Cross-sector partnership and creative collaboration. A case study
The aim of this article by Branka Loncaric is to address the importance of cross-sector collaboration within the creative industry sector. The paper contains research results about collaboration among the tenants from two Amsterdam-based art factories and between management of the art factories and their tenants. It discusses cross-sector collaboration, the paradox of collaboration and how public has an impact on this. In the end the questions for further discussions are presented, as well as a conclusion that offers the solution for creating common and safe ground for collaboration.
This article discusses collaboration as the joint work of people on an equivalent foundation in the outset, development and revision of a project in which each individual carries full responsibility for its outcome (Downie, Eshkar, Kalser; 2012). Cross-sector collaboration, the paradox of collaboration and how public has an impact on the collaboration are also central themes.
The article contains the results of a research that was conducted in two Amsterdam-based art factories. Its aim was to explore their best practices in order to create an advisory report for the management of art factories. Along the research process the particular aspect of collaboration among the management and the tenants of these art factories became very prevalent.
The research was based on questionnaires for the tenants, as well as several interviews with them. By the end, the results could be based on 150 questionnaire responses in total. Along with this practice-based research, the process included desk research on creative cities with a focus on Amsterdam.
Art factories are affordable working spaces for artists and creatives, placed mainly in old buildings that are not used for its original purpose anymore. For instance, the first art factory of the study is placed in the former building of the Academic Centre for Dentistry, and the second in the former Shell Laboratories in the north Amsterdam. There are approximately 80 art factories based in Amsterdam. As they are financed by the municipality their purpose is also to raise the value of the buildings and transform them into working spaces.
The main intention for establishing art factories is to provide affordable working spaces for a ‘super-creative core’ and ‘creative professionals’. According to Florida (2012) scientists, engineers, university professors, writers, artists, entertainers, actors, designers, architects, actors, designers, researchers and opinion makers belong to the super-creative core because their creative work consists of new forms and is widely useful and applicable; they are problem solvers but also problem finders (p. 38). On the other hand, creative professionals not only work in high-tech and financial services but also in the legal and health care professions and businesses (p. 39).
As the research results showed, there is much more potential for creative collaboration in the art factories than is used by now. The reasons and questions for further discussion are presented in paper you can download below, as well as a conclusion that offers a solution for creating common and safe ground for collaboration.
Branka Loncaric has a Bachelor degree in Economics and Management from the Zagreb School of Economics and Management, and a Master degree in Arts and Economics from Utrecht School of Arts, Netherlands. There she discovered the world of art factories and decided to have a closer look at them.
You can read the whole article as PDF here.
Florida, R. (2012). The Rise of the Creative Class Revised. New York: BASIC BOOKS.
Downie, M.; Eshkar, S.; Keiser, P. (2012). Creative Collaboration. Helsinki Design Studio.