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.