Territorial Factors in a Globalised Art World?
The visibility of countries in international contemporary art events
In comparison to other disciplines of high culture, the visual arts seem to be the most suitable to internationalise (cf. Crane, 1992; Janssen, Kuipers & Verboord, 2008). The global diffusion of visual art works, for example, is far less complex than that of the performing arts, which entails an impressive transportation operation of both goods – instruments, sets, costumes – and the actors involved, such as orchestra musicians, theatre company actors or dancers. The global distribution of literature, meanwhile, is easier to achieve than is the case for the visual arts, yet language obstacles manifestly hinder its internationalisation (Heilbron, 1999; Janssen, 2009; Sapiro, 2010). Indeed, the only way to overcome such hurdles is when the author provides a translation of the work, or when the reader learns the foreign language in which it is written (De Swaan, 2001). This is similar in the case of theatre plays or the cinema (Hofstede, 2000). On the other hand, the visual language is deemed to be universal and is unhindered by these issues. In short, while the internationalisation of other domains demands different kinds of investment, the visual arts seem to have the best conditions for artists to conquer the world.
|Publisher||ERMeCC, Erasmus Research Centre for Media, Communication and Culture, Rotterdam|
|Promotor||Janssen, M.S.S.E. (Susanne) , Fabiani, J-L.|
|Sponsor||This dissertation research was conducted with the support of the Mondriaan Foundation and the Vereniging Trust Fonds Erasmus Universiteit within the framework of the VICI-project Cultural Classification Systems in Transition, funded by the Netherlands Organization for Scientific Research (NWO-project 277-45-001)|
|Keywords||Dutch art, art fair, biennale, contemporary art, diversity, globalisation, history of art, internationalisation, visual arts|
van Hest, F.J.J.. (2012, November). Territorial Factors in a Globalised Art World?. ERMeCC, Erasmus Research Centre for Media, Communication and Culture, Rotterdam. Retrieved from http://hdl.handle.net/1765/38074