101209 creative clash

8/13/2019 101209 Creative Clash

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Policygrouping

Pia Areblad

Director TILLTProject manager TILLT Europe

Creative ClashBrussels

December 9, 2010

[email protected]

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The interesting thing about an artistsway of work is the ability to thinkdifferently and to create something

new and unexpected out ofsomething perceived as static andimpossible to change.

Jan-Peter Idstrm, Chief of Clinical Studies, AstraZeneca

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Create unexpected meetings create CLASHES that

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Provide the meeting with structureand support

stimulate the interaction and

cross-fertilization

Intermediary organisation/bridge

Create unexpected meetings create CLASHES that

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cross-fertilization

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Preparatoryround table

Culture

10-15 participants

Co-leaders: TILLT&KEA

Brussels

Preparatoryround table

Cross Sectoral:

employers/social partnersEU-evel officials

10-15 participants


Brussels

Working Group Hearing withinthe Section for Employment,

Social Affairs and Citizenship(SOC)

EESC European Economicand Social Committee

Round table Sweden

Regional/Cross Sectoral

20-25 participants


Round table Spain

Regional/Cross Sectoral

20-25 participants

Co-leaders: c2+i&KEA

Policy Recommendations

EU-conferenceBrussels 9 December


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Research to Find Value(s) in Artistic

Interventions in Organizations

Professor Ariane Berthoin AntalSocial Science Research Center Berlin (WZB)

Creative ClashBrussels

December 9, 2010

[email protected]

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A, C. (1990), . B: A B. A, C. (1995), A , : , 10/ 6: 2026. B A, A. (2008). "A C B ", ://..///...

B A, A. (2009). . .TILLT E, G, S.

B, T, C, A, P, M (2004) (R)E L: H A C I B.L, K: A & B. A J 25 2010:://..///REL.

C, A. (2001/2002) A : T . . 2/1:830.

C, M. D., E, A C. (2005), F (I ): H , : , N. 38, . 299319.

C, T. & M, I. (2004) S : A R R P O T. 25/5: 841851.

D, L. (2004). . . F: S .

D, M., B A, A., C, J, N, I. (.) (2001). . O:O P.

F, ., R, T. (2009). T . . .7, N.1:3147.

MN, S. (1998). . ' . B, S. M, P. (2009). M C: T R P, E, S C. I P. M, J. F,E. (.). . . , . 2.S , B: 97153.

R, P., B, H. (.) (2008). . . 2 . LA. S.

S, G. (2009) "T AB I. M AB I." A&B, L. A J 252010 ://.../M%20/F/R/M%20ABI%20%20P%20SFINAL.

S, A., E, M. (2008). "B A G C F. A S A R P." 17(1): 4757.

T, S. S., L, D. (2009). " AB M M D." A ML E 8(1): 5569.

, M. G I, R. (2009). . S S, TILLT E.


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Precautions from both sides

reflections from round tables

Lars LindstrmHuman Resources Manager Scandinavia

PAROC

Creative Clash

BrusselsDecember 9, 2010

Risks to starting a co-operation with an artist?- Climate in different organizations.- No clear starting point or goals for the process.-Too detailed steering from organization of the process itself-Artist focus on him/her self

What reduces the risks?-Structured way to communicate and prepare mgmt.-Recruitment and training of Artist and awareness of

challenges.-Purpose and goals for the process and space for the artistto use his/her certain skills.

What makes you anyhow, start a co-operation with an Artist?-Understanding of untraditional methods effect on org.-Willingness to come forward, where we have been

hindered in development or couldnt reach out with forexampel values.

Employer perspective


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What is the artists role?-To be the mind opener, stimulating organization to

see in new perspectives.-Being a catalysator bringing stimulation to

organization.-Ability for change and increasing communication,

mind opener for new possibilities

What value is he/she-Comes with new perspectives-Profesional in stimulating and challenge people to

new perspectives.

-No consultant with a roadmap, the Artist has thefreedom how using different methods depending on theworking group. Art ist must continue to be an art ist.

Employer perspective

101209 creative clash

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