Find out who’s been shortlisted for an A&B Cultural Branding award courtesy of the very charming Kate Mosse.
A shift towards using art and culture as a way of developing a meaningful dialogue and engagement between consumer and brand
Archives for the month of: July, 2009
Bonjour mes amis! The Paris Electrolux Art Home is here! Electrolux is undertaking a rebrand in France and the Art Home, pronounced ‘Arôme’, is a seriously shrewd move for the company to position themselves as a ‘brand that allows consumers to express themselves’. Partnering with the avant-garde, contemporary art centre Palais de Tokyo, artist Laurent Grasso and culinary director Gilles Stassart, Electrolux are providing a new way of experiencing their products and inspiring visitors with a revolutionary new way to dine and experience food. The concept, Nomiya, is named after the tiny bars in Japan and in reality is a beautiful glass box on the roof of the Palais de Tokyo which you can book for intimate dinner parties, culinary workshops and tours with a view of the Eiffel Tower, of course. From its construction, journey through Paris, to its installation, the Nomiya has been lovingly filmed on every step of its journey.
Art Home, Palais de Tokyo, Paris
There is also an exclusive Facebook group for anyone who is lucky enough to enjoy the dining experience. Arôme will be open for 12 months in Paris, but watch this space – there are plans to bring the online club concept to London, vive la revolution!
Technology and the rise of user-generated content will radically change the traditional model of arts sponsorship as new, collaborative, mutually beneficial partnerships begin to take shape and evolve.
No longer mere passive recipients, art and commercial customers if they are to be fully engaged in these new ‘transformational relationships’ must fulfil the ‘prosumer’ profile – that is consumers who produce and participate in the creation of products and experiences themselves. In this way, authenticity is gained.
Specifically applying this to the arts – and museums and galleries – business can build these authentic relationships with existing and potential customers by working with institutions to promote user-generated content, feedback, direction and narrative – and arts institutions can offer new and novel sponsorship opportunities.
The US has led in the fusion of institution and audience. Daniel Incandela, Director of New Media at the Indianapolis Museum of Art, has led a team which has produced a number of exciting applications including the recently launched Art Babble and looks at means of embedding UGC into the museum ‘experience’.
So if the traditional model of arts sponsorship is finally falling by the wayside as collaborative, mutually beneficial partnerships take shape and evolve, there is an undoubted mutuality to the opportunity that is immensely appealing in terms of re-imagining how new forms of cultural production and consumption can become increasingly central to our lives.
