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:
Release of call for papers: July, 2025
Opening of registration: 12 September, 2025
Deadline for receiving abstracts: 28 November, 2025
Information on accepting abstracts: 30 January, 2026
Early Bird registration (end): 27 February, 2026
Last day for registration: 24 April, 2026
Submission of final paper (optional): 22 May, 2026
Doctoral Symposium: June 29th, 30th 2026
Paper Development Workshop: June 29th 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
- Art and cultural consumption
- Art and management talent cultivation
- Art market
- Business models
- Corporate communication strategies
- Corporate finance strategies
- Corporate social responsibility
- Consumer behavior
- Creative and cultural industries
- Creative cities and regions
- Creativity and innovation
- Cultural agency for social intervention
- Cultural diversity and management
- Cultural entrepreneurship
- Cultural public policies
- Fundraising, patronage and sponsorship
- Governance
- Internationalization
- Organizational behavior
- Product and brand management
- Strategic management and planning
- Strategic marketing
These topics are regrouped in 12 different tracks, shown in Table 1, below.
| 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: Bianca Araujo & Wendy Reid | 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 em português o español, facilitando la participación de quienes no dominan el inglês.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. |
Guidelines for extended abstracts
Submissions will start on 12 September 2025 and close on 28 November 2025. A dedicated online platform will be made available for all submissions. Authors will be notified of the acceptance or rejection of their proposals no later than 30 January 2026. We encourage early submissions: the sooner you submit your proposal, the sooner you will receive a response.
Submissions must be original and unpublished. Papers that have already been published or accepted for publication
are not eligible. However, works currently under review will be considered.
Abstracts must adhere to the guidelines outlined below.
Language
All documents must be written in English, except for the Portuguese/Spanish track.
Length
Extended abstracts must be between 1,000 and 1,500 words, prepared in accordance with these guidelines. The References section is excluded from the word count.
File format
Extended abstracts and full papers must be submitted in Microsoft Word (.doc or .docx) or .pdf format.
Font type
All text—including titles, author names, and citations—must use Times New Roman, 11 pt font.
Images
All images must be embedded within the text, not submitted as appendices.
Submission format
Each submission is composed of two separate files that will be uploaded to the conference platform:
File 1 – Title Page
- Title of the extended abstract
- Author name(s), email address(es) and institutional affiliation(s).
Please, clearly identify the corresponding author with a “ * ”
File 2 – Anonymized Main Document
IMPORTANT: Make sure that no identification information (name of authors, affiliations, etc.) is present in this anonymized document. Please check this link for more information on how to anonymize a Word document.
The anonymized main document must contain the following elements:
- Title
- Abstract (up to 100 words)
- Keywords (from 4 to 5): be as specific as possible!
- Main text, organized under appropriate headings (e.g., Introduction, Method, Results, Discussion, Conclusion, etc.).
- References
- AI usage disclosure: Authors must indicate the extent to which AI tools were used in the creation of the manuscript and/or the research process (e.g., idea generation, text generation, image generation, copy-editing, etc.)
Note on word count: the Anonymized Main Document must contain no more than 1,500 words. The References section is excluded from the word count. Submissions falling outside this range will be automatically rejected.
Formatting Guidelines
Page Layout
Page size: A4 (21 x 29.7 cm or 8.27” x 11.69”)
Margins: 2.54 cm (1.0”) on all sides
Text format
Font: Times New Roman, 11 pt
Alignment: All text should be left-aligned and single-spaced
Spelling
Please ensure consistency in the spelling of names, terms, and abbreviations throughout the text.
Tables and Figures
Tables and figures must be numbered and embedded in the main text, placed immediately after the paragraph where they are first mentioned.
References
References must follow the International Journal of Arts Management (IJAM) style guide.
https://gestiondesarts.hec.ca/ijam/ijam-style-guide/
IMPORTANT: Acceptance and rejection decisions will be based exclusively on the evaluation of extended abstracts. Full papers will be requested only after an abstract has been accepted. Further details are available below.
POSTER SESSION
The conference will include a multi-track poster session. Posters will be displayed in a dedicated area and during specific time slots. More details will be available on the official conference website a few days before the conference. At the time of submission, authors may choose to apply for inclusion in the poster session. In addition, track chairs may invite authors of rejected extended abstracts to participate in the poster session.
Submission process:
- You must follow the same guidelines for the regular extended abstracts in terms of number of words, formatting, etc.
- If your proposition is accepted, you can then prepare your poster for presentation.
Poster dimensions, portrait format only:
- Height: 120 cm (47,2 inches)
- Width: 90 cm (35,4 inches)
Authors are responsible for printing and bringing their posters to the AIMAC conference.
Please note that neither AIMAC nor PUC-Rio will provide printing services.
Instructions for Full Papers
Authors of extended abstracts accepted for the AIMAC Conference may choose to submit a full-paper version of their research. These papers will be included in the official conference proceedings. Please note that only full papers are eligible for theBest Paper Awards.
Deadline for full paper submissions: May 22nd, 2026.
Maximum Length
Full papers must not exceed 6,000 words, including the abstract, figures, tables, references, and appendices. The word count must reflect adherence to the formatting guidelines outlined below.
Formatting and Structure
Except for the word count, full papers must follow the same formatting and structural requirements as the extended abstracts (e.g., font size, file type, section headings).
Full papers must not be anonymized. They should be uploaded as a single file, including both the author(s)’ identification details and the main text.
¹ Extended abstracts will not be part of the conference proceedings
Hosted by
Supported by
Hosted by
Supported by
One of the distinctive features of our conference is its close connection with the artistic and cultural sectors, particularly through its social events. A rich programme, including exclusive visits to cultural venues, will be announced shortly.
Hosted by
Supported by
The Scientific Committee defines the academic content of the conference. Members are affiliated with top institutions and actively contribute to the field.
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
- Allègre Hadida, University of Cambridge, Judge Business School, Cambridge (United Kingdom)
- Alex Turrini, Bocconi University, Milan (Italy)
- Andrea Rurale, Bocconi University, Milan (Italy)
- Annick Schramme, Antwerp Management School, Antwerp (Belgium)
- Antonella Carù, Bocconi University, Milano (Italy)
- Chloe Preece, ESCP Business School, London (England)
- Danilo Dantas, HEC Montréal (Canada)
- Elisa Salvador, ESSCA, Paris (France)
- Francesco Casarin, Ca’ Foscari, Venice (Italy)
- Guadalupe Moreno Toscano, Universidad Panamericana (Mexico)
- Jaime Ruiz-Gutierrez, Los Andes University, Bogota (Colombia)
- Jennifer Wiggins, Ohio State University, Ohio (United States)
- Johanne Turbide, HEC Montréal (Canada)
- Katia Segers, Vrije Universiteit Brussel (Belgium)
- Manuel Cuadrado, University of Valencia (Spain)
- Marilena Vecco, Burgundy Business School, Marseilles (France)
- Thomas Paris, HEC Paris, Paris (France)
- Wendy Reid, HEC Montréal (Canada)
- Yi Lin, School of Arts Peking University, Beijing (China)
Editorial Committee
- Socio-Cultural Consumption and Consumer Experiences: Chloe Preece, ESCP Business School, UK
- Consumer Psychology and Decision-Making: Udo Bomnüter, Macromedia University of Applied Sciences, Germany
- Strategic Marketing: Andrea Rurale, Bocconi University, Italy & Marta Massi, Athabasca University, Canada
- Art Market: Andrea Rurale, Bocconi University, Italy
- Strategic Management: Thomas Paris, HEC Paris, France
- Arts Governance and Organizations: Bianca Araujo, University of Melbourne, Australia & Wendy Reid, HEC Montréal, Canada
- Human Resources and Organizational Behavior in the Arts: Katia Segers, Vrije Universiteit Brussel, Belgium & Alex Turrini, Bocconi University, Italy
- Entrepreneurship: Marilena Vecco, Burgundy Business School, France
- Creative Industries: Elena Cedrola, Università di Macerata, Italy & Stefania Masè, IPAG Business School, France
- Cultural Policy and Public Governance: Jaime Ruiz-Gutierrez, Universidad de los Andes, Colombia; Chiara Donelli, Ca’ Foscari University of Venice, Italy & Wendy Reid, HEC Montréal, Canada
- Funding and Financing of Culture and the Arts: Carolina Dalla Chiesa, Erasmus University, Netherlands & Anders Rykkja, Queen’s University, UK
- Portuguese and Spanish: João Luiz de Figueiredo Silva, ESPM, Brazil
- PhD Symposium: Allègre Hadida, University of Cambridge, UK
- Paper Development Workshop: Jennifer Wiggins, Ohio State University, USA & Alex Turrini, Bocconi University, Italy
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
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.
For more information:
https://www.aimac-culturalmanagement.org/
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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. Since April 2025, citizens from Australia, Canada, and the United States of America 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. Click here to check if you need a visa.
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, Subway, BRT and LRT services are also available.
For more information:
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Supported by
Hosted by
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DOCTORAL SYMPOSIUM – CALL FOR PAPERS
The 10th AIMAC Doctoral Symposium continues a tradition started in 2013. The symposium aims to bring together, develop, and foster dialogue and future collaborations among a supportive and inclusive community of PhD students and established scholars. The 2026 symposium will be held in Rio de Janeiro right before the start of the biennial AIMAC conference, on Monday 29 and Tuesday 30 June.
The doctoral symposium blends paper presentations, plenary sessions, research sprints, campfire sessions and networking events. It is a unique opportunity to receive constructive and developmental feedback from established scholars in the field of arts, culture and media management.
How to Apply
We welcome applications from second, third and fourth-year doctoral students from all relevant academic disciplines with a research focus on arts, culture, and media management. Places are limited to make the most of the learning and networking opportunities offered by the symposium.
Submissions will be made through the same platform as for the main conference. Submissions will start on 12 September 2025 and close on 28 November 2025.
Please note that if you also wish to attend the main AIMAC conference (1 – 3 July), you must complete a separate registration.
Please combine all application materials into one PDF file including:
- A short biography of not more than 100 words.
- A one-page summary of your dissertation proposal or expected dissertation topic.
- An application letter of not more than 400 words explaining why you wish to take part in the doctoral symposium and what you expect to gain from it.
- A curriculum vitae, including the name of your supervisor and (if already known) of the members of your thesis committee.
- A letter of recommendation from your supervisor.
Symposium fees include:
- Sessions, plenaries, lunches and coffee breaks on 29 and 30 June.
- A paper for presentation during the symposium (maximum 6,000 words, in compliance with the conference submission requirements). The deadline for full paper submissions is May 22nd, 2026.
- A poster following the same formatting guidelines for the main poster session (Height: 120 cm (47,2 inches); Width: 90 cm (35,4 inches)). Symposium participants are responsible for printing and bringing their posters to the AIMAC conference – Please note that neither AIMAC nor PUC-Rio will provide printing services.
Symposium participants will also have an opportunity to pitch and receive feedback on their research in a special session during the conference.
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
We particularly encourage submissions that link academic research with broader practical and societal contexts. Topics include, but are not limited to:
- Art and cultural consumption
- Art and management talent cultivation
- Art market
- Business models
- Corporate communication strategies
- Corporate finance strategies
- Corporate social responsibility
- Consumer behavior
- Creative and cultural industries
- Creative cities and regions
- Creativity and innovation
- Cultural agency for social intervention
- Cultural diversity and management
- Cultural entrepreneurship
- Cultural public policies
- Fundraising, patronage and sponsorship
- Governance
- Internationalization
- Organizational behavior
- Product and brand management
- Strategic management and planning
- Strategic marketing
These topics are regrouped in 12 different tracks, shown in Table 1, below.
| 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 em português o español, facilitando la participación de quienes no dominan el inglês.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. |
Guidelines for extended abstracts
Submissions will start on 12 September 2025 and close on 28 November 2025. A dedicated online platform will be made available for all submissions. Authors will be notified of the acceptance or rejection of their proposals no later than 30 January 2026. We encourage early submissions: the sooner you submit your proposal, the sooner you will receive a response.
Submissions must be original and unpublished. Papers that have already been published or accepted for publication
are not eligible. However, works currently under review will be considered.
Abstracts must adhere to the guidelines outlined below.
Language
All documents must be written in English, except for the Portuguese/Spanish track.
Length
Extended abstracts must be between 1,000 and 1,500 words, prepared in accordance with these guidelines. The References section is excluded from the word count.
File format
Extended abstracts and full papers must be submitted in Microsoft Word (.doc or .docx) or .pdf format.
Font type
All text—including titles, author names, and citations—must use Times New Roman, 11 pt font.
Images
All images must be embedded within the text, not submitted as appendices.
Submission format
Each submission is composed of two separate files that will be uploaded to the conference platform:
File 1 – Title Page
- Title of the extended abstract
- Author name(s), email address(es) and institutional affiliation(s).
Please, clearly identify the corresponding author with a “ * ”
File 2 – Anonymized Main Document
IMPORTANT: Make sure that no identification information (name of authors, affiliations, etc.) is present in this anonymized document. Please check this link for more information on how to anonymize a Word document.
The anonymized main document must contain the following elements:
- Title
- Abstract (up to 100 words)
- Keywords (from 4 to 5): be as specific as possible!
- Main text, organized under appropriate headings (e.g., Introduction, Method, Results, Discussion, Conclusion, etc.).
- References
- AI usage disclosure: Authors must indicate the extent to which AI tools were used in the creation of the manuscript and/or the research process (e.g., idea generation, text generation, image generation, copy-editing, etc.)
Note on word count: the Anonymized Main Document must contain no more than 1,500 words. The References section is excluded from the word count. Submissions falling outside this range will be automatically rejected.
Formatting Guidelines
Page Layout
Page size: A4 (21 x 29.7 cm or 8.27” x 11.69”)
Margins: 2.54 cm (1.0”) on all sides
Text format
Font: Times New Roman, 11 pt
Alignment: All text should be left-aligned and single-spaced
Spelling
Please ensure consistency in the spelling of names, terms, and abbreviations throughout the text.
Tables and Figures
Tables and figures must be numbered and embedded in the main text, placed immediately after the paragraph where they are first mentioned.
References
References must follow the International Journal of Arts Management (IJAM) style guide.
https://gestiondesarts.hec.ca/ijam/ijam-style-guide/
IMPORTANT: Acceptance and rejection decisions will be based exclusively on the evaluation of extended abstracts. Full papers will be requested only after an abstract has been accepted. Further details are available below.
POSTER SESSION
The conference will include a multi-track poster session. Posters will be displayed in a dedicated area and during specific time slots. More details will be available on the official conference website a few days before the conference. At the time of submission, authors may choose to apply for inclusion in the poster session. In addition, track chairs may invite authors of rejected extended abstracts to participate in the poster session.
Submission process:
- You must follow the same guidelines for the regular extended abstracts in terms of number of words, formatting, etc.
- If your proposition is accepted, you can then prepare your poster for presentation.
Poster dimensions, portrait format only:
- Height: 120 cm (47,2 inches)
- Width: 90 cm (35,4 inches)
Authors are responsible for printing and bringing their posters to the AIMAC conference.
Please note that neither AIMAC nor PUC-Rio will provide printing services.
Instructions for Full Papers
Authors of extended abstracts accepted for the AIMAC Conference may choose to submit a full-paper version of their research. These papers will be included in the official conference proceedings. Please note that only full papers are eligible for theBest Paper Awards.
Deadline for full paper submissions: May 22nd, 2026.
Maximum Length
Full papers must not exceed 6,000 words, including the abstract, figures, tables, references, and appendices. The word count must reflect adherence to the formatting guidelines outlined below.
Formatting and Structure
Except for the word count, full papers must follow the same formatting and structural requirements as the extended abstracts (e.g., font size, file type, section headings).
Full papers must not be anonymized. They should be uploaded as a single file, including both the author(s)’ identification details and the main text.
¹ Extended abstracts will not be part of the conference proceedings
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One of the distinctive features of our conference is its close connection with the artistic and cultural sectors, particularly through its social events. A rich programme, including exclusive visits to cultural venues, will be announced shortly.
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The Scientific Committee defines the academic content of the conference. Members are affiliated with top institutions and actively contribute to the field.
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
- Allègre Hadida, University of Cambridge, Judge Business School, Cambridge (United Kingdom)
- Alex Turrini, Bocconi University, Milan (Italy)
- Andrea Rurale, Bocconi University, Milan (Italy)
- Annick Schramme, Antwerp Management School, Antwerp (Belgium)
- Antonella Carù, Bocconi University, Milano (Italy)
- Chloe Preece, ESCP Business School, London (England)
- Danilo Dantas, HEC Montréal (Canada)
- Elisa Salvador, ESSCA, Paris (France)
- Francesco Casarin, Ca’ Foscari, Venice (Italy)
- Guadalupe Moreno Toscano, Universidad Panamericana (Mexico)
- Jaime Ruiz-Gutierrez, Los Andes University, Bogota (Colombia)
- Jennifer Wiggins, Ohio State University, Ohio (United States)
- Johanne Turbide, HEC Montréal (Canada)
- Katia Segers, Vrije Universiteit Brussel (Belgium)
- Manuel Cuadrado, University of Valencia (Spain)
- Marilena Vecco, Burgundy Business School, Marseilles (France)
- Thomas Paris, HEC Paris, Paris (France)
- Wendy Reid, HEC Montréal (Canada)
- Yi Lin, School of Arts Peking University, Beijing (China)
Editorial Committee
- Socio-Cultural Consumption and Consumer Experiences: Chloe Preece, ESCP Business School, UK
- Consumer Psychology and Decision-Making: Udo Bomnüter, Macromedia University of Applied Sciences, Germany
- Strategic Marketing: Andrea Rurale, Bocconi University, Italy & Marta Massi, Athabasca University, Canada
- Art Market: Andrea Rurale, Bocconi University, Italy
- Strategic Management: Thomas Paris, HEC Paris, France
- Arts Governance and Organizations: Bianca Araujo, University of Melbourne, Australia & Wendy Reid, HEC Montréal, Canada
- Human Resources and Organizational Behavior in the Arts: Katia Segers, Vrije Universiteit Brussel, Belgium & Alex Turrini, Bocconi University, Italy
- Entrepreneurship: Marilena Vecco, Burgundy Business School, France
- Creative Industries: Elena Cedrola, Università di Macerata, Italy & Stefania Masè, IPAG Business School, France
- Cultural Policy and Public Governance: Jaime Ruiz-Gutierrez, Universidad de los Andes, Colombia; Chiara Donelli, Ca’ Foscari University of Venice, Italy & Wendy Reid, HEC Montréal, Canada
- Funding and Financing of Culture and the Arts: Carolina Dalla Chiesa, Erasmus University, Netherlands & Anders Rykkja, Queen’s University, UK
- Portuguese and Spanish: João Luiz de Figueiredo Silva, ESPM, Brazil
- PhD Symposium: Allègre Hadida, University of Cambridge, UK
- Paper Development Workshop: Jennifer Wiggins, Ohio State University, USA & Alex Turrini, Bocconi University, Italy
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
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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”):
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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.
For more information:
https://www.aimac-culturalmanagement.org/
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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. Since April 2025, citizens from Australia, Canada, and the United States of America 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. Click here to check if you need a visa.
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, Subway, BRT and LRT services are also available.
For more information:
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DOCTORAL SYMPOSIUM – CALL FOR PAPERS
The 10th AIMAC Doctoral Symposium continues a tradition started in 2013. The symposium aims to bring together, develop, and foster dialogue and future collaborations among a supportive and inclusive community of PhD students and established scholars. The 2026 symposium will be held in Rio de Janeiro right before the start of the biennial AIMAC conference, on Monday 29 and Tuesday 30 June.
The doctoral symposium blends paper presentations, plenary sessions, research sprints, campfire sessions and networking events. It is a unique opportunity to receive constructive and developmental feedback from established scholars in the field of arts, culture and media management.
How to Apply
We welcome applications from second, third and fourth-year doctoral students from all relevant academic disciplines with a research focus on arts, culture, and media management. Places are limited to make the most of the learning and networking opportunities offered by the symposium.
Submissions will be made through the same platform as for the main conference. Submissions will start on 12 September 2025 and close on 28 November 2025.
Please note that if you also wish to attend the main AIMAC conference (1 – 3 July), you must complete a separate registration.
Please combine all application materials into one PDF file including:
- A short biography of not more than 100 words.
- A one-page summary of your dissertation proposal or expected dissertation topic.
- An application letter of not more than 400 words explaining why you wish to take part in the doctoral symposium and what you expect to gain from it.
- A curriculum vitae, including the name of your supervisor and (if already known) of the members of your thesis committee.
- A letter of recommendation from your supervisor.
Symposium fees include:
- Sessions, plenaries, lunches and coffee breaks on 29 and 30 June.
- A paper for presentation during the symposium (maximum 6,000 words, in compliance with the conference submission requirements). The deadline for full paper submissions is May 22nd, 2026.
- A poster following the same formatting guidelines for the main poster session (Height: 120 cm (47,2 inches); Width: 90 cm (35,4 inches)). Symposium participants are responsible for printing and bringing their posters to the AIMAC conference – Please note that neither AIMAC nor PUC-Rio will provide printing services.
Symposium participants will also have an opportunity to pitch and receive feedback on their research in a special session during the conference.
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