6.4B FAI Fundraising and International Networks | Villa Necchi Campiglio - Alessandra Varisco, International Fundraising Manager

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来自 Università Bocconi 的课程

Arts and Heritage Management

317 个评分

Università Bocconi

Arts and Heritage Management

317 个评分

Today cultural institutions are facing important dilemmas in many aspects of their management. Over the past decades, a new figure has emerged that of the art manager. Imagine you went to work every day to connect artists with audiences, vision with reality, and money with a mission. That is what managers in the arts do, they play an essential role in transforming the minds, lives, and communities through creative expression. This course has been conceptualized to address the need of skills and techniques to help professionals and managers in running art and cultural institutions. Learning Objectives There are three objectives to this course. First, we will approach the biggest issue cultural institutions face, the coexistence of managers and curators and giving evidence as to when, how, and why they can get along. Second, we will focus on some contemporary facets on what is means to manage a cultural institution and what cultural managers should expect and be able to face. And lastly, we will provide models and tools to design and implement appropriate courses of action to satisfy customers (visitors and audiences) and build an advantage over the competition. Course Structure The course is divided into six sections. Five sections are dedicated to specific aspects and themes of managing cultural institutions, while the sixth section is dedicated to individual interviews of prominent cultural institution managers on specific topics. The involvement of professionals and managers gives an incredible value to the learning experience of this course. Each module is paired with a quiz and discussion forums to reflect on the variety of the heritage management, its complexity, and the power of the network that we will build together during the course. Successful completion of the quizzes is required for a course certificate as explained in the Grading Policy page. If you love art and want to make an impact in this unique and fantastic sector, this course will support you in understanding the peculiarities of this sector and how to leverage on its tools to make a bigger impact. Look forward to meeting you online! Acknowledgements: Vatican Museums: www.museivaticani.va Cenacolo Vinciano: www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Contenuti/MibacUnif/Eventi/visualizza_asset.html_1283837989.html (ITA) FAI (Fondo Ambiente Italiano): eng.fondoambiente.it MUVE (Fondazione Musei Civici Venezia): www.visitmuve.it The National Trust: www.nationaltrust.org.uk The Archeological Site of Paestum: www.museopaestum.beniculturali.it whc.unesco.org/en/list/842 Museo dell'Opera del Duomo (Florence): www.museumflorence.com Museo del Violino: www.museodelviolino.org _________________________________ Disclaimer - Since some of the videos are conducted with those whose native language is not English, we have decided to sometimes preserve their more emphatic speech to keep a tighter match between the audio and subtitles.

从本节课中

MEET THE MANAGERS

Hear what managers have to share about how they deal with the main topics of this field: A collection of best practices told directly from the people responsible for these success cases.

6.1 Meet the managers0:51

6.2 Reliving the Past in the Present | Archeological Site of Paestum - Gabriel Zuchtriegel, Director14:36

6.3 An Example of Virtuosity | Fondazione Musei Civici Venezia - Mattia Agnetti, General Secretary7:18

6.4A FAI Contemporary Art and Collection | Villa Litta Panza - Anna Bernardini, Director3:56

6.4B FAI Fundraising and International Networks | Villa Necchi Campiglio - Alessandra Varisco, International Fundraising Manager11:26

6.4C FAI Fundraising and CRM - Patrice Simonnet, Head of Individual Fundraising7:50

6.5 Research and Promotion as Key Vector for Success | Cenacolo Vinciano - Chiara Rostagno, Director13:18

6.6 - Vatican Museums - Barbara Jatta, Director12:44

6.6A Vatican Museums - Antonio Paolucci, Former Director8:53

6.6B Vatican Museums - Rosangela Mancusi, Head of Multimedia and Web Office10:49

6.6C Vatican Museums - Anastasia Biller, Head of the Office of Public Relations and Services13:41

6.6D Vatican Museums - Luca della Giovampaola, Head of Technology Support9:38

6.6E Vatican Museums - Diego Ortuso, Head of Museum Security Staff7:50

6.7 Museo dell' Opera del Duomo (Florence) - Fr. Timothy Verdon, Director4:56

6.8 National Trust - Simon Murray, Senior Director3:47

与讲师见面

Andrea Rurale
Director
Master in Arts Management and Administration (MAMA)

We are here in Villa Necchi Campiglio with Alessandra Varisco who is

the FAI International Manager, and she deals with individual fundraising.

Fundraising is a core activity for the foundation, and

is a core activity in terms of the function of heritage management.

Thank you Alessandra for being with us.

You're welcome.

How is fundraising organized inside FAI?

Fund raising is basically organized in three areas,

which accounts for the three main sources of income.

First of all, the most important is individual fundraising.

Which account for about two thirds of the total income.

That includes memberships at all levels and middle and major donors.

Then we have corporate fundraising,

and that includes corporate memberships.

Core marketing deals,

sponsorships, long term partnerships, and in-kind donations.

And then we have the third area which is the public bodies and

institutions and associations and foundations.

And basically for each project the three areas come together, and

they are able to concur to the same goal.

And so we are given, basically, a budget cost in order to restore the properties

that need to be opened,

and so the three areas work together.

They collaborate in order to reach that goal.

Often the projects are basically a mix of all the sources of income.

Well, there are many projects that the foundation established

in order to do fundraising, and as you mentioned the three

parts of the fundraising activity concur to the final goal.

What I'm interested in now is understanding an example of

sort of best practice or a project that you think is quite relevant in order to

show the importance of fundraising and how fundraising is organized and implemented.

Well, one very good example of this fundraising mix

is certainly the Bosco di San Francesco, the restoration project for *Saint Francis's Woods

the Bosco di San Francesco, which is the Saint Francis's woodland in Assisi.

And this property was donated by a bank in 2008, and

then was opened to the public in 2011.

Basically all these three areas worked together.

We were able to raise funds in many different ways.

For example, we raised funds from companies

with co-marketing deals, sponsorships, and in-kind donations,

and they amounted for over a million, actually for over two million euros.

Well, I must say that the total project was about

4.3 million budget-wise,

and so companies individual fund raising also was very important,

because we ran, at that point, our first national campaign.

So we had Thanksgiving, we had members appeals,

we did some appeals on the prospect list, for example.

And we had all sorts of donations for

adoptions; we had trees adopted

as well as benches in this beautiful landscape area.

We also were able to have

all the one hundred twenty-one trees that actually form the third paradise which is

a work of art by artist Michelangelo Pistoletto.

We also had income from the FAI golf cup

which was run the FAI local delegations.

So it was a very-and public bodies of course, so

institutions also concured to reach that budget.

So in this case we have an example therefore of co-creation

because the people that were asked to give money for

the foundation also contributed in the art creation, because the-

Yes, absolutely.

Michele Pistoletto was possible because of the existence of the trees that the people

paid for for their plantation.

The other topic that I think is quite important in

the management of fundraising in FAI, Fondo Ambiente Italiano*, is adoption, *Italian National Trust

the idea that people ask to adopt a work of art.

Again, we are here in a beautiful example of how the user,

the consumer is entering in contract with the work of art itself.

If FAI wants to educate, wants to say to the people it's important to preserve and

conserve heritage and they ask them this,

not only to give money in a general way, but in a specific adoption project.

Can you give some examples or

some ideas about of what adoption is according to FAI's policy?

Well basically every year we run an appeal,

a mailing, to our members at the beginning of the year, and

we sort of send out appeals to our members saying there are many objects,

for example furniture or paintings or

flower beds or gardens or rooms, entire rooms that are waiting to be adopted,

and that means taking care of forever.

Some of these adoptions, some of these

restoration works are more urgent, some others are less urgent but

we finally are able to match all the needs.

We found that people are very interested and

very eager to adopt a restoration work,

a restoration in a property, so

that their name would be remembered forever for

future generations and sometimes people adopt a room or

an object in memory of a dear loved

who maybe is not there anymore.

So…

this is an example that comes also from American tradition?

Yeah, absolutely.

What is important in FAI is the fact that it is a pioneer in the Italian

system in the use of the adoption system on fundraising.

So it's quite common if we go abroad in the US or in Great Britain to find rooms entitled

to people that are still alive or in memory of somebody that is not here anymore,

but this approach in Italy was in a way pioneered by FAI and

you are still going on with this activity.

Yes we tend to do this at the beginning of the restoration project for

example, before opening up a property so

that single rooms are, in fact, adopted.

Or we may continue, during the life of the property

because it's a very good method of fundraising for us.

Now the importance of the network,

we know how important building a network is in each organization and

mainly in cultural institutions because through the word of mouth, through

the reputation, the value conveyed to the consumer and the user is increasing.

How does FAI build up a network not only in Italy but all over the world?

We do have an international approach in fact,

because, being Italy the country with the highest number of UNESCO sites,

We realized that actually the millions of visitors who come to Italy every year

love Italy, love Italian art, and love Italian landscape; and

the we saw in fact, we saw an opportunity there.

Back in 2001, an organization,

a foundation in New York was set up in order help FAI

raise funds for our restoration project and since

then we've formed three other groups of

support: FAI Swiss, FAI France, and FAI UK.

They all help with the fundraising projects.

Now to give you a concrete example, last year in 2015,

friends of FAI traveled to Italy, they came to the Milan area and

of course is the good excuse was Milano Expo 2015.

They came and visited some of FAI's properties and

they came to Villa Panza where we held a lunch for them with Mrs. Panza.

We were able to show them our need to expand

the temporary exhibition spaces because we had some important donations and

new works that were donated to FAI actually.

The villa lacked a temporary exhibition space,

and so they adopted that project and they were able to raise with an appeal.

They were able to help us with a very important donation of over $500,000.

Thank you Alessandra Varisco, FAI International Manager.

You're welcome.

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