Tourismus Management

Transcription

Fakultät für Tourismus der Hochschule München
www.tourismus.hm.edu | ISSN 1866-3044 | 4,80 e, Studenten 1,80 e
Tourismus Management Passport
Edition 2014 Kunst & Tourismus
FAKULTÄT FÜR TOURISMUS
Passport
Edition 2014 Kunst & Tourismus
Inhalt
Inhalt
Editorial
Forschung
Prof. Dr. Theo Eberhard, Dekan�� 3
Nationalpark Hochwald-Idarwald
Thomas Bausch, Volker Letzner und Sonja Munz�� 58
Kunst & Tourismus
Die Kunst und das Reisen
Studium
Jörg Bachhofer�� 6
Vorausschauend studieren –
Das ETHIKUM an der Hochschule München
Der Anfang eines Münchner Kulturmonitors?
Lisa Nanz�� 62
Sonja Munz�� 10
Wie Kunst und Kultur den Tourismus prägen
Ralf Gabriel�� 13
Das Staatliche Museum Ägyptischer Kunst
Naturpark Steigerwald – Spannungsfeld
zwischen Tourismus und Waldnutzung
Peter Voigt�� 63
Sylvia Schoske�� 18
Real Project: Social Entrepreneurship
im Tourismus
Kunsthalle München – Eine Erfolgsgeschichte
Christina Tölkes�� 64
Oliver Kasparek�� 19
Was Kulturtouristen bewegt
Jochen Gnauert�� 22
Tourismus und staatliche Kulturbetriebe
am Beispiel des Staatstheaters am Gärtnerplatz
Max Wagner�� 26
Kunst ist in der kleinsten Hütte – Ein Plädoyer für mehr Mut
zur örtlichen Kultur im touristischen Angebot
Ulrich Pfaffenberger�� 29
Die Kunst der vielen Dimensionen – Wie die Bildsprache der
Bayerischen Philharmonie die Energie sichtbar macht, die in
Musik enthalten ist und die Musiker freisetzen
Ulrich Pfaffenberger�� 30
Von Gänsen und dem Tod – Kunst in der Toskana
Destination Development at first hand
Dominik Drexel, Kristin Pittelkow, Christin Vogel,
Franziska Weissbarth und Matthias Winter�� 66
Auf den Spuren der Zeit –
Technik und Innovation aus dem
Blickwinkel von Studierenden
Karina Schneider�� 70
Auf Fallstudienexkursion
am südöstlichsten Zipfel Deutschlands
Andrea Mende�� 72
Augsburg auf dem Weg zum UNESCO-Weltkulturerbe?
Katrin Berka und Kerstin Schmidt�� 73
International
Theo Eberhard�� 31
Das Bayerische Gartennetzwerk
hält viele ungeahnte Schätze bereit
Sabine Freifrau von Süsskind�� 36
Kunst muss nicht schön sein – Kunst darf auch schockieren!
Georg Schweisfurth�� 39
Kunst als Alleinstellungsmerkmal in der Hotellerie
Burkhard von Freyberg�� 41
Wie Phönix aus der Asche
Axel Gruner�� 44
Unsere Partnerhochschulen in Finnland und den Niederlanden
HAAGA-HELIA University of Applied Sciences, Helsinki
Ari Nevalainen�� 76
JAMK University of Applied Sciences, Jyväskylä
Laura Siltala�� 78
NHTV Breda University of Applied Sciences, Breda
Virginia van der Wel�� 79
Stenden University of Applied Sciences, Leeuwarden
Geertje Rinks�� 80
Tourismus in Bayern
Zeit für München – Zeit für Kultur?
Geraldine Knudson�� 46
Tourismus Initiative München e.V.
Kreuzfahrtschiffe erobern die Weltmeere –
Ist das grüne Gewissen auch mit an Bord?
Birgit Häffner�� 50
Peter Greischel�� 82
Tourismus Oberbayern München e.V.
Nachhaltiges Destinationsmanagement in den Alpen
Interview mit Robert Salzl �� 53
Katrin Berka und Cora Daudert�� 84
Tannheimer Tal�� 54
4
Gäste unserer Fakultät
Passport Edition Kunst & Tourismus
Fachkräftemangel im Tourismus
Sebastian Chwojka und Christin Vogel�� 85
Alumni
Karrieren – Ehemalige stellen sich vor!
Stefan Raich und Henrike Färber�� 86
Die Fakultät
Passport
ITB Berlin – Immer eine Reise wert!
Stefanie Armbruster�� 88
Bildung für nachhaltige Entwicklung (BNE)
Christina Tölkes und Elias Butzmann�� 90
Neues „Accor-Lernstudio“ eröffnet
Alexander Pesch�� 91
Praxis trifft auf Wissenschaft��92
f.a.s.t. e.V. – Die Studierendenvertretung��94
ProfessorInnen der Fakultät für Tourismus��96
Wir verabschieden uns von Prof. Dr. Patricia East
und Prof. Dr. Djamal Benhacine��98
Unsere MitarbeiterInnen�� 102
Lehrbeauftragte an der Fakultät (eine Auswahl…)�� 103
Internationale Gastdozent(inn)en �� 104
Unsere Absolventen 2014: Herzlichen Glückwunsch!�� 104
Sichtvermerk: Ortstermin�� 106
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Herausgeber: ©Prof. Dr. Theo Eberhard, Fakultät für Tourismus, Hochschule München, Schachenmeierstraße 35, D-80636 München Internet: www.tourismus.hm.edu V.i.S.d.P: Prof. Dr. Theo Eberhard Redaktion: Kerstin Mesch
ISSN: 1866-3044 Verlag: vmm wirtschaftsverlag gmbh & co. kg, Kleine Grottenau 1, 86150 Augsburg, www.vmm-wirtschaftsverlag.de Media- und Objektleitung: Hans Peter Engel, Tel.: 0821 4405-420, [email protected] Titelbild: Prof. Dr. Theo Eberhard Bilder: Hochschule München;
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Art & tourism
Art and Travel
Places of longing for the artist
and how artists promoted tourism
land and have again and again projected it onto real places. (In reality,
Arcadia was a barren, dry region on
the Peloponnese which was barely
able to feed its people).
The real world as
travel destination
Jörg Bachhofer
L
ooking for similarities between Odysseus and tourists on a Mediterranean cruise today is not as harebrained as it may seem.
The Homeric myth about the
wanderings of this ancient hero is in
any case one of the most effective
symbols of Man’s restlessness and his
inability to stay at home satisfied and
relaxed; in other words, of his desire
to travel. What does however dis
tinguish the modern tourist from Odysseus is his curiosity and his willingness to take risks.
In every age many artists have aspired through their art to create a
more beautiful, more intellectual and
freer “world” as an alternative to the
banality of everyday life, to transcend
life and put it on an aesthetic level.
The “virtual” location for this, the
place of longing par excellence was
created by Virgil, the pre-Christian
Roman poet. His “Arcadia” is a place of
refuge and dreams beyond the reach
of history: fruitful, thriving, warm,
inhabited by happy, natural people.
His tales of “unspoilt” farmers and
shepherds play out here.
Poets and painters from the Renaissance up into the 20th century
have been inspired by this dream
6
Passport Edition Art & tourism
More than a thousand years later, after an age dominated by the Christian
belief in the hereafter, the Renaissance in Italy pitted a new, bourgeois
culture with its positive attitude to
life here on earth against the other-worldliness of Catholicism.
Its model was the all-embracing
sense of harmony, clarity, beauty and
intellectual profundity of ancient
Greece. Greek and Roman architecture, art, philosophy, concepts of
state and society became, at first in
Italy, the benchmark for a new Christian view of the world.
This and stories of the beauty and
charm of the southern landscapes
with their mild Mediterranean cli
mate quickly led to Italy and Greece
becoming Arcadian places of longing
in the “transalpine” North.
Painters, among them the brilliant Albrecht Dürer, made their way
south to study the new Italian art,
which focussed entirely on ancient
models. The paintings by these masters which were done before or after
their journeys to Italy differ significantly from their earlier works.
The expressive, occasionally raw
realism of Nordic late-Gothic painting then often gave way to more harmonious and slightly idealized de
pictions of religious and profane
subjects.
In addition to centres such as
Florence and Milan which were fervent supporters of Greek and Roman
humanism in the early and late Renaissance periods, the city of Venice
became a further cultural magnet
and an early “touristic” destination, at
first for artists and poets.
Venice’s lucrative trade with the
Orient and especially with Byzantium not only brought a hitherto un
known wealth of unknown goods
such as magnificent silks and spices
to Europe, it also brought back news
of mysterious, exotic and distant cultures. (First contacts with the Orient
were made back at the time of the
Crusades. The architecture from that
period still bears witness to this influence.)
Venetian painting differs from
the rather more severe, more “intellectual” painting of the Renaissance
centres of Florence, Rome etc. in its
sensuous use of colours, influenced
by the Orient.
The birth of the souvenir
Italian art from the period was enthusiastically collected by the European
nobility. Nobles and rich burghers
soon followed in the footsteps of the
travelling artists and thus, in the 18th
century, a cultural tourism grew up,
in particular among the English and
French upper classes.
Young nobility and the children
of well-off burghers were sent off on
a “Grand Tour” in the time between
completing their studies and starting
out on their career. This was usually a
one- to two-year journey to the most
famous and already transfigured art
centres such as Rome, Athens, Venice
and Florence. Modern tourism owes
its name to the “Grand Tour”.
Writers such as Lord Byron and
Stendhal described their “heavenly
excitation” at the sight of ancient
sites and southern landscapes and
found attentive readers in the North.
Yearning for the South
Goethe’s “Italian Journey” and the picture painted by Johann Heinrich Wil-
Art & tourism
liam Tischbein showing the famous
poet in his travelling coat standing
between Roman ruins, also fired this
yearning for the South. A journey to
Italy became the modern thing to do.
German painters who took pride
in themselves and their work often
spent years in Rome to get inspiration,
and found in tourists from the nobility and the middle-classes a ready market for their paintings which, when
these got to the North, in turn served
to intensify the longing for Italy.
Even further south, in Egypt,
hordes of researchers, in particular
archaeologists, came into the country
in the wake of the Napoleonic campaign in 1798, fascinated by the treasures of this ancient culture. This lead
to a fascination for everything Egyptian, one can even call it “egyptomania”, particularly in France. Everyday
objects such as chairs, cups etc. were
“egyptianized”, the threshold to
kitsch was quickly crossed. Egypt, like
Greece and Italy, became a destination for tourists.
Another, and from a modern-day
perspective less welcome and completely non-artistic aspect of the increasing love of travel, was the strong
expansionism of the rising trading
and industrialized nations of Europe,
namely colonialism.
After Spain and Portugal had already subjugated South America in
the 16th century, the subjugation of
India, Africa and large areas of Asia by
the British, Dutch, Belgians, French,
and at the end by the German Empire,
followed.
The picture one had of these newly conquered regions of the world differed radically from that of the Philhellenes with their enthusiasm for
culture and of the Italy admirers.
It was determined by economic
interests and characterized by a disrespectful and condescending picture
of the native inhabitants who, as “heathens”, were considered second-class
citizens anyway. The magnificent cultures of the [colonized] countries
were neither recognized nor appreciated, but at best looked on with astonishment as “exotic” curiosities.
Occasionally a touch of colonial
arrogance can still be detected in the
way some modern-day “tourists” view
holiday destinations.
A different view of the “exotic” is
the “noble savage” as expressed by
the French nature philosopher Rousseau. The idea that because of its purity the natural state is morally good
took firm root in the highly-civilized
Europe of the late 18th century.
As late as 1900 the symbolist
painter Paul Gauguin left Europe, recognizing in the exotic the last possible projection. (He did not however
escape the downside of everyday life,
even in faraway Tahiti.)
His art however tells of a magical
mythical, beautiful, distant Arcadia,
which lives on in the collective consciousness of Europeans. Long-distance tourism probably owes much of
its inspiration to Gauguin.
In the late 18th and early 19th centuries painters in France, England and
Germany began to get enthusiastic
about the beautiful landscapes of
their own native countries. There was
already a highly-developed school of
landscape painting in Holland as early as the 16th century.
Venetian townscapes, the Vedutas
by painters such as
Canaletto and
Guardi sold like hot
cakes. This was the
birth of the (upmarket) souvenir.
akg-images/
Rabatti-Domingie
Places of longing for
the bourgeoisie
They left the towns, the actual places
of longing for the bourgeoisie of that
time (“town air sets you free”), which
7
Art & tourism
in the course of increasing industrialization had become noisy, cramped
and dirty.
Whereas during the age of Classicism Nature was still treated as something “heroic” which inspired respect
and fear, the Romantics experienced
Nature as an intimate place where
Man and Nature were one.
Sensitivities, moods, the “soul” of
the painter were incorporated into
depictions of the Alpine region, of
woods, meadows, coastlines and river
landscapes.
The “romantic” view of the painters of the early 19th century still determines our perception of “beautiful
landscape” today.
Casper David Friedrich is a prominent representative of this view of
Nature.
In the wake of the swarming
crowd of artists and stimulated by the
beautiful soulful landscape paintings
of artists such as Wilhelm von Kobell,
Eduard Schleich etc. the bourgeoisie
from the towns now set out to discover Nature. The works of the Munich
landscape painters can be admired in
the Neue Pinakothek and in the Lenbachhaus.
The Bavarian king is reported to
have been so carried away by the idyllic paintings of the Bavarian uplands
that he bought the monastery at Tegernsee and turned it into one of his
residences. He was followed by a flood
of Munich townspeople who now began to rent accommodation from the
farmers during the holiday period
8
and to celebrate the previously
scorned rural culture as untouched
and unspoilt.
Bavarian tourism in the Alpine
foothills was born.
“Realism”, which followed Classicism and Romanticism, dispensed
with artistic elevation of rural life and
began to make the harsh reality of life
for the urban proletariat as well for
the farmers, most of whom lived in
relative poverty, a central issue.
This did not take away from the
popularity of the painters of idyllic
rural scenes such as Franz Defregger.
His paintings, which can also be seen
in the Neue Pinakothek, were very
much in demand among the bourgeoisie.
After the collapse of the old system and two catastrophic world wars,
and rapidly increasing prosperity enabled the lower-middle and working
classes to also “go on holidays”, the
type of travelling changed.
The earlier hunger for education
and a love of adventure, both of which
had involved a certain amount of exertion, now gave way to the need of a
hardworking population for effortless relaxation in a pleasant environment. Exoticism, landscape and culture become a decorative backdrop
which the rapidly growing tourism
industry was able to use for advertising purposes.
Landscape painters
like Eduard Schleich
inspired the urban
bourgeoisie.
akg-images
People have never travelled so much.
Arcadia has changed
Some of the 20th century painters
(such as Eric Fischl) made the triviali-
zation of travelling an issue by contrasting unrestrained and threatening Nature with the harmless superficiality of beach life.
Max Beckmann depicted beach
life as a social phenomenon completely detached from experiencing
Nature. The famous swimming pool
pictures by David Hockney show an
artificial world in which Nature in the
form of water appears only in a tamed
urban form.
Nature and landscapes have been
mapped worldwide, demystified and
are for many people no longer suitable as a surface on which to project
their dreams and phantasies. The
magic of the virtual world has taken
their place. Arcadia has landed on the
Web.
Deutsche Fassung
Art & tourism
Identifying visitor profiles
The beginning of culture monitoring for Munich?
Sonja Munz
C
ultural resources are an important element in the touristic success of a destination. In 2013 80 % of
visitors to the Lange Nacht der Museen (Open Night of the Museums) in
Munich said that when planning
their holiday trips they also include
visits to museums and exhibitions.
The valorization of cultural attractors
must therefore be an integral part of
a successful touristic strategy for destinations (cf. Fig. 1). Within a destination cultural attractors are important
unique selling points of the destination, whether they are stand-alone
solitary attractors, in combination
with others or large-area attractors
(cf. Letzner 2010:4). Towns in particular, which as a rule have a wealth of
cultural attractors – be they museums, theatres, opera houses, cultural
events or historical ensembles – are
spoilt for choice as to which of these
cultural attractors should be valorized.
The availability of cultural attractors alone, however, is no longer
enough in the face of national and international competition. Instead, destinations must create synergy effects
between attractors if they are to remain competitive. This is particularly
the case when individual attractors
alone do not offer an absolute competitive advantage, are not an absolute highlight. A cultural competitive
advantage can however be created by
suitable cooperation, by creative and
innovative pooling of offers.
This means offers which have
comparative advantages even in the
face of international competition and
which with the aid of specific marketing measures are able to reach new
target groups, retain these groups
and look after them (cf. article by Ralf
Figure 1:
Touristic
competitiveness
Source:
own presentation
based on Mazanec/
Ring 2009
Regulatory framework for
tourism
Gabriel in this issue). In this way both
the touristic competitiveness of a
destination as well as the composition of the culture users can be influenced. In view of the debt limit on
public budgets and the increasingly
vehement discussion on the legitimacy of promoting culture there is
agreement on the latter goals, both
for the destinations and the cultural
institutions.
A prerequisite for specific marketing measures or suitable grouping
of cultural attractors, be it through
combined tickets, combined exhibitions or the like, is knowledge of visitor profiles, visitor motives and visitor satisfaction with the individual
cultural institutions – in short, cultural monitoring.
With the support of several student cohorts, empirical surveys in selected cultural institutions were carried out as part of the Applications of
Arrivals per capita in t0 Touristic
competitiveness
Tourism infrastructure
and market
environment
Change in per
capita arrivals
(t0 – t1)
Per capita
tourism receipts
Human, natural
and cultural resources
for tourism
10
Quelle:
Darstellung
Passport eigene
Edition Art
& tourism in Anlehnung an Mazanec/Ring 2009
Art & tourism
Empirical Social and Economic Research module under the direction of
Prof. Dr. Sonja Munz, which could
perhaps be used as a basis for a possible cultural monitoring scheme in
Munich. The aim of a cultural monitoring scheme is to describe and analyze visitor profiles, visitor motives
and visitor satisfaction and in this
way be able to identify and better address previously neglected visitor
groups and/or strengthen the loyalty
of “old” customers. Included in the
surveys to date were the Deutsche
Museum 1, the Lange Nacht der Museen 2 and the Staatliche Museum
Ägyptischer Kunst / State Museum of
Egyptian Art 3. The results of the survey are spread over the period from
2009 to 2014. The object of this article
is to give an initial overview of the results of the first two above-named
surveys.
The incorporation of the
Deutsche Museum (German Museum) as a natural sciences and technical museum as well as the annual
Lange Nacht der Museen (Open Night
of the Museums) event meant that
the surveys covered a wide cross-section of the culture users. This is reflected not least in the different percentage figures for men and women.
Whereas in the Deutsche Museum (DM) men still dominate with a
percentage figure of 55 %, a majority
of visitors (57 %) to the Lange Nacht
der Museen (LNdM) are women (cf.
Figure 2). There is clearly cultural segregation along gender lines between
these institutions.
The trans-regional importance of
the Deutsche Museum as the biggest
natural science and technical museum in the world is, as expected, high.
For example, 62 % of visitors come
from outside Bavaria and only 16 % of
The survey in the Deutsche Museum was carried
out in three waves in the form of oral interviews
using a standardized questionnaire (10-17 Dec
2009/6-11 April 2010/22-27 July 2010). A total of
1,344 people over the age of 14 were interviewed
2
Within the scope of the Lange Nacht der Museen
the survey already carried out in the year 2008
was replicated. The survey was carried out in the
form of oral interviews using a standardized questionnaire during the LNdM on 20 October 2012, as
well as on 19 October 2013. In the year 2008, 728
people were interviewed, in 2012 a total of 723
and a year later 751.
3
In April 2014 a face-to-face survey using a standardized questionnaire was carried out in the State
Museum of Egyptian Art. The random survey covered 172 people.
1
Figure 2:
Visitor profiles by
gender
Figure 3:
Regional
provenance of the
visitors
Figure 4:
Visitors divided into
day trippers and
overnight guests
11
Art & tourism
Stand-alone attractor LNdM versus museums as combined attractors
Day trippers
in %
Overnight guests
Total visitors
90
81
70
65
83
82
78
80
71
69
68
63
60
50
40
37
35
32
31
29
30
19
20
22
18
17
10
0
no
yes
no
yes
no
yes
Main motive
Main motive
Main motive
2009/10 DM
2012 LNdM
2013 LNdM
DM: Deutsches Museum; LNdM: Lange Nacht der Museen; Source: surveys by HM – Prof. Dr Sonja Munz
the visitors are from Munich (Munich
city). On the other hand, more than
half of the people from Munich take
advantage of the LNdM, but fewer
than 10 % of visitors to it come from
outside Bavaria.
The findings thus underline the
different regional importance of the
cultural institutions in Munich, resp.
their function as absolute highlights.
With regard to the regional provenance of the visitors, there is therefore also great heterogeneity in the
relation between local people, day
trippers and overnight guests.
In line with the trans-regional importance of the Deutsche Museum,
more than half (53 %) of visitors to it
stayed overnight in Munich.
The total percentage of visitors to
the Deutsche Museum who said that
they were in Munich mainly because
Figure 5:
Main motive for
visiting Munich
Deutsche Fassung
of the Deutsche Museum is 35 %. At
19 %, the corresponding figure for the
overnight guests is as expected lower,
and among the day trippers it is at
63 % more than three times as high.
Around 70 % of the visitors (not
counting Munich city) to the LNdM
said they were visiting Munich city
centre just because of the LNdM.
Clearly the Lange Nacht der Museen
event is from a regional point of view
a more important stand-alone attractor than the Deutsche Museum. The
Deutsche Museum on the other hand
has more pulling power as a trans-regional stand-alone attractor. The
Lange Nacht der Museen event shows
the effect of temporary synergies between museums, which motivate in
particular the regional public to visit
a museum. This finding, supplemented by the experiences made by other
cities such as Vienna (cf. Museum
Quarter) illustrate the possibility and
opportunity to use synergies between institutions both temporarily
and permanently in such a way that
they as combined attractors develop
into strong crowd pullers for both
day-trippers and overnight guests. To
make this possible for different cultural institutions however, sensible
cooperation agreements between service providers in the cultural and
tourism fields must be concluded.
The strategies aimed at should however be based on well-founded empirical results. The surveys described
above can provide a foundation stone
for this.
BIBLIOGRAPHY:
Letzner, V. (2010): Tourismökonomie.
Volkswirtschaftliche Aspekte rund ums
Reisen. Oldenbourg Verlag.
Mazanec, J.A. (2009): Unkonventionelle Gedanken zur Wettbewerbsfähigkeit der touristischen Destinationen Österreichs. Institut
für Tourismus und Freizeitwirtschaft der WU
Wien; Online: http://www.wu.ac.at/itf/files/
pdf/jm_beitrag_oehvstudie09, Zugriff am
21.1.2013.
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Art & tourism
A Change in Perspective
How art and culture influence tourism
Ralf Gabriel
As regards the number of overnight
stays by tourists, Munich ranks num
ber 9 among Europe’s cities. London
and Paris of course occupy the top two
places. No surprise. But why should
Vienna and Prague rank above us, if
we are convinced that Munich is an
attractive city. And we have every
reason to be.
F
or a study by the World Economic
Forum in the year 2013 comparing
the popularity of different countries
as a tourist destination ranked Germany an excellent second among 140
countries. Only little Switzerland
stood between us and first place on
the winners’ rostrum. So what are the
arguments that speak for Germany?
The health and hygiene standards in
the country alone cannot be the decisive factor. There must be other reasons that make people from all over
the world want to visit Germany. The
reason is quickly found: the culture.
And now we have got to the point.
What do you do when you visit
another city? Are you one of that
large group of people who are interested in history and want to see the
city from its aesthetic side, be it the
city’s museums, art, technology or
natural sciences? Munich is a treasure
trove of all of these. The only thing is:
we haven’t started marketing them
well enough yet. Why not? Because we
do not adequately appreciate the advantages of a city attractive to tourists. It is not merely a question of statistics, or of cash flows from tourism.
I set a higher standard. I have the
same belief as Anatole France
(1844 – 1924), the French writer and
winner of the Noble Prize for Literature, who wrote:
Die lange Nacht der
Musik in München
(The long night of
music)
Münchner
Kultur GmbH
What is travelling? A change
in location? By no means!
When you travel, you
change your opinions and
prejudices.
It is also about the picture that
those people who visit our country
have of Germany. The World Cup
summer fairy tale of 2006 sent out a
lot of positive signals. And those people who visit Munich are among the
multipliers and decision-makers back
in their home countries. Their impressions will have a decisive effect
on how others view and judge Ger
many. In the tourism industry we
supply the quality product “Made in
Deutsche Fassung
Germany” on site. Interest in what is
popular in the visitors’ countries of
origin must be awakened. In this respect there is still a lot to be done.
Vienna and Frankfurt as
good role models
As stated in the March 2013 issue of
the Public Marketing trade journal, in
the year 2013 WienTourismus with a
marketing budget of 14 million euros
was active in 23 countries. München
Tourismus city department has only
about one tenth of this sum at its disposal from the state capital. One advantage that our Austrian friends
have is the fact that the city and the
federal state of Vienna are one and
the same, as is the case with Berlin or
Hamburg. The closer link between the
Bavarian tourism activities and those
of the state capital and a marked increase in funds from both sides could
reduce the biggest deficits. But what
does Vienna do with its money; what
is its message? It markets Vienna as a
place of longing, concentrating on the
city’s imperial heritage, its range of
cultural and musical events and the
culture as the focus points of enjoyment – all of them areas which, when
applied to Munich, are by no means
pure invention.
13
Art & tourism
Die lange Nacht der
Münchner Museen
(The long night
of music)
Münchner
Kultur GmbH
The marketing strategy just beginning to evolve in Munich will of
course be geared to our city and go its
own way.
In the same issue of Public Marketing, the central importance of the
Museumufer (museums along the
bank of the river Main) is used to
highlight cultural tourism in Frankfurt. At the moment 34 museums,
both municipal and private institutions, present themselves under a
joint Museumsufer Frankfurt umbrella brand logo with a Museumsufer ticket for two consecutive days
and a Museumsufer card valid for one
year. For the traditional Museums
ufer festival weekend in August there
are also much advertised package
deals with overnight stays. Attractions of this kind could also be created for Munich. As early as 2005 the
director-general of the Bavarian National Museum, Dr. Renate Eikelmann, as well as the director of the
Munich City Museum, Dr. Wolfgang
Till, in a live radio discussion on Bavarian Radio on the subject of the
Lange Nacht der Museen (Open Night
of the Museums) put forward the idea
of a museum ticket for admission to
all the museums in Munich. Both the
Bavarian Minister for Art, Dr. Thomas
Goppel, and the Lord Mayor Christian
14
Ude were against the idea. The Lord
Mayor predicted at the time that the
issue of income distribution between
state, municipal and private museums would cause the museum-card
project to fail. Even though, after nine
years, he is unfortunately still right
on this point, interest in a museum
ticket has been reawakened, as the latest talks with representatives from
the city’s Department of Arts and Culture and the Ministry of Arts indicate.
Berlin’s Culture Monitoring
also an option for Munich
Visitor monitoring at tourism-related
cultural institutions in Berlin shows
how important culture is to tourism.
Below is a quote from the examination report for 2012, the latest year in
which one was published:
“Not only for cultural institutions
in Berlin are dramatic changes in visitor profiles to be expected due to demographic change in society and an
increasing inability to predict new
user groups.
The aim of the cultural institutions is therefore to generate new visitor groups and strengthen the loyalty of existing visitors.
For many cultural institutions
and companies, tourists are therefore
of increasing importance for reaching
new target groups. Specific marketing
measures for reaching and looking after tourist target groups are therefore
becoming more and more important
in Berlin. The basis for these strategies is exact knowledge of the visitor
profile, the ability to trace changes in
the visitor profile over the course of
time and a profound knowledge of
visitor motives, satisfaction with the
services provided by the cultural institutions visited and of how visitors
inform themselves in advance and
how they acquire their tickets.”
For this reason the Berliner Kulturverwaltung and the Berlin Tourismus Marketing GmbH (now: Berlin
Tourismus & Kongress GmbH) with
support from the Centre for Audience
Development at the Free University
of Berlin decided to introduce a continuous and uniform visitor monitoring system. This cultural monitoring
system (KULMON) was introduced
with the aim of producing the following positive effects:
•A
dditional information for segment-specific marketing measures
• I dentification of potential for improvement in the operative sector
• I dentification of starting points for
strategic alliances between cultural
institutions
• I ncreased legitimation of the cul
Art & tourism
Münchner Kultur GmbH – Entertaining and rich in content
The Münchner Kultur GmbH was founded in
the year 1992, at the time with the aim of
publishing the Münchner Stadtmagazin
(Munich City Events Guide) again, which had
been taken over by the Abendzeitung (evening
newspaper).
The founder and managing director was Ralf
Gabriel, who as managing partner of the
Nuremberg plärrer Verlags GmbH had been
active in the nationwide German Stadtmagazin scene since 1982.
Competencies which include knowing what
town and country have to offer and highlighting these from the perspective of a public
hungry for education and with an affinity for
culture, active in their leisure time and
interested in the common good have remained
the aims of the company ever since.
In the year 1997 the annual where-to-eat
guide DelikatEssen was put on the market for
the first time. Since then it has served as a
reliable and highly respected guide to the
catering scene in Munich and its surroundings.
In 1999 the Lange Nacht der Museen, which
had previously been tried out in Berlin for the
first time, joined it. After this came the Lange
Nacht der Musik – both of these events were
resounding successes and have remained so
since. The Stadtmagazin was passed on at the
beginning of the millennium and since then
the Münchner Kultur GmbH has been
concentrating only on events. The latest
network event is the MünchnerStiftungsFrühling (Munich Foundation Spring) which brings
alive all the good work that foundations in
Munich do.
The ambition of the Münchner Kultur GmbH
team and its owner Ralf Gabriel is not only to
provide entertainment in the form of its
popular events but also, in the best sense of
the word edutainment, to provide the public
with ambitious content in an entertaining way.
As a networker, Gabriel himself is among other
things a member of the plenum of the IHK
(ICC) for Munich and Upper Bavaria and
member of the board of Tourismus Initiative
München (TIM) e.V., for the tourism service
providers for example from the cultural field,
the media and the congress industry.
Kulturidee GmbH – Culture as provider of ideas
The Kulturidee GmbH was founded in the year
2002 on the occasion of the start of the Lange
Nacht der Wissenschaften in Nuremberg-Fürth-Erlangen by Ralf Gabriel, Dipl.-Betriebswirt (FH), who had already been
managing partner of Münchner Kultur GmbH
since the year 1992, as sister organization
covering north Bavaria. The company name
Kulturidee was chosen because for Gabriel, as
for the sociologist and philosopher Max
Scheler, culture is a creative resource and a supplier of ideas. He sees the disciplines of
philosophy, science, art and religion as the
source of culture.
With support from the Bayerische Wissenschaftsministerium (Bavarian Ministry of
Science) Kulturidee was able to expand the
biannual Lange Nacht der Wissenschaften,
which meanwhile has the largest number of
visitors of all the “Open Night” events in
Germany. Every two years in October more
than 30,000 guests buy a ticket and enthusiastically visit universities of applied sciences,
companies active in research and science-orientated institutions in the triangle of cities in
Franconia. Since 2007 Kulturidee has also been
organizing the annual Wissenschaftstag
(Science Day) for the scientific forum of the
Nuremberg metropolitan region. At the end of
the summer semester between 600 and 900
multipliers and decision-makers working in the
fields of science, economics, politics and
education in north Bavaria meet here. The
universities of applied sciences take it in turns
to host the “Science Day” in order to get to
know the metropolitan region around
Nuremberg and the local strengths and to
promote the networks. In addition to Nuremberg, the universities of applied sciences in
Erlangen, Bayreuth, Bamberg, Amberg,
Ansbach and Coburg for example have all
hosted it already. In the coming year 2015 it
will be Hof’s turn to present its competencies
and topics. The services provided by Kulturidee
are concentrated on the areas of science
communication, conferences and networks.
Support from associations and foundations,
such as the HERMANN GUTMANN STIFTUNG
which is actively engaged in the field of
education, is also one of the main fields of
activity of this owner-managed agency.
www.kulturidee.de
tural institutions vis-à-vis fund pro
viders
• I ncreased credibility and acceptance
vis-à-vis sponsors
•B
etter knowledge of the origin, profile, behaviour and preferences of
tourism visitors to Berlin’s cultural
institutions and enterprises
•S
trategic direction of tourism-orientated marketing measures, both on
the level of Berlin as a whole and on
the level of the institutions and enterprises
•O
verview of the Berlin cultural market on a comparable quality level
and with comparable topicality and
significance.
Burkhard Kieker, Managing Director of the Berlin Tourismus & Kongress GmbH said in a meeting on cultural monitoring in the committee
for cultural affairs in the Berlin City
Parliament on 10 March 2014 “that
seven of the ten main reasons for
making a trip to Berlin can in the widest sense of the word be ascribed to
culture. 74 % of all visitors to Berlin
say that they came to Berlin because
of the range of cultural and art events
offered. 79 % cite history and the ability to relive history in museums and
at places like the Topography of Terror as important reasons for their
trip, and 81 % the sights. We know that
53 %, or every second visitor to the
city, visits a museum or an exhibition
in the city.” Kieker went on to say:
“The average length of stay gives an
indication of the positive relationship
between culture and tourism. The figure for the average tourist is 2.2
nights. For the culture-loving tourist
it is between 3.9 and 4.2 nights, i.e. almost twice as long. We also know that
what they spend every day is above
average, so there is an important economic factor here as well.”
The answers given by the tourists
to the question whether a visit to a
museum/theatre was (also) a reason
for their trip to Berlin show that the
cultural facilities in Berlin are a major
force of attraction.
Of the visitors to the orchestra,
28 % or more than a quarter of those
interviewed said that the orchestra
visit was their sole or main reason for
their trip to Berlin. Among visitors to
15
Art & tourism
the opera/ballet/dance theatre, 26 %
said the same. For visitors to straight
theatres, the figure was 20 %.
What was surprising were the figures on visitor origins. Of the museum visitors interviewed barely 13 %
were from Berlin. 38 % were from
other German states and 49 % of
those interviewed did not even live in
Germany, in other words they were
foreigners.
In Munich there have to date
been no findings which even begin to
cover all the range of subjects the Berlin culture monitoring does. I am
convinced that a similar survey for
Munich makes sense. Possible partners in this could be München Tourismus together with the city’s Department of Arts and Culture, the Ministry of Arts, the Ministry of Finance
(palaces) and Ministry of Economics
(tourism) of the Free State [of Bavaria]. Possible cooperation with the culture monitoring body in Berlin would
be worth looking into. The Faculty of
Tourism at the Hochschule München
would of course be an obvious partner. The competencies in the field of
economics of tourism and empirical
and econometric methods as key areas of activity by Prof. Dr. Sonja Munz
offer a foundation.
In 2012 and 2013 Professor Munz,
together with her student teams, already carried out surveys on the
Lange Nacht der Münchner Museen
16
(Open Night of the Munich Museums) (cf. p.10ff). One of the most interesting findings: 43 % of the museum night visitors came from outside
Munich and, of these, 71 % had travelled to Munich solely because of the
Lange Nacht der Museen.
Overall therefore it can be said
that in the field of culture and tourism there is still room for improvement as regards the possibilities for
new channels of cooperation.
TIM as an opportunity for Munich
This brings us to the Tourismus Initiative München (TIM) e.V. (cf. p.50 ff). In
the setup phase in the year 2012, the
nucleus of the association was at first
located purely in the economic field.
However, it soon became clear to all
those responsible that interdisciplinary networks incorporating Munich’s
attractions such as culture would be
needed for efficient promotion of the
packages offered and the new types of
services. Since then, TIM has been
growing particularly strongly in the
culture sector. This groundwork reveals that to date in Munich there has
been no organized cross-category and
cross-provider platform in the cultural field. TIM thus offers not only the
possibility to position oneself better in
the field of art/culture, but also to improve coordination and promote cooperation for optimum consolidation
of the partners’ competencies.
Die lange Nacht der
Musik in München
(The long night of
music)
Münchner
Kultur GmbH
The current membership reflects
a wide cultural spectrum with already
more than 20 cultural institutions
members of TIM. These include Bavaria Film, the Bayerische Staatsoper
(Bavarian State Opera), the Deutsche
Museum (German Museum), the
Gasteig, the Hypo Kulturstiftung
(Hypo Cultural Foundation), the International Munich Film Weeks, the
Munich Kammerspiele (chamber theatre), the Staatliche Museum für
Völkerkunde (National Museum of
Ethnology), the Staatstheater theatre
at Gärtnerplatz or the Bayerischer
Rundfunk (Bavarian Radio) Sym
phony Orchestra. New members join
every month and even large institutions like the Bayerische Verwaltung
der staatlichen Schlösser, Gärten und
Seen (Bavarian Administrative Department for State Castles, Gardens
and Lakes) have in mind to join from
next year, 2015, on.
The vision of the cultural group
within TIM is that we in Munich, in a
broad social alliance, allow both our
own citizens as well as our guests to
partake more fully in the potential
range of cultural services by offering
even more variety, quality and surprises.
Art and culture are a key to success in tourism. Let’s meet that challenge together!
Ralf Gabriel is Managing Director
of the Münchner Kultur GmbH
www.muenchner.de
Art & tourism
In the Heart of Munich’s Art District
The State Museum of Egyptian Art
Sylvia Schoske
T
ourists have always been an important target group for the State
Museum of Egyptian Art. For around
forty years the Residenz am Hof
garten, a tourist attraction of the first
degree, had been home to the museum. The museum benefited from
this, despite the fact that the rather
makeshift accommodation did not
match the quality of the collection.
Since the year 2013 the new location
in the heart of Munich’s art district
has been open: the impressive new
building is situated opposite Klenze’s
Alte Pinakothek and in the middle of
a diagonal line between the Kunst der
Moderne around Barerstraße and the
classical Antike at Königsplatz – a sort
of missing link within the museum
quarter. Content-wise, the location is
ideal and could not have been better
chosen: the Egyptian Museum sees
itself as an art museum, as is documented by its new surroundings. This
has brought the museum closer to its
target group.
State Museum of
Egyptian Art
M. Franke
The museum can boast numerous
unique features
• I t is the only museum worldwide
that is dedicated to old Egyptian art,
here in particular to round sculpture.
that is completely underground.
•T
he museum is one of the top ten
museums for Egyptian art, with
world-class exhibits spanning a period of 5,000 years.
•T
he exhibition – and this is also a
first – is arranged thematically and
not chronologically, e.g. in “Kunst
und Form (Art and Form)”, “Kunst
und Zeit (Art and Period)”, “Pharao
(Pharaoh)”, “Jenseits” (The Here
after), “Religion”, “Text und Schrift
(Text and Scripts) etc.
•T
he multimedia communication
concept is very ambitious with its
impressive media stations such as a
18
Deutsche Fassung
TagCloud and virtual simultaneous
translation of a hieroglyphic text.
with a permanently installed sound
system specially composed for the
exhibits and the layout of the
rooms.
•T
he Egyptian Museum in Munich is
worldwide the only Egyptian museum outside Egypt which is located
in a separate building (all other
collections, from the Louvre to the
Met, are integrated into larger mu
seums).
•T
he architecture has been designed
especially to meet the requirements
of the buildings in Munich.
• I t is the first time ever that a collection of non-European art (from the
African continent) has been exhibited in the art district.
All these unique features ensure
great demand among both local residents and tourists to the city, a demand promoted by the museum’s optimal location with regard to visitor
streams.
How does the museum reach
tourists? The State Museum of Egyptian Art specifically targets individual
tourists through special channels,
above all through advertising at the
airport, in the tourist information of-
Dr. Sylvia Schoske is managing
director of the of the
State Museum of Egyptian Art
fices as well as in numerous hotels
and at important sightseeing institutions. This advertising material is
available in several languages (German, English, Arabic, Russian). Touristically relevant media (nationwide
media, travel guides, travel magazines etc.) are also used for advertising purposes. The museum also offers special guide programmes for
organized tour groups.
The museum itself is of course bilingual, with all captions and descriptive texts in German and English. The
audio guide will soon be available in
English as well. Guides in other languages (first of all Italian and French)
are being prepared. In the first special
exhibition in the new building (No
fretete tête à tête – How Art is Cre
ated) the texts on the showcases and
on the exhibits are given in Arabic
translation, in deference to what is today the mother tongue in the country
of origin of the exhibits.
The new museum building was
opened in July 2013 and within a year
has attracted more than 200,000 visitors. The success of the new museum
building justifies the strategy: the
building with its attractive modern
architecture, its suggestive interior
design and the choice of the right location make the institution a topclass tourist attraction.
Art & tourism
Munich Kunsthalle
A success story
Oliver Kasparek
In the course of almost three decades
the Kunsthalle in Munich has devel
oped to become an important part of
the city’s cultural offerings and has ac
quired an international reputation.
A
t the end of the year 2014 the Kunsthalle Munich will be able to look
back on a total of 98 exhibitions. Exhibiting on this scale means almost
nine million visitors, with around
1,000 guests per day going through
the exhibition rooms and drawing inspiration from the art on display. And
after all, 20% of the visitors do not
come from Bavaria but from other regions in Germany or from abroad.
In June 1985 the Hypo-Kulturstiftung (Hypo Cultural Foundation) opened the doors of its Kunsthalle to the public for the first time.
The first picture exhibition was
“Deutsche Romantiker – Bildthemen
der Zeit von 1800 bis 1850” (German
Romantics – Picture Motifs from
1800 to 1850). This exhibition was the
prelude to a success story. Since then
the Kunsthalle has become a constant
in Munich’s cultural scene. It makes a
not-to-be underestimated contribution to the cultural attractiveness of
Munich and thus to the attractiveness of the state capital for visitors
from near and far.
As varied as the visitors’ interests
are, the Kunsthalle’s exhibition con-
cept is equally flexible. The approach
of putting on exhibitions from different periods of art is a unique feature of the Kunsthalle, and one which
complements Munich’s many-sided
museum scene. They cover the period from Prehistoric and Protohistoric Archeology up to the present. Art
and cultures from around the world
are showcased here: whether painting, sculpture, graphics, photo
graphy, handicraft or design. Monographic exhibitions and theme-related projects alternate, but there are
also interdisciplinary approaches.
For director Roland Diederen the
most important criterion when
choosing an exhibition theme is its
artistic excellence.
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Art & tourism
Concept guidelines
Crucial to popular success is a convincing, comprehensible and exciting
concept for the exhibitions. And
these are the lines along which the
Kunsthalle has thought from the
very beginning.
Firstly, there were to be no thematic, time or artistic restrictions or
self-imposed restrictions. In the Kunsthalle, visitors can experience contemporary art or art from thousands
of years ago. The current exhibition
for example, which runs until the end
of November, is a “Who’s Who” so to
speak of baroque painting. Rembrandt, Titian, van Dyck and
Velázquez are only some of the old
masters whose works are on display
in the Kunsthalle. They illustrate the
rise and flourishing of the legendary
rich Gemäldegalerie (Picture Gallery)
in Dresden in the baroque and En
lightenment periods. Examples from
a whole epoch in painting can be
showcased here.
Secondly, the Kunsthalle does not
merely present retrospectives of individual artists. Themes become a real
experience by [presenting] different
artists from the period in question.
20
At the end of the
year 2014 the
Kunsthalle Munich
will be able to look
back on a total of
98 exhibitions.
Kunsthalle
der Hypo-Kultur
stiftung
Or the development of art in a particular period is presented in a comprehensible way through important
artists who are representative of the
period. A good example of this is the
Dix/Beckmann exhibition which recently ended. Not only did this exhibition allow us to present two of the
greats of modern art, it also created a
bridge to a memorable historical anniversary, the outbreak of World War
I a hundred years ago. For World War
I was the initial experience which was
to radically change the lives and work
of both artists.
Thirdly, the Kunsthalle has always
looked well beyond the borders of
Europe. It has always aimed at counteracting a certain inward focus on
Europe in the reception of art. Thus
exhibitions like “Korea – The Old
Kingdoms” or “Maharajah – The Magnificence of Indian Courts” have be
come an integral part of the exhibi
tion programme.
In addition to a comprehensible
exhibition presentation, the services
offered are also important, in particular for visitors who would like more
detailed information. Thus introduc-
The Hypo-Kulturstiftung
The Munich Kunsthalle is the Hypo-Kulturstiftung’s more important and best-known facility, and
an integral part of the HypoVereinsbank’s social and cultural commitment. The foundation was
set up in 1983 by the then Bayerische Hyoptheken- und Wechselbank on the occasion of the
bank’s 150th anniversary. Two years later, on 14 June 1985, the Kunsthalle opened its doors. The
foundation aims of the Hypo-Kulturstiftung concentrated from the very beginning on fine art and
historical monument conservation. Today this focus is reflected in five pillars: in addition to the
Munich Kunsthalle, the award for the protection of historical monuments is a further high-profile
activity. Since 1986 this has been awarded to private owners in Bavaria who have campaigned for
the professional restoration of historical buildings and monuments. The third pillar is the museum
fund. This money is used to promote the purchase of contemporary art by public art museums.
Moreover, there is a support programme to help realize exhibition and art projects and a
scholarship programme for art history and archeology postdocs and for restorers.
Art & tourism
tions to the subject, sometimes given
together with the Munich Volkshochschule (adult education centre), more
in-depth private and group guided
tours in German or in a foreign language, double guided tours in cooperation with another museum which
focuses on the same subjects, as well
as audio guides, are offered. There is
also a special programme for children, either for small groups or
school classes. And if a child wants to
visit the Kunsthalle together its parents, there is a free guide book to help
them discover everything hands-on.
A look ahead
Initially valid until 2018, the lease for
the Munich Kunsthalle was only recently extended by the Hypo-Kulturstiftung until 2028 – a clear signal
that this is a long-term and sustainable commitment. The Kunsthalle is
located in the area around the “Fünf
Höfe”, designed and built by the wellknown Swiss architect’s office Her-
zog & de Meuron, and is not only
clearly visible and easy to reach for a
regular clientele, but also for foreign
visitors. Certainly a prerequisite for
the continuously high number of visitors which this cultural institution
can record since its establishment.
Since 2001 it has had at its disposal
more than 1,200 square metres of exhibition space, equipped with the latest museum technology. For the Kunsthalle as one of Germany’s leading
exhibition venues, this professional
framework is important in two respects. On the one hand in order to be
completely recognized and accepted
by an international public. And secondly, it is the prerequisite for being
able to hold these high-class exhibitions in the first place as they depend
not least on the willingness of the
lenders to hand over their works of
art, for a limited space of time, to
strangers.
Thus the Kunsthalle Munich continues to present itself in the heart of
the city, not far from Marienplatz, enhancing the already attractive range
of cultural services offered by the Bavarian capital. On the 30th anni
versary next year, further highlights
will be added.
Oliver Kasparek is managing
director of the Hypo-Kulturstiftung
www.kunsthalle-muc.de
www.hypo-kulturstiftung.de
www.denkmalpreis.de
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Art & tourism
Telling extraordinary stories
What moves cultural tourists
Jochen Gnauert
The visitor as customer
W
hen in the autumn of 2012 my
marketing department drew
my attention to the Tourismus Initiative München (TIM) e.V. which was in
the process of being constituted, it
became clear to me that Munich was
changing in the direction that we as
players in the cultural and creative industry had long been wanting to see:
concerned action by all those involved in the tourism industry in Munich (cf. p.50).
Yes, we as creative artists are part
of the scene: we too are part of this
tourism industry. We not only produce culture, we also market it regionally, nationally and internationally.
We need culture recipients, people
who are interested in culture, visitors
– visitors who for example, also by
paying admission fees, participate in
culture. Independent of whether this
22
to a large extent is subsidized by tax
revenue or is – as is usually the case in
the cultural and creative industry –
the main source of income.
These visitors are our customers,
and we as service providers want to
convince as many of them as possible
of the quality of the cultural services we
supply and retain them as customers
long-term. The tourism industry is
playing an increasingly large role in
reaching these customers early and on
a wide scale. These economic constraints and the resultant need to do
some marketing already applied in the
golden age of the opera in the 19th century. Jutta Toelle’s book “Oper als
Geschäft – Impressari an italienischen
Opernhäusern” (Opera as a Business –
Impresarios at Italian Opera Houses)
gives a wonderful account of this. Toelle
describes in fascinating and authentic
stories how the Italian opera houses
competed (with almost no holds
barred) for visitors – for paying visitors!
This concentration on a paying
public even today does not per se
mean restrictions on content or a lack
of opportunities for experimentation, but it does require continuous
audience development and a clear decision as regards the target group.
In what cultural-political environment do we operate?
Munich residence
concerts
Christian Wendt
©Kulturgipfel
The central feature of cultural policy
in Germany is, in accordance with the
principle of federalism, the conferring of cultural sovereignty to the
federal states. According to the concordat ruling by the Federal Constitutional Court the individual federal
states are the “ausschließlichen
Träger des Kulturhoheit” meaning
that responsibility for cultural and
educational affairs lies with the federal states (BVerfG E 6, 309 (310)).
Nevertheless, in many areas responsibility for cultural affairs lies
with the local authorities. The legal
Art & tourism
basis for this is provided by Article
28 (2) of the German Basic Law: “The
local authorities must be guaranteed
the right to settle on their own responsibility and within the law all
issues which concern the local community.”
Private suppliers of cultural services have long since become indispensable partners of the communal
cultural offices (and tourism de
partments). That has not always been
the case.
The tasks to be performed by the
local authorities have changed a lot in
the course of the years: whereas in
the 1960s the communal cultural offices were mere culture administration offices responsible for the care
and maintenance of established facilities of the so-called high culture –
without any right to create independently – in 1973 the Deutsche
Städtetag (German Cities Council)
called for a “new cultural policy”. For
the first time ever, cultural development plans and promotion of new
forms of culture (performance, independent theatre, localized cultural
events in particular parts of town, social culture …) came into existence. In
the 1980s the communal cultural offices switched from being offer-orientated to demand-orientated and to
stimulating demand. The first commercial suppliers of cultural services
focused on visitor demand and thus
competed directly with the communal suppliers. The administrative reform in the 1990s was the basis for
the transformation of communal administrators of culture into culture
managers. Their core task today, as
strategic cross-sectional task, is to
support, coordinate and cross-link
the existing – often private-sector –
supply of cultural services: as “activating cultural policy” (see Prof.
Armin Klein: Der exzellente Kulturbetrieb / The Excellent Cultural Establishment).
Now that the CDU and SPD political
parties have agreed they want to include culture as national objective in
the Basic Law, what the “Culture”
study commission of the German
Parliament demanded in 2007 in its
final report has apparently been decided. Berlin’s Lord Mayor and chair-
man of the working party Culture and
Media, Klaus Wowereit (SPD), expressly supports this: “We are agreed that
cultural policy is not a task for individual sectors, but that the federation, the Länder and the local authorities must all work together, must
concentrate their forces, in order to
together maintain and develop a
flourishing cultural scene throughout Germany.” 1
In the question of authority between them and the Länder, private,
communal and state players in the
culture field will be able to cite the
coming new national objective – in
particular during budget negotiations. Whether or not the state can
protect culture is, however, the question. It does on the other hand provide help by making available necessary budgets or by providing an institutional framework and best of all,
moreover, by as far as possible not
getting involved in culture content.
The future will tell whether or not
this will have a positive effect on austerity measures discussed.
With a current annual budget of
ca. 10 billion euros for the public promotion of culture, Germany is way
ahead of all other countries in the
world. While this German promotion
of culture is not linked to the promotion activities of the individual cultural institutions, countries such as
e.g. the Netherlands take a different
approach. There it is a declared national objective to reward successful
cultural promotion activities. The
more young people who visit a Dutch
cultural institution, the more state
support this institution gets the following year. In the Netherlands, as
opposed to Germany, subsidies for
culture are intended to promote demand and not supply.
The Cultural and Creative Industry
in an International Comparison
The cultural and creative industry
with its focus on demand is in Germany economically more successful
than ever before and – as frontrunner
in Europe – employs 1.8 million people and thus more than, for example,
the German chemical industry.
According to estimates by the
uropean Commission, a total of 6.7
E
million people in the EU work in the
cultural and creative sector. The number of employees as well as turnover
figures in the cultural and creative industry in Germany as well as in most
other European countries (Austria,
Belgium, Denmark, Finland, France,
the Netherlands, the United Kingdom) increased steadily in the period
from 2008 to 2011. On the other hand,
those countries suffering from the effects of the economic crises, such as
Spain, Italy and Portugal, have been
on the losing side. 2
Tourism as motor for the culture
and creative industry
When we were setting up Kulturgipfel
13 years ago we decided to offer classical music and opera to a broad public, the so-called “entertainment-orientated occasional users” of culture
(Prof. Dr. Birgit Mandel) without any
subsidies. At 42 % of the population in
Germany, this is the second-biggest
target group and, on average, they
visit a cultural institution four times
a year. The largest group, at 50 %, are
the “non-users” of culture; 8 % are the
so-called “frequent users” of culture
who, on average, visit a cultural event
twelve times a year.
As a commercial supplier of cultural
services, the decision in favour of the
largest group was an obvious one and
naturally we focus intensively on
the wishes and needs of our target
group – and create suitable offers
such as “Außergewöhnliche Konzerte
an besondere Orten” (Extraordinary
Concerts at Extraordinary Venues),
which is Kulturgipfel’s slogan. In this
respect, the annually published GfK
studies (Gesellschaft für Konsumforschung / Consumer Research Association) provide useful orientation for
sounding out changing visitor wishes.
Culture, be it museums, theatre,
concerts or city history, is today one of
the most important travel motives for
tourists. At Kulturgipfel events, such as
for example the concerts at Nymphenburg Palace, the tourist target group at
almost 30 % has been identified as one
2
Deutsche Fassung
1
vorwärts 7.11.2013
Source: Monitoring zu ausgewählten wirtschaftlichen Eckdaten der Kultur- und Kreativwirtschaft
2012. BMWi (Hrsg. 2014.
23
Art & tourism
of the most important customer
groups and treated accordingly.
There is good reason for this. The
market-specific image presented is
fundamental to the success of this
touristic destination: a unique, historical location combined with topclass cultural events with appropriate
content. A purposeful multiplier
strategy is used to successfully reach
the touristic end customer, i.e. via targeted media work and cooperation
with the travel industry. The successful positioning of cultural institutions from Munich at the Kultur-
Lounge Bayern, organized by Anna
Kleeblatt, at the ITB 2014 is a best
practice example of this. A concei
vable possibility for the future would
be to organize a separate cultural fair
for Munich alone, which as an exhibition of the cultural scene in Munich
would attract attention from way beyond the city and for professionals as
well concentrate the range of cultural
services in good time.
Whereas local visitors are informed
through the regional media, we reach
the tourist target groups through incoming agencies, tour operators, bus
companies, hotels, travel guides, indus-
24
try-specific media, and – a very important point – in different languages.
Japanese customers of Kulturgipfel
for example are looked after specifically by a Japanese colleague who communicates our offers in Japan and to Japanese agencies and sees to customer
support locally. This support service includes introductions to the events in
several languages, which breaks down
barriers and make it possible to enjoy
the cultural events even without knowledge of the German language.
As especially among culture users
and tourists the desire to experience
stories and be an integral part of
them is steadily increasing, the cultural as well as the tourism industry
must bear this in mind. It is important – and easily possible – to put together joint packages with wellmatched content which allow a new
view of the apparently familiar and
enthrall the touristic culture customer with a unique and unforgettable
experience in which he or she can feel
the scene and enjoy 360 ° service.
In order to satisfy the needs of
our customers even better, further
concerted public surveys to identify
their requirements are needed, with-
String players on
the „Nymphen
burger Schloss
konzerte“
Kulturgipfel
out however infringing the personal
rights of the individual.
To date, however, there have not been
any cross-sector touristic surveys
within the cultural and creative industry, as Jürgen Enninger from the
Kompetenzzentrum Kultur & Kreativ
wirtschaft des Bundes in München
points out. While individual cultural
players within the industry, such as
for example museums or promoters,
regularly carry out their own visitor
screenings and can report key data on
the touristic customer profile, this
has not yet been done within the industry as a whole. This should now be
done and the data compared with existing data from the individual providers of cultural and touristic ser
vices. Structures such as for example
the Tourismus Initiative München
(TIM) e.V., Verband Deutscher Konzert
direktion (VDKD) e.V., Bundesverband
der Veranstaltungswirtschaft (bdv) e.V.
or perhaps the Verband der Münchner
Kulturveranstalter (VdMK) e.V. could
conceivably be used for this. Jochen Gnauert is managing
director of Kulturgipfel GmbH
www.kulturgipfel.de
Art & tourism
An Emerging Little Plant
Tourism and state-run cultural establishments as exemplified by
the Stadttheatre theatre at Gärtnerplatz
Max Wagner
W
e would like to take you away
on a short trip: the Mommsen
family from Lüdenscheid is driving to
the beautiful city of Munich for a
well-earned holiday. They are tourists, like many others. Of course they
are going to visit all the well-known
tourist attractions. A visit to the theatre is also planned. As luck would
have it, Mr. and Mrs. Mommsen and
their two children (12 and 14 years old)
are sitting in the auditorium of a big
Munich theater. A flying car hovers
over the stage, the children’s eyes are
lit up with excitement and the wellknown story takes the parents back to
their childhood. And in all the enchanting, moving and magical moments on stage which the little family
and the rest of the spectators experience, the filled auditorium is fascinated by a subordinate authority – for
that is what a state-run theatre is, as
is the case here with the Mommsen
family in the Staatstheater at Gärtnerplatz.
A state-run establishment is often perceived as having a stiff and inflexible structure. The structures of a
large enterprise develop over decades – and sometimes stick in the
mud, as with our theatre. Many approaches and ways of operating,
which still exist and have every right
to, have established themselves. But
state-run enterprises, as outmoded as
they may sometimes appear, also go
with the times. Established structures
are broken open to allow new steps in
different directions to be taken.
Tourism as market opportunity
Methods such as marketing, sponsoring and advertising have for some
time been nothing new to a state-run
theatre. It is highly likely that this is
how the Mommsen family found out
about us. Given all the modern possibilities for attracting attention, the
26
important thing however is to do this
in a target-group-orientated way. The
case described here concerns tourists.
How can we attract the attention of
this large heterogeneous target
group? Does a state-run theatre depend on tourism? And is it not perhaps a much underestimated market
opportunity?
The fact is: family and group tourism, cultural and city trips, and equally so school class trips, are an interesting and large market for state-run
theatres, and one that is often neglected. For this reason long-term
partnerships with establishments in
the tourism industry should be
aimed at by both sides, as a shortterm increase in capacity utilization
is not the goal a theatre sets itself.
Sustainable and constant sales promotion is considerably more profitable for all concerned.
The Staatstheater
at Gärtnerplatz has
been a dominant
part of the cultural
scene in Munich for
150 years.
Maren
Bornemann
Fundamental to successful cooperation is trust, in business as well. A
trustworthy partner reveals from the
very beginning who he is, what he
stands for and thus at the same time
presents himself as a brand that
wants to be remembered for as long
as possible. From the very beginning – 150 years ago – the theatre at
Gärtnerplatz has been an opera for
the people, a theatre of entertainment which produces art of the highest quality. We are a multi-category
theatre, the only state-run theatre in
Germany with a broad repertoire that
covers opera, operettas, musicals and
dance. This exceptional and unique
selling point puts us in a special position to carry out tourism marketing.
Trust however is not only of enormous importance between parties to
a contract. Buying a theatre ticket
means putting trust in the organizers
Art & tourism
in advance. In particular where new
productions are concerned, the future theatre visitor does not know
what he or she will be presented on
the evening of their choice and therefore buys a product whose effect is
still completely unknown. Only the
title and some other basic data are
known, such as for example who the
composer is. What sort of production
will it be? Will, as expected, the singers sing and the dancers, as expected,
dance? All questions which often cannot be answered until the night of the
performance. But why is the customer prepared to go to such a blind date?
Because the name of the organizing
institution, the Staatstheater at Gärtnerplatz, awakes certain expectations. Customers put their trust in the
brand (in the name) alone.
Before a theatre can open up to a
target group it should first of all decide what it stands for.
As is often the case in this sector,
tourism marketing for the Staatstheater at Gärtnerplatz is still in its
infancy. Currently the majority of our
patrons are subscribers resident in
Munich or the surrounding area, or a
regular clientele that has increased
over the years. Moreover, the theatre
regularly welcomes privately or community organized groups, including
for example from the Kolping house
organization, friends of theatres,
groups from the theatre community
or school classes from every school
year.
Only in the past few seasons have
group tourists become a further important element, as is clearly reflected
in the percentage of visitors they
make up.
Latterly the theatre at Gärtnerplatz has been opening up more to
the tourism market by also presenting itself at trade fairs and workshops,
for example at the ITB, the RDA and
the BTB workshop. New partnerships
with hotels and tour organizers have
been entered into and this trend is
still being actively forced. Its membership of the Tourismus Initiative
München (TIM) e. V. is further proof
of its readiness to break new ground
in these areas. New group offers offering more than the advantages of
reduced ticket prices for groups of at
least 10 people have been included in
its ticket sales programme.
The theatre as an experience
Deutsche Fassung
We offer additional services which
round off the theatre visit and make
it an exclusive experience. In particular our additional programme, which
is not restricted to the actual theatre
visit itself, turns a theatre evening
into a memorable experience. An exclusive guided tour with a look behind the scenes, a dramaturgical introduction to the work before the actual theatre visit, or a champagne reception give an insight into the world
of the theatre which many visitors
otherwise would not have the chance
to experience.
The Staatstheater at Gärtnerplatz
is in a challenging situation at the
moment. Due to extensive renovations to the parent building at
Gärtnerplatz, we do not have any permanent venue. In such a situation offering a comprehensive additional
programme is a complicated business. At every alternative venue we
have to abide by our host’s wishes and
accept any restrictions on movement
within the building. Whereas at the
Gärtnerplatztheater we were able to
offer guided tours through the listed
building, the stage area and the workshops, this is at the moment possible
only at selected venues.
We are also able to register an increase in the number of individual
tourists among the visitors, which is
partly due to the interregional nature
of our programme. An example of
this is the internationally successful
musical “Chitty Bang” which the Gärtnerplatztheater put on in April 2014
in German, a premiere on the Euro
pean continent. This was a theatre
experience which lit up the faces of
not only the Mommsen family. A
balanced, mixed repertoire which includes both classical works as well as
current works of international origin
can result in interregional success
and thus also success in the tourism
sector. In this context, however, it
must not be forgotten that a
state-subsidized theatre also has a
further important task to fulfil: the
production of first performances. A
well-designed and balanced repertoire can thus be the key both to artistic freedom and to market success.
With group tour organizers in
particular, designing the repertoire is
a challenge. Organizers of group tours
have to plan their trips well in advance. The plan for the following year
is already drawn up mid-year. Theatre
establishments which as a rule plan
their seasons to up to mid-July of the
following year thus lose the opportunity to present early on their autumn
and winter programme for the coming season. As a result it is more difficult to communicate the first half of
the season, unless we are talking
about tourist seasons such as for example Christmas or New Year when
there is always demand.
The current relationship between
the Staatstheater at Gärtnerplatz and
tourism can be described as an
emerging little plant. The awareness
that despite state subsidies even a
state-run establishment depends on
Opera for the people
The Gärtnerplatztheater has been a dominant part of the cultural scene in Munich for almost 150
years. With opera, operettas, musicals and dance it is the only state-run theatre in Germany with
such a comprehensive repertoire. The theatre sees itself as an “Opera House for the People”,
presenting entertaining theatre of the highest quality to get not only adults excited.
Due to current renovations to our parent building we are facing a particularly difficult, but
exciting, task. In the 2014/2015 season, for the third year in a row, we will be taking our visitors to
14 different venues in Munich, including the Prinzregententheater, the Cuvilliéstheater, the Circus
Krone or the multi-purpose Reithalle.
As regards tourists, different venues means that there must be a very clear line of communication.
Visitors must know when we are in which venue and how they can best get there. The 2015/2016
anniversary season and the reopening of our parent building in 2016 will certainly provide
potential for further extending our touristic activities.
27
Art & tourism
tourism marketing has only increased within the last few years, and
rightly so. The main aspiration of the
Gärtnerplatztheater is to present artistic quality on its famous stage,
which means the world. We want to
do this of course in a well-attended
theatre. Spectators from all over the
world are welcome, even though it is
obvious that we have “home supporters”. Visitors we reach through tourism, however, confirm that we have a
good reputation not only within the
city of Munich. Art is international
and it would be an honour for us if we
could say the same of our audiences.
And thus the Mommsen family
may perhaps become ambassadors
for the Gärtnerplatztheater.
The internationally
successful musical
“Chitty Chitty Bang
Bang”.
Thomas
Dashuber
28
Max Wagner,
managing director of the
Staatstheater at Gärtnerplatz
www.gaertnerplatztheatre.de
Art & tourism
Art can be found in the Smallest Cabin
A plea for more recognition of local culture
in touristic services
Ulrich Pfaffenberger
“And right here on the left-hand side
you can see the residence of the famous
choreographer Chrimarther Barteule.”
Click, camera, click. “Oh, how wonder
ful!” How many times did I, as a city gui
de in Augsburg shortly after my Abitur
(GCSE A-levels), use this little piece of
information to make the time pass
more quickly for my passengers in the
city sightseeing bus between Fabrik
schloss and “the Olympic canoe race of
1972”. And strictly speaking, I wasn’t
even lying. After all, our little school
theatre group (name now well-known)
produced its creative highlights in this
building, namely the unforgotten ope
ras “Hera & Polyester” and “Hexen
sabbat / The Witches Sabbath”.
A
rt you won’t find in the Baedeker
guide and known only to insiders: whenever we pick up tips like
this on our journeys, they open the
door to the world just a little bit more
for us. What form of art really does
move us travelers? It is not the great
opera houses, where every “wannabe
seen” has already sat through their
Wagner. Nor is it the mighty art temple where you wait in the queue for
hours just to earn a look for a few seconds at a picture of “Die betende
Mona und ihre Nachtwache”. It is the
smith making a cross for a grave in a
lonely mountain village, the clay pipe
of an old Cherokee Indian woodcarver, the forgotten apple varieties
grown by a former opera diva and the
grey-haired poet in his or her little
chamber that fascinate us beyond
comparison and which no travel guide knows, either in printed, in oral or
in twittered form.
The beautiful thing about it is:
people like this can be found in the
smallest village and in the most remote area. Take for example the snuff
club, or the teacher in the tiny rural
Deutsche Fassung
school who writes a local chronicle in
his or her leisure time. Or the names
of houses and homesteads that are
derived from old traditional dialects.
The church choir and the brass band
music. The “Herz-Jesu-Feuer / Sacred
Heart of Jesus fire” that in early summer lights up the Tyrolean night sky.
Art is what we declare it to be – since
Joseph Beuys we don’t have to argue
about that anymore.
This means sheer inexhaustible
potential for touristic destinations.
With these little gems they can compete without any restriction with the
juggernauts and flagships of the cultural industry who, in an age with
YouTube and iPad, are forced to take
increasing note of their handicaps –
see above. In the constant search for
something new, the small (art) treasures are a step ahead. Usually sprucing
them up a bit and framing them
nicely is all that is needed. An excited
clientele will then come, almost automatically.
29
Art & tourism
The Art of the Many Dimensions
How the picture language of the Bavarian Philharmonic Orchestra makes the energy contained in music and released by the musicians visible
Ulrich Pfaffenberger
Now and then the Bavarian State Li
brary hosts an evening of lectures. This
is one of those inconspicuous cultural
offerings that all too easily go under
amid the constant cacophony of events
in the metropolis Munich. All too easily
and all too sadly. One evening a few ye
ars ago a scientist from the University
of Tübingen was a guest speaker. He
spoke about music archeology and re
ported that the oldest instrument that
anyone in his branch had ever excava
ted was a flute. The close similarity to
30
the human voice and the recognizable
intention to communicate caused the
speaker to conclude: “The (flute players
of that period) were just like us.”
M
usic has been bringing people
together for around 40,000
years. Basically therefore, for as long
as language has. A remarkable fact.
Music has however changed a lot
and often throughout this period. It
has expressed itself through a multitude of instruments and a multitude
of melodies, styles and concepts. No
end is in sight. The assertion there
Deutsche Fassung
fore that “music in its multi-dimensionality is the most changeable of all
the arts” first has to be disproved.
In the case of the Bayerische Philharmonie / Bavarian Philharmonic
Orchestra (www.bayerische-philharmonie) in the past 20 years a school
and youth orchestra has grown into
an orchestra which reflects the principle of that first flute: to make music
in order to communicate.
For the past two years the Philharmonic has also had its own picture language. “Die Kunst der Verwandlung /
The Art of Transformation” – under
this motto Gerhard Baumann from
Ludwigsburg has created a trademark
for the musicians. “Die Kunst der Verwandlung und die Verwandlung der
Kunst / The Art of Transformation and
the Transformation of Art” have become perfectly visible in, for example,
the fragmented picture collages in the
2014 calendar of the Bavarian Philharmonic Orchestra. They show in transparent form the energy that music
contains and releases.
“Music is the experience, the moment” is how Mark Mast, the con
ductor, director and founder of the
Munich-based ensemble describes it.
Capturing this moment is possible
through the simultaneity of the perspectives – an artistic principle shaped by the cubists (Picasso, Braque)
and the futurists (Boccioni) and later
taken up in the field of photography
by David Hockney.
Thus the photographs taken of the
Philharmonic, which also decorate the
orchestra’s magazine, brochures and
posters, are augmented to include the
factor time and the movement of the
musicians. The vivid colours take up
the sounds of the music and in addi
tion amplify the intensity of the motifs. A creative game with the “iconic
turn” – and an invitation to communicate. This time with the sounds of the
flute at the back of one’s mind.
Art & tourism
Of Geese and Death
Art in Tuscany
Theo Eberhard
A
rt is the universal language of all
humanity. Art belongs to us all
and the unfettered development of
art is true freedom. Art is the interpretation of Being, of the relationships between people, of access to the
numina, to the divine Will, to Eternity. Art is however also the interpretation of the sensitivities between systems and the individual, the state of
a society, its longings and fears and
the feeling for time/the age . Even the
In art, the traveller’s real place of
longing is condensed, the beholder
can become one with the object and
find the intimate soul. Art can tell stories. Of the moods of different epochs
and of the emotional lives of individual people. Art is the photographic
capturing of the moment and a condensing of the eternal. Of eternal beauty and eternal struggle, of homage
to the authorities and revolt against
them. Art is a threat (degenerate art)
and a promise (revolution). True art is
created in the tension between glori-
All the palindromes
are by
ANDRÉ THOMKINS
banality of art in the eye of the beholder is a mirror of one’s own mood and
that of others. Art is integrating and
threatening, meaningful and revolutionary, but always an echo of its age.
And sometimes: art is beautiful.
And it is immaterial what form
art it is; it can be painting, sculpture
or music, everyday art, garden art or
architecture – all these forms of art
are attempts to interpret our societies.
fication and distortion, a hint of the
apocalypse and of happiness.
A very special form of art is garden art. Whenever a group of people
have decided to become a civilized society, they have laid out gardens. The
Hanging Gardens of Babylon were
one of the seven wonders of the ancient world.
The Persian word for garden is
pairidaeza, which is the origin of our
word paradise. A place surrounded by
walls, where the hardship of daily life
is shut out, a place of tranquillity and
beauty, what we imagine paradise to
be. Gardens have transformed themselves again and again in the course
of time and in accordance with the
spirit and the needs of the age. The
mighty were able to celebrate wealth
through their French gardens, the ordinary people used their farm gardens to improve their modest standard of living. The allotment gardens,
which are coming back into fashion,
served to improve the lousy nutrition
of an otherwise penniless working
class.
Whereas laid-out gardens mostly
served as ostentatious shows of wealth or power, in the last century artist gardens arose in which the focus
was not on the garden design, but
rather the “garden” itself served as a
setting for art objects – mostly sculptures. Maybe the museums got too
small (or too expensive) to exhibit
monumental works of art, maybe
many art objects are just simply not
suitable for display within the confines of austere architecture. New object art forms are often not open to
the classical presentation of art (or of
the art market), for example that of
Christo and Jeanne Claude, where
landscape and art fuse completely
into one: Running Fence in California.
Among the most impressive artist gardens, where the focus is on the
art and the garden is only the setting,
are two gardens in southern Tuscany:
Giardino de Daniel Spoerri and the
Tarot Garden by Niki de Saint Phalle.
¶
Deutsche Fassung
31
Art & tourism
The Spoerri Garden
HIC TERMINUS HAERET
At the beginning of 1990s the Swiss ar
tist Daniel Spoerri began to lay out a
sculpture park in southern Tuscany,
about 80 kilometres south of Siena. In
1997 the “Il Giardino de Daniel Spoer
ri” was opened and can be visited from
Easter to October. Spread over an area
of about 16 hectares (40 acres), there
are at present 103 installations by 50
artists to be discovered. The name “Il
Giardino” is a geographical name. The
place name “Il Paradiso” is found on ol
der maps. One could, therefore, not be
criticised for using the name “paradise
garden”. (danielspoerri.org)
Roberto Barnis –
Continuo
Theo Eberhard
W
hen you walk through the garden, time really does seem to
end, to stand still; many of these
sculptures are frozen moments, at
the moment of their creation made
for eternity. And yet the sculptures,
mostly of bronze, stone, sheet metal
or concrete, generate a peculiar tension amidst ever-changing nature. In
32
Grassofa
by Daniel Spoerri
Theo Eberhard
the changing light of day and over the
seasons, the relationship between art
and nature changes – again and again
anew.
Roberto Barni’s swing has survived the seasons and the weather and
the changing daylight lends the people on the Continuo an ever-changing
perspective in their stoicism.
As if not bound by the force of
gravity, the two men are drawn towards each other but will never reach
each other. And sometimes one of
them is in the light, sometimes the
other.
Other sculptures depend on nature for their existence, nature alone
breathes life into them. Nature is part
Art & tourism
of the art, of the object, which acquires its soul through growth and transience, as does Grass Sofa by Daniel
Spoerri.
Eva Aeppli’s Planets turn on their
own axes, embedded in the circling
above the garden, like fixed stars in
the art garden. They are poles of sensitivity, an appeal for perpetuation in
the midst of ever-changing nature.
By far the most impressive work
is Room No. 13 (Hotel Carcasonne, Rue
Mouffetard 24, Paris) by Daniel Spoerri. Scarcely visible from the outside,
the cube stands in a little wood, inclined slightly forward on the ground,
as if out of balance, as if thrown away
like an old fridge onto the rubbish
dump. Spoerri seems to have lived in
this room at the beginning of the
1960s (or rather to have housed there,
judging by its appearance) and has
suspended this moment in his creati-
ve life, his mood for ever. In bronze,
but without the protective ceiling.
The unmade bed, the food remains on
the table, a toothbrush that seems to
have been used much too often, preserved for eternity. And yet, on the
wall a memento mori, a reminder of
death, in an immovable suspended
world. It is precisely this tension between infinity and decay that fascinates the visitor. And real wind comes in
through the open windows, leaves
and pollen dance through the missing ceiling, in winter the snowflakes
form a warming cover on the unmade
bed.
Right at the end of the garden, in
a little olive grove, three fear-inspiring drummers drive 160 geese towards a slope. The geese seem to be
doomed, there is fear in their movements. Only one of them is rescued
by a little boy who is holding the goo-
Eva Aeppli –
The Planets.
Theo Eberhard
Daniel Spoerri –
Room No. 13.
Theo Eberhard
se lovingly in his hands.
This installation is one of the
most impressive sculptures in the
garden.
¶
OLIVIER ESTOPPEY
– Day of Anger.
Theo Eberhard
33
Art & tourism
The Tarot Garden by Niki de Saint Phalle
T
he Tarot Garden by Niki de Saint
Phalle immerses the visitor in a
completely different world of enigmatic fantasy, of magic and enchantment. Figures, ornaments and arcades, which remind one a little of
Gaudi’s architecture, arouse in the
visitor a mood of excitement and
wonder. The enigmatic, even the
evil, comes in a playful mask. The infinite wealth of colours under the
maremma sun melt into an explosion of sensuality.
Above everything thrones The
Empress, the Queen of Heaven. The
inside of her belly appears like a small
temple with bedroom, bathroom and
kitchen, her enormous breasts are
threatening if anything, her look is se-
34
vere, as if she had to keep an eye on all
the other creatures in the garden,
such as The Magician, the creator of a
paradoxical world. Or Death, who
with his sad trade constantly contributes to the renewal of the world and
of life.
The snake of perdition lurks behind Adam and Eve, and above everything Justice, in whose belly injustice is eternally twisting, keeps
watch. Jean Tinguely has set many
things in motion in the garden, above
all the world, mother Earth, which is
continuously rotating.
The Falling Tower which dominates the whole wonderful fantasy village is a symbol of the transience of
time and of our hubris.
The Empress – the
Queen of Heaven.
Theo Eberhard
The two artist gardens, the Tarot
Garden by Niki de Saint Phalle and the
Guardino de Daniel Spoerri, together
receive around 100,000 visitors.
They number among the important
attractors in southern Tuscany. Sure,
the touristic importance of a region
can seldom be reduced to one single
subject. In Tuscany of course there is
also the wine, the climate, the unmistakeable landscape and, naturally, the
food. Art, however, can make a significance contribution. It is not ephemeral, it bears witness to its age. Art & tourism
The Falling Tower
Theo Eberhard
Adam and Eve
Theo Eberhard
The Death
Theo Eberhard
The Magician
Theo Eberhard
35
Art & tourism
Stately Palace Gardens, Fragrant Herbal and Healing Plant Gardens, Natural Landscaped Gardens
The Bavarian garden network has many unexpected treasures
Sabine Freifrau von Süsskind
In 2011 twenty-six gardens in Bavaria
came together to form the Verband
bayerischer Parks und Gärten e.V. (As
sociation of Bavarian Parks and Gar
dens), whose aim is to market and de
velop for tourism the garden culture in
Bavaria and garden art.
G
arden tourism in Bavaria is a relatively unknown quantity. It was
not until 2008 that the Bavarian
Tourism Marketing Agency (BayTM)
with the support of the Dennenlohe
ing of these treasures and no public
marketing to attract people interested in art.
The Verband bayerischer Parks
und Gärten e.V. aims to change this:
in addition to promoting garden culture a suitable touristic offer for
gardens is being prepared, the valorization of the many different types of
gardens is being advanced by an EU
LEADER study and the networking of
Bavarian as well as interregional cooperation partners initiated. Since
2013 there have been cooperation
partners in Saxony-Anhalt and in
Aerial picture –
Persian garden
with the tower of
Babylon and
watercourses to
the four points of
the compass.
Schlossverwaltung Dennenlohe
Schlosspark initiated the first overview map of existing and touristically
developed gardens in Bavaria – this
flyer is today still BayTM’s most accessed information literature.
It is surprising that not more has
happened in this field in the past few
years – after all, Bavaria offers a variety of settings for gardens: stately palace grounds, lovingly attended private gardens, fragrant herbal and
healing plant gardens or natural landscaped gardens. Admittedly, in Bavaria as opposed to in the other German
Länder, there is no collective market-
36
Münsterland. The state of Mecklenburg-Vorpommern is to join them in
2015.
Gardens are not only an important cultural asset, they also offer
considerable economic potential. In
2009, Prof. Dr. Beiersdorf from the
Weihenstephan-Triesdorf University
of Applied Sciences for example examined the economic potential of
horticulture in Bavaria with the aim
of placing this “green” industry in an
overall economic context and working out some important data. His
starting point was the insufficient
and partly contradictory data already
available and the multifaceted structure of Bavarian horticulture.
The results of the study are astonishing: in all, the economic sector of
horticulture in Bavaria comprises ca.
33,000 enterprises with around
24,000 hectares (almost 60,000
acres) of cultivated acreage, 2,300
trainees and around 84,000 employees. There are 15,000 church-owned
gardens, cemeteries and green areas,
11,500 monastery, children’s, hospital
and school gardens, 81 study gardens
and 27 state-owned historical gardens.
If we set the number of enterprises in relation to the number of counties, we get per Bavarian country on
average more than 300 horticulture
enterprises and specialized shops. In
2009 in Bavaria as a whole they generated turnover of around ten billion
euros. That is, by the way, almost one
third of the turnover generated by Bavaria’s much-praised mechanical engineering industry.1
In addition to these astonishing
figures, horticulture in Bavaria also
has a great and widespread impact: if
we take hobby and commercial horticulture together, the field of “horticulture” affects every second inhabitant in Bavaria.
With a turnover of nearly one billion euros and increasing sharply, garden art and cultural tourism in Bavaria are only just beginning to develop
the touristic opportunities open to
them.
The various surveys carried out
among visitors to the palace
grounds and landscape park at Dennelohe show that visitors to gardens
are above all interested in plants,
new garden ideas and in art in the
garden.
1
Deutsche Fassung
Remark: the Bavarian mechanical engineering
industry generated turnover of 34 billion euros in
2009. Source: VDMA 2010
Art & tourism
The swimming
stones through the
Lotus connect the
temple island with
the bamboo island.
Schlossverwaltung Dennenlohe
The combining of parks and gardens with other areas such as art, culture and health has considerable potential. But what do we really mean by
the term “garden art”?
Garden art – the garden itself
as a work of art
A garden is, compared to the dynamic sciences, a clearly-defined entity:
“A site with a fence, with a hedge, or a
similarly closed off location” 2, which
serves either as a provider of food, of
medicines or simply of pleasure, which
in the end justifies the term garden art.
The laying out and looking after
of a pure kitchen garden is called horticulture. Probably the most famous
vegetable gardens in Villandry on the
Loire however in no way fit this definition. The question therefore is:
what does garden art actually mean
today and why are visitors so interested in garden art?
In 1774 Adelung described “garden art” as “the art of cleverly laying
out and looking after a garden both
for practical use and for pleasure” 3.
According to this definition, the
garden itself is the work of art, as recent literature also sees it.
What defines the character of the
work of art is the individual visitor’s
imagination and his or her personal
feelings in the respective garden, the
concepts of taste and beauty changing according to age and epoch.
Hirschfeld in his standard work
“Theorie der Gartenkunst”4 back in
1779 characterizes garden art as the
visualization of space, movement,
feeling and reality which can actually
be experienced, which due to the impermanence of the vegetable material guarantees “longer and more permanent pleasure than statues, paintings and buildings 5. In the first half of
delung, J.C.: Der Gartenbau, Leipzig 1774.
A
Hirschfeld, Ch.: Theorie der Gartenkunst,
5 volumes, Leipzig, 1779-1785
5
Ebenda, p.157
the 19th century, garden art was continued by developing the relationship
to nature and landscape and using
this to determine artistic quality.
Pückler for example speaks very decidedly of garden art/landscaping
and Skell speaks of visual garden art
which emphasizes the inner artistic
value of the natural garden and the
idyllic landscape in a park – a garden
idyll which is artificially created but
which should however look “natural”.
For around 200 years garden
magazines and garden calendars have
played a considerable part with regards to questions which arise concerning the nature of the artwork and
art-theory positions on aesthetic
taste in gardens.
Europe’s biggest garden magazine “Mein schöner Garten”, with a
circulation of 400,000 in Germany
alone, is very popular and spreads
garden trends far and wide, and
through its landscape architects even
sets the trends. As far back as 1926,
Karl Stähle wrote in his book “Gartenkunst”: “The concept of garden art did
not begin to develop until the moment when townspeople began to
yearn for the country life.” 6
Magazines such as Landidee,
Landlust, Landliebe, Landfee etc.
which have mushroomed in the past
few years sell millions of magazines
and dreams and skillfully reflect the
increasing desire for garden art, idylls,
country and garden life.
In principle it can be said that gardens differ from skilled manual horticulture in the countryside, which is
concerned with the “knowledge of gardening”. Parks and gardens only move
up the ranks into the category of fine
art through a “refinement of needs”.
Of all art forms, garden art stills
remains today the one whose essence,
laws, limitations and relationship to
other arts is the least researched. Instead, in both theory and practice, it
occupies an interim position as a subform of architecture and, like landscape planning and landscape architecture, has recently been attracting
more and more attention as an independent field of research.
3
2
urbella, J.: Gartenkunst und Wissenschaft, in:
B
Schweizer, S/Winter, S.: Gartenkunst in Deutschland, Regensburg 2012, p.494
4
6
tähle, K.: Die Gartenkunst in ihrer Stellung zum
S
Kuns- und Kulturleben unserer Tage; Dresden
1926, p.222.
37
Art & tourism
In the end, garden art creates an
“overall total work of art” composed of
architecture, sculpture, ornamentation and painting, for the respective
beholder on site a so-to-speak three-
dimensional work whose character is
constantly changing and mutating due
to the green regrow materials used.
A multidisciplinary category like
garden art, which combines different
fields of knowledge and art genres,
raises a variety of questions which are
reflected in the differentiation between developments in garden art.
The broadening of special fields
to include public, urban and suburban parks and gardens, private parks
and gardens, town planning, design
of cemeteries, church and town gardens, embedding of traffic infrastructure into the gardens and landscape
and the related further development
of the gardening, garden art and landscape architecture professions does
not make the job any easier.
Garden art acquires a special autonomy at the point where, at the interface with gardening practice, “the
artistic principles focus on a special
use of plant material or on a special
type of landscape design”.7
8
The embedding of works of art in
the garden space, as is the case in
Dennenlohe Schlosspark through the
large sculptures and country art objects by international artists, as well
as the organizing of events constitute
Sabine Freifrau von Süsskind,
President of the Verband Bayerischer Parks und Gärten e. V.
(Association of Bavarian Parks
and Gardens) Managing director
Schloss- und Landschaftspark
Dennenlohe (Castle and Landscape
park Dennenlohe)
www.dennenlohe.de
7
an additional form of art which is
gaining in importance in gardens developed for tourism.
Each of these forms of art must
therefore be viewed separately, as
an additional form of art for the garden, which is the actual garden work
of art.
Schweizer, S./Winter,S.: Gartenkunst in Deutschland, Schnell und Steiner, Regensburg 2012, p. 71
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Art & tourism
Art doesn’t have to be beautiful –
Art may also shock!
duction”, to quote Bernd Guggenberger. But does the beauty dimension
alone enable us to assess art? What
actually constitutes good art?
Again and again I hear from many
people that what is good art and what
is not good art is in the eye of the beholder. If you then ask several people
more detailed questions, you find
that opinions overlap to a certain extent. Do you like that? 80 % say yes –
or no, in particular if we stick to the
categories “beautiful” and “imposing”. I too am susceptible to the feeling that art may be beautiful and perhaps even imposing. There is consensus that there is, objectively speaking,
good art and poor art, as there is good
literature and poor literature.
„Die Präsidentin“ (The
President) by
Renate Göbel,
from the 1970s.
She is not
beautiful –
imposing at
best – but with
no eyes and no
mouth, only
external pomp,
she is above
all a reflection of
her age.
Georg
Schweisfurth
Georg Schweisfurth
As places where people meet, hotels
are actually very suitable locations for
using art to effect or as a means of
communication – but communicate
what exactly? That is the big question.
F
or many people art is something
ornamental, something we use to
decorate the environment in which
we live. It “is beautiful” or “is not
beautiful” is then often the only criterion used to categorize art as good or
not. Whether concrete works of art or
abstract ones, paintings or sculptures,
the main thing is that it is beautiful.
Beautiful then means: the colours go
really well with our curtains! Or: is
beautifully painted, the colours go
well together. Or imposing: Wow,
great! When you see a photo or a
painting of a wild landscape in the
lobby of a city hotel: impressive! Socalled art is also used (or misused?) to
make the ugly beautiful. Beauty is
nevertheless of elementary importance to us humans, it allows us to
forget our troubles. Beauty is also a
stimulus in the world of goods and
serves as “fundamental behavioural
programmne in the service of repro-
Deutsche Fassung
Works of art tell
stories of their age
My yardstick is: How well does the
artist present his or her age to his contemporaries? Irrespective of whether
it was then or now, in the 1920s, at the
end of the Middle Ages, in ancient
Greece or even in prehistoric Egypt. I
was recently standing in front of a
wonderful, female sculpture of fine,
grey-green marble in the Museum of
Egyptian Art, of Isis. It is over 3,000
years old and I had never before seen
anything so beautiful and erotic, so
perfectly and brilliantly handcrafted.
This sculpture seems to emanate the
whole life circles of the high culture
of Egypt, the advanced political system, the legal system, education, social balance, peace, tolerance and
freedom – we can recognize all these
things in it.
What role does handicraft play in
art? In the past all good artists were
also good craftsmen, handicraft can
therefore become art. By this I mean
all kinds of handicraft. I am a butcher
by trade, and there are not many
butchers who turn their craft into
downright art: craftsmanship is
something that cannot be copied because artists speak their own typical
39
Art & tourism
language or have their own typical
style which nobody can copy.
“Everything is art”, Joseph Beuys
once said. What did he actually mean
by this? Quite simply that everything
we deliberately and willingly design is
an expression of our culture: how we
want to live, how we think, how we
work, what we want to have, how we
move, what we love or hate – every
thing that is designed is “art”ificial.
Everything tells stories. This is a brave
statement to make, but it shows how
art and reality belong together, how
they flow into each other – yes, even
become one. Beuys’ artworks are stark
and not beautiful, but they tell the
stories of the time in which they were
produced. Shocking stories of suffering and death as well. An exaggeration of what is to be said through a
kind of isolation.
Artists hold up a mirror to us
Stories of suffering and death, also of
sex and power, money and greed and
madness are the subject of art over
and over again. What should we look
at these terrible things? I believe that
we, as aware human beings, have to
look again and again at the dark and
irresolvable sides of our beautiful
world, such as the holocaust or the
destruction of the environment so
that maybe one day we will manage
to do a U-turn. It is almost a kind of
psychotherapy to be forced to look
into the mirror of humanity, sometimes unbearable, shocking, painful.
Art that succeeds in arousing people,
in motivating them to do something
new and to change hardened convictions, is for me always good art.
Three extreme examples: Wolf
Vostell, Hermann Nitsch and HA
Schult, who with their works of art
play an important role in my family,
are well-known “action artists” who
carry their subjects to extremes –they
shock and provoke feelings of disapproval and a lack of appreciation because they are not beautiful, and only
sometimes aesthetic. Wolf Vostell has
above all the inextricable dilemma
that our food consists of nothing but
killed souls and made this alienation
from nature an issue away back in the
sixties. Nitsch has depicted the animal in humans, animalistic barbarity,
40
helplessness, sex and power in
breathtaking actions – not glorified
(!). And 40 years ago HS Schult already drew attention to man’s destruction of the environment, at a
time when all the world was still suffering under the delusion of unrestricted growth. But as enlightened,
thinking beings we must confront the
abysses of our society and take those
artists seriously who hold up a mirror
on it to us.
Art should be a visible part of
everyday life
Many people think that art belongs in
museums or in so-called public areas,
for example on the town square.
Moreover, more and more rich people collect the works of well-known
artists and the expensive paintings
then often disappear as capital investments in well-guarded archives.
In such cases, the only function of art
is to make a profit. It is not intended
to have any effect other than to make
a profit – often a pity for the art because it is locked up in cellars, useless,
and has no influence on the world. It
is also a pity for many of the artists,
who actually wanted their art to have
a completely different effect. Art
should be a part of everyday life! For
example, it should be visible wherever people work. Where they meet each
other to communicate. In the lobbies
of the hotels, in the corporate conference rooms, in the factory halls.
Our hotel is also, and first and
foremost, an event hotel. The rooms
are used for conferences, meetings
and congresses. As our guests often
need flip charts and projection
screens, the artwork is often in the
way. One is sometimes inclined to do
away with it completely. But a trainer
told me that, according to the latest
neurological research, a conference
held in a room where there is good art
on display is more successful than a
conference held in a sterile room. Because art serves as a projection screen
for thought and for the subject matter to be learned. The subject matter
learned is associated in the mind with
the art and the objects and is thus better internalized and better remembered. This encouraged me to display
more art in the conference rooms.
Recently I have been occupying
myself with so-called upcycling design, which creates art and designs
things like furniture or tables or
houses from rubbish – or let us say
rather from things with a life behind
them. Here art finds its mission,
namely to draw attention to an outrage that has become so much a matter of course to us: we burn our valuable raw materials in waste incineration plants instead of recycling them
and using them again for other purposes. If we don’t recycle them, we
will sooner or later run out of raw materials. Germany exports incineration
plant technology worldwide!
Art therefore is not a distraction,
but supports critical learning, mental
agility and vitality, and wakens us up!
Art incites further thought!
Georg Schweisfurth is managing
director of the Sonnenhausen
GmbH & Co. KG estate, the bio
conference and event hotel in Glonn
south-east of Munich in the foothills
of the Alps, and the founder of basic:
Bio-Genuss für alle.
Art & tourism
Immersing in a New World
Art as unique selling proposition in the hotel industry
Burkhard von Freyberg
T
he success of accommodation
establishments depends today,
as it always has, on unique selling
prop ositions, on attributes that
make an individual hotel or a hotel
group distinct or special. Due to increasing globalization and the increasing pressure of competition it
will in future become even more important for hospitality service providers to offer their guests something unique, something that perhaps surprises, irritates or distracts
them, allows them to immerse themselves in a new world (key word “escapism”), or which confirms their
lifestyle and thus gives them the
feeling that this is their world. Such
a unique selling proposition exists
when a host concerns himself with
the subject of art, combines it with
the classical offerings and services of
an accommodation establishment
and offers it to his guests.
To provide a definition of art is a
difficult and never-ending proposition – what is beyond dispute how
ever is that art touches, moves and
influences people. Some are moved
consciously, others unconsciously.
Usually this is a positive experience,
especially for people who see a preoccupation with art as an integrative
part of their lives. It thus appears as
an outstanding attribute and is a
good attractor to win guests.
Arte Luise
Kunsthotel
Concert hall in
Schloss Elmau
Schloss Elmau
As a semi-public space and a place
where people meet, accommodation
establishments have since the early
days of the grand hotels been a suitable stage for art. In the past 200 years
the topos Hotel has increasingly become an artistic subject. In the process, artists not only grapple with the
hotel as a motif, but also adopt its
rooms as their own, arrange and inhabit them.
In principle, all categories of art
can be experienced in a hotel, be it
fine art, descriptive art, music or literature. All forms are practised; numerous hoteliers invite their holiday
guests to film evenings, theatre performances, readings or exhibitions.
For the hoteliers, the art is not necessarily always anchored in the philosophy of the hotel, but is more a supporting programme to entertain the
guests. There are a great many providers of accommodation who have
made art a central and very effective
theme.
The following examples document this:
•T
he literature hotel Franzosenhohl in
Iserlohn has dedicated itself completely to the subject of books and,
with book parties and readings as
41
Art & tourism
well as services geared to this, con
tinuously offers authors and guests
a suitable platform.
•T
he five-star Schloss Elmau hotel is
as Leading Hotel of the World and
Cultural Hideaway a meeting place
for people interested in art and one
where world-class musicians regularly perform.
• I n Arte Luise Kunsthotel, opened in
1995 as an authentic Berlin artist project, over 50 artists put their room-
related concepts into practice in the
rooms and created refuges where the
guest can get into the mood for the
museums and galleries in the art and
artist metropolis Berlin, or which can
serve as inspiration and a place of
reflection.
•T
he hotel chain art’otel comprises a
number of hotels in Europe’s cosmopolitan centres where extraordinary
architecture is combined with an artistically designed interior. The core
of the brand is the art itself. In each
of the hotels an art collection made
up either of works specially designed
for the particular hotel or of bought
original works is exhibited. Individual art galleries have thus grown up in
each hotel, from the sculptures and
installations of the fluxus pioneer
42
Wolf Vostell to the prints and etchings of Georg Baselitz in Berlin to the
works of the German painter, graphic artist and sculptor A.R. Penck in
Dresden. The focus is on post-war
German artists who picked out as a
central issue the tensions between
East and West up until the reunification of Germany. The third hotel in
Berlin is dedicated to Andy Warhol,
whereas for example the Korean Seo
is present in Cologne and the US
American artist Donald Sultan in
Budapest.
Worldwide, there are other examples in the “art hotel” segment: the Au
Vieux Panier in Marseille, the Hotel
Fox in Copenhagen, Manzara Apartments in Istanbul, The Swatch Art
Peace in Shanghai, the Hotel des Artes
in San Francisco, the Hostel Art Factory in Buenos Aires, the Gramercy Park
Hotel in New York City, the 21c Mu
seum Hotel in Louisville/USA, the
Gladstone Hotel in Toronto or The
Cullen in Melbourne.
An exhibition which ran from
March to June 2014 under the title
“Room Service – From the Hotel in Art
and Artists in the Hotel” in BadenBaden is testimony to the fact that art
in hotels is more than just a fringe
Au Vieux Panier
phenomenon. To capture the hotel
legend in situ, the exhibition was also
supported by a number of reputable
hotels in the city, with works by numerous artists on display in hotel
rooms, lobbies or park garages, some
of which had been specially developed for this project.
Deutsche Fassung
SOURCES:
Gruner, A./Freyberg, B. von/Phebey, K.: Erlebnisse schaffen in Hotellerie und Gastronomie; Stuttgart 2014.
Freyberg, B. von/Gruner, A./Lang, M.: ErfolgReich in der Privathotellerie; Stuttgart 2012.
www.artfocus.com/kunst/
www.artotels.com/
www.kunsthalle-baden-baden.de/programm/show/116
www.literaturhotel-franzosenhohl.de/
www.luise-berlin.com/
www.zeit.de/1995/39/Kunst_im_Hotel
Tourismus in Bayern
Time for Munich – Time for Culture?
Why Munich has to market its entire cultural spectrum
in a more targeted way?
Geraldine Knudson
therefore the vision on which
München Tourismus and the tourism
industry in Munich have happily
agreed in their joint strategy paper.
All the partners follow the same goal
which is a comprehensive and differentiated marketing of the excellent
supply of cultural services for which
the city is not yet sufficiently wellknown in the tourist source markets.
Do we need to worry at all about
the success of a city in which
everything seems to have been running so well for years?
S
ure, Munich wouldn’t be Munich
without the Oktoberfest (October
Festival). It is almost inseparable
from the way the city is perceived by
the rest of the world. It is a part of the
city; the name above the door
through which guests from every
continent enter and leave it. Maybe in
a few years’ time visitors will come in
jeans again and not in traditional costumes which are still the trend, and
maybe the hype will be less intense.
Scenarios like an empty Theresien
wiese with posters reading “Space for
your festival marquee” in an attempt
to attract indifferent caterers are,
however, about as realistic as a ‘theend-is-nigh’ one in a science fiction
film: there is no indication that the
biggest public festival in the world is
ever going to lose any of its market
value.
An October Festival once a year
and the image of beer, traditional
costumes and sociability that it conjures up, is however not enough in
the long run to generate for a metropolis like Munich a sustainable increase in added value from tourism.
It is a tempting proposition to generate business through organizing further festivals, on the same time-tested pattern, in the winter months
when there are not so many bookings.
The idea seems enticing but it would
however bring about a gradual “Disneyization” of the Bavarian/Munich
lifestyle, which in the long run would
not go down well with the local population. Tolerance and genuine
friendliness towards guests are however precisely those values which
make our city stand out from others
and are the reason why visitors feel so
at ease here. As responsible tourism
professionals we must not demand
too much of our fellow citizens in the
search for possibilities to increase the
influx of tourists. “Wachstum mit
Weitblick” (Growth with Vision) is
Why Munich gets top marks –
and yet has the potential
to do even better in the German-
speaking market.
München
Tourismus poster
for promoting the
Kulturherbst in
German urban
centres. .
München
Tourismus
Zeit für München.
Zeit für Kultur.
www.muenchen.de/kulturherbst
A4_quer_Plakatwerbung_ZeitfürMünchen_Kultur.indd 2
46
In the past two decades a large number of large and mega events, such as
the opening of the Neue Messe in
Riem in 1998, the BUGA garden show
in 2005, “850 Years Munich” in 2008,
“200 Years October Festival” in 2010
and, above all, the holding of the football World Cup in 2006 have focused
a lot of media attention on Munich. In
this period the number of tourists
has more than doubled, from 6.133
million to 12.895 million. For the past
11 years Munich has experienced
a growth curve, in 2013 the city
achieved its best result ever since records began.
A closer look at the figures how
ever shows that whereas Munich was
able to consolidate its top position
with regard to the number of international visitors in 2013, the percentage
of German-speaking visitors among
the total number of guests actually
dropped due to the lower increases in
numbers from the German, Austrian
and Swiss markets (DACH). This is not
alarming as precisely top touristic
destinations like Munich have lower
growth rates. We should however be
in a position to react flexibly to this
new situation in the DACH market as
it accounts after all for 60 % of all the
tourists who come to Munich. Unforeseeable political and economic
ups and downs, or big natural phenomena, have shown again and again
how abruptly important markets can
collapse. The DACH markets on the
other hand are seen as being largely
crisis-proof. How then can we continue Munich’s success story and
12.08.14 13:36
Tourismus in Bayern
Kulturelle Aktivitäten während des Aufenthaltes
strengthen our position on these
markets and achieve higher growth?
Enjoying culture and a culture of
enjoyment – Why our visitors love
coming back.
10,3%
Theater / Kabarett
Kulturelleactivities
Aktivitäten
während
Aufenthaltes
Cultural
during
thedes
stay
9,4%
10,3%
9,4%
Theatre/cabaret
Theater / Kabarett
Visit
to musical
Musicalbesuch
Pop- / Rockkonzerte
Pop/rock
concerts
6,6%
0,9%
3,2%
1,4%
Musicalbesuch
Pop- / Rockkonzerte
Oper / Operette
6,6%
0,9%
3,2%
1,4%
4,8%
0,9%
4,8%
Culture is one of the strongest attracMuseen / Ausstellungen
Opera/operetta
Oper / Operette
0,9%
tors for tourism. Visitors from the
51,6%
Diskotheken / Bars / Nachtleben
Museen / Ausstellungen
Museums/exhibitions
DACH and other inter-European
66,3%
markets in particular have an
51,1% 20,7%
Discotheques/bars/
Festivals / Events
Diskotheken / Bars / Nachtleben
31,3%
nightlife
70,3%
above-average interest in culture.
6,2%
20,7%
Sportveranstaltungen
Munich can cater for this with its
Festivals / Events
Festivals/events
31,3% 1,1%
overwhelming supply of cultural ser9,4%
6,2%
Veranst. klass. Musik
Sportveranstaltungen
Sports events
12,8%
1,1%
vices. The Wittelsbacher dynasty in
8,3%
9,4%
its almost 700 year regency laid the
Veranstaltungen mit Brauchtum/Volksmusik
Classical
music
Veranst.
klass.events
Musik
26,0%
12,8%
foundation for the unique combina8,3%
Munich
Magic
München
Magic Cities
Cities
Veranstaltungen mit Brauchtum/Volksmusik
tion of music, theatre and museums.
26,0%
For the guests who return, the
Trends are set in Munich and the
Ludwig I for example wanted his resMünchen
Magic Cities
city’s real charm lies is the peaceful
city is a hot spot for up-and-coming
idency to be appreciated above all
coexistence between its cultural temartists. The “Radikal jung” director’s
for its wealth of cultural assets. Muples and its beer culture. They readily
theatre festival for example puts on
sic lovers will find one of the most
embrace both, appreciating the full
a wide spectrum of aesthetics and
respected opera houses in the world
range of cultural services offered and
subjects by young theatre-makers –
and orchestras of the highest quality.
then switching, relaxed and self-consince 2013 from all over Europe and
The main works in the art museums
fident, from enjoying the culture to a
beyond. The city’s theatres are
in Munich’s art district, the Maxvorculture of enjoyment, from the Hofamong the best there are: in 2014
stadt, alone span several centuries:
bräuhaus over to the opera house,
half of the ten theatre productions
from the Egyptian Museum with the
from Matthew Barney’s “River of Funinvited to the Berlin Theatertreffen
double statue of King Niuserre to the
dament” total work of art to the river
were from Munich. Whether rock
Barbaric Faun in the Glyptothek, the
banks in the English Garden right beand pop, techno, indie or Alpenrock,
Four Apostles by Dürer in the Alte
side it, from the beer garden to Brandthe latest musical trends are set in
Pinakothek, Van Gogh’s Sunflowers
horst and back again. They enjoy the
Munich. Up to 10,000 music fans
in the Neue Pinakothek, the Blaues
“Blauer Reiter” in the Lenbachhaus as
come together when a large percentPferd (Blue Horse) in the Lenbachmuch as they do the Hugo afterwards
age of the around eighty music lahaus, Beuys’ works in the Pinakothek
in the chic in-house café “Ella”.
bels based in the city present their
der Moderne and in the Lenbachbands at the annual Klangfest music
haus to the Tatra 87, the father of the
Am I beautiful? –
festival.
VW beetle in the New Collection. Not
Why Munich is well-known, but
The people responsible for culmany people know that due to the
not attractive enough.
ture in Munich, with whom I regularlarge number of internationally faly met to exchange ideas, see great
mous design artists who are resident
The view of Munich from the outside
touristic potential in the city’s wealth
here, Munich has become Germany’s
is however different. The rest of the
of cultural assets. We work together to
design capital. All of the above are on
world think they know the city, but
make these treasures better known
the highest level internationally and
they appreciate more the city’s wellinternationally, for it is still above all
a short walk will take you to any of
known clichés than its top-class perthe citizens of Munich itself and
them. The Hochschule für Fernsehen
formances in the arts, in culture and
guests who have already got to know
und Film, the Akademie der Bildende
the sciences. It is a similar picture
the city on a visit here who are familKünste (Academy of Fine Arts), the
with the free-spending, travel-loving
iar with this wealth of cultural assets.
Technical University and the Ludnew visitors from the DACH markets
In the Qualitätsmonitor Deutsch
wig-Maximilian University (in 2012
whom we hope to attract to Munich
land-Tourismus (German Tourism
the most successful university in the
in increasing numbers. We will toquality monitor) and a study comGerman nationwide excellence comgether direct all our attention tomissioned by the cooperation of Magpetition) interact creatively and inwards making these trend-conscious
ic Cities, visitors unanimously said
novatively. The cultural services protarget groups who expect a high-qualthat they diligently visit the local muvided in the art district are suppleity, differentiated range of cultural
seums and exhibitions and that they
mented by two large exhibition
services more aware of Munich as a
are more satisfied with what they exhalls, the Haus der Kunst and the Hycultural metropolis and cosmopoliperience there than are tourists in
po-Kunsthalle. In all, Munich has
tan city. In an age where culture plays
Berlin, Hamburg, Cologne and the
more than 60 museums and exhibithe most important role for educated
other Magic Cities (see Figure 1).
tion venues.
middle-class target groups, the prom-
51,6%
Figure 1:
More visitors
51,1% to
museums and
exhibitions in the
regional capital
Munich than in all
other Magic Cities
together
66,3%
70,3%
Source:
Qualitätsmonitor
Deutschland
Tourismus 2012
Deutsche Fassung
47
Tourismus in Bayern
ise of a nice cool beer – to consciously
put it very pointedly – in a typical
Bavarian beer garden is no longer
enough to entice people to visit Munich rather than Paris, Rome, London,
Vienna or Berlin. A comparison made
by the market analysis commissioned
mid-2013 by München Tourismus
and the Tourismus Initiative Mün
chen (TIM) e.V. with “Champions
League” city brands with regard to
preferences, identified untapped potential. City brands can be compared
to cars: the buyer does not make a
particular brand their first choice because they know it, but because it is
“in” and harmonizes well with the
buyer’s attitude to life. A strong profile which our city can use to make
those qualities so highly praised by
insiders, in particular in the field of
cultural diversity, more visible to the
outside world has to date been missing. You have to have actually been to
Munich before you can fall in love
with it.
The challenge for new and successful marketing of Munich is therefore to bring outsiders’ perception of
the city in line with that of the in
siders. The flourishing, creative and
trendsetting Munich arts, culture and
sciences scene must position itself
even more openly. One advantage is
that there no need to build castles in
the air to attract potential customers.
Munich is already a real city of dreams,
a city that offers everything a city
tourist could possible wish for. The
high percentage of interviewees who
said they intended to visit the city
again underlines this. Munich how
ever needs a clear, long-term market
strategy to make it an object of desire
for those tourists who like city trips
but who to date have not had Munich
on their radar. A trendy product to
which the customer can confidently
say: “For me, a must-have!”
Why the Oktoberfest is no longer
the focus of attention – but whose
qualities can still be used to good
advantage to promote Munich as a
city of art and culture.
The Oktoberfest does not completely
blur people’s view of Munich as a city
of museums, music, theatres and the
sciences. But when people are once in
the city itself, its cultural aspects
manifest themselves to them. Moreover, the Oktoberfest stands for a
number of values, needs and longings
that locals and visitors alike share and
which have a fundamentally positive
effect on how the city as a whole is
perceived. The key to winning over
the hearts of the visitors is the way in
which the Munich people respond to
their guests’ basic need to feel part of
Munich’s
Oktoberfest can be
used to good
advantage to
promote Munich as
a city of art and
culture.
B. Roemmelt
a community. In an essay by the
Munich writer and dramatist Albert
Ostermaier there is a very apt description of the Munich attitude to
life. He writes that even when the Oktoberfest is over there is still that
“community spirit, that Mia san Mia,
which excludes no-one but on the
contrary brings people together who
would not normally belong together.”
This invitation to its guests to
participate in the life of the city is
unique among Europe’s cities. The
market analysis also comes to this
conclusion. This recognition has
meant that “participation” is firmly
anchored as a unique selling point in
the new tourism strategy for Munich.
In future, we will be less worried
about the Oktoberfest and beer giving a rather limited picture of the city,
but will use “participation” as a bridge
to market the whole range of cultural
services that Munich has to offer. The
aim of München Tourismus and the
entire tourism industry in Munich is,
with combined means and actions, to
create within ten to fifteen years a
new image and to position Munich as
Europe’s most attractive metropolis
for a culture of enjoyment, for enjoying culture and for joie de vivre – with
an unique opportunity to participate
in the life of the city and of its citizens. We will have achieved an important goal not only when this new image has an effect on the outside markets but also, and in equal measure,
when all those responsible for promoting successful tourism in the city
act together and use this image as a
mission statement and general orientation for all their actions.
How we are making Munich
bloom this autumn and are
revealing the secret of an urbane,
modern and trendy Munich.
At the beginning of August the first
marketing campaign – called Kulturherbst (Autumn of Culture) – which
concretely puts the contents of the
new strategy into practice was started. Under the new product name we
are presenting numerous cultural activities, exhibitions, musical highlights, cultural festivals and art fairs
which are being held in Munich during this season. All offerings are
48
Tourismus in Bayern
No need to build
castles in the air for
tourists – Munich
already offers a
stupendous supply
of cultural services.
J. Lutz
grouped together under the short
link www.muenchen.de/kulturherbst
or can be called up via the www.
muenchen.de button. Visitors can
also access online bookable all-inclusive rail prices for Munich from this
website. A marketing mix consisting
of posters, online marketing, advertisements and visits to the editorial
department purposefully communicated the Kulturherbst to all the desired inland target groups. The pri
mary aim of the Kulturherbst cluster
of services and events is to position
already available services more visibly. It is of course conceivable that
other cultural institutions will in the
future become involved by offering
new events specially designed for this
platform.
To make cultural topics and touristic trends more tangible in Munich
itself and to intensify the dialogue between the partners from the tourism
economy and culture and the business sector, München Tourismus regularly organizes theme days. On 7th
August experts, associations and
tourism professionals discussed the
question of accessibility for disabled
people. In October 2014 and March
2015 the events will be devoted to the
Geraldine Knudson is Head of
München Tourismus
www.muenchen.de
topics “Culture” and “München Kreativ”, and specifically also to market
the Munich Creative Business Week
(www.mcbw.de) which will be held
from 21st February to 1st March 2015,
an event which many other cities
envy us for.
Last but not least it is important
to perfect Munich’s tourism infrastructure with respect to the range of
cultural services offered. To this end,
a new user-friendly and modern orientation system will soon be in place
to guide visitors easily through the
city and to the important sights and
cultural institutions. An individual
guide system for the historic art district with its dense range of museums, galleries and scientific institutions has already been developed. Its
prototype will be presented in April
2015 as part of the 2nd Kunstarealfest
(Art District Festival). Between the
large collections we hope there will be
numerous lively meeting places,
places of discussion and places to enjoy gastronomic delights, all of which
will considerably heighten tourists’
perception. At the same time we
strongly support the introduction of
a visitor-friendly museum card for
the art district. With new ideas and
visible from afar, we will reveal to our
visitors all the facets of Munich’s
range of cultural services and with
pleasures and hospitality initiate
them again and again in the secrets of
the urbane, modern and trendy city
of Munich – until there are no secrets
left to reveal.
49

Tourismus Management

Transcription

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