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Art & Business: The Art Firm
Posted on Sunday, December 19 @ 13:01:03 CET
Topic: Creativity
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  The Art Firm - Aesthetic Management and Metaphysical Marketing from Wagner to Wilson. From Pierre Guillet de Monthoux.
"As we live in an experience economy, as future industries are to be creative industries, art and aesthetics are about to be integrated in the design of the curriculum for young managers." -- Pierre Guillet de Monthoux.
The Art Firm explores the seemingly unorthodox alliance of the arts, management, and marketing. Art firms - as avant-garde enterprises and arts corporations - have existed for at least two hundred years, using texts, images, and other types of art to create corporate wealth. This book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses.
To say it short: Pierre wrote a really inspiring book! The Art Firm is full of stories about great thinkers, actors and many more and really exciting to read. But also because of the introduction into the philosophical questions not easy to digest. Here I would like to publish a short excerpt of an experience story, which offers insights into the process of applied arts, linking individuals and community together.
From the Book.
 It was in a meeting with his friends Eva and Eddy in 1987 in the little French village Gattières, when they took an afternoon walk and found themselves in the village square, "gazing in wonderment at what seemed to be an unbelievably natural festival theater." A fountain in the center of the scene, a little bar, a bakery, and a butcher shop. When the clock of the church struck four "we all had but one thing in mind: we must have the square for our operatic performance." "Had the precocious Mozart not spoken artlessly and directly to people's heart?", Eva and Eddy reasoned, "Had not Verdi been as popular as Yves Montand or Mick Jagger? And Wagner, with his faith in folk opera?"
Artists flew in in the morning, rehearsed during the afternoon, delivered their arias in the evening, and caught the last plane home the same night. In the big opera houses, musicians thought about their supper, and the singers about their wages. The strange logic of modern production technique had shortened rehearsal time and ignored recitatives; it had turned operatic art into show-biz entertainment. But here in Gattières? -- Eva and Eddy wanted to put on a performance for the villagers that they could grasp. They intuitively distrusted the effect of fine words or crass calculations to persuade the little village of their enterprise. Instead they made art work. The village itself, its spirit and its atmosphere, would melt into the work. The project of the festival was run as a voluntary association, and exigencies constantly challenged the production.
The way the festival was planned and the overall concept was immediately understood as a unique opportunity for young singers to perform the great roles long before any established theater would take a chance on them. It was a rare chance to interpret a work of art aesthetically, in a concentrated and thorough way. "Here singers would not merely analyze their own parts in isolation with their singing coach, but they would go through the whole performance together, in text as well as in music, for three intense weeks. They would listen to each other and offer advice and support. They would stand together through crises and conflicts, and exchange valuable information about career opportunities."
One of the things that attracted all of them was the opportunity to work on a piece of art in its entirety, and they paid for this privileg, and for their simple lodging and one meal a day, through hard work"
In a warm night in July 1991 it was done. Pierre wrote: "I remembered how everyone was spellbound after that first night, as if Mozart's music and the Beaumarchais text had miraculously melted together with the village. In the absence of better words, people kept repeating: ‘We've experienced a moment of magic together’
Pierre Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role - so central to value-making in contemporary ecoomics - performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic managment and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy. |
 Pierre Guillet de Monthoux holds a chair in general management at Stockholm University. He has published extenisvely on the philosophy of management and marketing in Action and Existence and The Moral Philisophy of Management from Quesnay to Keynes. For the past 15 yers he has taught courses in art and management. He now also runs the European Center for Art and Management, a research group based in Stockholm. In addition to being a visiting scholar at the Wissenschaftszentrum in Berlin, the Copenhagen Business School, the University of Witten-Herdecke (Germany), Abo Akademi (Finland), and the Université Nice-Côte d'Azur, Monthoux holds seminars on art and aesthetics for top executives, curates exhibitions, and stages performances hybridizing art and management.
Contents
Preface Welcome to Dionysos Inc.
1: Play as Aesthetic Schwung
2: Players in Aesthetic Philosophy
3: Problems for Art Firms
4: Metaphysics - Marketing of Art Firms
5: Avant-Garde Enterprises
6: Artistic Companies
7: Art Corporations
8: Flux Firms
9: Postmod Performances
10: Dionysos Inc. - Extending the Art Firm
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