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Kunst in Organisationen. Analyse und Kritik des aktuellen Wissenschaftsdiskurses zu Wirkung künstlerischer Interventionen im organisationalen Kontext.
Abstract
"Art and management" is an expanding theoretical and practical field today. For being successful in business there is a growing demand of being creative, releasing innovative products and coping with changing environments. The management is forced to come up with new ideas and methods to fulfill these requirements. One of those methods is to learn from the arts. In consequence, managers start projects in which they integrate art, artists and artistic processes in their organizations. The scientific discussion about what management can learn from the arts and what effects particular art projects in organizations can have, but there is still a lack of mapping the field to show which possibilities of bringing art into organizations exist and which effects these projects can provide. So the research question of this study is, "What are the effects of working with art, artists and artistic processes in organizations?" The first part of the study contains a collection of phenomena introducing art, artists and artistic processes into organizations to show which possibilities exist and learn about the different effects.
Looking at the phenomenology there are characteristics the effects of art projects have in common like establishing identity, inventing and implementin innovation, improved communication, increased attention and ability to change the point of view and increased aesthetic sensibility.
The second part of the study is based on exploring theories of art, their predicted effects of the arts and what those theories say about artistic processes. Therefore theories of authors important for their theories of art and most cited in current literature about the arts in organizations are chosen. These authors are: Boris Groys, Immanuel Kant and Joseph Beuys. The last step is to compare the results gained by the inductive analysis (phenomenology) and the deductive analysis (theory).
Discrepancies can bring up issues interesting for further investigation or show problems as well as new fields of practical applications.
... In den meisten Fällen konzentrieren sich Publikationen über Fallstudien entweder auf ein einzelnes Projekt (Bogerts, 2014;Bozic Yams, 2016a;Brattström, 2012;Haselwanter, 2014;Hujala et al., 2015), was den Vorteil hat, in die Tiefe gehen zu können, oder analysieren eine relativ große Zahl an KBI (Berthoin Antal and Strauß, 2016;Biehl-Missal, 2011;Grzelec and Prata, 2013;Schnugg, 2010), was ein höheres Potenzial für systemische Vergleichbarkeit bedeutet. In dieser Arbeit wähle ich den Mittelweg. ...
... Um herauszufinden, ob der jeweilige Ansatz einer KBI diesem Ziel entsprechen kann, wird das Verhalten der jeweiligen Teilnehmerinnen in einer Vielzahl von Publikationen besprochen (z. B. Bout and Mortier, 2014;Eaves, 2014;Johansson Sköldberg et al., 2016;Rusch, 2012;Warren, 2012;Zambrell, 2016a (Bozic Yams and Helldorff, 2016), dass KBI generell emotionale, physische und intellektuelle Reaktionen hervorrufen können (Bout and Mortier, 2014, S. 28) und infolge dessen zur persönliche Charakterund Kompetenzentwicklung beitragen können (Schnugg, 2010). Der Prozess einer KBI löst häufig Unsicherheiten aus (Amacker, 2017;Biehl-Missal, 2013;Zambrell, 2016a), mit denen die Teilnehmer jedoch einen kompetenten Umgang lernen können (Biehl-Missal, 2011;Geschwill, 2015;Rusch, 2012). ...
... z. B. Berthoin Antal, 2011;Biehl-Missal, 2011;Schnugg, 2010), mit deren Hilfe Forscherinnen seit einiger Zeit versuchen, Prozesse zu formen, die für Nicht-Künstler nachvollziehbar und damit multipel anwendbar sind (vgl. z. ...
Kunstbasierte Interventionen (KBI) können guten Gewissens als einer der großen Hypes des 21. Jahrhunderts bezeichnet werden. Besonders dann, wenn sie im Zusammenhang mit Veränderungsprozessen in Organisationen genannt werden. Von künstlerischen oder kunstbasierten Interventionen spricht man dann, wenn Kunstschaffende in Organisationen tätig werden – sei es als Lehrende im Rahmen von Workshops für Mitarbeitende oder als Artists in Residence, die für einen bestimmten Zeitraum ihr Studio durch die Räumlichkeiten der Organisation ersetzt haben. Doch was macht das künstlerische Denken und Handeln überhaupt aus, dass es so in den Fokus unterschiedlichster wissenschaftlicher Disziplinen und das Innovationsmanagement geraten ist? Die vorliegende Arbeit destilliert einzelne Parameter dieses Denkens und Handelns und bietet schließlich eine Antwort auf die (zugegebenermaßen überspitzte) Frage, ob man unbedingt tanzen muss, um neue Arbeitsweisen in Organisationen zu etablieren.
... Arts-based initiatives (ABI) or artistic interventions in general have been brought into organizational (especially corporate) contexts to address these challenges named above. ABIs have been investigated by management and organization scholars throughout the last two decades, as interventions and initiatives on all organizational levels in order to add value and create change, in areas including product development, human resources, learning processes, and organizational development [1][2][3][4][5]. Various theoretical angles have been used to analyze ABIs and their effects in organizations [e.g., [6][7][8]. ...
... Beyond that there are certain organizational goals that can be addressed through ABIs without their effects on an individual level. These can be organizational communication through artworks or artistic contributions that are consultative [3][4][5]. As a meta-analysis shows [38], previous studies also indicated that arts-based initiatives can have impacts on the organization's surroundings or create and enrich the organization's external relationships. ...
... This is the level where most effects have been found. These effects of the interaction between incoming artists and employees in the organization can be understood from multiple theoretical perspectives relevant to organizational culture, human resource development, innovation and creativity, strategic development, products, and vision [4]. For example, seeing organizations as a set of practices [83] can help to understand the contributions of individual learning and interpersonal experiences in artscience collaboration to organizational needs. ...
Artists are often seen as innovators and producers of creative and extraordinary new ideas. Additionally, experiencing art and artistic processes is an important opportunity for learning and exploration. Thus, corporations and scientific organizations have experimented with initiatives that generate artscience collaboration, such as fellowships, long-term collaborations with artists, and artist-in-residence programs. Looking at outcomes in the long-term, it is possible to identify important contributions to scientific, technological, and artistic fields that stem from artscience collaboration opportunities in organizations. On the other hand, it is often difficult to define immediate tangible outcomes of such processes as innovation as interdisciplinary interaction and learning processes are valuable experiences that do not always manifest directly in outcomes that can be measured. Drawing from cases of artscience programs and qualitative interviews with program managers, scientists, and artists, this article explores how artscience collaboration in an organization adds value and helps overcome organizational challenges regardless of such outcomes. By shifting the focus from the outcome to the process of artscience collaboration, it is possible to discover in more depth value-added contributions of artscience experiences on an individual level (e.g., new ways of knowing and thinking, understanding of materials and processes, and learning). Moreover, such contributions tell stories of connecting the process of artscience programs to the organizations’ goals of developing a new generation of leaders and driving a more adaptive, innovative culture. These benefits of artscience opportunities need to be supported by managerial activities in the organization. Thus, it enables a more differentiated understanding of possible contributions of artscience collaboration to organizations and helps to define the best model to create such opportunities. The article also recommends future research directions to further advance artscience collaboaration, especially in light of pertinent movements such as STEAM and Open Innovation, and promising developments in related fields such as neuro-aesthetics.
... They were even less likely to be able to study problematic cases that could be compared with more successful ones in order to identify factors that make the difference. Fortunately, in the past few years some large studies have been conducted, partially as a result of demands from policy makers (e.g., the Creative Clash project funded by the European Union, as reported by Berthoin Antal & Strauß, 2013), and partially thanks to PhD students who investigated cases (e.g., Schnugg, 2010; Rae, 2011; Strauß, 2013). The growth of the field internationally has also started to enable cross-border learning, a process to which this symposium intends to contribute by sharing experiences and analytical perspectives from different countries. ...
... Perhaps there is no better label for the use of musical interventions in global and organizational crises than that of poetic activism. Activists, great artists, and great leaders share three fundamental perspectives (Adler, 2006; 2010). They all demonstrate the courage to see reality the way it is. ...
In artistic interventions artists are invited into organizations to work with management and employees on issues that concern them, such as generating ideas for new products and services, supporting skills development (e.g., leadership, communication, and creativity), or clarifying organizational identity. For this panel symposium we bring together international scholars who have studied various governance-related aspects of artistic interventions in organizations. They will address the kind of leadership that fosters or impedes the capacity of artistic interventions to tilt organizations, the roles of intermediaries who bridge between the world of the arts and the world of organizations, and the potential of artistic interventions for addressing conflict. The symposium will also include an example of a new approach to inquiry developed by an artist in the context of her PhD research to reflect on aesthetic ways of knowing in the process of addressing conflicts. Panelists are junior and senior scholars who have researched artistic interventions in Austria, France, Germany and Sweden from the perspective of the key stakeholders involved: the artist who uses her professional competencies in the process of intervening, the manager who is responsible for initiating an intervention, and the intermediary who works with employees and the artist to enable the intervention. After brief individual presentations the moderated discussion will offer session participants the opportunity to delve deeper with the panelists into experiences with different art forms and diverse cultural contexts, as well as to address difficulties that occur in artistic interventions about which little has been written.
... List of asserted effects of arts-based initiatives in business organizations Numbers indicate in how many cases out of 74 the specific effect was asserted;Schnugg (2010) Challenging Organisations and Society ...
Artists explore new territories in their work by exploring new media, imagining new futures, contextualizing ideas, creating aesthetic investigations into
new environments, or posing questions and leading theoretical discussions.
Interaction among art, science and technology can contribute to the creation
of future societies – of future realities – on many levels, e.g., it can contribute
to communication, create experience, enrich discussions, feed into scientific
processes and support personal learning.
Especially when it comes to something influential like current developments
in Artificial Intelligence, contributions of artscience collaboration can be essential for designing a positive future reality for our society. Supporting collaborations in organizations through well-structured formats in the organization supports the realization of elaborate art on the topic that contributes to
important developments in the organization as well as to an informed discussion with broad audiences and shareholder groups.
... Similarly, challenges or problems associated with art-based initiatives are rarely mentioned. A total of no more than 13 statements point to -potential conflicts over expenses for art (3) 4 or difficult to interpret artworks (4), -problems solving potential conflicts invoked by art-based initiatives (2) (Barry & Meisiek, 2010;Schnugg, 2010). Second, if art-based initiatives result in the claimed broad set of positive effects, one would expect to find them as an integral part in the standard management repertoire. ...
Artistic interventions have entered the portfolio of approaches to develop people and organizations, thereby expanding theories of organizational learning and culture with aesthetic dimensions. Research shows that organizations of all sizes and types have worked with many forms of art to stimulate new ways of thinking and to support experimentation with new processes, products and services. Studies have documented numerous kinds of possible benefits. They emphasize that the generation of organizational-level value depends on individuals experiencing value-added in the interspace during the artistic intervention and on management support for following up on ideas and initiatives afterwards.
Artistic interventions have entered the portfolio of approaches to develop people and organizations, thereby expanding theories of organizational learning and culture with aesthetic dimensions. Research shows that organizations of all sizes and types have worked with many forms of art to stimulate new ways of thinking and to support experimentation with new processes, products and services. Studies have documented numerous kinds of possible benefits. They emphasize that the generation of organizational-level value depends on individuals experiencing value-added in the interspace during the artistic intervention and on management support for following up on ideas and initiatives afterwards.
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