In Mantua, one can see how one family –the Gonzaga family– turned this city into a marvellous enclave, a shining example of the Renaissance. There, one can observe that very Italian practice of using culture and art as tools of power and affirmation. It is not a weapon of a bellicose nature, though perhaps it is just as effective; a lesson we would do well to learn in the present day, when culture is sometimes derided, sometimes trivialised, and sometimes used in a sectarian manner. But that is another story, because in early July 2026 another family –the ACEI family, comprising 22 young master’s degree and PhD students, plus eight senior academics– gathered in Mantua to discuss, debate, and advance the economics of culture.
Figure 1: Gonzaga family, Andrea Mantegna, Palazzo Ducale.
Led by Professor Chiara dalle Nogare, the University of Brescia and various sponsors, the first edition of the ACEI Summer School on Cultural Economics took place between 6 and 10 July. This initiative rounds off our association’s programme of academic and scientific activities, which makes even-numbered years a hectic period of events across the globe, with regional workshops in Europe, Asia, North America, Latin America, and China, and now this summer school focused on early-career researchers. All of this is designed to leave odd-numbered years free for our flagship event –the biennial conference– which will take place next year in Bogotá, Colombia. This is simply a reflection of the strength of the Association for Cultural Economics International as the leading academic hub in this field of study, and one which I am sure will continue to grow in both quality and scope to meet the world’s growing interest in the economic analysis of culture and the arts.
Figure 2: ACEI Summer School’s logo with Isabelle d’Este (Leornardo da Vinci) and Vittorino da Feltre (Pedro Burruguete & Justus van Gent)
Summer schools provide an ideal setting for relaxed debate and open discussion, free from competitive pressure and characterised by a constructive atmosphere. They are also a meeting place for forging and strengthening friendships, for nurturing young researchers’ enthusiasm and thirst for knowledge, and a way for them to test and reaffirm their research projects. Furthermore, they offer an opportunity to enjoy the summer in a truly impressive cultural setting. We must thank and congratulate Chiara dalle Nogare and her team for the excellent organisation, which will undoubtedly serve as a model for future editions. Chiara could not have made a better choice for the Summer School poster; a portrait of Vittorino da Feltre, an Italian humanist who, in Renaissance Mantua, established what was known as the ‘Casa Gioiosa’ (the House of Joy), to emphasise the importance of a comprehensive education, striking a balance between personal learning and civic engagement. This is joined by a portrait of Isabella d’Este, painted by Leonardo da Vinci, a prominent humanist and one of the great patrons of the arts –in other words, someone who believed in the power of culture to shape personal and collective behaviour. I was delighted to discover that the portrait of Vittorino da Feltre was painted by Pedro Berruguete, who was born in my homeland –the province of Palencia– and who is considered one of those responsible for introducing the Renaissance into Spain. He was followed by his son, the great Alonso Berruguete, the supreme exponent of mannerism in wood sculpture. I can imagine the two of them in Italy, far from Castile, learning new ways of expressing beauty as a means of understanding and demonstrating progress.
Figure 3: ACEI group in the Complesso Universitario San Francesco
As I was saying, the ACEI family gathered in Mantua with the aim of making progress in the economic interpretation of culture and art in general. A group of lecturers and students from 18 countries discussed topics such as the economic value of culture, the value of artworks, and the value of artists’ careers and creativity, as well as the role of collectors and museums in conveying value. They also discussed the authenticity and integrity of industrial heritage sites and intangible heritage, where we discovered the distinctive nature of Neapolitan songs and Alpine choirs. There were discussions on audience size and management, and on what impact cultural participation has on perceived well-being. Other topics included the impact of tourism –including ‘geek tourism’– and the importance of amateurism in the cultural and creative sectors. There were many contributions offering a spatial and urban perspective, such as the information system of Creative Cities Network, the effect of cultural facilities on urban land values, and the impact of the European Capitals of Culture. The demand for immersive digital applications in museums was analysed, alongside the impact of the invention of photography on creative output. Adaptation to climate change was also addressed –both within cultural institutions and at heritage sites– as was the evaluation of cultural policies in cases such as cultural vouchers or symphony orchestras. Opportunities for entrepreneurship and economic development were explored, both within mature creative ecosystems in European regions and across OECD countries, as well as within the craft sector in India. The course concluded with a session on agent-based modelling for cultural economics, followed by an edithaton-style workshop to expand on concepts and the history of ACEI on Wikipedia.
It was a very fruitful week, a true house of joy and it provided a constructive discussion amongst a group of talented students and committed scholars. Summer has a particularly fertile and appealing quality about it; time seems to stretch and the heat opens the mind so that it is able to naturally embrace experiences and conversations of the most diverse nature. Our time together extended far beyond the academic sessions. For example, we discussed Monteverdi at a kiosk where reggaeton music was playing. We explored Lake Superiore, turning water lilies into improvised and creative hats, and we enjoyed Mantua’s immense architectural heritage (Palazzo Te, Palazzo Ducale, etc.), whilst keeping an eye on the results of the World Cup. Some even went so far as to appreciate Raffaella Carrà’s songs as an expression of subjective well-being, whilst at the same time reconciling with Aida at the Arena di Verona as an objective condition of happiness. Such omnivorous eclecticism is particularly characteristic of summer, but perhaps it is also the idiosyncrasy of cultural economists who are, after all, determined to use economic analysis to objectively measure our desire to gauge emotion. For this reason –and with still vivid memories of a fantastic week– we would like to wish everyone a happy summer with a song that is also, in its own way, a fresh and diverse summer cocktail, as it features an Italian singer (Zucchero) singing in English with a touch of Spanish; this is none other than ‘Baila Morena’, a song recorded in 2001 –just as young as our students at the ACEI Summer School. Enjoy it and have a great summer!
Figure 4: ACEI group in Palazzo Te, Giulio Romano.
Meeting
1st ACEI Summer School in Cultural Economics. Organized by the University of Brescia. Organizing Chair: Chiara dalle Nogare
Meeting programme
Discover the full programme here: https://www.linkedin.com/posts/association-of-cultural-economics-international_acei-first-summerschool-cultural-economics-activity-7481417484223348736-I4ph?utm_source=share&utm_medium=member_desktop&rcm=ACoAACM23-4BCE3J1Wvfiw9Mqp4AhFRD8Y9-ghg
About the author
Luis César Herrero-Prieto is Professor of Applied Economics at the University of Valladolid, Spain, and Past-President of the Association for Cultural Economics International.
About the images
Author’s own.
