Let’s try to understand how the concept of co-production can be a valid zip to join together two worlds so apparently different but actually complementary.
The era post 2000, especially with the advent of the digital consumerism, has developed, or rather enriched, a concept that previously was gloomy and confused: the co-production.
Applying this concept to marketing means to push the consumers to create their personalized offer and to develop a unique value.
Co-production, interactivity, participation, community: these are some keywords around which the contemporary marketing has developed its new paradigms.
The experience of co-production and co-creation of value in the arts was, however, already been tested in galleries and museums since the late ’50s, when Allan Kaprow invented the happening, an art form which provided the active participation of the public.
Art, in this case, is essentially a process of partnership where the user creates his own experience on the basis of a plot created by the artist
Recently I was reading the work of Nicolas Bourrieaud entitled “Relational Aesthetics”, in which the author defines the work of art as a social gap, a place where one can build new modes of relationship, then a new value, a new “product”.
Bourrieaud considers especially the art of the XXI century citing works of Parreno, Beecroft, Tiravanija, but also remembering how the relationship’s aim is inherent in various avant-garde movements: Futurism, Dada, Fluxus, to name a few.
A great deal of management literature was inspired by the models of management of the cultural industry, as much effective it wuold be to build a paradigm that refers to the consumer based on the aesthetic experience of contemporary museums.
The new individual tries in fact a new bond with the community, with the product, he want to be active, stimulated, encouraged to create daily micro-utopias.