The Soft Power of Framing: Constructing Istanbul as a Regional Art Centre

Molho, Jérémie

doi:10.4000/ejts.5248

Cited by 5 publications

(4 citation statements)

References 22 publications

(10 reference statements)

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“…Remarks by Alain Quemin during the discussion of the international colloquium "Beyond Borders", organized by Vera Mariz and Léa Saint-Raymond, on 2 and 3 November 2020. 5 See (Benhamou et al 2001;Ithurbide 2021;Molho 2015;Moulin 1967Moulin , 1992Patin 2016;Quemin 1997Quemin , 1998Quemin , 2021Velthuis 2007). 6 See (Derlon and Jeudy-Ballini 2008;Mercier 2012;Moureau et al 2016).…”

Section: Notesmentioning

confidence: 99%

“The Show Must Go On”. Ethnography of the Art Market Facing the COVID-19 Pandemic

Saint-Raymond

2021

Arts

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This paper aims at understanding, from the inside, the impact of the COVID-19 pandemic and the accompanying restrictive administrative measures on the art market. It is based on the interviews and ethnographic surveys made by graduate students from the Ecole du Louvre, from September 2020 to May 2021. This methodology makes it possible to demonstrate that, during the crisis, art market professionals were driven by the motto “the show must go on”. On the one hand, they wished to keep a straight face and remain silent on their individual difficulties, preferring to talk about their vocation and the positive effects of the crisis. On the other hand, the commercial activity continued despite everything; if the pandemic accelerated the digital turn of the art market, the physical contact with the works and the collectors remained primordial. The art market thus remained physical but accelerated its digital turn. The proportion of each interactional framework—physical and digital—is still uncertain, difficult to measure today and to predict in the long run.

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Section: Notesmentioning

confidence: 99%

“The Show Must Go On”. Ethnography of the Art Market Facing the COVID-19 Pandemic

Saint-Raymond

2021

Arts

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“…But more importantly, "emerging" cultural status of these nations fosters a certain postcolonial orientation in these new cultural institutions. Whether they have been former colonies, or have been subject to a form of Western imperialism, these nations consider that they have been marginalized in the global cultural discourse (Molho 2015). Their cultural projects are often conceived as a response to the perception of an imbalance in global cultural power, the sense that in the past, they have either lagged behind, following aesthetic trends established by others, and had to catch up, or in the sense that they have been unfairly represented, and subjected to stereotypes coined by dominant cultural actors.…”

Section: Curators In "Emerging Nations"mentioning

confidence: 99%

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

Molho

2020

Int J Polit Cult Soc

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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.

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“…There are, in fact, specific spatial logics for different cultural sectors and for different segments of the cultural production process. Yet this important theoretical step forward needs to be complemented with a look at the active role that urban actors play in positioning themselves within these cultural hierarchies and in reconfiguring them -an accompanying analysis of the ways in which local power dynamics influence scale-making (Tsing 2005;Molho 2015;Sindelar 2016).…”

Section: Global Policy Circulation and The Cultural Rescaling Of Citiesmentioning

confidence: 99%

Cultural policies in cities of the ‘global South’: a multi-scalar approach

Molho

Levitt

Dines

et al. 2020

International Journal of Cultural Policy

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Building on the literature on global cities and on the worlding of cities, the articles in this special issue chart how cities outside Europe and North America try to reinvent and rescale themselves using culture. They suggest that the fabric of urban cultural policy is embedded in multi-scalar power dynamics. First, the contributions in this special issue reveal the importance of circulating standards across borders in structuring narratives about urban history, heritage and identity, in conjunction with local actors' interests. Second, the diffusion of hegemonic cultural policy models such as the "creative city" leads to logics of exclusion, gentrification, and has been met with resistance, which suggest that these models can be to the detriment of local residents, despite the progressive values they are often claim to promote. Third, this special issue points to the need to rethink the politics of cultural policy mobility and offers conceptual tools such as vernacularization to make sense of the ways in which urban elites navigate, negotiate and take advantage of circulating cultural policy models.

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The Soft Power of Framing: Constructing Istanbul as a Regional Art Centre

Cited by 5 publications

References 22 publications

“The Show Must Go On”. Ethnography of the Art Market Facing the COVID-19 Pandemic

“The Show Must Go On”. Ethnography of the Art Market Facing the COVID-19 Pandemic

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

Cultural policies in cities of the ‘global South’: a multi-scalar approach

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