Is the said "art for art's sake" still valid in the competitive arena of culture institutions? When we talk about heritage management, can we speak about customers or do we have to only talk about the visitors and audience? Is the aim of a culture institution only protection, or is it also valorization and promotion? When we talk about a good that is sold in a cultural institution, is this a product in search of a market or is there a market in search of a product? These big dilemmas are connected with the culture and the organizational culture that is within the very cultural institution itself. Organizational culture is nothing else but the set of values that are transferred into the different parts of the organization that needs to decide whether to adopt a market orientation or a product orientation, that, in the case of a cultural institution, is an artistic orientation. What is artistic orientation? Artistic orientation has, as its main focus, art. "Art for art's sake." We are here in an auditorium, the Giovanni Arvedi Auditorium inside the museum of Violin Cremona. Here in the museum there are many violins held, beautiful violins, extraordinary and very valuable violins that can be traced back to the 17th and 18th centuries. Here in this auditorium those violins are played by talented musicians. With the artistic orientation this is it, a performance played by a talented musician with beautiful music on an important and precious violin without any connection with the consumer, the audience that is listening to it. It Is speaking on its own. The art does not need any kind of marketing approach in order to reach its final goal. We do not have any necessity of helping the intrinsic value to reach the final consumer. This is, all in all, what is quite common in the Italian, for sure, cultural institutions, so the importance, the supremacy we can say of the artistic director. It is the artistic director that is leading the role without any connection with what the market wants and what the market perceives in terms of value. What is the other characteristic, the other philosophy, that an organization can adopt? A market orientation, and of course, it is the opposite of the other one. A market orientation has its main focus being the satisfaction of the customer, so reaching the needs of the customer and understanding what the customer wants, conveying a message and helping the intrinsic value to reach the idea and the need and satisfy the needs of the consumer. In this case, we can have a lead role played by the manager and not the artistic director of an institution, so, in a way, the work of art is following what the market wants. We can see, immediately, that this dilemma is quite important and, in a way, we will never be able to come to a solution. But through management, what we want to convey to you through this course that the combination the two aspects will allow you to arrive to the ideal form of management of a cultural institution itself. Of course there are risks in the adoption of either an artistic orientation or market orientation. First of all, in the artistic orientation, it is not necessarily true that the consumer understands the intrinsic value of the work of art. You are in front of a painting, not necessarily do you understand what the painter wanted to convey, or what the message is that the painting is conveying. In the example of this concert that we mentioned before, you can have, in front of you, a talented musician but you do not know that he or she is talented. You do not realize that the violins are extraordinary and you do not realize that the music performed is a particularly difficult piece of music that has an important value to it. It is obvious that we need to help the consumer appreciate and be in touch with the offer. On the other hand, when we talk about the market orientation, typically the consumers are, in a way, lead by inertia. Consumers tend to buy the same product after a while because it is too risky to shift and look for alternatives. In this case, the consumer is not lead to change his or her preferences if we do not explain, in detail, the artistry and the essence of the value that is promoted and conveyed to them. We arrive to the conclusion that we need to have a balance. There is a beautiful concert, great musician, important violin, and important music, but it should explained and made accessible to the consumers. A product that does not have any kind of way to arrive, reach, and meet the customer's needs will be standing alone without any possibility to interact. A good balance between the artistic and marketing orientation makes the art organization, in a way, able to create and promote a valid cultural project; that is able, of course, to educate, arouse emotions, and excite the target that they have in front of them. Then, the culture institution, the art organization needs to make its product accessible to them, create a form of a making things easy. In this museum there is an important aspect relating to the education for different targets: so the children, if you do not explain to the children, the value of the art that is present here, the children will never appreciate it. Then we also need to create, in this approach of balancing the artistic and marketing orientations, the generation of intelligence. You have to have the possibility to measure, understand, and collect the data regarding present customers and future customers in order to create and produce an offer suitable for them. The point of this balance is that it is a win-win game. There is no supremacy of an art orientation or market orientation. They need to co-exist together, and the most efficient and effective institutions are the ones that are run by this dual brain, dual management that, on one side, takes into consideration, the importance of the work of art itself, and on the other side, makes this work of art intelligible and accessible to the consumers and region in need of them.