���������

INTEREST CATEGORY: SECTORS
POSTING TYPE: Calls: Conferences

Posted by: Danilo Correa Dantas

---

CALL FOR PAPERS

��18th AIMAC CONFERENCE

IAG – PUC-Rio, RIO DE JANEIRO, BRAZIL

28 June to July 3, 2026

AIMAC, the leading academic association dedicated to arts and culture management, will hold its next biennial conference in Rio de Janeiro, Brazil, from 1 to 3 July 2026. Following the success of the Lisbon edition—which brought together over 350 participants from nearly 50 countries—this conference will once again explore all dimensions of arts management across the cultural and creative industries. It offers a unique opportunity to present and share research with top specialists in the field. We warmly invite researchers to submit extended abstracts for presentation.

For only the second time in its history, the AIMAC biennial conference will be held in South America—this time hosted by . This marks a special occasion to engage with new perspectives on the management of cultural organisations and the consumption of art, while connecting with an international community of researchers.

The , AIMAC’s official journal, will offer a fast-track publication process for the winners of the Best Paper Award (one in marketing and one in management) following the conference. As in previous editions, the journal also welcomes other high-quality submissions based on research presented at our conference.

Preceding the main conference, on 29 and 30 of June, we will also hold the 10^th Doctoral Symposium. For more information about these this event, please refer to the last pages of this document. On the 29, we will also offer the 4^th Paper Development Workshop, co-organized with our International Journal of Arts Management – more information will be available soon on our official conference website.

We invite you to follow our to receive the last updates related to our conference!

We look forward to seeing you in Rio!

Danilo C. Dantas & Pierre-Jean Benghozi
AIMAC Co-chairs

Alessandra Baiocchi
Conference organizer
IAG – PUC-Rio

TOPICS AND TRACKS

Proposals – structured as extended abstracts – from all relevant academic disciplines are welcome, provided they offer an original contribution to the study of arts and culture management and address key management challenges in the field. The conference programme covers all sectors of the cultural and creative industries, including—but not limited to—performing arts, festivals, heritage, museums, visual arts, art market, 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:

·������������ 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.

Table 1 – Tracks and descriptions

TRACK	DESCRIPTION
1. Socio-Cultural Consumption and Consumer Experiences   Chair:	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:	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: &	This track explores strategic marketing practices within the arts, heritage, and cultural sectors, focusing on how organisations create, communicate, and sustain value over time. We invite papers that examine brand positioning, audience segmentation, partnership development, and value co-creation. Contributions may address how cultural organisations respond to evolving market dynamics, technological change, or competitive pressures through innovative marketing strategies. We particularly welcome research on digital transformation, audience intelligence, and long-term engagement approaches. Both theoretical and empirical studies are encouraged.
4. Art Market   Chair:	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:	This track explores how strategic thinking and organisational design shape the creation, development, sustainability, and impact of arts and cultural organisations. We invite contributions that investigate competitive positioning, strategic alliances, and innovation pathways within the cultural and creative industries. Submissions may address business models, internationalisation strategies, mergers and acquisitions, digital strategy, and the role of leadership in navigating uncertainty and complexity in the cultural field. We also encourage research on how cultural organisations adapt their strategies in response to technological shifts, evolving audience expectations, and changes in public policy or funding structures. Conceptual, empirical, and comparative studies—across contexts or sub-sectors—are welcome, especially those offering critical insights into the specificities of strategy in mission-driven and creativity-based organisations.
6. Arts Governance and Organizations   Chair: &	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: &	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:	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: &	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: , &	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: &	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:	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: Este track multidisciplinario 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.

GUIDELINES FOR EXTENDED ABSTRACTS

Submissions will start on 12 September 2025 and close on 28 November 2025. A dedicated online platform is 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 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.

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[1]. Please note that only full papers are eligible for the Best Paper Awards.

The deadline for full paper submissions is 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.

DOCTORAL SYMPOSIUM – CALL FOR PAPERS

The��10^th��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:

1. A short biography of not more than 100 words.
2. A one-page summary of your dissertation proposal or expected dissertation topic.
3. 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.
4. A curriculum vitae, including the name of your supervisor and (if already known) of the members of your thesis committee.
5. A letter of recommendation from your supervisor.

Symposium fees include:

• Sessions, plenaries, lunches and coffee breaks on 29 and 30 June.

Applicants will be informed of acceptance decisions no later than 30 January 2026. Those invited to take part in the symposium will then be asked to submit:

• 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.

[1] Extended abstracts will not be part of the conference proceedings