{"id":5340,"date":"2025-01-16T13:49:53","date_gmt":"2025-01-16T12:49:53","guid":{"rendered":"https:\/\/hacnumedia.org\/a-study-to-diversify-the-economic-models-of-digital-arts-organisations\/"},"modified":"2025-12-22T11:07:31","modified_gmt":"2025-12-22T10:07:31","slug":"a-study-to-diversify-the-economic-models-of-digital-arts-organisations","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/a-study-to-diversify-the-economic-models-of-digital-arts-organisations\/","title":{"rendered":"A Study to Diversify the Economic Models of Digital Arts Organisations."},"content":{"rendered":"\n

Digital Inter\/Section<\/a>, a multi-year project supported by the European Commission\u2019s Creative Europe programme, has just released four case studies highlighting innovative financial strategies implemented by digital arts organisations and festivals across Europe. Signal Festival in Prague, Kikk in Namur, Kontejner in Zagreb, and Chroniques in Aix-Marseille have all taken part in research that identifies key areas of economic resilience and diversification of revenue sources. What are these economic strategies? What lessons can be drawn from these studies? We take a closer look alongside Fabien Fabre, one of Digital Inter\/Section\u2019s project managers.<\/strong><\/p>\n\n

The cultural sector is facing stagnation\u2014or even a reduction\u2014of public funding (in France, see the barometer<\/a> \u201cBudgets and Cultural Choices of Local Authorities: National Report 2024\u201d or the budget cuts<\/a> by the Pays de la Loire Region), and digital arts organisations and festivals are no exception. Yet some refuse to accept the status quo and are diversifying their economic models, adopting strategies still rarely seen in this field. This is precisely the dynamic highlighted by a study conducted by Digital Inter\/Section, which begins with an in-depth economic analysis of the sector. \u201cThe first stage of the study was entrusted to The Catalysts, a firm specialising in cultural economic models. We conducted an international survey across dozens of organisations to identify meta-models or inspiring initiatives. The aim was to map our value chains. This led to a <\/em> first publication<\/em><\/a> en a d\u00e9coul\u00e9\u201d<\/em>explains Fabien Fabre. Building on these initial findings, key players such as Signal Festival (Prague), Kikk Festival (Namur), Kontejner (Zagreb), and Chroniques (Aix-Marseille) were then invited to detail their approaches. Through extensive interviews<\/g>, they shared their projects, target audiences, resources and the key factors behind their success. The study highlights a collective willingness to reinvent the economic models of digital arts while relying on solutions adapted to today\u2019s challenges. <\/p>\n\n

4 Paths Toward Economic Diversification <\/strong><\/h2>\n\n

In Aix-Marseille, the biennial CHRONIQUES <\/a>has chosen an original approach to diversify its income streams<\/a>. At the opening of its 2025 edition, it launched the March\u00e9 des Imaginaires Num\u00e9riques (MIN), an event dedicated to cultural and creative industries. Organised last November, the marketplace combined conferences, workshops, and a fair where start-ups and businesses from the cultural and creative industries (CCI) presented their projects. \u201cExhibitors contributed financially. Everyone benefits. It\u2019s a way to showcase the attractiveness of the region and to reaffirm Chroniques\u2019 position as an economic driving force beyond its artistic and cultural activity,\u201d explains Fabien Fabre.This event-based strategy mirrors that of Kontejner <\/a>in Zagreb, although the Croatian organisation stands out with its hybrid model. It has created a social enterprise, of which the parent association is a shareholder, to commercialise a fully equipped space and offer additional services<\/a> such as talks or creative workshops. \u201cThe goal is to build a real community around this offer. In the long run, Kontejner could operate like a social club, bringing together citizens, artists, partners and companies,<\/em>\u201d says Fabien Fabre. <\/p>\n\n

\"\"
\u00a9Pierre Gondard DIS – Case Study – Chronique<\/em><\/figcaption><\/figure>\n\n

Meanwhile, Kikk in Namur and Signal in Prague have chosen different commercial strategies. In 2022, KIKK inaugurated a new venue: Le Pavillon<\/a>, which produces temporary exhibitions primarily aimed at the local and national public, as well as school groups. \u201cWhat makes the initiative unique is the development of a community of individual and professional patrons around the project\u2019s values,<\/em><\/em>\u201d comments Fabien Fabre, referring to the Klub Pavillon<\/a>. Patronage clubs\u2014already common in other arts sectors (opera, dance\u2026)\u2014are still largely underused in the digital arts field. Signal Festival, for its part, is developing new revenue streams via premium paid experiences, such as the Gallery Zone, offering exclusive access to digital art installations. While the festival currently attracts over 200,000 visitors annually to its free sections, \u201cthe aim of the project is to build on the strong attachment to the festival by refining audience segmentation, improving the value proposition of paid zones and increasing the conversion rate from free visitors to paying customers,\u201d explains Fabien Fabre. All of these initiatives reflect a shared ambition to explore new avenues to finance and sustain cultural organisations while leveraging local synergies. <\/p>\n\n

\"\"
\u00a9Marko Miscevic Brainwaves Brand Stories-Neuroscientific Storytelling workshop at KONTEJNER organized by HURA The Croatian Association of Communication Agencies<\/em><\/figcaption><\/figure>\n\n

Lessons from the Case Studies <\/strong><\/h2>\n\n

Launched just a year ago, the economic initiatives of the four cultural organisations still require time to reveal their full financial potential. \u201cIn a year, we\u2019ll have enough distance to evaluate these approaches, but several lessons are already emerging,\u201d says Fabien Fabre. Among these insights, the crucial importance of thoroughly understanding one\u2019s ecosystem\u2014both local and international\u2014stands out as indispensable. This begins with a detailed study of audiences, a recommendation summed up by Martin Po\u0161ta, director of Signal Festival: \u201cInvest in understanding your audience. Analysing visitor behaviour and expectations provides the essential information needed to create real value.\u201dIn sectors such as music, these analyses are widespread, enabling precise segmentation and an in-depth understanding of behaviours, expectations and needs. \u201cIf we want to establish a fair ticketing policy, adapted to both audiences and organisations, this marketing step is essential,\u201d adds Fabien Fabre. Music festivals have mastered this methodology; digital arts organisations would therefore benefit from doing the same. However, this approach remains uncommon in the cultural sector due to a lack of specific skills. \u201cOne of the keys to success is collaborating with qualified experts. Working with professionals\u2014like the research agency that supported us\u2014was essential for validating our data accurately,\u201d explains Martin Po\u0161ta. For organisations in transition, investment in data and the associated expertise appears to be the strategic lever necessary for the long-term sustainability of their hybrid models. <\/p>\n\n

\"\"
\u00a9SIGNAL DIS – Case Study – Signal Festival<\/em><\/figcaption><\/figure>\n\n

While marketing is now recognised as a strategic axis for economic development in digital arts, communication remains an under-invested lever\u2014despite being essential to support these transformations. This begins internally, as highlighted in the study conducted by Kikk Festival: \u201cThe first year is demanding in terms of team dynamics and resource allocation, but it helps to prepare internal communication more effectively.\u201d A finding echoed by Fabien Fabre, who also stresses the importance of communication for reaching audiences, partners and clients. \u201cFor example, one area of improvement for the MIN (March\u00e9 des Imaginaires Num\u00e9riques) would be to intensify communication in order to give it broader visibility,\u201d he explains.Paradoxically, this lack of investment contrasts with the practices of new private actors entering the mainstream immersive creation market. These organisations\u2014often outside traditional institutions\u2014are not hesitant to dedicate substantial resources to marketing and communication to promote their immersive exhibitions. \u201cThe problem is that these newcomers siphon off the value generated by digital creation, even though their artistic proposals are not always on par with those from established institutions,\u201d comments Fabien Fabre. This competition raises a crucial question for historic digital arts actors: how can they regain ground against private operators who are far more aggressive on these levers? <\/p>\n\n

\"\"
\u00a9SIGNAL DIS – Case Study – Kikk<\/em><\/figcaption><\/figure>\n\n

Imagining What Comes Next <\/strong><\/h2>\n\n

Digital Inter\/Section is preparing to conclude its study phase in February 2025 but remains committed to an ambitious goal: strengthening the ties between digital arts organisations and festivals across Europe. \u201cThere are far too few network initiatives at the European scale,\u201d laments Fabien Fabre. In response, the team is considering launching a tour of conferences designed to create a shared space for reflection on the diversity of existing economic models. \u201cThe idea is to encourage these initiatives, share experiences and ultimately contribute to the economic resilience of the sector\u2019s stakeholders,\u201d he adds. By pooling knowledge and fostering transnational dialogue, Digital Inter\/Section aims to help build a stronger and more sustainable European ecosystem for digital arts\u2014a vital necessity for the years ahead. <\/p>\n\n

Adrien Cornelissen<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Digital Inter\/Section, a multi-year project supported by the European Commission\u2019s Creative Europe programme, has just released four case studies highlighting […]<\/p>\n","protected":false},"author":2,"featured_media":5339,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[43],"class_list":["post-5340","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-impact","tag-economy","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/comments?post=5340"}],"version-history":[{"count":1,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5340\/revisions"}],"predecessor-version":[{"id":5341,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5340\/revisions\/5341"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/5339"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=5340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=5340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=5340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}