The brand‐wagon: emerging art markets and the Venice Biennale

Abstract

PurposeThe purpose of this paper is to investigate whether and how participating in a branded Biennale (Venice) may legitimate and promote selected artists from the emerging markets of Venezuela and Thailand alongside art market leaders.Design/methodology/approachResearch was conducted at the 53rd International Art Biennale in Venice, Italy, in June 2009. Underpinned by a constructivist approach, qualitative data were collected via participant observation, illustrative photography and semi‐structured interviews (average interview time 55 minutes) with curators and participating artists from two emerging markets: Venezuela and Thailand.FindingsThis research indicates that merely attending the Venice Biennale does not mean automatic branding for success: each artist's signature style must stand out within its cultural context for the branding effect to succeed. The conclusion compares and contrasts the effective relationship between identification and success for the two emerging economies within the world‐leader arts event in Venice.Originality/valueThis study contributes to the growing body of knowledge on arts management and events management, focusing on the until now unexplored area of contemporary arts marketing for the emerging economies of Venezuela and Thailand. The paper may aid emerging market art professionals in their strategy and planning to better benefit from the Venice Biennale's branding opportunity, as well as guiding scholarly research to a better understanding of the area.

From Modernism to Populism – art as a discursive mirror of the nation brand

“…Governments financially support cultural institutions to project an identity for local and foreign audiences, thereby utilizing nation branding to communicate the country's competitive advantage. The State may also play a substantial role in temporary events, such as art festivals and biennials (Rodner et al, 2011).…”

Painting the Nation

“…The Venice Biennale is taken as an example here in order to examine what type of art is deemed official and is used as an ideological representation to boost these countries' soft power (Nye 2004). With several levels of participation, including independent curatorship and an awards system within the Palazzo, Venice becomes a platform for selected artists to be cultural ambassadors of their home-grown art scene on the global panorama (Rodner, Omar, and Thomson 2011). Art shown on this international scale means that ''politics becomes significant'' (Joy and Sherry 2003, p. 168).…”

“…For the 2009 edition of the event, one artist lamented the polarization of the Venezuelan media. Local coverage of the event back home was restricted on the grounds of alleged political affiliations of the participating artists (Rodner, Omar and Thomson 2011), demonstrating how tensions between official frameworks of cultural dissemination and the media can result in another form of censorship.…”

The production and consumption activities relating to the celebrity artist

“…Artists such as Picasso and Kinkade were adept at their ability to read cultural signals and meaning. Today, art and making money are now inextricably linked, with branding becoming increasingly important in enhancing art's intrinsic and extrinsic dimensions (Rodner et al 2011). The celebrity artist brand includes both tangible attributes of the artwork, and intangible factors like the persona of the artist and their fans.…”