trieste, Banka Koper, d. d., UniCredit Banka Slovenija, d. d., Lekarna Ljubljana, Aerodrom Ljubljana, d. d., Poslovni sistem Mercator, d. d., SRC, d. o. o., Geoplin, d. o. o., Plinovodi, d. o. o., Krka, d. d., Generali Zavarovalnica, d. d., Interenergo, d. o. o., Zavarovalnica Tilia, d. d., Hypo Alpe Adria Group, Spar Slovenija, d. o. o., Zavarovalnica Triglav, d. d., Mladi upi, Nova KBM, d. d., BTC, d. d., Petrol, d. d. general media sponsor in 2014: Delo, d. d. media sponsors in 2014: Europlakat, d. o. o., Infonet media, d. d., Finance, d. o. o., Aerodrom Ljubljana, d. d., Planet siol.net, Radio 1, In Your Pocket, Radio Center, Pogledi, Kobe, d. o. o., Bolha.com, Media bus, d. o. o., Parada plesa partners of the Ljubljana Festivala 2014: RTV Slovenija, Slovenska filharmonija, SNG Maribor, SNG Opera in balet Ljubljana Suono Vivo official carrier in 2014: Avtohiša Malgaj, d. o. o. railway carrier in 2014: Slovenske železnice official wines: Pullus, Princˇicˇ

Ljubljana Festival at the Congress Square Foto:Ljubljana Festival/ Miha Fras

The Ljubljana Festival is the oldest and most important festival in Slovenia and in the wider European context as well. It was established in 1953 by the Municipality of Ljubljana and its first edition started on 4th July. Since then it has proven a highly popular part of the summer holidays for both the city’s residents and visitors to Ljubljana as well. With its colourful cosmopolitan spirit, the festival contributes a great deal to the life and energy of the Slovenian capital, itself considered one of the liveliest cities in Europe. The main goal of the Ljubljana Festival has always been to present a carefully selected programme with outstanding performers – performers driven by excellence, creative energy and a desire to provide audiences with the best possible performance experience. The festival has always demonstrated its ambition to attract and showcase both local and international artistic production in equal measure. Some years back it was awarded the Golden Honorary Medal of Freedom – the highest award of the President of the Republic of Slovenia – for its valuable contribution in organising and presenting domestic and international artistic endeavour and events. Over its 62-year history, the festival has hosted numerous internationally celebrated names, among them: Vienna Philharmonic Orchestra, Israel Philharmonic Orchestra, Munich Philharmonic Orchestra, Mariinsky Theatre of St Petersburg, New York Philharmonic, La Scala Theatre Philharmonic Orchestra, State Academic Bolshoi Theatre of Russia, Royal Philharmonic Orchestra of London, Gewandhausorchester Leipzig, Orchestra del Maggio Musicale Fiorentino, Chinese Philharmonic Orchestra Hangzhou, Claudio Abbado, Valery Gergiev, Sir Simon Rattle, Riccardo Chailly, Lorin Maazel, Zubin Mehta, Ennio Morricone, Riccardo Muti, Mstislav Rostropovich, En Shao, Fuat Mansurov, Krzysztof Penderecki, Michael Nyman, Vladimir Ashkenazy, Ivan Repušic´, Paata Burchuladze, José Cura, Jose Carreras, Dmitri Hvorostovsky, Inva Mula, Leo Nucci, Ramón Vargas, Joseph Calleja, Bernarda Fink, Marjana Lipovšek, Yuri Bashmet, Denis Macujev, Yehudi Menuhin, Julian Rachlin, Vadim Repin, Alexander Rudin, Ramin Bahrami, Ning Feng, Misha Maisky, Dubravka Tomšicˇ, Mojca Zlobko, Vinko Globokar, Miloš Karadaglic´, 2 Cellos, Béjart Ballet Lausanne, St. Petersburg Boris Eifman State Ballet, Bolshoi Ballet, Wiener Staatsballett and many more.

Elı¯na Garancˇ a Foto: Festival Ljubljana/mediaspeed.net

Among the highlights of the 62nd Ljubljana Festival (1st July – 1st September 2014) were Carmina Burana performed by Slovenian Philharmonic Orchestra and conductor Uroš Lajovic, Verdi’s Requiem in memoriam Carlos Kleiber performed by Orchestra Giovanile Luigi Cherubini and other almost 300 musicians from different orchestras conducted by Riccardo Muti, concerts of Elı¯na Garancˇa, Boris Berezovsky, Moscow Soloists, Filarmonica ‘900 Teatro Regio di Torino (and the first performance of the Sofia Gubaidulina new work), Qingdao Symphony Orches- S P O N S O R I N G O F F E R tra, Stefan Milenkovic´, Paul Badura-Skoda and Ros- target groups tislav Krimer and Royal Concertgebouw Orchestra, Lovers of the culture (with a special tickets policy we target also the students and socialy and financialy disadvantaged Amsterdam with conductor Mariss Jansons, Jean- population) Yves Thibaudet, World Stars of Ballet Gala Evening, benefit musical Evita from West End, London ecc. advertising media: billboards, A2- & A3-placards, tickets, programme booklets, event flyers, direct mails, website, newsletter, banner/skyscraper, facebook, press releases, press conferences, logo integration in advertisements, integration in radio and TV advertisements, promotion stands, free tickets, discount, incentives, roll-ups, event banner, merchandising partnership value: from 10,000 Euro

The summer Ljubljana Festival is organised by the public institution Festival Ljubljana which operations are located in Križanke, a beautiful former monastery complex that dates back to the 13th century and was once the seat of the Order of Teutonic Knights. In the 1950s, the redesign of the monastery complex, inspired by the work of Renaissance architects, was entrusted to architect Jože Plecˇnik, who at 80 years old still enjoyed a widely celebrated reputation. Plecˇnik was responsible for the redesign of Ljubljana’s city cen- C O N T A C T I N F O R M A T I O N tre, applying his own very individual early modernist style in the 1920s and 30s. From 1952 Hermina Kovacˇicˇ Public relations and to 1956 Plecˇnik worked to create a unique venue for the city’s cultural and artistic events marketing adviser and into a unique tourist attraction as well. Festival Ljubljana creates an exceptional opportunity for musicians, actors, writers and others to develop and present their artistic productions. The Festival’s unique Križanke venue hosts a vast array of concerts, opera productions, theatre performances, musicals, exhibitions, poetry readings and so much more.

t +386 (0)1 241 60 16 hermina.kovacic@ ljubljanafestival.si

Festival Ljubljana serves also as an important ambassador of Slovenian art, language and culture; and as a member of the European Festivals Association EFA (since 1977), shares this cultural vitality and passion with the world at large. Darko Brlek, general and artistic director of Festival Ljubljana, is serving as president of EFA since 2005. The EFA is an umbrella organisation for arts festivals across Europe and beyond. Over the course of its 62-year history the EFA has grown into a dynamic network representing more than 100 music, dance, theatre and multidisciplinary festivals, national festival associations and cultural organisations from 44 countries.

Maestro Riccardo Muti has dedicated Verdi’s Requiem to Carlos Kleiber Foto: Festival Ljubljana/Hermina Kovacˇicˇ

Wagner’s Rhine Gold was performed by the Mariinsky Theatre of Saint Petersburg and Valery Gergiev. Foto: Festival Ljubljana/Miha Fras

SLOVENIA

Moderna galerija (MG+MSUM)

www.mg-lj.si place of location: MG – Tomšicˇ eva 14 MSUM – Maistrova 3 SI-1000 Ljubljana, Slovenia type of company: public institution number of employees: 35 total area for exhibition space: 4,200 sqm events per year: 104 visitors per year: 60,000

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Moderna galerija (MG+MSUM) is Slovenia’s national museum of modern and contemporary art based in Ljubljana. It operates as two separate units: Moderna galerija/the Museum of Modern Art (MG+) and Muzej sodobne umetnosti Metelkova/the Museum of Contemporary Art Metelkova (+MSUM). Moderna galerija (the Museum of Modern Art, MG+) is a place to create, learn, be inspired, socialize, and explore diverse historical narratives. Located on the edge of the city center and by the main pedestrian entrance to Tivoli Park, the museum premises feature works from the museum’s national collection in the exhibition 20th Century: Continuities and Ruptures, a chronological presentation of the development of different styles in the history of 20th century Slovenian art, in dialectical relation with the line of interruptions presented through different avantgarde movements. In addition to this permanent exhibition, Moderna galerija stages retrospective exhibitions of key figures in, and themed exhibitions of, 20th century Slovenian visual art. The Museum of Contemporary Art Metelkova (+MSUM) operates in its local community and internationally. It is a place for open discussions, connections, cooperation, and reflection. The most recently opened art museum in Ljubljana, it is intended for everyone interested in contemporary Slovenian art production and works by crucial international avant-garde artists since the 1960s, including long overlooked artists from Eastern Europe. The concept of the museum is dynamic: in addition to works from the Moderna galerija collections displayed in the The Present and Presence show, there are also temporary exhibitions, interactive art projects and installations, curated video selections, and solo shows of young upand-coming Slovenian artists. The museum also houses the MG+MSUM library, the archives, and the restoration-conservation department. The difference between the Museum of Modern Art (MG+) and the Museum of Contemporary Art Metelkova (+MSUM) is based on the historical development of Moderna gale-

rija, its collections, exhibition policies, and the cultural and political contexts on the one hand, and, on the other, on the need to reevaluate modernism and articulate contemporaneity as something that essentially differs from both modernism and postmodernism and describes a particular condition of art, its institutions, and social circumstances. The MG+MSUM philosophy is based on the commons, on sharing and collaboration. All museum departments work in cooperation with other institutions and art spaces, public bodies, private companies, and NGOs on a variety projects, ranging from staging temporary exhibitions to designing educational programs, organizing public events, or restoring artworks. The projects are developed together with the respective partners from the conception to the realization. This collaborative approach has transformed the role of the institution in the urban context, helping to redefine the neighborhood as an environment co-created by the local community and cultural and social institutions and organizations. On the international level, the story of the museum has been linked with five major European museums (MNCARS, Madrid; M HKA, Antwerp; SALT, Istanbul; VAM, Eindhoven; MACBA, Barcelona) in the L’Internationale confederation of museums since 2010. Based on the values of difference, solidarity and commonality, L’Internationale is conceived as a platform for horizontal collaboration with different social agents defending the concept of common heritage.

SPONSORING OFFER target groups In addition to serving the general public with its exhibitions and events program, MG+MSUM has special programs designed for the following groups: _preschool children (aged 3–5) _schoolchildren (6–14) _secondary school students (15–19) _Slovenian and foreign university students (in groups or individually) _The Slovenian Third Age University students _tourists _families with children _national and international cultural workers (art teachers, artists, art historians, curators, philosophers, journalists, researchers …)

benefit advertising media: billboards, A1- & A2-placards, programme booklets, event flyers, direct mails, website, newsletter, banner/skyscraper, press releases, logo integration in advertisements, sponsor promotion stand, free tickets, discount, roll-ups, sponsor event banner, merchandising partnership value: 100 – 10,000 Euro

sponsorship packages Depending on the level of investment, companies can get access to different assets, including the use of logos, the use of premises, sponsor recognition, tickets, event creation etc. Tailor-made sponsorships is available in addition to the established categories: _Institutional Sponsors _Official Suppliers _Temporary Exhibition Sponsors _Educational Department Sponsors _Project Partners

CONTACT INFORMATION HIGHLIGHT 2015 The Neue Slowenische Kunst (NSK) exhibition, April 2015 – This will be the first major Marko Rusjan, MA retrospective exhibition of this internationally renowned artist collective, with special Assistant Director t +386 1 2416 802 focus on their work in the 1980s. marko.rusjan@mg-lj.si

MG+. Summer Night of the Museums 2014.

+MSUM. Live video performance.

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SPAIN

European Capital of Culture Donostia/San Sebastian 2016 Waves of energy - Culture to overcome violence

www.donostiasansebastian2016.eu The City Donostia-San Sebastian is a medium-sized city with almost 186,000 inhabitants. It is a tertiary, tourist city, eminently commercial, with strong emphasis on services and congresses. In recent years, San Sebastian has moved into the leading position among European cities, largely because of its commitment to science, technology, sustainable development and culture. Its designation as European Capital of Culture confirms this pledge. Main annual festivals and cultural events International Film Festival www.sansebastianfestival.com Jazzaldia – Jazz Festival www.heinekenjazzaldia.com Donostia-San Sebastian Musical Fortnight www.quincenamusical.com Accesibility for foreign visitors Airports: Donostia-San Sebastian (20 kms), Bilbao (105 kms), Biarritz (40 kms)

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We are committed to culture and education in values as instruments of social transformation and change to take up today’s challenge of Europe, its cities, its people: ”so that different people will learn to get along better with one another”. Our fundamental values are responsible freedom, human dignity and positive pride; three enormously important pillars that require citizen collaboration to create a society where people have the capacity and aptitude to overcome conflicts and coexist, sharing in peace and coming together as a supportive community. That’s the idea behind Donostia/San Sebastian 2016, and the part played by the citizens is vital. Their participation is essential in creating waves of energy to draw a new horizon beyond Donostia-San Sebastian. Each and every person is needed: differences must not represent barriers that separate us, but meeting spaces that enrich us and help us to foster culture to overcome violence. Because we see Donostia-San Sebastian as a laboratory of experiences permitting us to take a new look at our cultural policies and codes. A laboratory to test unusual things, to connect worlds apparently unconnected to one another and to find different answers. This is an opportunity for creativity and innovation to (re)generate and promote synergies between sectors that often have little to do with one another. An exceptional partnership opportunity for European companies that share our values and are considering a sponsoring option in a major European cultural event that will generate strong intercultural and socioeconomic impacts . Donostia/San Sebastian 2016 Foundation will be pleased to assist and create tailored partnerships for any company interested in a project that will attract large European audiences.

SPONSORING OFFER sponsorship packages

Cultural programme. Themed lighthouses. Coexisting, conversing, converging

Depending on the level of investment, companies can get access to different assets including: use of logos, category exclusivity, tax benefits, sponsor recognition, tickets and hospitality, event creation etc. Tailor made sponsorships will be available in addition to established categories: _Global Partners _Lighthouse Partners _Official Suppliers _Project Partners _Project Suppliers

The Donostia/San Sebastian 2016 Cultural Programme has three lighthouses: Lighthouse of Life This lighthouse seeks to teach us new ways of relating as individuals, with ourselves and with the environment, from the perspective of all subjects that form part of our everyday lives and convert people into citizens. It understands life as the exercising of responsible freedom. The concepts of this lighthouse are: welfare, degrowth, gastronomy, the common European geography, sexuality, natural heritage, feminism, architecture, urbanism and sport. All are aimed at fostering a good life, more humanist and sustainable, healthy in every respect.

CONTACT INFORMATION Garbi単e Mu単oa Financial and Administrative Director t +34 943 483 344 garbine_munoa@dss2016.eu

Lighthouse of Peace This lighthouse fosters respect for dignity and human rights as fundamental strategies for solving conflicts and crating sustainable forms of government. Its projects will focus on human rights, coexistence, identity, diversity and solidarity. Particular importance is placed on human dignity as the essential basis of intrapersonal communication and an indispensable foundation for interpersonal relations. The projects encompassed by this lighthouse seek to leave a legacy to serve as a reference in obtaining a more respectful, fairer and more supportive society. Lighthouse of Voices The concept of this lighthouse understands the voice as the perfect coupling between the individual and the collective that serves to express oneself, transmit and communicate. Expression covers all contemporary artistic languages; transmission understands the voice as a cultural message passed down from generation to generation or from one cultural reality to another; and communication approaches the voice as the channel or code for understanding one another in 21st century Europe. The voice, no matter what its form, is understood as the representation of positive pride, self-affirmation and defence of what we are and of the group or collective to which we belong.

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SWITZERLAND

Basel Tattoo

www.baseltattoo.ch www.bt-concerts.ch place of location: Glockengasse 4, CH – 4001 Basel legal form: GmbH year of foundation: 2005 number of employees: full-time: 23, organisation comittee (honorary): 20, volunteers (honorary): 520 catchment area: Switzerland countrywide, Germany South Baden to Karlsruhe visitors/events per year: 120.000/15 sources of finance: Ticketing & Merchandising 85 %, Sponsoring 15 % annual budget: 11,5 Mio. Euro ex and existing sponsors: presenting sponsor: Nationale Suisse (2008–2010) main sponsors: Coop, since 2007; Basler Kantonalbank, since 2010; Heineken, since 2010 co-sponsors: Feldschlösschen (2006–2009); AAM Privatbank (2008–2010); Henniez (Nestlé Waters), since 2009; Bell AG, since 2014 host city: City Basel, since 2006 suppliers: Oettinger Davidoff AG, since 2014 (Smokers lounge); Dettling & Marmot (Glenfiddich, Hendrick’s, Piper-Heidsieck), since 2009; Epesses au fil du Rhone (beverage wine partner), since 2006; Jura Gourmetcatering (Coffee) 2011-2013; Kestenholz Auto AG/ Mercedes-Benz, since 2012; Kestenholz Truck/MercedesBenz Truck, since 2014; 1. Markgräfler Winzergenossen schaft (Weinpartner D), since 2010; Nüssli Schweiz AG (Arenabauer), since 2006; Swissôtel Le Plaza Basel, since 2006; Switcher (Fashion Merchandise), since 2011; UniplanSwitzerland AG (Inneneinrichtung Lounges), since 2012; Villiger Zigarren, 2013; Käfer Schweiz (Hospitality-Catering), since 2012 resident sponsors: Hiwin Schweiz GmbH, since 2013; Malk Medizin Controlling AG, since 2013; William Grant & Sons, Scotland, since 2013 media partners (national): Schweizer Radio Fernsehen SRF, since 2006 (yearly broadcasting prime time); APG, Allg. Plakatgesellschaft AG, since 2006; SonntagsZeitung, since 2006; Touring Magazin, since 2006; World Radio Switzerland, 2011–2013 media partners (regional): Basler Zeitung, since 2006; Radio Basilisk, since 2006; Basler Verkehrsbetriebe BVB, since 2006; Die Oberbadische (D), since 2006; Radio Sunshine/Radio Central (Central Switzerland), since 2014

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The Basel Tattoo is an international musical event involving 1,000 performers from 20 countries: the world’s top ensembles enthral around 8,000 spectators per show. As the world’s second largest open-air tattoo (after the Royal Edinburgh Military Tattoo), the Basel Tattoo is renowned for its perfectly presented wealth of entertainment: superb musical quality, choreographic excellence, dazzling uniforms and cosmopolitan costumes, mesmerising dance formations and singing – all incorporated within an imposing light show in front of the beautiful, historic and authentic backdrop of the Basel Barracks. The Basel Tattoo counts as a “must attend” event for military music formations. Regulars include royal formations primarily from the UK, Sweden, Norway and Denmark, as well as more exotic contributions, such as from the Kingdom of Tonga. The event attracts bands from the Caribbean, the South Pacific, China, Japan, South Korea, the USA, Canada, South America, New Zealand and Australia. The Basel Tattoo thrills audiences with its high-octane blend of customs, traditions and modernity to the sound of top-notch music. The event offers a wonderfully eclectic repertoire, some incredible choreography and stunning visuals. The highpoints of the show are the performance by the the Massed Pipes & Drums, a formation composed of more 200 bagpipe players, and the Finale: featuring all 1,000 performers, this resembles a giant open-air operatic production. The Basel Tattoo runs for nine days every July.

The superlatives From 2006 to 2014 inclusive, 800,000 spectators have experienced the Basel Tattoo live; 85 % of the tickets are sold seven months ahead of the event; the Basel Tattoo sells out every year, and the viewing figures for Swiss Television are between 30 % and 36 %. The Basel Tattoo is also covered by the media: between 2008 and 2013 inclusive it has featured 5,870 times on TV and radio, in print and online, with an Advertising Value Equivalence of EUR 7.8 million (source: Argus der Presse AG). The Basel Tattoo is an event of national importance: 91 % of spectators come from across Switzerland (40 % from the north-west of the country); 8 % come from Germany and 1 % from Europe and further afield. The Basel Tattoo has become a major economic asset for the city of Basel; the value generated is put at more than EUR 25 million per annum.

Packages for business

SPONSORING OFFER With their all-inclusive service offering, the exclusive VIP and hospitality packages target groups for sponsors and corporate clients represent an attractive and multifaceted platform The Basel Tattoo target group is aged 30 to 64, male and female, has intermediate or higher school leaving for their own entertainment activities. These are fully supported by the Tattoo’s guest qualifications and a good job giving a high disposable income. management and personal attention services. Added effectiveness is provided by the The target group comes from both town and country and enjoys contemporary traditions, yet is open to new ideas. It is show itself and by the availability of exclusive live music performances. interested in culture and often attends events.

The Basel Tattoo is popular amongst sponsors and corporates as a VIP hospitality oppor- benefit tunity: every year 10,000 hospitality guests are entertained in five facilities situated on, gross industry contacts: up to 212,164,010 or close to, the Basel Tattoo site. Alongside the upscale hospitality lounges located in the advertising media: billboards, A1-, A2- & A3-placards, tickets, programme booklets, event flyers, postcards, historical buildings with their modern infrastructure, the five “Skyboxes” are a parti- direct mails, website, newsletter, press releases, logo cular attraction: luxuriously appointed, they offer covered seating and excellent views integration in advertisments, promotion stands, retroof the show in a stylish atmosphere. Each Skybox seats 23 or 24 guests, and the extensive advertising pillars, plasma displays, inclusion of the sponsor in content at events, free tickets, incentives, drinks selection and exquisite Castle snacks are complimentary. merchandising cost per mile: 0.35 – 1.70 Euro

The lounges offer a choice of two packages: Queens Cocktail – light to hearty food and partnership value: 75,000 – 360,000 Euro a variety of dessert packages inspired by the international nature of the show; and sponsorship packages Drummers Apéro – snacks and a choice of desserts. The food and drinks (a selection of Presenting Sponsor (exclusive) 360,000 Euro, including TV sponsorship of the TV broadcast champagnes, wines, beers, whiskies, gin and soft drinks) are complimentary. Main Sponsors (max. four) 150,000 Euro Co-Sponsors (max. four) 75,000 Euro Resident Sponsor PLATINUM 33,500 Euro Resident Sponsor GOLD 20,000 Euro Resident Sponsor SILVER 12,500 Euro Supplier 12,500 Euro plus in-kind support Host City Media partners national and regional Prices exclude VAT

CONTACT INFORMATION Andrea Schäfer Sponsoring Manager t +41 (0)61 266 10 02 andrea.schaefer@ baseltattoo.ch

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SWITZERLAND

MUSEUMS-PASS-MUSÉES 300 museums – 3 countries – 1 passport

www.museumspass.com legal form: association number of employees: 5 events per year: 8 existing sponsors: Coop Endress+Hauser Novartis ex-sponsor: Bayer

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The Upper Rhine Museum Pass (Oberrheinischer Museums-Pass) has been renamed the Museums-PASS-Musées! This change of name became necessary since our expansion into the regions Franche-Comté, Lorraine and Stuttgart means that we now operate beyond the area of the Upper Rhine Valley. The association Museums-PASS-Musées was founded on December 14th 1998, originally under the name “Oberrheinischer Museums-Pass”, based on an idea by the working group “Culture” at the Upper Rhine Conference in Basel, Switzerland. The museum pass as a global entry ticket was officially introduced on July 1st 1999; it was the first and is still the only tri-national museum pass in Europe. From the beginning over 120 museums were members of the association. Thus the original aim, i.e. to gain the co-operation of at least 30 “large and important” museums as well as 30 smaller museums for the Museums-PASS-Musées was exceeded by far. Today over 300 museums, castles and gardens in Germany, France and Switzerland are members of the association. In 2013 these cultural institutions were visited 483,702 times by pass-holders, and almost 47,000 museum passes were sold. There is no end in sight to this success story. The Museums-PASS-Musées operates on a self-financing basis. In the initial phase it was funded by the German federal states of Baden-Württemberg and Rhineland-Palatinate, the Swiss cantons Basel-Stadt, Basel-Landschaft, Aargau and Jura, the French government and the region of Alsace as well as the European Union (Interreg II Upper Rhine Centre-South and Pamina). Since 2002, the Museums-PASS-Musées has been self-financing with the support of sponsors and partners. All association organs are occupied by members from Germany, France and Switzerland, thus reflecting its tri-national character. The board of directors is responsible for the financial and organisational concerns of the Museum-PASS-Musées, while the team in the Basel office takes care of the implementation. A committee of experts advises the board and the team on all museum-related questions.

SPONSORING OFFER target groups interested in culture and art families

benefit

gross industry contacts: up to 35,397,808 advertising media: billboards, A1-, A2- & A3-placards, museum passes, sales brochures, museum- & exhibition brochures, direct mails, website, newsletter, sponsor banner/skyscraper, facebook, press releases, logo integration in advertisments, free passes, discounts, roll-ups cost per mile: 0.28 – 2.83 Euro partnership value: 10,000 – 100,000 Euro

In recent years the association has succeeded in attaining a high degree of renown and acceptance in public and with politics and the media. Meanwhile, the Museums-PASSMusées is regarded as a role model of a long-term functioning, tri-national, cultural pro- sponsorship packages ject. For several years the number of pass-holders has been rising continually, as has the Main-Partner: 100,000 Euro number of participating museums. Thus the pass makes an important contribution to Premium-Partner: 50,000 Euro Country-Partner: 20,000 Euro cross-border cultural understanding. An expansion into further regions is not excluded. Local-Partner: 10,000 Euro In 2014 the annual pass grants visitors access to over 300 museums, castles and gardens in Germany, France and Switzerland. In Germany many cultural institutions from Freiburg C O N T A C T I N F O R M A T I O N im Breisgau, Offenburg, Baden-Baden, Stuttgart, Pforzheim, Karlsruhe, Heidelberg and Gilles Meyer Director Mannheim are participants. In France members include, for example, the national t +49 (0)7621-161 36 34/ museums of Strasbourg, the Musée Unterlinden in Colmar and also the Centre Pompidou+41 (0)61-205 00 40 gilles.meyer@ Metz. In Switzerland, in the Basel region, the Fondation Beyeler, the Kunstmuseum, the museumspass.com Museum Tinguely, the Museum der Kulturen, the Antikenmuseum and many more have joined the association. A complete list of all participating museums can be found on the website. With the annual pass visitors have access to all collections and exhibitions, accompanied by up to five children, no matter whether family or friends, free of charge! And this for 365 days a year!

EXHIBITION HIGHLIGHTS 2014 27.10.2014 – 02.02.2015 Les Rouart. De l’impressionnisme au réalisme magique Musée des Beaux-Arts, Nancy 08.11.2014 – 01.02.2015 DEGAS Staatliche Kunsthalle Karlsruhe 21.11.2014 – 06.04.2015 Oskar Schlemmer Staatsgalerie Stuttgart 23.11.2014 – 22.03.2015 Peter Doig Fondation Beyeler, Riehen 29.11.2014 – 12.04.2015 Kosmos der Niederländer Augustinermuseum Freiburg 29.11.2014 – 08.02.2015 Ikonen Russlands Spielzeug Welten Museum Basel 21.12.2014 - 28.06.2015 Titanic – Die Ausstellung. Echte Funde, wahre Schicksale. Historisches Museum der Pfalz, Speyer

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UNITED KINGDOM

Sponsorship at Tate

www.tate.org.uk

Tate is not a ‘one size fits all’ organisation. We start with our sponsors’ needs and build packages large and small, working with clients, employees and families and looking at objectives from profile to engagement. Multi-stand Partnership: Tate’s success is built on the strength of our ideas. Creative drive infuses every aspect of our organisation. We have a long history of generating significant return on investment for our supporters. Brand Building: Tate is one of the best-loved arts brands in the world. We are central to the UK’s cultural vibrancy, an agenda-setting arts organisation internationally, and regularly feature in industry roundups of ‘cool’ and ‘favourite’ brands. We provide a platform from which sponsors can speak to an audience of millions – opinion formers, industry leaders and consumers alike. Choose a Tate exhibition and together we can build a package to mirror your brand, ethos and style.

Tim Etchells and FormContent, It’s moving from I to It – The Play, 2014. As part of BMW Tate Live, Tate Modern. Photo: Ana Escobar for Tate Photography © Tate, London 2014

Business to Business Networking: Tate understands business. Tate Publishing is one of the world’s leading publishers on the visual arts. Our much-loved merchandise ranges from children’s arts packs to jewellery by young designers. Across our activities we work and partner with networks of industry. Supporters can access our network and find a home in which to entertain their own. Entertaining at Tate: Our family of four galleries includes some stunning hospitality venues. We run our own catering company and our legendary wine list has been winning awards since 1974. Supporters can stage events among artworks and hold receptions alongside blockbuster exhibitions. They also enjoy early access, behind-the-scenes tours and exclusive talks from Tate directors and curators. Together we can plan the most memorable of events. Staff Incentives: Last year, over 12,500 staff from our corporate supporters visited Tate galleries, often with families or clients. Your people can enjoy Tate too. We will welcome them and treat them to workplace exhibition talks, complimentary tickets, family workshops, curator-led exhibition tours. Reaching New Audiences: Tate is enjoyed, debated and used by the broadest possible audience, with media coverage to match. Our audience is still growing: annual visitor numbers to our galleries recently topped 7 million. Our website has nearly 20 million unique users, we are one of the largest arts brands on Twitter and we have around 300,000 Facebook friends. Our supporters can access this audience and, through extensive marketing and press campaigns, the broader public. With you we can build a campaign that reaches your target market most effectively.

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Bojana Cveji c´ and Christine De Smedt, Spatial Confessions – Speaking Part, 2014. As part of BMW Tate Live: Events Series, Tate Modern.

CONTACT INFORMATION Tate Modern and Tate Britain

t +44 (0)20 7887 8745 corporate.enquiries@tate.org.uk

Corporate Social Responsibility: Tate is driven by our charitable mission to promote public understanding and enjoyment of British, modern and contemporary art. We could not achieve this without corporate support. Tate is a leader in arts education and participation, providing programmes that serve our audiences and communities. Last year 1.1 million people attended Tate courses, workshops and lectures. As our sponsor, you can build an engagement with art and education to fit your corporate social responsibility (CSR) agenda, or you can gift your benefits to community and charitable partners. We will work with you to ensure your social responsibilities are met. Case Study: BMW Tate Live Project length - 2012 - 2015 (4 years) BMW Tate Live is a four-year partnership that features a series of innovative live performances and events including live web broadcast, in-gallery performance, seminars and workshops. There are three strands to the programme - Performance Room, Performance Events and the Talks series. Performance Room: Performance Room is a series of performances commissioned and conceived exclusively for the online space, and the first artistic programme created purely for live web broadcast. Performance Event: Performance Events offer the chance to experience new performance works live in Tate Modern. Working with key international artists, the programme presents both emerging and historical figures that make important contributions to the field of performance. Talks Series: Talks is a new series of four public events that complements the BMW Tate Live Performance Room and Performance Events series, examining ideas and concepts around performance and notions of liveness. Offering a critical and engaging look at the themes explored by the artists taking part in BMW Tate Live 2014, Talks invites the public to join in discussion with practitioners, theorists and experts to consider the social and cultural context of performance today.

Cally Spooner, And You Were Wonderful, On Stage, 2014. As part of BMW Tate Live, Tate Britain. Photo: Oliver Cowling for Tate Photography © Tate, London 2014

BMW Tate Live has reached an audience of over 300,000 people in over 100 countries.

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your service provider for cultural marketing and cultural sponsoring

CAUSALES Page 122 The Causales Principle â&#x20AC;&#x201C; Providing benefits 122 Causales Services 123 Causales Events and Media 124 Causales Business Club 126 Contact and Imprint 127 Acknowledgments

causales business club

consulting & mediation

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annual of cultural brands 121

CAUSALES – CULTURAL MARKETING AND CULTURAL SPONSORING

The Causales Principle – Providing benefits Causales – Cultural Marketing and Cultural Sponsoring has been an advisor to cultural institutions and cultural investors in German-speaking areas since 2003. As an experienced agency, we advise your company in the strategic planning of sponsorship processes and find the most suitable cultural projects to complement your commitments to society. For your cultural project we advise in brand development processes and find the most appropriate corporate sponsors for you. We guide the public relations process by accessing using a unique, qualitative networkofmore than 44,000 contacts across Europe.

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Adding Value

Consulting and Communication

The name “Causales” is our manifesto: In philosophy “Causa” (Latin for reason or cause) is a fact of objective reality, which creates another subsequent fact the effect. Causales’ philosophy is to connect businesses and culture for a mutual benefit and to guarantee long-term added value. We place great emphasis on the sustainable effects of our business.

A trustingl working relationship with Causales can be instrumental in the effective fulfilment of business and social tasks for private businesses and the cultural institutions advised by us. Since our foundation we have brought together more than 220 sponsorship agreements between players in culture, business and media, amounting to a seven-figure sum in terms of financial volume.

Causales offers you single or multi-day workshops to aid the development and conceptual and financial evaluation of your marketing and sponsorship activities. We produce complex marketing and sponsorship concepts with a comprehensive review, vision and targets, analysis of potential, strategy, budget planning and concrete execution guidelines. We also set up cooperations between businesses and cultural organisations, administer sponsoring partnerships and process all communications services surrounding those cooperations. www.causales.de

Causales Services Marketing strategies and measures need to be reviewed in terms of your business targets on a regular basis. Causales analyses existing marketing targets, strategies and measures and adjusts them to the ever-changing market requirements. Causales also reviews existing sponsorship partnerships and makes recommendations on how to increase their efficiency or how new co-operations could be formed. Causales also develops innovative ideas for your cultural marketing or sponsorship activities together with you. Workshops

Co-operations

We offer single or multi-day workshops to aid the development and conceptual and financial evaluation of your marketing and sponsorship activities. You may also give us specific requirements. Questioning, action recommendations and long-term strategies can be developed for you.

From our pool of about 44,000 contacts in business, culture and media, we find you suitable partners for your activities. We advise sponsorship providers and receivers on how to initiate partnerships with mutual benefit, in which mutual target markets are reached together while achieving a positive image transfer as well as meeting marketing targets.

Concept Development Causales produces complex marketing and sponsorship concepts with a comprehensive review, vision and targets, analysis of potential, strategy, budget planning and concrete execution guidelines. We also produce sponsorship concepts for cultural institutions with concrete offers for potential sponsors.

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Marketing, Sponsorship and Advertising Activities As an agency with market know-how, Causales offers you the administration and execution of strategically planned marketing, sponsorship and advertising activities. In your name, we co-ordinate the entire process, all the way from briefing and photoshooting to the documentation of all activities for accounting purposes.

Success Monitoring Causales evaluates the performed marketing and sponsorship activities for their effectiveness. Alongside quantitative indicators for efficiency such as brand recognition and media reach, we examine qualitative factors such as image gain and image transfer.

Causales Events and Media Causales has developed unique tools for the stimulation of the European culture market, which you could use for your sponsorship activities. Among them are the Cultural Brands Yearbook, the Annual of European Cultural Brands, the online portal for culture marketing and culture sponsorship www.kulturmarken.de and the English version www.cultural-brands.com, the Cultural Brand Awards with their annual pan-European nominations for Cultural Brand, Take-off Brand, Arts Manager, Cultural Investor, Cultural Tourism Region and Education Programme of the year, the award gala 'Night of Cultural Brands' and the CultureInvest Congress.

Cultural Brand Awards/ Kulturmarken® Award

Night of Cultural Brands/ Kulturmarken® Gala

CultureInvest-Congress/ KulturInvest® Kongress

The awards, that takes place annually since 2006, promote the development of cultural management and marketing in the German-speaking area. Through the ever-growing encouragement from culture, politics, business and the increased media interest, further categories have been added to the main prize. With more than 660 entries in six categories and a jury of 30 experts, the Cultural Brand Awards have become the most important accolades in the industry and will be awarded on a pan-European basis for the first time in 2014. www.cultural-brands.com/cultural-brand-award

We have been rolling out the red carpet for the the best in the industry since 2007 at the Night of Cultural Brands, ensuring an unmissable industry event for cultural marketing and cultural sponsorship. Leading culture marketing strategists, community politicians, industry leaders and city marketing representatives from all over the German-speaking area head to Berlin every year to honour the recipients of the award. The Night of Cultural Brands is the biggest industry get-together for culture management, culture marketing and culture investment in Europe. In 2014, for the first time, the coveted awards will be presented in front of more than 1,000 decisionmakers from culture, politics, business and media at the Night of Cultural Brands in the State Opera House in the Schiller Theatre in Berlin, offering the opportunity to make meaningful contacts in an exclusive and relaxed atmosphere. www.cultural-brands.com | www.kulturinvest.de

Global economic and social developments represent huge challenges for cultural policymakers, cultural organisations and their partners. The establishment of business management and marketing processes within public and private cultural institutions, private business assuming of cultural responsibility and a rethinking of cultural policies open new perspectives for development for the synergy of culture, business, public funds and media. At the annual CultureInvest Congress hosted by Causales, decision-makers from all over Europe are informed about the latest developments in the cultural sector, make use of unique networking opportunities and meet prominent quests from culture, business and politics. More than 100 consultants give interesting insights into new subjects areas. France will be hosting the first CultureInvest Congress in 2014. www.kulturinvest.de

Annual of European Cultural Brands

The Industry Web Portals

Jahrbuch Kulturmarken®

Which cultural institutions exist in Europe? What sponsorship packages from cultural institutions are there in Europe? How can businesses promote cultural institutions? How important, in this context, is an unmistakeable cultural and tourism concept from cities, regions and countries? The Annual of European Cultural Brands includes a representation of the culture sponsorship market in Europe, with statistics, attractive sponsorship offers from cultural institutions and practical examples of business involvement. www.cultural-brands.com/ annual-of-cultural-brands

The industry web portal www.kulturmarken.de has been serving decision-makers in business, culture, media and politics in the German-speaking area as an information service for culture marketing, culture sponsorship and culture investment. The portal is the ideal communication platform for the sponsorship offers of cultural institutions, for the presentation of their cultural sponsorship commitments as well as for the advertising of their products in skyscrapers, banners and hyperlinks. These services can be booked at anytime. The portal is supported by a newsletter sent out monthly to some 19,500 recipients. The English-speaking portal www.cultural-brands.com includes similar information about the European culture market. www.cultural-brands.com | www.kulturmarken.de

Which cultural institutions exist in Austria, Germany, Liechtenstein, Luxembourg and Switzerland? What sponsorship packages from cultural institutions are there in German-speaking countries? How can businesses promote cultural institutions? How important, in this context, is an unmistakeable cultural and tourism concept from cities, regions and countries? Since 2004 the German Annual Jahrbuch Kulturmarken includes a representation of the culture sponsorship market in the German-speaking area, with statistics, attractive sponsorship offers from cultural institutions and practical examples of business involvement. www.kulturmarken.de/kulturmarken-jahrbuch

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CAUSALES – CULTURAL MARKETING AND CULTURAL SPONSORING

Causales Business Club

The model for the Causales Business Club is simple, but with great potential. A network of culture experts, service providers and business representatives will hit the road and gather invitations from cultural institutions. Each month, a new invitation will be taken up and the Causales Business Club travels to visit the institution. The composition of the programme is thus completely in the hands of the cultural institution making the invitation. The management of the trip and the communication work is performed by Causales.

Exactly how it is meant to be - media, industry and culture networking in a relaxed atmosphere: Philipp Berens (director marketing & sponsoring ARTE), Rainer Achterberg (Gothaer insurance) und Günther Jeschonnek (performing arts fund). © Peter Volmer

Sponsoringship pioneers: Hans-Willy Brockes (ESB – Marketing Network) und Roland Bischof (Vice President FASPO – Industry Association for Sponsoring) © Peter Volmer

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On October 23, 2013, the newly-formed Causales Business Club experienced an enjoyable opening in the Werner von Siemens room of the Mövenpick Hotel in Berlin. Following that were the following Business Club events: Leipzig Opera (12.11.13), Dortmunder U (05.12.13), prize-giving of the Film Festival Max Ophüls Prize (25.1.14), private view of the Stiftung Kunstsammlung Nordrhein-Westfalen (6.2.14), prize-giving of the george tabori prize in the Haus der Berliner Festspiele (22.5.14), an invitation to the VIP stand of the Carnival of Cultures in Berlin (8.6.14), a VIP tour of the ExtraSchicht – Die Nacht der Industriekultur in the Ruhr Region (28.6.14), and the Nibelungen-Festspiele Worms (31.7.14). Further meetings will be held on the occasion of the CultureInvest Congress on 29.10.14, on 24.11.14 at Leipzig Opera and in December 2014.

The great moment of the Causales Business Club: on October, 23 th 2013, for the first time, 95 experts from the cultural sector,industry and media get together © Peter Volmer

Information for Culture Investors A membership of the club is an automatic consequence of your business relationship with Causales, making the Causales Business Club an active interface for cultural institutions and investors, promoting networking. Get to know potential business partners at lively cultural events , partners who have tasked the Causales Business Club with the marketing of their sponsorship offers!

Information for Cultural Institutions The Causales Business Club welcomes all invitations from cultural institutions for the year 2015. Invite the Club to your establishment, show your cultural offering, present your partnership models and investment opportunities, host luncheons and meetings and enable services such as how to ensure a tranche of cost-free hotel rooms. Get in touch with us and we can plan a Causales Business Club meeting with you!

experts among themselves: Prof. Dr. Manfred Bruhn (university Basel) in a conversation with Peter Strahlendorf (publisher New Business) © Peter Volmer

Prof. Dr. Oliver Scheytt, President Kulturpolitische Gesellschaft, feels comfortable at the exclusive Club of cultural investors and cultural institutions and meets colleagues from RUHR.2010 © Peter Volmer

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CAUSALES – CULTURAL MARKETING AND CULTURAL SPONSORING

Contact

IMPRINT © Causales – Cultural Marketing and Cultural Sponsoring GmbH, 2014 Bötzowstraße 25 D – 10407 Berlin fon +49 (0)30-53-214-391 fax +49 (0)30-53-215-337 www.causales.de www.kulturmarken.de www.kulturinvest.de www.cultural-brands.com Concept and Editor: Hans-Conrad Walter and Eva Nieuweboer

Causales offers you single or multi-day workshops to aid the development as well as conceptual and financial evaluation of your marketing and sponsorship activities. We produce extensive marketing and sponsorship concepts with a comprehensive review, vision and targets, analysis of potential, strategy, budget planning and concrete execution guidelines. We also set up co-operations between businesses and cultural organisations, arrange sponsoring partnerships and process all communications services pertaining these co-operations.

Hans-Conrad Walter

Causales®

Dipl. Business Communication (dda) Agency founder and CEO

Cultural Marketing and Cultural Sponsoring GmbH

Phone +49 (0) 30–53-214-391 Mobile +49 (0) 152-54-216-517 walter@causales.de

CEOs: Hans-Conrad Walter, Eva Nieuweboer

M.A. Cultural Management and Cultural Tourism

Headquarter: Berlin District Court: Berlin-Charlottenburg HRB 127 153 B Tax ID number: 37/229/21270 UID: DE271456997

Dipl. Business Communication CEO

www.causales.de www.cultural-brands.com

Phone +49 (0) 30–53-214-391 Mobile +49 (0) 152–53-799-818 nieuweboer@causales.de

Bötzowstraße 25, 10407 Berlin Phone +49 (0) 30–53-214-391 Fax +49 (0) 30–53-215-337 europe@causales.de

Eva Nieuweboer

Project Direction: Eva Nieuweboer Project Management: Svenja-Michell Baur Editorial Team: Svenja-Michell Baur, Kristin Just, Eva Nieuweboer, Kira Potowski, Thomas Runst, Hans-Conrad Walter Design: Florian Haberstumpf, Angelika Hoßfeld, Manuel Viergutz xplicit – Visual Communication Ltd. www.xplicit.de Translation: Danny Stephens Publication: October 2014 Distribution for: Europe, decision-makers in business, arts, culture, politics and media Protective Tariff: 19,95 Euro plus 19% VAT. and 4,10 Euro postage within Germany 19,95 Euro plus 8,90 Euro postage within the EU 19,95 Euro plus 15,90 Euro postage outside the EU Direct Distribution: www.cultural-brands.com ISBN: 978-3-9816125-2-3 Photo Causales: Captivation, Mark Garner www.captivation.de CultureInvest Congress pictures: Peter Volmer The pictures of cultural organisations and businesses were provided by the orgainsations and businesses in question to Causales. The respective organisations and businesses are responsible for all copyright. This publication, and all aspects thereof, is protected by copyright. Any utilisation outside of the restrictive copyright agreement is a punishable offence without the prior agreement of the publishers. This particularly applies to reproductions, translations, microfilms or fiches, and the scanning, downloading and storage within electronic data storage systems.

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Acknowledgments

Special thanks to: Philipp Berens, Bernd R. Bickhove, Dr. Marc Bieling, Tomski Binsert, Stephan-Andreas Casdorff, Nacho Duato, Georg Fahrenschon, Aurélie Filipetti, Gord Garben, Dr. Thomas Girst, Marc Grandmontagne, Frank Hörl, Constanze Koepsell, Dr. Heike Kramer, Prof. Dr. Klaus-Dieter Lehmann, Dr. Michael Merschmeier, Dr. Stephan Muschick, Konrad Pochhammer, Mike Martin Robacki, Prof. Dr. Oliver Scheytt, Hans-Rüdiger Schlesinger, Dirk Schütz, Steffen Setzer, Christiane Theobald, Andrea Thilo, Ronny Unganz, Karin Varga, Prof. Dr. Andreas Joh. Wiesand, Paulus G. Wunsch Our thanks to the jurors for the Cultural Brand Awards 2014: Dr. Andreas Apelt, Prof. Jürgen Bachmann, Bernd R. Bickhove, Dr. Marc Bieling, Roland Bischof, Dr. Marion Bleß, Ulrich Bülow, Alexander Branczyk, Henry, C. Brinker, Hans-Willy Brockes, Prof. Dr. Manfred Bruhn, Elisa Bortoluzzi Dubach, Stephan-Andreas Casdorff, Susanne Finck, Dr. Thomas Girst, Winfried Hanuschik, Prof. Andrea Hausmann, Frank Hörl, Günter Jeschonnek, Dr. Heike Kramer, Pedro Muñoz, Dr. Stefan Muschick, Konrad Pochhammer, Prof. Dr. Lorenz Pöllmann, Prof. Dr. Oliver Scheytt, Dirk Schütz, Bernadette Spinnen, Peter Strahlendorf, Karin Varga, Dr. Pascal Volz, Paulus G. Wunsch And also to: Rainer Achterberg, Olaf Albrecht, Svenja-Michell Baur, Robin Bessel, Antonia Callenberg, Mihai Danzke, Guido Froese, Tobias Fröhlich, Jens Garling, Karin Geißler, Brigitte Golchert, Florian Haberstumpf, Dirk Heinze, Uwe Herber, Angelika Hoßfeld, Petra Hoyer, Kristin Just, Michael Kalfas, André Klemstein, Prof. Dr. Roland Kluge, Sibylle Kluge, Tina Mayer-Lockhoff, Moritz Mayerhofer, Marie-Odile Molina, Peter Neumann, Felix Neumann, Petra Neumann, Tom Nieuweboer, Jens Paasche, Thomas Runst, Jan Smacka, Martin Stedler, Danny Stevens, Manuel Viergutz, Franz Zauleck, Franziska Zauleck, Magdalena Zschunke und viele andere mehr

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Our partners: actori, APA Werbemittel, Apollinaris, Askania, BMW Group, Brinkermedia, Bundesvereinigung City und Stadtmarketing Deutschland e.V., C. Bechstein, Der Tagesspiegel Verlag GmbH, Deutsche Bahn AG, Die DRAUSSENWERBER, Dortmunder U, Dussmann-Gruppe, ESB Marketing Netzwerk, Event Lawyers, Florida Eis, Französische Botschaft, fritz kola, Goethe-Institut, Gothaer Versicherungen, Hansgrohe Deutschland Vertriebs GmbH, ICT Berlin, ikusei, Institut Francais, HMKW – Hochschule für Medien, Kommunikation und Wirtschaft Berlin, Köstritzer Schwarzbierbrauerei, KULTUREXPERTEN Dr. Scheytt GmbH, Kulturkreis der deutschen Wirtschaft, KM Kulturmanagement Network GmbH, Kulturpersonal, Kulturpolitische Gesellschaft e.V., LaserLine, locationportale GmbH, Mövenpick Hotel Berlin, patide, result GmbH, RSM Verhülsdonk GmbH, Rudolf Wöhrl AG, Ruhr Tourismus GmbH, RWE Stiftung, Schloss Schönbrunn, Seeberger, Sparkassen-Finanzgruppe (Deutscher Sparkassen- und Giroverband), SPIE Deutschland, Stadt Nantes, Stiftung Südtiroler Sparkassen, SURPRICE Hotels Our media partners: arte Magazin, ARTINVESTOR, Bühnentechnische Rundschau, Concerti, crescendo, Der KulturBetrieb, Der Tagesspiegel, Fundraiser Magazin, kultiversum, KM Kulturmanagement Network GmbH, K.WEST, na news aktuell, new business, Opernwelt, ParisBerlin, Public Marketing, Stiftung & Sponsoring, tanz, Theater heute, TheaterManagement aktuell, zitty Berlin We would like to express our gratitude to the partners and sponsors of the events and projects of our customers, as well as the Cultural Brand Awards and the CultureInvest Congress over the past few years: ACE Auto Club Europa e. V., ADAC Berlin Brandenburg e.V., Allianz Deutschland AG, Althaus Tee Vertriebsgesellschaft mbH, AOK-Bundesverband GbR, APA Werbemittel Adelfang & Parbel GmbH & Co. KG, Apollinaris Brands GmbH, Arcotel Gruppe John F GmbH, Arla Foods GmbH, Askania Uhren AG, Audi AG, Autostadt GmbH Wolfsburg, Bauer Fruchtsaft GmbH, Bausparkasse Schwäbisch Hall AG, beleduc GmbH, Berliner Bürgerbräu GmbH, Berliner Flughäfen GmbH, BIONADE GmbH, Blumencafé Schaarschmidt, Berliner-Kindl-Schultheiss-Brauerei, Berliner Sparkasse, Berliner Stadtreinigungsbetriebe, Berliner Verkehrsbetriebe, Berliner Wasserbetriebe, BMW AG, Bundesverband der Deutschen Luft- und Raumfahrtindustrie e.V., Bundesvereinigung City- und Stadtmarketing e.V., CANINENBERG & SCHOUTEN GMBH, Capri-Sonne/ Deutsche SiSi-Werke Betriebs GmbH, Chiquita Deutschland GmbH, CITY BKK KöRiA, Coca-Cola Erfrischungsgetränke AG, Daewoo Electronics Europe GmbH, DanCenter A/S, Darier & Cleef GmbH, Deutscher Gewerkschaftsbund, Das Eis, „Deutsche See“ GmbH, Deutsches Zentrum für Luft- und Raumfahrt e.V., Deutsche Bahn AG, DIE DRAUSSENWERBER GmbH, Dirigieren & Führen, Dove/Unilever Deutschland GmbH, Dudenverlag/ Bibliographisches Institut GmbH, Dussmann Service Deutschland GmbH, Electronic Arts GmbH, EDNA International GmbH, Egmont Ehapa Verlag GmbH, ELIXIA Vitalclub GmbH & Co. Prager Platz KG, Europäische Sponsoring-Börse, European Space Agency, EVENTLawyers/Rechtsanwaltskanzlei Risch-

Kerst & Rechtsanwaltskanzlei Picht, fritz-kola GmbH, GASAG Berliner Gaswerke Aktiengesellschaft, GESOBAU AG, Gläserne Meierei GmbH, Gorenje Vertriebs GmbH, Gothaer Versicherungsbank VVaG, Grammer Solar GmbH, GVE Gruppe, Häagen Dazs/General Mills GmbH, HanseMerkur Krankenversicherung AG, Hansgrohe Deutschland Vertriebs GmbH, HASBRO DEUTSCHLAND GmbH, Herlitz PBS AG Papier-, Büro- und Schreibwaren, HILTON Berlin/Hilton International (Germany) GmbH, HOBA Baustoffhandel GmbH, Hochtief Solutions AG, HypoVereinsbank UniCredit Bank AG, KIA Motors Deutschland GmbH, Köstritzer Schwarzbierbrauerei GmbH, Krüger GmbH & Co. KG, Küche Aktiv/ Europa Möbel-Verbund GmbH, Kulturpersonal GmbH, Landliebe Molkereiprodukte GmbH/FrieslandCampina Germany GmbH, Lanxess AG, LEGOLAND Deutschland Freizeitpark GmbH, LEXUS Deutschland/Toyota Deutschland GmbH, Lichtenauer Mineralquellen GmbH, Lindner Hotel Am Ku’damm/Lindner Hotels AG, MAGIX Software GmbH, Märkische Verlags- und Druck-Gesellschaft mbH Potsdam, Mast-Jägermeister SE, Mattel GmbH, McDonald’s Deutschland Inc., McPaper AG, Mövenpick Hotel Berlin, Nintendo of Europe GmbH, NISSAN CENTER EUROPE GmbH, Nürnberger Versicherungsgruppe, OBI GmbH & Co. Deutschland KG, Ostsächsische Sparkasse Dresden, Park Inn/Rezidor Hotels ApS Denmark, PiCK ME/primeline.berlin GmbH, Pilsner Urquell Deutschland GmbH, PlayStation®/Sony Computer Entertainment Europe Limited, Radeberger Gruppe KG c/o, Rausch Schokoladen GmbH, Rieber GmbH und Co. KG, RotkäppchenMumm Sektkellereien GmbH, Samsung Electronics GmbH, Sander Gourmet GmbH, Sanofi-Aventis Deutschland GmbH, Scandlines Deutschland GmbH, Schweden-Werbung für Reisen und Touristik GmbH, Seeberger GmbH, ŠKODA AUTO Deutschland GmbH, Spiele Max AG, Ströer Out-of-Home Media AG, Team Grüner Punkt/ALBA DASS Betriebs GmbH, TOTAL Deutschland GmbH, Transrapid International GmbH & Co. KG, Vattenfall Europe AG, Verhülsdonk & Partner GmbH, Verkehrsbetriebe Brandenburg an der Havel GmbH, Victor's ResidenzHotels GmbH, VITA COLA/Thüringer Waldquell Mineralbrunnen GmbH, WALA Heilmittel GmbH, WALL AG, WEIHE GmbH, World for 2/ Berlin Partner GmbH, Wöhrl GmbH & Co. KG, XL Energy Drink Corp.

cultural brands 2015

Annual

European

Cultural

Brands

2015

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Causales

Official Print Partner:

Causales – Cultural Marketing and Cultural Sponsoring Ltd.

www.cultural-brands.com causales business club

consulting & mediation

culture invest congress

ISBN kultur marken jahrbuch

978–3–9816125–2–3 cultural brand award

annual of cultural brands

Annual of Cultural Marketing and Cultural Sponsoring

causales