Cultural Entrepreneurship Using the Example of Uli Sigg as Patron and Mediator of Contemporary Chinese Art

Betzler, Diana; Camina, Rachel D.

doi:10.1080/10632921.2019.1659897

Cited by 9 publications

(5 citation statements)

References 20 publications

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“…Certainly, there are cultural entrepreneurs whose primary goal is to maximize their financial gains, as entrepreneurship entails business risk and uncertainty about the outcome of such an undertaking, but the hierarchy of motivation depends on their personality traits (Swedberg, 2006). Cultural entrepreneurship is not only driven by financial viability but also by intangible goals, such as artistic recognition (Betzler and Camina, 2020; Swedberg, 2006; Werthes et al , 2018). Other intangible goals pertain to social connectedness of artists who work together on projects through national or international networks (Betzler and Camina, 2020).…”

Section: Literature Reviewmentioning

confidence: 99%

“…Cultural entrepreneurship is not only driven by financial viability but also by intangible goals, such as artistic recognition (Betzler and Camina, 2020; Swedberg, 2006; Werthes et al , 2018). Other intangible goals pertain to social connectedness of artists who work together on projects through national or international networks (Betzler and Camina, 2020). Artists’ networks are surrounded by other actors, such as auctioneers, gallerists and collectors who might participate in cultural entrepreneurship projects.…”

Section: Literature Reviewmentioning

confidence: 99%

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Artist residencies as specialist accommodation: cultural entrepreneurship during the COVID-19 pandemic

Andriotis

Paraskevaidis²

2022

IJCHM

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Purpose Artist residencies comprise a unique accommodation type and a form of cultural entrepreneurship which remains overlooked from a hospitality perspective. This exploratory study aims to examine the phenomenon of artist residencies as specialist accommodation, as well as their operators’ motives as cultural entrepreneurs during the COVID-19 pandemic. Creation theory is used to explore how artist residency operators create entrepreneurial opportunities. Design/methodology/approach Asynchronous email interviews were conducted with 20 artist residency operators from 18 countries. Purposive sampling was used to select interviewees and thematic analysis to analyze the primary data. Findings The results showed that with few exceptions, artist residencies address all criteria of specialist accommodation, and that social interactions among artists and operators are fundamental in running an artist residency. From a cultural entrepreneurship perspective, most of the operators declared that their priorities were to promote artistic creativity and cultural knowledge exchange, confirming the main elements of creation theory. Practical implications Managerial implications are discussed to enhance the resilience of artist residencies and strengthen their financial viability, as well as to support them to overcome the devastating impacts of the COVID-19 pandemic. Originality/value This study extends the hospitality literature by adding the artist residencies to the existing types of specialist accommodation. It also examines creation theory and concludes that artistic creativity and cultural networks are prominent in artist residency entrepreneurial activities.

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Section: Literature Reviewmentioning

confidence: 99%

Section: Literature Reviewmentioning

confidence: 99%

Artist residencies as specialist accommodation: cultural entrepreneurship during the COVID-19 pandemic

Andriotis

Paraskevaidis²

2022

IJCHM

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“…In the growing literature of cultural economics (Towse 2014;Zorloni 2013), a few have concentrated on CCA (Joy and Sherry 2004;Robertson 2005;DeBevoise 2014). Although the impacts on the CCA market from China's political system (Robertson 2018) and from the entrepreneurship of foreign patron-mediators in business management (Betzler and Camina 2020) have been analyzed, the topic has not been examined unequivocally from the perspective of FDI-a specific business concept and practice critical for emerging market countries. This study bridges this critical gap in knowledge.…”

Section: Conceptual Frameworkmentioning

confidence: 99%

Foreign (In)Direct Investment in Chinese Contemporary Art Game: The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013

Wang

2021

The Journal of Arts Management, Law, and Society

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The boom in Chinese contemporary art is the result of China's opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the "art game", these investors used a variation of the controversial "Saatchi model" to generate high ROI.A further effect has been to bring CCA onto the global stage and complete the ecosystem of the art industry, building a foundation for the art economy of post-Mao China.

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“…political, economic, and social systems) have predominantly been influenced by Marxian ideas such as communism and socialism (Gregor, 2014). Yet, from the early 1990s through the early 2000s, the Chinese government actively accepted capitalism through interacting with various Western nations (Betzler and Camina 2020;Wu et al 2020).…”

Section: Introductionmentioning

confidence: 99%

“…the government) and economic sectors (i.e. business enterprise) have made efforts to boost the domestic arts industry, sponsoring and encouraging Chinese museums to lend their cultural relics to Western nations or to merchandise their treasures to Western museums (Betzler and Camina 2020). Namely, the Chinese government perceives that the arts can contribute to promoting cultural diplomacy and economic development.…”

Section: Introductionmentioning

confidence: 99%

Capitalism and Reproduction in the New Museology: The Power Discourses about Chinese Cultural Heritage at the Metropolitan Museum of Art

Bai

Nam

2020

The Journal of Arts Management, Law, and Society

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This article presents a critical discourse analysis of the nexus between Chinese cultural heritage conservation and promotion at the Metropolitan Museum of Art, which is globally well-known and the largest art museum in the United States. Although the museum has collected, restored, and exhibited foreign cultural heritage in its halls to promote social and cultural development, there are potential risks when the museum hosts events and social activities in the midst of its collections. Therefore, this article interprets these commercial debates through the conceptual lenses of capitalism and cultural and mechanical reproduction in the new museology. To these ends, this article draws on the voices of figures from American and Chinese media and academia to understand how these art stakeholders view the debates about commerce regarding the museum's Chinese cultural heritage. Overall, this article investigates the Met's Chinese cultural heritage conservation and promotion, analyses the roles of the conservation laboratory and promotion programs, and interprets issues involved in special mega-events and the value of foreign cultural relics.

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Cultural Entrepreneurship Using the Example of Uli Sigg as Patron and Mediator of Contemporary Chinese Art

Cited by 9 publications

References 20 publications

Artist residencies as specialist accommodation: cultural entrepreneurship during the COVID-19 pandemic

Artist residencies as specialist accommodation: cultural entrepreneurship during the COVID-19 pandemic

Foreign (In)Direct Investment in Chinese Contemporary Art Game: The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013

Capitalism and Reproduction in the New Museology: The Power Discourses about Chinese Cultural Heritage at the Metropolitan Museum of Art

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