Department of Management,
Politics & Philosophy
Copenhagen Business School
Blaagaardsgade 23 B
DK-2200 København N
tlf. +45 38 15 36 30  · 
email

 
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Introduction

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Purpose
  • The Centre for Art & Leadership at Copenhagen Business School has as its goal the fusion of philosophy and art in order to capture and stimulate the creative practices of management (business economics), primarily in regard to leadership and organisation, through the totality of its inner contradictions, in order to develop a sensitivity for the unity, the core, through which the secret of its force is kept alive.
     
  • The Centre for Art & Leadership will provide new artistic forms through which its findings are able to influence leaders and their organisations. It aims at the development of products and performances presented by means of inter-media art. Its products and performances will be developed in cooperation with collaborating philosophers and artists, aiming at a stimulation of the development of leadership competences revealed by the perspective of CAL. Through our research activities in conjunction with the work of artists our goal is to develop art-education for business leaders and their organisations on the basis of sound knowledge. Our method consists in doing philosophy in interaction with art and artists. Our criterion of success is to make results that enable leadership development processes. We will not only communicate this knowledge through educational programmes, but also by symposiums, art events and regular counselling.

     

Philosophy is fundamental to our approach.
 

A research program connected with art and leadership, on the one hand has to study art and leadership as forms of social practise, and on the other hand has to analyse art as a special type of activity using aesthetics to generate knowledge. Still, its point of departure has to be critical. “Critical” here means to be conscious of the aesthetic preconditions and ethical consequences of knowledge. This is why art has to be moulded into and understood within a philosophical frame (in the light of theoretical, practical and aesthetic philosophy). But, beyond all judgements of taste, “critical” also means to be particularly discriminating in choosing works of art suitable for this purpose.

 

  Neither science nor technology, nor entrepreneurship, is able to give sufficient counsel here. Only beauty can. Beauty combines all the contradictions in the object of our greatest fears — the indeterminable. That is why art is of such enormous importance to us just now. Art is the only practise that gathers experience and courage in sufficient quantities to relate itself, to relate our selves, to the indefinable. Art seizes upon the enigma.
Art is a way in which hyper-modern man might protect himself from himself.
Through all the untameable and terrifying shapes of beauty, art makes it possible to recapture the brave new world of our own creation every day, and by preserving the enigma to recapture it in the name of humanity.

”Beauty is a terrible and dreadful thing. It is terrible, because it is almost impossible to identify. All the things that God gave us are enigmas. In the concept of beauty all contradictions meet – here everything merges into one.” Fjodor Dostojevski: The Brothers Karamassov, I.


Beauty reveals whether a decision was the right one. Because beauty is the overcoat of the Good.
Improvisation is to give chance a chance, in the light of a richly developed practical sensibility.
The real leader possesses a sense of reality, challenging reality through a creative gesture that transforms its very foundation.
The leader is the artist whose instrument is his own experience.
The leader is
conductor, author, director, actor and audience, at the very same time.
The good leader knows that written or verbal commands can only be used at a time and at a place where there is no room for dancing.
The real organisation has always been waiting as a finished form inside the social and material relations of the firm. It is the leader alone who is able to urge us to remove the superfluous matter through which we were hindered in seeing the beauty of the sculptural form.
 

 

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