Welcome to AIMAC Rio 2026
The 18th International Conference on Arts and Cultural Management
Rio de Janeiro, Brazil
Welcome to AIMAC Rio 2026
The 18th International Conference on Arts and Cultural Management
Rio de Janeiro, Brazil
AIMAC RIO 2026
Important Dates:
Call for Papers: July, 2025
Opening of registration: September 12th, 2025
Deadline for receiving abstracts: November 28th, 2025
Information on accepting abstracts: January 30th, 2026
Early Bird registration (end): February 27th, 2026
Normal registration and close of submission of posters (end): April 24th, 2026
Submission of final paper (optional): May 22th, 2026
Doctoral Symposium: June 29th, 30th 2026
Opening Reception: June 30th, 2026 (end of day)
Main Conference: July 1st – 3rd, 2026
The International Association of Arts and Cultural Management (AIMAC) is a global network of researchers in arts and cultural management.
Every two years, AIMAC organizes its flagship international conference in collaboration with leading academic institutions around the world.
By bringing together researchers and practitioners, AIMAC fosters a vibrant space for exchanging ideas, presenting the latest research, and exploring the evolving landscape of arts and cultural management.
Recognized for its academic rigor, the AIMAC conference offers in-depth discussions and promotes collaboration across disciplines.
AIMAC is also associated with the publication of the International Journal of Arts Management (IJAM), a non-profit academic journal published by the Carmelle and Rémi Marcoux Chair in Arts Management at HEC Montréal, in partnership with SDA Bocconi.
Link to IJAM https://www.sdabocconi.it/en/international-journal-arts-management
Hosted by
Supported by
A Global Network in Arts Management
AIMAC is a truly global academic community, with over 1,500 members in more than 40 countries.
In addition to its biennial international conference, AIMAC organizes regional workshops, doctoral symposia, and paper development programs.
Previous editions have taken place in cities such as Montréal, Paris, London, Beijing, Stockholm, Mexico City, and Lisbon—always in partnership with renowned universities and cultural institutions.
AIMAC is committed to advancing research and practice in arts and cultural management worldwide and fosters strategic partnerships across North America, Europe, Asia, and Latin America.
Hosted by
Supported by
Founders:
- François Colbert, HEC Montréal (Canada)
- Yves Evrard, HEC Paris (France)
Co-Chairs
- Pierre-Jean Benghozi, CNRS / École Polytechnique Paris (France)
- Danilo Dantas, HEC Montréal (Canada)
Members
- Antonella Carù, Bocconi University, Milano (Italy)
- Francesco Casarin, Ca’ Foscari, Venice (Italy)
- Manuel Cuadrado, University of Valencia (Spain)
- Danilo Dantas, HEC Montréal (Canada)
- Allègre Hadida, University of Cambridge, Judge Business School, Cambridge (United Kingdom)
- Yi Lin, School of Arts Peking University Beijing (China)
- Guadalupe Moreno Toscano, Universidad Panamericana (Mexico)
- Thomas Paris, HEC Paris, Paris (France)
- Chloe Preece, ESCP Business School, London (England)
- Wendy Reid, HEC Montréal (Canada)
- Jaime Ruiz-Gutierrez, Los Andes University, Bogota (Colombia)
- Andrea Rurale, Bocconi University, Milan (Italy)
- Elisa Salvador, ESSCA, Paris (France)
- Annick Schramme, Antwerp Management School, Antwerp (Belgium)
- Katia Segers, Vrije Universiteit Brussel (Belgium)
- Johanne Turbide, HEC Montréal (Canada)
- Alex Turrini, Bocconi University, Milan (Italy)
- Marilena Vecco, Burgundy Business School, Marseilles (France)
- Jennifer Wiggins, Kent State University, Kent (United States)
Editorial Committee
- PhD Symposium : Allegre Hadida
- Paper Development Workshop: Jennifer Wiggins
- Cultural Policies: Jaime Alberto Ruiz Gutierrez
- Cultural Entrepreneurship: Marilena Vecco
- Financial Management and Governance: Wendy Reid + Johanne Turbide
- Organizational Behavior and Human Resources: Katia Seger
- Strategic Management: Thomas Paris
- Strategic Marketing: Andrea Rurale
- Consumer Behavior: Chloe Preece
- Cultural Economics/Creative Industries: Elisa Salvador
Conference Organizer
Alessandra Baiocchi
Professor of Marketing
IAG Business School
Pontifical Catholic University of Rio de Janeiro
E-mail: alessandra.baiocchi@iag.puc-rio.br
ORCID: https://orcid.org/0000-0001-5965-6491
Hosted by
Supported by
PUC-Rio is one of the top-ranked universities in Latin America, known for its academic excellence and commitment to sustainability.
The IAG Business School, located on the green and scenic PUC-Rio campus, will host the AIMAC 2026 conference. Its modern infrastructure includes classrooms with advanced technology, an auditorium, and full Wi-Fi coverage.
The campus is nestled in an ecological park, and from many points, you can glimpse the famous Christ the Redeemer statue—making it a truly inspiring place for our gathering.
The IAG Business School, where the conference will take place, is located in the central part of the campus (as can be seen in the following map– letter “I”):
Hosted by
Supported by
Hosted by
Supported by
Proposals from any relevant academic discipline are welcome, provided
they offer an original contribution to the study of arts and culture
management and address pertinent management challenges in this field.
The conference programme encompasses all sectors of the cultural and
creative industries, including – but not limited to – the performing
arts, festivals, heritage, museums, visual arts, film production and
distribution, book publishing, music, video games, broadcasting,
audiovisual and multimedia content, and design.
We particularly encourage submissions that link academic research with
broader practical and societal contexts. Topics include, but are not
limited to:
- Strategic marketing
- Product and brand management
- Strategic management and planning
- Corporate finance strategies
- Corporate communication strategies
- Business models
- Cultural entrepreneurship
- Organizational behavior
- Corporate social responsibility
- Fundraising, patronage and sponsorship
- Governance
- Cultural public policies
- Cultural diversity and management
- Creative cities and regions
- Art and management talent cultivation
- Creative and cultural industries
- Creativity and innovation
- Art and cultural consumption
- Consumer behavior
- Internationalization
- Cultural agency for social intervention
These topics will be regrouped in 12 different tracks:
| TRACK | DESCRIPTION |
|---|---|
| 1. Socio-Cultural Consumption and Consumer Experiences
Chair: Chloe Preece |
This track explores the socio-cultural dimensions of consumption in the context of the arts, heritage, and cultural sectors. It invites papers that examine how identities, communities, and cultural meanings are shaped and expressed through consumption practices. We welcome research that investigates the lived experiences of audiences and consumers, the symbolic and affective dimensions of cultural engagement, and the role of social, economic, and technological change in shaping consumer behaviour. Both conceptual and empirical contributions are encouraged. |
| 2. Consumer psychology and decision-making
Chair: Udo Bomnüter |
This track explores consumer decision-making and the underlying psychological processes within the domain of arts and cultural consumption. This includes, but is not limited to, engagement with literature, museum visitation, cinematic experiences, musical appreciation, and attending live performances. Beyond the cognitive and affective states preceding and shaping the actual decision, we also explore the broader impact of cultural consumption on individual well-being and meaning-making. We welcome research that examines various facets of art-related consumer behavior, including the articulation of needs and desires, the influence of marketing and communication, the stages of consumer decision-making, and the relationship between art consumption and cultural engagement, attitudes, and values. Both conceptual and empirical contributions are encouraged. |
| 3. Strategic Marketing
Chair: Andrea Rurale |
This track explores how cultural organisations position themselves and build long-term value through branding, partnerships, and audience segmentation. They may also examine strategy development in response to market trends, digital transformation, or competitive dynamics in the creative industries. |
| 4. Art Market
Chair: Andrea Rurale |
This track investigates the evolving relationship between art and financial markets, inviting reflections on how artworks—while deeply embedded in cultural, emotional, and symbolic value—are increasingly considered, though not exclusively, as potential financial assets. We welcome contributions from researchers and practitioners across disciplines—including finance and economics—that explore how art is valued, traded, and positioned in the contemporary economy, examining the interplay between cultural meaning and market logic, and the implications for key players within the art ecosystem. |
| 5. Strategic Management
Chair: Thomas Paris |
It addresses issues of industrial organisation, strategy, organisational models and business models specific to the creative industries as a whole |
| 6. Arts Governance and Organizations
Chair: Wendy Reid & Bianca Araujo |
In this track, the evolving field of arts governance will be explored, inviting contributions about how it works at the organisational level. Analysis of diverse practices found in public or nonprofit organizations or in social ventures, like mechanisms such as boards of directors and self or collective governance, will enrich the discussion. This governance research could include the frameworks, roles, and challenges shaping organizational decision-making in the arts and cultural field. Contributions may address topics such as innovative governance models, accountability, representation, organizational advocacy, and strategic alignment. Mobilizing or safeguarding the multiple resources of the commons, social equity and leadership behaviour are pertinent to this discussion. Work situated in diverse cultural settings offering comparative or critical perspectives in the arts will advance the AIMAC arts governance conversation. Submissions that engage in a range of methodological and theoretical approaches, including both conceptual analyses and empirical research are welcome. Another track on Cultural Policy and Public Governance will provide additional insights on the topic of governance in the field. A panel will discuss levels of governance in a joint session for members of both tracks. |
| 7. Human Resources and Organizational Behavior in the Arts
Chairs: Katia Segers & Alex Turrini |
This track examines the complex dynamics of people management and organizational structures within arts institutions and creative enterprises. We invite papers exploring how cultural organizations develop innovative approaches to workforce development, team dynamics, and performance management within environments where creativity and business objectives must coexist. The track welcomes contributions from scholars across disciplines—including organizational psychology, management studies, and arts administration—that investigate talent acquisition and retention in creative fields, leadership models in arts organizations, the impact of precarious employment on artistic communities, and the evolving interplay between collaboration and creativity in the arts field. We particularly encourage research that addresses the tensions between artistic autonomy and organizational accountability, the role of diversity and inclusion in fostering creative innovation, and the implications of changing work patterns for the sustainability and vitality of the arts ecosystem. |
| 8. Entrepreneurship
Chair: Marilena Vecco |
This track explores the evolving role of entrepreneurship in the cultural and creative sectors, focusing on how individuals and organizations innovate, mobilize resources, and create sustainable value through cultural production and exchange. We welcome contributions that examine the unique challenges and opportunities faced by cultural entrepreneurs, including governance, funding models, digital transformation, social impact, and audience engagement. Both theoretical and empirical papers are encouraged, especially those that adopt interdisciplinary approaches or offer comparative and international perspectives. |
| 9. Creative Industries
Chairs: Elena Cedrola & Stefania Masè |
Creative and Cultural Industries (CCI) are not merely economic sectors, but symbolic arenas where aesthetics, value creation, identity politics, and power relations are continuously produced and contested. This track delves into the dynamic landscape of CCI, examining how artistic, media, design, and entertainment-driven sectors shape economic, cultural, and social development. We invite contributions that explore the structures, practices, and transformations defining creative work, with particular interest in the infusion of artistic expression into commercial and technological contexts (art infusion), and the growing influence of artificial intelligence on creative production, labour, and aesthetics. We welcome studies on how creativity intersects with new manufacturing methods—such as digital craftsmanship, product innovation, and design-led processes—and how it shapes business models and organizational practices. Topics may include algorithmic creativity, machine-human collaboration, new business models, data-driven design, and sustainable innovation. Both conceptual and empirical studies are encouraged, especially those offering interdisciplinary approaches or comparative and international insights. |
| 10. Cultural Policy and Public Governance
Chairs: Jaime Ruiz Gutierrez, Chiara Donelli & Wendy Reid |
In this track, we welcome proposals about cultural policy and public governance that are inspired by either emerging or established discussions illustrated by the following list. A variety of frameworks, strategies and mechanisms exist in, and impact both topics in this track. More research that bridges these domains, as well as comparative and critical views would advance the field. At the policy level, alternative paradigms like collective stewardship, governing the commons and participatory governance have come to light, but applications to the arts and culture are needed. Also encouraged are reflections on the role of cultural managers who advocate for inclusive, democratic, and sustainable cultural policies. A range of methodological and theoretical approaches, including both conceptual analyses and empirical research would be welcome. Finally, diverse and globally situated submissions will enrich the AIMAC arts and cultural governance conversation. Another track on Arts Governance and Organizations will provide additional insights on the topic of governance in the field. A panel will discuss levels of governance in a joint session for members of both tracks. |
| 11. Funding and Financing of Culture and the Arts
Chairs: Carolina Dalla Chiesa & Anders Rykkja |
A perennial concern for artists, organizations and stakeholders across the arts and cultural sectors worldwide is access to adequate funding for the creation, production, and distribution of cultural products. This track invites papers that explore, discuss, theorize or empirically assess existing and innovative funding or financing solutions for the arts and culture. To help focus submissions, we outline three sets of interdependent (non-exhaustive) concerns we would like to explore. First, is the access and developments around what we label as traditional or ‘core’ funding and financing models— public funding, philanthropy, patronage, sponsorship, and revenue from copyright exploitation. A second concurrent issue is how stakeholders across the CCS are experimenting with novel (digital or non-digital) opportunities to access funding and financing in a broad sense, using a wide range of models (e.g., streaming technology, crowdfunding, digital patronage, contactless payments, blockchain and others). Our third aim is to welcome papers that focus on what we see as intriguing current developments, such as the renewed interest in match-funding and public-private partnerships, investment-based models, and extensions like impact investment and community-based mechanisms enabling the fruition of the arts and culture. |
| 12. Portuguese and Spanish track
Chair: João Luiz de Figueiredo Silva |
POR: Esta track multidisciplinar tem como objetivo oferecer uma plataforma para que pesquisadores da América Latina apresentem e submetam seus trabalhos em português ou espanhol, promovendo maior acessibilidade para aqueles que não são fluentes em inglês.ESP: Esta track multidisciplinaria busca ofrecer una plataforma para que investigadores latinoamericanos presenten y envíen sus trabajos en portugués o español, facilitando la participación de quienes no dominan el inglés.ENG: This multidisciplinary track aims to provide a platform for Latin American researchers to share and submit their work in Portuguese or Spanish, offering greater accessibility for those who are not fluent in English. |
Hosted by
Supported by
Hosted by
Supported by
Hosted by
Supported by
Hosted by
Supported by
Why Rio de Janeiro?
A Cultural Capital for the World
Leading cultural consumption in Brazil:
Rio de Janeiro was recently recocognized as the Brazilian capital
with the highest level of cultural consumption.
Host of world – class events:
Home of igonic celebrations such as Carnival and Todo Mundo no Rio.
A global symbol of diversity, creativity and joy:
The city is renowned for its cultural diversity.
Rio de Janeiro is a unique city where lush nature meets urban vibrancy. The city features breathtaking beaches, an urban forest, waterfalls, and an iconic bay. In 2012, UNESCO designated Rio as the world’s first Cultural Landscape World Heritage Site—a recognition of the city’s extraordinary relationship between nature and culture.
As the birthplace of Samba, Choro, and Bossa Nova, Rio offers a rich cultural life with over 200 venues for music, theater, and art. But perhaps its most remarkable feature is the “Carioca spirit”—a warm and welcoming attitude that makes every visitor feel at home.
Travel & Practical Info
Visa Requirements
Despite citizens from most countries with which Brazil has diplomatic relations not needing visas to enter the country, there are exceptions. Citizens from China, Mexico, Pakistan, and Saudi Arabia, for instance, are required to obtain visas before coming to Brazil. As of April 2025, citizens from Australia, Canada, and the United States of America will need visas to come to Brazil. Therefore, it is recommended that interested parties who wish to attend the AIMAC conference in June/July 2026 inform themselves if they need to obtain Brazilian visas and, if so, how they should go about doing that in their home countries.
Weather
With the conference being held at the end of June, it will be the beginning of winter in Rio. Therefore, the weather is expected (but not guaranteed) to be sunny, with a moderate to low probability of rain, and temperatures should be around 25 C (77 F) during the day and 20 C (68 F) at night.
Airports
The city has a wide air network, with two efficient and modern airports, namely Tom Jobim International Airport – RIOgaleão, and Santos Dumont Airport. The urban transport system has integrated bus, subway, Bus Rapid Transit (BRT), and Light Rail transit (LRT) lines, as well as taxis and application services, facilitating mobility in the city.
The RIOgaleão – Tom Jobim International Airport, the main airport for international flights, is 24,8 kilometers away from the campus. It is connected via modern highways to the city center and the South Zone, where the main hotels and PUC-Rio are located.
Santos Dumont Airport, located in the city center, is just 15 kilometers away from the campus and 10 minutes from the South Zone. Excellent taxi and bus services connect the airport with the main hotels.
Recommended Hotels
The city of Rio de Janeiro currently has more than 350 hotels, offering around 42,500 rooms in various types of accommodation, including inns and budget options. The three neighborhoods with the highest concentration of hotels are Copacabana, Ipanema, and Leblon.
More information about lodging options will be provided soon.
Getting Around
Rio has a large fleet of taxis, almost all of which are air-conditioned. Regular taxis, with their peculiar yellow color, circulate through the streets charging with a taximeter. Special licensed taxis serve airports and hotels or can be booked by phone. At airports and main shopping malls, most taxis work with fixed rates depending on which neighborhood one is going to, which can be paid in advance at the company’s counter, where the price list should be posted.
The city also has Uber and other transportation apps (such as 99, Cabify, and InDrive) at the disposal of visitors.
The bus service ranges through the whole city, with bus stops in convenient locations. In some neighborhoods of Rio, BRT and LRT services are also available.
Hosted by
Supported by
The International Association of Arts and Cultural Management (AIMAC) is a global network of researchers in arts and cultural management.
Every two years, AIMAC organizes its flagship international conference in collaboration with leading academic institutions around the world.
By bringing together researchers and practitioners, AIMAC fosters a vibrant space for exchanging ideas, presenting the latest research, and exploring the evolving landscape of arts and cultural management.
Recognized for its academic rigor, the AIMAC conference offers in-depth discussions and promotes collaboration across disciplines.
AIMAC is also associated with the publication of the International Journal of Arts Management (IJAM), a non-profit academic journal published by the Carmelle and Rémi Marcoux Chair in Arts Management at HEC Montréal, in partnership with SDA Bocconi.
Link to IJAM https://www.sdabocconi.it/en/international-journal-arts-management
Hosted by
Supported by
A Global Network in Arts Management
AIMAC is a truly global academic community, with over 1,500 members in more than 40 countries.
In addition to its biennial international conference, AIMAC organizes regional workshops, doctoral symposia, and paper development programs.
Previous editions have taken place in cities such as Montréal, Paris, London, Beijing, Stockholm, Mexico City, and Lisbon—always in partnership with renowned universities and cultural institutions.
AIMAC is committed to advancing research and practice in arts and cultural management worldwide and fosters strategic partnerships across North America, Europe, Asia, and Latin America.
Hosted by
Supported by
Founders:
- François Colbert, HEC Montréal (Canada)
- Yves Evrard, HEC Paris (France)
Co-Chairs
- Pierre-Jean Benghozi, CNRS / École Polytechnique Paris (France)
- Danilo Dantas, HEC Montréal (Canada)
Members
- Antonella Carù, Bocconi University, Milano (Italy)
- Francesco Casarin, Ca’ Foscari, Venice (Italy)
- Manuel Cuadrado, University of Valencia (Spain)
- Danilo Dantas, HEC Montréal (Canada)
- Allègre Hadida, University of Cambridge, Judge Business School, Cambridge (United Kingdom)
- Yi Lin, School of Arts Peking University Beijing (China)
- Guadalupe Moreno Toscano, Universidad Panamericana (Mexico)
- Thomas Paris, HEC Paris, Paris (France)
- Chloe Preece, ESCP Business School, London (England)
- Wendy Reid, HEC Montréal (Canada)
- Jaime Ruiz-Gutierrez, Los Andes University, Bogota (Colombia)
- Andrea Rurale, Bocconi University, Milan (Italy)
- Elisa Salvador, ESSCA, Paris (France)
- Annick Schramme, Antwerp Management School, Antwerp (Belgium)
- Katia Segers, Vrije Universiteit Brussel (Belgium)
- Johanne Turbide, HEC Montréal (Canada)
- Alex Turrini, Bocconi University, Milan (Italy)
- Marilena Vecco, Burgundy Business School, Marseilles (France)
- Jennifer Wiggins, Kent State University, Kent (United States)
Editorial Committee
- PhD Symposium : Allegre Hadida
- Paper Development Workshop: Jennifer Wiggins
- Cultural Policies: Jaime Alberto Ruiz Gutierrez
- Cultural Entrepreneurship: Marilena Vecco
- Financial Management and Governance: Wendy Reid + Johanne Turbide
- Organizational Behavior and Human Resources: Katia Seger
- Strategic Management: Thomas Paris
- Strategic Marketing: Andrea Rurale
- Consumer Behavior: Chloe Preece
- Cultural Economics/Creative Industries: Elisa Salvador
Conference Organizer
Alessandra Baiocchi
Professor of Marketing
IAG Business School
Pontifical Catholic University of Rio de Janeiro
E-mail: alessandra.baiocchi@iag.puc-rio.br
ORCID: https://orcid.org/0000-0001-5965-6491
Hosted by
Supported by
PUC-Rio is one of the top-ranked universities in Latin America, known for its academic excellence and commitment to sustainability.
The IAG Business School, located on the green and scenic PUC-Rio campus, will host the AIMAC 2026 conference. Its modern infrastructure includes classrooms with advanced technology, an auditorium, and full Wi-Fi coverage.
The campus is nestled in an ecological park, and from many points, you can glimpse the famous Christ the Redeemer statue—making it a truly inspiring place for our gathering.
The IAG Business School, where the conference will take place, is located in the central part of the campus (as can be seen in the following map– letter “I”):
Hosted by
Supported by
Hosted by
Supported by
Proposals from any relevant academic discipline are welcome, provided
they offer an original contribution to the study of arts and culture
management and address pertinent management challenges in this field.
The conference programme encompasses all sectors of the cultural and
creative industries, including – but not limited to – the performing
arts, festivals, heritage, museums, visual arts, film production and
distribution, book publishing, music, video games, broadcasting,
audiovisual and multimedia content, and design.
We particularly encourage submissions that link academic research with
broader practical and societal contexts. Topics include, but are not
limited to:
- Strategic marketing
- Product and brand management
- Strategic management and planning
- Corporate finance strategies
- Corporate communication strategies
- Business models
- Cultural entrepreneurship
- Organizational behavior
- Corporate social responsibility
- Fundraising, patronage and sponsorship
- Governance
- Cultural public policies
- Cultural diversity and management
- Creative cities and regions
- Art and management talent cultivation
- Creative and cultural industries
- Creativity and innovation
- Art and cultural consumption
- Consumer behavior
- Internationalization
- Cultural agency for social intervention
These topics will be regrouped in 12 different tracks:
| TRACK | DESCRIPTION |
|---|---|
| 1. Socio-Cultural Consumption and Consumer Experiences
Chair: Chloe Preece |
This track explores the socio-cultural dimensions of consumption in the context of the arts, heritage, and cultural sectors. It invites papers that examine how identities, communities, and cultural meanings are shaped and expressed through consumption practices. We welcome research that investigates the lived experiences of audiences and consumers, the symbolic and affective dimensions of cultural engagement, and the role of social, economic, and technological change in shaping consumer behaviour. Both conceptual and empirical contributions are encouraged. |
| 2. Consumer psychology and decision-making
Chair: Udo Bomnüter |
This track explores consumer decision-making and the underlying psychological processes within the domain of arts and cultural consumption. This includes, but is not limited to, engagement with literature, museum visitation, cinematic experiences, musical appreciation, and attending live performances. Beyond the cognitive and affective states preceding and shaping the actual decision, we also explore the broader impact of cultural consumption on individual well-being and meaning-making. We welcome research that examines various facets of art-related consumer behavior, including the articulation of needs and desires, the influence of marketing and communication, the stages of consumer decision-making, and the relationship between art consumption and cultural engagement, attitudes, and values. Both conceptual and empirical contributions are encouraged. |
| 3. Strategic Marketing
Chair: Andrea Rurale |
This track explores how cultural organisations position themselves and build long-term value through branding, partnerships, and audience segmentation. They may also examine strategy development in response to market trends, digital transformation, or competitive dynamics in the creative industries. |
| 4. Art Market
Chair: Andrea Rurale |
This track investigates the evolving relationship between art and financial markets, inviting reflections on how artworks—while deeply embedded in cultural, emotional, and symbolic value—are increasingly considered, though not exclusively, as potential financial assets. We welcome contributions from researchers and practitioners across disciplines—including finance and economics—that explore how art is valued, traded, and positioned in the contemporary economy, examining the interplay between cultural meaning and market logic, and the implications for key players within the art ecosystem. |
| 5. Strategic Management
Chair: Thomas Paris |
It addresses issues of industrial organisation, strategy, organisational models and business models specific to the creative industries as a whole |
| 6. Arts Governance and Organizations
Chair: Wendy Reid & Bianca Araujo |
In this track, the evolving field of arts governance will be explored, inviting contributions about how it works at the organisational level. Analysis of diverse practices found in public or nonprofit organizations or in social ventures, like mechanisms such as boards of directors and self or collective governance, will enrich the discussion. This governance research could include the frameworks, roles, and challenges shaping organizational decision-making in the arts and cultural field. Contributions may address topics such as innovative governance models, accountability, representation, organizational advocacy, and strategic alignment. Mobilizing or safeguarding the multiple resources of the commons, social equity and leadership behaviour are pertinent to this discussion. Work situated in diverse cultural settings offering comparative or critical perspectives in the arts will advance the AIMAC arts governance conversation. Submissions that engage in a range of methodological and theoretical approaches, including both conceptual analyses and empirical research are welcome. Another track on Cultural Policy and Public Governance will provide additional insights on the topic of governance in the field. A panel will discuss levels of governance in a joint session for members of both tracks. |
| 7. Human Resources and Organizational Behavior in the Arts
Chairs: Katia Segers & Alex Turrini |
This track examines the complex dynamics of people management and organizational structures within arts institutions and creative enterprises. We invite papers exploring how cultural organizations develop innovative approaches to workforce development, team dynamics, and performance management within environments where creativity and business objectives must coexist. The track welcomes contributions from scholars across disciplines—including organizational psychology, management studies, and arts administration—that investigate talent acquisition and retention in creative fields, leadership models in arts organizations, the impact of precarious employment on artistic communities, and the evolving interplay between collaboration and creativity in the arts field. We particularly encourage research that addresses the tensions between artistic autonomy and organizational accountability, the role of diversity and inclusion in fostering creative innovation, and the implications of changing work patterns for the sustainability and vitality of the arts ecosystem. |
| 8. Entrepreneurship
Chair: Marilena Vecco |
This track explores the evolving role of entrepreneurship in the cultural and creative sectors, focusing on how individuals and organizations innovate, mobilize resources, and create sustainable value through cultural production and exchange. We welcome contributions that examine the unique challenges and opportunities faced by cultural entrepreneurs, including governance, funding models, digital transformation, social impact, and audience engagement. Both theoretical and empirical papers are encouraged, especially those that adopt interdisciplinary approaches or offer comparative and international perspectives. |
| 9. Creative Industries
Chairs: Elena Cedrola & Stefania Masè |
Creative and Cultural Industries (CCI) are not merely economic sectors, but symbolic arenas where aesthetics, value creation, identity politics, and power relations are continuously produced and contested. This track delves into the dynamic landscape of CCI, examining how artistic, media, design, and entertainment-driven sectors shape economic, cultural, and social development. We invite contributions that explore the structures, practices, and transformations defining creative work, with particular interest in the infusion of artistic expression into commercial and technological contexts (art infusion), and the growing influence of artificial intelligence on creative production, labour, and aesthetics. We welcome studies on how creativity intersects with new manufacturing methods—such as digital craftsmanship, product innovation, and design-led processes—and how it shapes business models and organizational practices. Topics may include algorithmic creativity, machine-human collaboration, new business models, data-driven design, and sustainable innovation. Both conceptual and empirical studies are encouraged, especially those offering interdisciplinary approaches or comparative and international insights. |
| 10. Cultural Policy and Public Governance
Chairs: Jaime Ruiz Gutierrez, Chiara Donelli & Wendy Reid |
In this track, we welcome proposals about cultural policy and public governance that are inspired by either emerging or established discussions illustrated by the following list. A variety of frameworks, strategies and mechanisms exist in, and impact both topics in this track. More research that bridges these domains, as well as comparative and critical views would advance the field. At the policy level, alternative paradigms like collective stewardship, governing the commons and participatory governance have come to light, but applications to the arts and culture are needed. Also encouraged are reflections on the role of cultural managers who advocate for inclusive, democratic, and sustainable cultural policies. A range of methodological and theoretical approaches, including both conceptual analyses and empirical research would be welcome. Finally, diverse and globally situated submissions will enrich the AIMAC arts and cultural governance conversation. Another track on Arts Governance and Organizations will provide additional insights on the topic of governance in the field. A panel will discuss levels of governance in a joint session for members of both tracks. |
| 11. Funding and Financing of Culture and the Arts
Chairs: Carolina Dalla Chiesa & Anders Rykkja |
A perennial concern for artists, organizations and stakeholders across the arts and cultural sectors worldwide is access to adequate funding for the creation, production, and distribution of cultural products. This track invites papers that explore, discuss, theorize or empirically assess existing and innovative funding or financing solutions for the arts and culture. To help focus submissions, we outline three sets of interdependent (non-exhaustive) concerns we would like to explore. First, is the access and developments around what we label as traditional or ‘core’ funding and financing models— public funding, philanthropy, patronage, sponsorship, and revenue from copyright exploitation. A second concurrent issue is how stakeholders across the CCS are experimenting with novel (digital or non-digital) opportunities to access funding and financing in a broad sense, using a wide range of models (e.g., streaming technology, crowdfunding, digital patronage, contactless payments, blockchain and others). Our third aim is to welcome papers that focus on what we see as intriguing current developments, such as the renewed interest in match-funding and public-private partnerships, investment-based models, and extensions like impact investment and community-based mechanisms enabling the fruition of the arts and culture. |
| 12. Portuguese and Spanish track
Chair: João Luiz de Figueiredo Silva |
POR: Esta track multidisciplinar tem como objetivo oferecer uma plataforma para que pesquisadores da América Latina apresentem e submetam seus trabalhos em português ou espanhol, promovendo maior acessibilidade para aqueles que não são fluentes em inglês.ESP: Esta track multidisciplinaria busca ofrecer una plataforma para que investigadores latinoamericanos presenten y envíen sus trabajos en portugués o español, facilitando la participación de quienes no dominan el inglés.ENG: This multidisciplinary track aims to provide a platform for Latin American researchers to share and submit their work in Portuguese or Spanish, offering greater accessibility for those who are not fluent in English. |
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Supported by
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Why Rio de Janeiro?
A Cultural Capital for the World
Leading cultural consumption in Brazil:
Rio de Janeiro was recently recocognized as the Brazilian capital
with the highest level of cultural consumption.
Host of world – class events:
Home of igonic celebrations such as Carnival and Todo Mundo no Rio.
A global symbol of diversity, creativity and joy:
The city is renowned for its cultural diversity.
Rio de Janeiro is a unique city where lush nature meets urban vibrancy. The city features breathtaking beaches, an urban forest, waterfalls, and an iconic bay. In 2012, UNESCO designated Rio as the world’s first Cultural Landscape World Heritage Site—a recognition of the city’s extraordinary relationship between nature and culture.
As the birthplace of Samba, Choro, and Bossa Nova, Rio offers a rich cultural life with over 200 venues for music, theater, and art. But perhaps its most remarkable feature is the “Carioca spirit”—a warm and welcoming attitude that makes every visitor feel at home.
Travel & Practical Info
Visa Requirements
Despite citizens from most countries with which Brazil has diplomatic relations not needing visas to enter the country, there are exceptions. Citizens from China, Mexico, Pakistan, and Saudi Arabia, for instance, are required to obtain visas before coming to Brazil. As of April 2025, citizens from Australia, Canada, and the United States of America will need visas to come to Brazil. Therefore, it is recommended that interested parties who wish to attend the AIMAC conference in June/July 2026 inform themselves if they need to obtain Brazilian visas and, if so, how they should go about doing that in their home countries.
Weather
With the conference being held at the end of June, it will be the beginning of winter in Rio. Therefore, the weather is expected (but not guaranteed) to be sunny, with a moderate to low probability of rain, and temperatures should be around 25 C (77 F) during the day and 20 C (68 F) at night.
Airports
The city has a wide air network, with two efficient and modern airports, namely Tom Jobim International Airport – RIOgaleão, and Santos Dumont Airport. The urban transport system has integrated bus, subway, Bus Rapid Transit (BRT), and Light Rail transit (LRT) lines, as well as taxis and application services, facilitating mobility in the city.
The RIOgaleão – Tom Jobim International Airport, the main airport for international flights, is 24,8 kilometers away from the campus. It is connected via modern highways to the city center and the South Zone, where the main hotels and PUC-Rio are located.
Santos Dumont Airport, located in the city center, is just 15 kilometers away from the campus and 10 minutes from the South Zone. Excellent taxi and bus services connect the airport with the main hotels.
Recommended Hotels
The city of Rio de Janeiro currently has more than 350 hotels, offering around 42,500 rooms in various types of accommodation, including inns and budget options. The three neighborhoods with the highest concentration of hotels are Copacabana, Ipanema, and Leblon.
More information about lodging options will be provided soon.
Getting Around
Rio has a large fleet of taxis, almost all of which are air-conditioned. Regular taxis, with their peculiar yellow color, circulate through the streets charging with a taximeter. Special licensed taxis serve airports and hotels or can be booked by phone. At airports and main shopping malls, most taxis work with fixed rates depending on which neighborhood one is going to, which can be paid in advance at the company’s counter, where the price list should be posted.
The city also has Uber and other transportation apps (such as 99, Cabify, and InDrive) at the disposal of visitors.
The bus service ranges through the whole city, with bus stops in convenient locations. In some neighborhoods of Rio, BRT and LRT services are also available.
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