Corinne Estrada

An expert in communications, branding and profile management, Corinne Estrada founded international communications agency Agenda in 1995. For over 17 years Agenda has managed international communications for major museums, art spaces and tourist destinations across Europe. Corinne has advised international organisations such as TateFundación Mapfre, the V&A, The National Gallery, London and Guggenheim Bilbao on their communications strategies and global positioning. In 2000 Corinne co-founded Communicating the Museum, the world’s leading event for arts communications professionals. Corinne is also founder  IDCA, International Design Communication Awards (formerly IMCA, International Museum Communication Awards) and Culture Business, a conference focusing on sponsorship. In 2011, Corinne was appointed to train 150 art organisations in Estonia and Oaxaca (Mexico) about international strategies and branding. Trilingual in English, French and Spanish, Corinne holds an MBA in marketing from Pace University, New York (1988). From 1986 – 1989 Corinne worked in New York as Group Coordinator for international travel group Carlson Wagonlits and in the ticketing industry in London.

 

 

1. Dear Corinne, you are founder of the international communications agency Agenda which has managed marketing and communications for major museums across Europe. In 2000 you co-founded Communicating the Museum, the world’s leading conference for arts communications professionals. What is the major benefit for culture professionals from conferences such as Communicating the Museum?
It’s about learning from outside, copy from what people do successfully in other industries, learn from the best practices and know how it works and how to implement successful projects in your own institution. The conference “Communicating the Museum” is about raising the level of museum professionals to the top.

2. At which place did you make your most amazing cultural experience until now which has influenced you strongly, and why did it influence you in such a way?
The most amazing cultural experience was the outdoor Opera “Madama Butterfly” in the Sydney Harbour because it connected sound and light. The stage embraced the whole view of Sydney Harbour Bridge.  The singers were amazing and the stage unbelievable. It was a fantastic experience.

3. Cultural institutions are under considerable strain: they are measured by their attendance, public budgets are being cut more and more and at the same time they are expected to abandon their traditional structures and become competitive. What might be in your opinion the decisive factor for cultural institutions to survive within the next 50 years?
In order to survive public institutions should engage the mass: Not just cope with 10% of the population which is the average in any art institution but engage with large and different audiences. A strategy to do it could be to liase with luxury brands like LVMH which engage strongly in art and culture.

4. On which art work or cultural experience would you spend much money?
I spent some money to stay at Mona hotel and enjoy their restaurant in Tasmania.  It was a full expensive experience including the boat trip and the ticket for the museum and was worth the costs. I strongly recommend to do it.

5. If you were granted one single wish, what would you change in the cultural system?
I would show art outside instead of inside the museum (as you did for the reopening of the permanent collection of Museum Kunstpalast in the streets of Dusseldorf).
Thank you, Corinne.

Veranstaltungstipp:

communicating the museum | optimism

 

 

Communicating the Museum | Optimism
14th International Conference
Sydney 4-8 November 2014
Melbourne 9-11 November 2014
www.agendacom.com
Weiter zu: Fünf Fragen an Armelle Weber
Weiter zu: Fünf Fragen an Uwe Strauch

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