Putting the City on the World Art Map: Star Curators and Nation Branding

Abstract

Over the last two decades, we have seen a worldwide expansion of the concept and practice of cultural diplomacy, along with the emergence of a multipolar world. This raises the question of the way in which the notion is mobilized and understood beyond Europe and North America. This paper is based on comparative research carried out in Qatar and Singapore. Both countries have developed ambitious cultural diplomacy strategies, based on the establishment of world-class cultural and educational institutions, and on their integration into regional and global cultural networks. But many have highlighted contradictions between these ambitious strategies and the restrictions and pressures that both countries place on their civil societies. This paper discusses how curators, who have become key global gatekeepers, negotiate their role in their country’s global cultural strategy and position themselves with regard to the official national narrative. With their multiple belonging, they shape narratives that make regional and local scenes and can put cities on the world art map. This symbolic power puts them in a strategic position to shape the nation-branding discourse.

A nation brand development framework: the stakeholders’ perspective

“…For instance, Singapore promotes its national brand as a tourism destination, through government-mandated branding policy (Seol, 2020). Although Singapore is geographically small tropical island, it became one of the leading nations of Asia and known as “global city” (Molho, 2021; Song, 2017). For the reason that small cities usually have little to offer, Singapore authorities have commenced to foster their “national heritage” with Singapore’s unique cultural monuments and impressive food culture (Duffy and Xian, 2021).…”