In addition to the keynote sessions the conference will feature a number of panels and special sessions that will run as live online sessions via the conference platform.

Panel #1

Panel title: The influence of cultural economics on the current cultural policies towards artists and creators

Panel schedule: 12:30 – 14:00 CET on 7 July via live online portal on the conference platform.

Panel Chair: Prof. Dorota Ilczuk

Panellists: Prof. Dorota Ilczuk Prof. Andy Pratt Prof. Marilena Vecco PhD Anna Villarroya (tbc) Prof. Karol J. Borowiecki (tbc) Prof. Christian Handke (tbc) Emilia Cholewicka (PhD candidate)

Abstract: The artists’ labour market is considered an aftermarket. The size of demand in such a market depends, among other things, on the willingness to participate in cultural life (financed by private citizens) and the degree of state engagement in financing “collective consumption” of cultural goods. The aim of cultural policy is to influence not only the demand side of the market. Direct and indirect forms of financing artists themselves, as well as through the infrastructure, constitutes state intervention on the supply side of the market. This diversified system should result in effective mechanisms – institutions supporting the functioning of all labour market players, as an efficient, secure system, understandable to all its participants. Between 2013 and 2018, the team led by Prof. Dorota Ilczuk conducted extensive research work aimed at diagnosing the specificity of the Polish artists’ labour market and analysing their professional situation. The research on this market, commissioned by the government, was the first such comprehensive and cyclically developed in Poland. These activities were also focused on exploring international experiences in monitoring and investigating this area, as well as various forms of support given to artists. In order to estimate the costs of the designed systematic system for supporting Polish artists, it was crucial to know the size of the environment. So the last part of the research was the only one and successful attempt in the history of post-war Poland to estimate the number of professionally active artists. The survey included 7 professional groups related to the following sectors: visual arts, architecture, music, theatre, dance, film, literature and folk creators. Conclusion of the first study “Artists and Creators’ Labour Market” (2013) was as follows: 63% respondents assessed the state support for artists badly and very badly. There are many reasons for it, e.g., very low income, non common access to the basic social and secure system (healthcare), and finally poorly conducted cultural policy. In the context of other research results, it sounded like an SOS signal sent by artists. Our survey met with great support and approval of artistic environments – five thousand completed questionnaires speak for themselves. This is five thousand people – almost 10% of the whole social group, who trusted the idea of our research in bringing in systemic regulations. Moreover, the continuation of that study is a currently conducted research of new artistic professions, more broadly – in the creative economy. We would like to propose a panel discussion The influence of cultural economics on the current cultural policies towards artists and creators, when we will be looking for experts’ answers to the questions, such as: What is the role of state in creating appropriate working conditions for artists in Europe? What are the pros, cons and challenges either for Poland (which doesn’t have any system for artists yet), and other countries which have implemented certain solutions already? Is it possible to talk about effectively implemented systems in the times of many challenges, indicated by some researchers, or even the twilight of cultural policy in Europe?

Panel #2

Panel title:  Comparative cultural policy data applied: Compendium of cultural policies and trends and its possibilities of research on cultural policy

Panel schedule: 14:00 – 15:30 CET on 7 July via live online portal on the conference platform.

Panel Chairs: Andrej Srakar and Anna Villarroya

Panellists: Andrej Srakar, Scientific Associate, Institute for Economic Research (IER), Assistant Professor, School of Economics and Business, University of Ljubljana (Slovenia) and Anna Villarroya, Associate Professor, Department of Economics, University of Barcelona (Spain)

Panel Abstract: The Compendium of Cultural Policies and Trends is the main European web-based and permanently updated information and monitoring system of national cultural policies and related development (https://www.culturalpolicies.net/web/index.php). Compendium cultural policy country profiles are  mainly drawn up and updated by independent cultural policy experts (i.e. ‘expert authors’), in consultation with respective ministries. It was initiated in 1998 by the Council of Europe’s Steering Committee for Culture and managed and edited as a joint venture with the European Institute for Comparative Cultural Research (ERICarts). Since its foundation in 1998, the Compendium has aimed to include all states co-operating within the context of the European Cultural Convention. Currently a community of practice of over 100 independent cultural policy researchers from 43 different countries collaborate on the Compendium.

Compendium’s main feature is detailed cultural policy profiles of individual countries, encompassing comparative and theoretical overviews and updates, as well as qualitative and quantitative data, monitored and aggregated also in a statistical part of the Compendium website.

Despite 20 years since its inception, the Compendium possibilities for research on cultural policy have still not been sufficiently explored and scientific contributions can be listed only shorthand. It is the aim of this panel session to provide an assemblage of contributions from both longstanding and more recently included Compendium authors on the topic of possibilities for using Compendium information in both comparative cultural policy research as well as cultural policy research in general.

It will also provide discussions on the key topic of enabling quality data on comparative cultural policies at present and in future, which is an essential mission of Compendium.

Within this framework, the session is scheduled in the following manner:

  • Initial presentation of Compendium, its past, present and future, and, in particular, its possibilities and caveats of usage for research purposes – presented by Anna Villarroya and Andrej Srakar
  • Evidence for the 28 EU countries of the European Union about the possible crowding-in/out effects of public funding on individual charitable giving decisions in the field of cultural heritage – presented by Victoria Ateca-Amestoy (joint work with Arantza Gorostiaga)
  • Comparative evidence on private cultural funding in a European perspective –presented by Andreas Joh. Wiesand
  • Comparative evidence on public cultural funding in a European perspective –presented by Lluís Bonet and Anna Villarroya
  • Compararive evidence on artists situation in Poland and European countries – presented by Dorota Ilczuk
  • Open discussion on important topics in comparative cultural policy research, such as: original cultural-cooperation in practice providing knowledge on cultural policies; specific and useful network of scientists, specialists and researchers; examples of international projects using Compendium data; public funding of culture and the arts as a field where cultural policies and cultural economics meet, and others.

Panel #3

Panel title: CCIs in South America: Case of four countries

Panel schedule: 15:30 – 17:00 CET on 7 July via live online portal on the conference platform.

Panel Chair: Ana Flávia Machado

Panellists: Argentina: Lía Barrese, Brasil: Alice Demattos Guimarães, Ana Flávia Machado, Gabriel Vaz de Melo e Rodrigo Michel Cavalcanti, Chile: Andrea Báez Montenegro, Eugenia Sepúlveda Albarran, Colombia: Nora Elena Espinal Monsalve

Panel Abstract: The creative and cultural industries (CCIs) find in countries with expressive cultural diversity and innovative capacity a favorable environment for their development. In South America, even if its countries does not present strengthened innovation systems, the existence of social technologies and cultural diversity historically based on the traditions of indigenous people, Afro-descendants and Europeans, especially Spanish, Italians and Portuguese, favored the consolidation of a setting rich and with heterogeneous cultural background, as well as ICC activities. Seeking to portray this context, the aim of this panel is to bring evidence and debates on four countries, namely: Argentina, Brazil, Chile and Colombia, in terms of income generation, employment and specific policies for their CCIs, covering the period between 2010 and 2019. Additionally, greater space and visibility is sought for the discussion of the South American creative economy and its singularities in innovation in comparison with other regions.

Nowadays, ICCs account for 2.6% of the Argentinian economy, a proportion that has maintained a light weight for the longest since 2004, while cultural sectors represented 2% of the economy. Similarly, ICCs represents a 1.8% of the private sector in the country, being the audiovisual sector the leader with a third of this fraction. The ICCs are well located in different enclaves in various parts of the country, but the diverse sectors are heavily concentrated in the main urban centers, having in the City of Buenos Aires its most significant epicenter.

In the case of Brazil, it is estimated that the activity absorbs around 5 million workers, with a predominance of the segments of handicrafts and popular arts, audiovisual, gastronomy and music. Between 2005 and 2014, promotional policies for the sector were implemented but, for political reasons, later suspended. However, albeit the current lack of support in 2019, the CCIs was responsible for approximately 2.61% of the Brazilian GDP in 2017.

In Chile, the participation of the creative economy only reaches 4 thousand million dollars. Among the number of workers, according to UNCTAD, there are 170,000 associated workers. These data differs from what is presented in the national plan with 409,000 workers, representing 6% of the country’s labor force. In terms of GDP, Chile has been growing from 1.6% at the beginning of the program up to 2.2% in 2018, with an annual 4% target in 2025. From the perspective of economic policy, promoting the creative economy has captured the attention of those responsible for making public-private decisions, which represents an economic sector that contributes to the sophistication of the national productive matrix. Since 2015, with the support of CORFO, the National Strategic Program “Chile Creativo”, which works under public-private governance, there has been advances in implementing a roadmap that improves and articulates the creative-cultural sector, with a focus on the music, editorial, design and audiovisual subsectors (Report on Strategic Programs and Initiatives Committee, CPIE-CORFO).

In Colombia, the policy for entrepreneurship and cultural industries is formulated in 2010, establishing that the role of the state must be to provide incentives for private investment and create legal or administrative measures to eliminate the dysfunctional factors that affect the operation and interrelation of the production line of each CCI. In 2017, Ley 1834 was enacted, which extends the reach of the Cultural Satellite Account by incorporating all sectors associated with the CCIs, which combine creation, production and the commercialization of goods and services based on digital content of a cultural nature, and those that provide protection in the framework of the author’s rights. According to the National Statistics Department (DANE), in the last years the creative economy has had a growing trend with an added value of 3.2% in its participation between 2014 to 2019.

However, this proportion is lower than goal proposed by the national government which was 5.1% annual average. Therefore, this panel intends to gather experiences and results from the creative economy of a region where studies are scarce within the scope of the cultural economics literature.

Panel #4

Panel title: Grappling with the Pandemic: The role of research in federal arts agencies in Australia, Singapore and Canada.

Panel schedule: 9:00 – 10:30 CET on 8 July via live online portal on the conference platform.

Panel Chair: Dr Indigo Holcombe-James

Panellists: Gabriel Zamfir-Enache,  Dr. Sharon Chang, Rebecca Mostyn and Indigo Holcombe-James 

Panel Abstract: his panel will present an international comparative perspective on arts research in government and policy contexts after 2020. Featuring researchers from the Australia Council for the Arts, Canada Council for the Arts and the National Arts Council (Singapore) the panel will discuss the need for and the role of research to measure the economic, cultural, social and regulatory impacts of Covid-19 across these different national contexts. It will also consider the policy changes demanded by new digital contexts for arts engagement, and what new research questions and methodologies will be required in order to measure digital cultural engagement in the coming years.

Key questions:

  • What is the role of research in government arts agencies seeking to take stock of the impacts of COVID-19 on the arts and cultural sector?
  • What research is required to best inform current and future policy, and what are the most appropriate methodologies for this?
  • To what extent are national contexts specific, and where are the opportunities for international knowledge sharing and collaboration?

Speaker bios:

Gabriel Zamfir-Enache is Director of Research, Measurement and Data Analytics at the Canada Council for the Arts. Gabriel has more than 20 years’ experience as a management analyst with extensive focus on corporate and project management, business strategy, research and reporting, strategic data analysis and performance measurement. With a strong commitment to the arts milieu during the last ten years, Gabriel is interested in professional research and analysis related to economic and social added value of the arts; measuring value of the cultural capital of Canadian communities; integrated results models; and new perspectives on accountability within arts organizations.

Dr. Sharon Chang is concurrently the Research Director of the Culture Academy, Ministry of Culture, Community and Youth, as well as the Chief Research Officer of the National Arts Council in Singapore. Her teams conduct studies on social capital, time use, social attitudes, population surveys on arts and cultural engagement as well as arts and cultural manpower in Singapore. Sharon is an economist who has research experience in productivity measurement and growth, industry development, choice experiments and the non-market valuation of cultural resources. Besides these, her current research interests include the measurement of the impact of community arts, arts education, cultural tourism, wellbeing as well as social capital. Sharon has degrees in Economics from the National University of Singapore, the London School of Economics and Political Science and the University of Queensland in Australia. She has published in peer-reviewed journals such as the International Journal of Cultural Policy, Journal of Cultural Economics, International Journal of Hospitality Management as well as Tourism Analysis.

Rebecca Mostyn is Director of Research and Knowledge Management at the Australia Council for the Arts, the Australian Government’s arts funding and advisory body. Rebecca oversees the delivery of in-house and commissioned research and evaluation work, including the National Arts Participation Survey, Domestic Arts Tourism: Connecting the country, theElectorate Profilesand Macquarie University’s Economic Study of Professional Artists. Prior to joining the Australia Council in November 2016, Rebecca was Manager of Research and Strategy at Screen Australia, where she managed data collection and analysis, and delivered projects including Seeing Ourselves: Reflections on Diversity in TV Drama, and Screen Currency: Valuing our Screen Industry.

CHAIR – Indigo Holcombe-James is a postdoctoral research fellow at the ARC Centre of Excellence for Automated Decision Making & Society, located in the School of Media and Communication at RMIT University, Melbourne. She researches digital inclusion and participation, with a specific focus on the digital transformation of cultural and creative institutions and industries. Indigo is a core member of the Digital Ethnography Research Centre, and the Australian Digital Inclusion Index research team. She is currently investigating digital inclusion within low-income households with Dr Jenny Kennedy, and contributed to the Telstra-funded Cyber Safety in Remote Indigenous Communities and Towns Project between 2016-19.

Panel #5

Panel title: A value based approach to cultural policy

Panel schedule: 10:30 – 12:00 CET on 8 July via live online portal on the conference platform.

Panel Chair: Prof. Arjo Klamer

Panellists: TBC

Panel Abstract: What if values guide cultural policy? What if cultural policies aim at the realization of cultural and social qualities? What if cultural organizations and events are evaluated on their societal and cultural impact? What if public -private partnerships take the place of subsidies? What if cultural policies focus on all sense making practices in a country, and have as a goal the quality of such practices. The paper addresses some of the main issues facing cultural policies and proposes an alternative, value based policy. It discusses the earlier focus on economic impact and the current emphasis on public values and find both of these focuses problematic and wanting. The proposals may seem quite radical, yet they are practical alright. They will compel a reorientation of what cultural organizations are doing, and affect the perception and appreciation of their role in society. It will also affect the assessment and evaluation of their contributions. The idea is that cultural organizations become partners in the pursuit of certain qualities. This paper follows the value based approach. Important concepts are the commons, shared practices, the willingness to contribute, the five sphere model, and valorisation. The author draws on experience in the practice of conducting cultural policy on a local level, and research he has done on behalf of the public broadcast system in the Netherlands.

Special Session #1

Session title: Tribute to Victor Fernandez Blanco

Chair: Ilde Rizzo, Speakers: Juan Prieto-Rodriguez and Luis César Herreor-Prieto

Panel #6

Panel title: Art markets in econom(etr)ics: New approaches and perspectives

Panel schedule:14:00 – 15:30 CET on 8 July via live online portal on the conference platform.

Panel Chairs: Anne-Sophie Radermecker, Marilena Vecco, Andrej Srakar

Panellists: Fabian Bocart, Christophe Spaenjers and Tim Fry.

Panel Abstract: Art markets have long tradition of research in cultural economics. Singer and Lynch (1997) distinguish three phases of its development: in the first phase with the path-breaking study of Baumol (1986), generally recognized as the founder of art market research in economics.The second phase which is characterized by number of studies directly influenced by Baumol but which go beyond him in clearly identifiable ways; and the third phase, devoted to the study of particular aspects of the art market. This last phase has used more advanced techniques of study but devoting themselves to increasingly narrow and intricate issues. Frey (1997) lists six areas of possible advancement for the future of economic research on art markets: taxation; policy, methodological approaches specifically focusing on economic modelling; testable propositions; behavioural anomalies; importance for practice and management implications; and policy. In our session we will focus on developments in methodology to model auction prices and behavior, art indices, determinants of art sales and art markets in general.

Modelling perspectives in literature on art market research did not exhaust the many possibilities provided by contemporary statistics and econometrics. Most referred-to model is hedonic regression in different forms, which could extend from Bayesian modelling (e.g. Bayesian dynamic hedonic regression model of Garay et al., 2019 and Bayesian learning considerations of Ulibarri, 2005) to different parametric, semiparametric and nonparametric possibilities (for an overview of possibilities see Owusu-Ansah, 2011 and Perrigne and Vuong, 2019; for interesting applications see Bocart and Hafner, 2012 and Aya et al., 2017), model averaging (Galbraith and Hodgson, 2012; 2018), network analysis (Braden and Teekens, 2019) and copula-based modelling (Candela et al., 2016). Different time series and microeconometric approaches have been explored, as well as more recently machine learning (e.g. Chen et al., 2017; Aubry et al., 2019). Finally, Coslor (2016) uses qualitative approach based on ethnographic research to study the relationship between auction prices and artwork value.

Despite the above, many modelling possibilities remain unaddressed, for example: recent econometric advances in causal inference methods, nonstandard (functional, symbolic and compositional) data analysis, Bayesian nonparametric methods, intractable likelihood, mixture models, high- and mixedfrequency approaches and possibilities of modelling stochastic processes in mathematical finance. It is likely many problems of art markets, like art market segmentation, more accurate price indices, prices of artworks as heterogenous assets, modeling artist careers and artwork value, would be provided more proper account in these light.

The intent of our session is to present and reflect on some of the novel modelling approaches to the econometrics of art markets. Our session consist of four papers by four authors which made (and are making) an impressive mark on the development of the field. It will also refer to the work, being developed in the framework of The International Art Market Studies Association (formed in July 2016) and its conferences.

1) Fabian Bocart,* Eric Ghysels, Christian Hafner. Monthly Art Market Returns.

We provide an innovative methodological contribution to the measurement of returns on infrequently traded assets using a novel approach to repeat-sales regression estimation. The model for price indices we propose allows for correlation with other markets, typically with higher liquidity and high frequency trading. Using the new econometric approach, we propose a monthly art market index, as well as sub-indices for impressionist, modern, post-war, and contemporary paintings based on repeated sales at a monthly frequency. The correlations enable us to update the art index via observed transactions in other markets that have a link with the art market.

Speaker Bio:

Fabian Bocart is Chief Data Scientist at artnet since 2016, previously co-founder and Quantitative Research Director at Tutela Capital, a company active in managing art as an asset class. He holds a Master and a PhD in Statistics from the Catholic University of Louvain and a Master in Business Engineering from the Free University of Brussels.

2) Mathieu Aubry, Roman Kräussl, Gustavo Manso, and Christophe Spaenjers*

Machine Learning, Human Experts, and the Valuation of Real Assets

We study the accuracy and usefulness of automated (i.e., machine-generated) valuations for illiquid and heterogeneous real assets. We assemble a database of 1.1 million paintings auctioned between 2008 and 2015. We use a popular machine-learning technique—neural networks—to develop a pricing algorithm based on both non-visual and visual artwork characteristics. Our out-of-sample valuations predict auction prices dramatically better than valuations based on a standard hedonic pricing model. Moreover, they help explaining price levels and sale probabilities even after conditioning on auctioneers’ pre-sale estimates. Machine learning is particularly helpful for assets that are associated with high price uncertainty. It can also correct human experts’ systematic biases in expectations formation and identify ex ante situations in which such biases are likely to arise.

Speaker Bio:

Christophe Spaenjers is an Associate Professor of Finance at HEC Paris. He earned his Ph.D. at Tilburg University. His research interests include investments, investor behavior, household finance, corporate finance, financial history and art markets. He has published in journals such as the American Economic Review, Journal of Financial Economics, Management Science, and Oxford Economic Papers.

3) Lisa Farrell, Jane M. Fry and Tim R.L. Fry

Determinants of sales and price at auction for three Australian Indigenous artists: to pool or not to pool?

Albert Namatjira (1902–1959), Emily Kame Kngwarreye (c1910–1996) and Rover (Julama) Thomas (c1926–1998) are three of Australia’s best-known Indigenous artists. Each is known for one style of painting—Namatjira for watercolor on paper, Kngwarreye for acrylic (synthetic polymer) on canvas and Thomas for natural earth pigments on canvas. We estimate a sample selectivity model using data from the Australian Art Sales Digest to study the determinants of sales and the hammer price of artworks offered at auction from these artists. The results show that pre-sale information on the artwork and auction effects are significant and that the three artists studied are very different from each other. Thus, data should not be pooled when estimating these models.

Speaker Bio:

Tim R.L. Fry is a Professor of Econometrics and Former Head of the School of Economics, Finance and Marketing at RMIT University in Melbourne. He graduated with an honors degree in Econometrics from the University of Kent at Canterbury and a Master’s degree in Econometrics from the University of Manchester. He then worked for several years in advertising research and market modelling in London. After his time in industry, he returned to the University of Manchester to undertake a Ph.D. in Econometrics. He has since pursued an academic career working at the Universities of Manchester and Exeter in England and at Monash University and The University of Melbourne in Australia. He joined The School of Economics, Finance and Marketing at RMIT University in 2003 as a Professor of

Econometrics and became Head of School in 2013. He published, among other, in Journal of Econometrics, Cambridge Journal of Economics, Oxford Economic Papers, Scottish Journal of Political Economy, Journal of Economic Psychology, Applied Financial Economics and Journal of Cultural Economics.

Panel #7

Panel title: Public vs private cultural policies and the emergence of new financing mechanism on the art market: An interdisciplinary perspective

Panel schedule: 16:30 – 18:00 CET on 8 July via live online portal on the conference platform.

Panel Chair: Elisabetta Lazzaro

Panelists: Charlotte Gould, Elisabetta Lazzaro, Daniel Nordgärd, Federica Pezza, Giovanni Maria Riccio, Christine Zumello

Panel abstract: Since its establishment, cultural economics has been concerned with a fundamental issue in cultural policy, namely the financing of the arts, presenting a polarity between the possible roles played by, respectively, the public and the private sectors (Baumol & Bowen 1967; Netzer 1978; Zimmer & Toepler 1999). On the other hand, because of the complexity of their nature and of their implications, cultural policy and arts funding (similarly to other issues) cannot be left to the exclusive considerations of the economic perspective (Cameron 1999; Marchionatti & Cedrini 2016). At the same time, the economic perspective can mutually benefit of a plurality of relevant disciplinary approaches, for their theoretical and methodological information. The interdisciplinary rationale is, in particular, at the roots of Researching Art Markets: Past, Present and Tools for the Future (RAM), a global interdisciplinary diachronic thematic forum of a few-hundred art-market scholars and experts funded in 2017.

This panel is a novel and further elaboration of some initial considerations that took place at RAM’s latest international workshop in Paris (online) last June. In addition, this panel aims to offer a real example of interdisciplinarity applied to cultural policy research, in the context of the financing of contemporary visual arts. More specifically, the dominant institution of the art market and the role of its traditional intermediaries are questioned by the study of the emergence of some new financing mechanisms, which in the last decades have seen the interplay of public as well as private policies. This panel is contributed by theoretical and empirical papers from politics, cultural studies, art history, law, economics and business, stimulating an interdisciplinary reflection and debate through a diversity of methodological approaches.

Panellists’ bios:

1) Christine Zumello, Liquidity and Worth. Some trends in the contemporary art market in the United States

Bio: Christine Zumello is Full Professor of American Studies at Université Sorbonne Nouvelle and vice-president of the GIS (Groupement d’Intérêt Scientifique) Institut des Amériques, for North America. Her research focuses on the interactions between politics, cultural studies and finance in the United States and, more particularly, on the ways they inform – or deform – democracy and representation. She also tries to articulate – and it is a difficult task – field work” and methodology for a researcher in American studies and the humanities. Thus, she researches archival sources as iconographic documents. She has, as an example of her archival research, published “The ‘Everything Card’ and Consumer Credit in the United States in the 1960s”, Harvard Business History Review (2011).

2) Charlotte Gould, The role of British cultural policies since the 1980s in fostering the emergence of a national model of (semi-) independent art commissioning agencies

Bio: Charlotte Gould is Assistant Professor in British culture and art at Sorbonne Nouvelle, where she is a member of the research group 19-21. The focus of her research is contemporary British art, as well as public art commissioning since the 1980s. Her publications include an Ashgate volume she co-edited in 2013 with Sophie Mesplède, Marketing Art in Britain: A Cultural History, 1700 to Today, and which was reissued by Routledge as a paperback in 2017, and Artangel and Financing British Art which was published by Routledge in 2019. A co-edited volume, British Art and the Environment. Changes, Challenges and Responses since the Industrial Revolution has received the support of the Paul Mellon Centre for Studies in British Art and of The Association for Art History, and will be published by Routledge in 2021. She is a member of the Société des Anglicistes de l’Enseignement Supérieur (SAES) and of the Association of Art Historians (AAH).

3) Giovanni Maria Riccio and Federica Pezza, Crowdfunding and art market: rise and regulation of contemporary forms of patronage

Bios: Giovanni Maria Riccio is Professor of Comparative Law at the University of Salerno, where he teaches “Copyright Law” and “Cultural Heritage Law”. Former Consultant of the EU Commission for the revision of the e-commerce directive, he has been an Academic Visitor at the Oxford Intellectual Property Research Centre and a Research Fellow at the Birkbeck College of the University of London. He also taught at the University Ovidius of Constanta and at the University Joseph Fourier of Grenoble. He has published 5 books and more than 70 articles in Italian and international law reviews.

Federica Pezza is an Italian attorney at law specialising in Intellectual Property law and a PQ Trademark Attorney (UK).  She completed the Certificate in Trade Mark Law and Practice with a Distinction at Queen Mary University of London, where she had formerly graduated in the LLM program (IP) with a dissertation titled “Richard Prince Artwork: a cultural appropriation approach”. Former legal trainee in the trademark department at the British American Tobacco company in London, Federica is currently practicing EU trademark and design law at Hogan Lovells in Alicante. 

4) Elisabetta Lazzaro and Daniel Nordgärd, Crowdfunding as a possible disintermediation on the contemporary art market

Bios: Elisabetta Lazzaro (PhDs in Economics, Paris 1-Panthéon-Sorbonne University and Université Libre de Bruxelles) is Full Professor of Creative and Cultural Industries Management at the Business School for the Creative Industries, University for the Creative Arts (UK). She has authored more that 70 publications in peer-reviewed journals, books and policy reports on arts markets, entrepreneurship, sustainable business models and financing of arts professionals and organisations, digitisation in the arts and culture and socio-economic impact of culture. She is Executive Board Member of the Association for Cultural Economics International (ACEI) and co-founder with Nathalie Moureau and Adriana Turpin of Researching Art Markets: Past, Present and Tools for the Future. Among various research projects, she is BSCI-UCA main investigator in the international research project CrowdCul (2020-2024) on crowdfunding in the cultural sector, led by Western Norway University of Applied Sciences and with the University of Agder (Norway), the University of South-Eastern Norway and the University of Barcelona (Spain), funded by the Norwegian Research Council and spanning Europe, Brazil and China.

Daniel Nordgård is Senior Researcher at NORCE and Associate Professor at the University of Agder (Norway), where he teaches music, digitalisation and music business at the master’s program of Music Management and conducts research on international music industries and changes in relations to the digitization process. In 2013 he led the government-appointed Nordgård-committee which looked at streaming and he also wrote a comprehensive report on the Norwegian streaming market. He has previously been very active on the music-scene in Kristiansand and Norway, and has experience from working with the Quart festival and later as the festival manager for the same festival, as well as various projects and initiatives around the live-sector and festival industry. Beyond his academic work, he also sits in a number of boards, nationally and internationally.   

Panel #8

Evaluation and public funding, revisited?

Panel schedule: 9:30 – 11:00 CET on 9 July via live online portal on the conference platform.

Panel Chairs: Ellen Loots and Tal Feder

Panellists: Victoria Ateca-Amestoy, Marnie Badham, Enrico Bertacchini, Diana Betzler and Jen Snowball

Panel Abstract: Public funding of cultural organizations and artists has long been dependent on the artistic excellence of their activities. Therefore, decisions about funding given to art organizations and This raises questions regarding evaluation procedures, criteria, and the implications for cultural production. Recent developments in evaluation show the growing significance of entrepreneurship and social value and the increased eligibility for public support of new agents in the creative industries. The panel will explore the evaluation processes in public arts funding and its potential for a revision against the backdrop of the COVID-19 pandemic.

Special Session #2

Session title: IMBRA (Music Business Research) Special Track

IMBRA special track schedule: 13:00 – 14:30 CET on 9 July via live online portal on the conference platform.

Chair: Guy Morrow

Session presenters: Dennis Collopy, Guy Morrow, Daniel Nordgård and Peter Tschmuck

Session description: The International Music Business Research Association (IMBRA) has collected members’ paper proposals for a music business research track submission for the upcoming ACEI conference in Lille. Music business research is a new multidisciplinary field that puts a number of different analytical approaches into mutual dialogue. It is located at the intersection of economic, artistic, musical, cultural, social, legal, and technological understandings of this cultural industry and it aims to generate a better understanding of the creation/production, dissemination/distribution and reception/consumption of music as a cultural good. As a field it is, therefore, characterized by methodological diversity.

The IMBRA conference track aims to raise the profile of music business research within the broader field of cultural economics and to facilitate further collaboration with the ACEI as in two years ago in Melbourne. The track features five papers that highlight different aspects of music business research.

Paper 1: Dennis Collopy, University of Hertfordshire, UK

Reinventing 21st Century Music Publishing – Disruption, Disintermediation, Disaffection, Dismay and Disposals

Paper 2: Guy Morrow, University of Melbourne, Australia

Designing the Music Business: Design Culture, Music Video and Virtual Reality

Paper 3: Daniel Nordgård, University of Agder, Norway and Roderick Udo, HU Business School Utrecht, The Netherlands

Entrepreneurial decision-making in the European music sector

Paper 4: Peter Tschmuck, University of Music and Performing Arts Vienna, Austria

“Who helps quickly helps twice.” An Evaluation of Governmental COVID-19 Support Programmes for Freelance Musicians in Austria.

Special Session #3

Session title: Reflections on publishing in cultural economics

Special session on publishing schedule: 14:30 – 15:00 CET on 9 July via live online portal on the conference platform.

Session speaker: Prof Doug Noonan current co-editor Journal of Cultural Economics

Session moderator: Prof. Federico Etro, current co-editor Journal of Cultural Economics

Session abstract: I plan to present on recent trends in the Journal of Cultural Economics and offer an assessment of the determinants of success among submissions to the journal. The review of the recent years at the Journal will entail more than just a summary of basic, publicly available information and stats about what has been published. It will also include some information about behind-the-scenes trends, painting a picture of not just the successful outcomes (i.e., published articles) but also the unsuccessful ones. Major themes to discuss involve the topical nature of submissions, the country of origin, co-authorship patterns, and style and content of the submissions (e.g., empirical vs. theoretic, types of theories and empirical models employed). Special attention will be given to the literature review components of submissions and the norms and effectives practices in refereeing and in authors’ responses to R&R requests.


Building on the review of the recent trends, I will then turn the discussion to the future of publishing in the Journal of Cultural Economics (and elsewhere). With the arrival of a new co-editor-in-chief, this is a potentially important juncture in the path of the Journal. I will discuss topics like special issues, short papers and other manuscript types at the Journal, and propose some new alternatives going forward. I will also offer some advice for prospective authors and identify some areas that we feel are particularly promising for future research. Feedback from those attending this talk will be especially welcome.

Special Session #4

Session title: ACEI General Assembly

ACEI General Assembly schedule: 15:00 – 16:00 CET on 9 July via live online portal on the conference platform.

Agenda (link to PDF available soon).

Minutes of Previous Assembly  (link to PDF available soon).