SWOT-Analysis of Halle 14 in the Cotton Spinning ... - Central Europe

Summary of the SWOT Analysisx
8 Summary of the SWOT Analysis
Above all, the SWOT analysis confirms that over the past ten years the creative industries have grown significantly in
Leipzig and that the city has a clear heritage as an important centre of the creative industries in Saxony and beyond.
The number of businesses in this sector has increased by more than 50% in this period (from 2,142 to 3,232). Parallel
to this, the number of arts businesses has also mushroomed (from 78 to 412). Alongside this absolute increase,
the relative significance of this sector has grown within the creative industries. And as well as a positive quantitative
development throughout the creative industries and the arts sector in particular, a corresponding leap in quality is
also to be observed.
In Leipzig, the public cultural sector is very diverse and well defined, one major actor being the local authority cultural
institutions. However, the intermediate sector (including corresponding networks) important for the cultural and creative
industries is still at the development stage. Nevertheless, it is already very promising given the very good conditions
Leipzig has to offer for the development of creative milieus thanks to its good or very good infrastructure in the
areas of education, universities, art academies, exhibition facilities, museums and other artistic institutions as well as
its active civil society. Other advantages are the attractive urban setting, the high degree of urbanity, the low cost of
living, and the relaxed residential and commercial property market. Weaknesses and barriers for the creative industries
result above all from the continued inability of the city to persuade artists from outside and visual and performing
arts graduates to remain in Leipzig in the long term owing to the relatively weak employment market. In addition,
many of the artists and creatives here work in rather small niches, are relatively poorly professionalised, and are also
highly specialised artistically. What’s more, the networking potential between the local authority, public actors and
educational establishments as well as private actors must be improved and intensified. Mention should be made of
for instance the business development cluster policy, which in the creative industries is insufficiently strategically
geared to small businesses.
In geographical terms, three main creative, artistic milieus can be identified in Leipzig. One of them, the ‘experimental
west’, contains the Leipziger Leipzig Cotton Spinning Mill with Halle 14 – the subject of the SWOT analysis. The
comparatively well preserved building stock on the 10-hectare site harbours diverse opportunities for artistic and
commercial use. Since the year 2000, a variety of artists, studios, art galleries, workshops and various commercial
users like call centres and an electronics store have all moved into the site. This biggest building there is Halle 14. In
2002 it was dedicated to not-for-profit use with the aim of creating a non-commercial centre of contemporary art and
making the size of the building usable as a ‘play area’ and experimental field. Step by step, the building envelope has
been renovated and preserved while various elements of the usage concept such as a visitors’ centre, a library and
partner areas have all been completed.
The eight expert interviews clearly indicated that many diverse ways exist for Halle 14 to develop in the near future.
They include focusing on individual aspects of the usage concept such as the grant programme and the studios as
well as the already successful cultural work with children and youngsters. The weaknesses and threats facing Halle
14 are related to its orientation and profile. High priority must be devoted to the independent presentation of Halle 14
as an independent venue for art and other possibilities. Important elements in this connection include conceptual
distinction from the Leipzig Cotton Spinning Mill and the creation of a self-supporting, sustainable structure for
HALLE 14 e.V., and above all securing its financing and ensuring a clearer personnel structure. As far as financing is
concerned, a way needs to be found to compensate for the reduced financial backing from the Federkiel Foundation
in 2011 by sourcing alternative funding. The great potential harboured by Halle 14 owing to its building envelope and
format as well as its not-for-profit, independent orientation needs to be permanently stabilised by giving it a clear
profile.
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