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Final Version TERRITORIAL FACTORS IN A GLOBALISED ART WORLD? THE VISIBILITY OF COUNTRIES IN INTERNATIONAL CONTEMPORARY ART EVENTS FEMKE VAN HEST This research was conducted at the Department of Arts and Culture Studies and the Erasmus Research Centre for Media, Communication and Culture of Erasmus University Rotterdam and the Department of Sociology at the Ecole des Hautes Etudes en Sciences Sociales, Paris. Publisher ERMeCC, Erasmus Research Centre for Media, Communication and Culture Printer Ipskamp Drukkers, Enschede Cover Design Marc Linderhof ISBN 978-90-76665-23-8 © 2012 Femke van Hest Territorial Factors in a Globalised Art World? The visibility of countries in international contemporary art events Geografische factoren in een geglobaliseerde kunstwereld? De zichtbaarheid van landen in hedendaagse beeldende kunstevenementen Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.G. Schmidt in joint doctorate with the Ecole des Hautes Etudes en Sciences Sociales, Paris and in accordance with the decision of the Doctorate Board The public defence shall be held on Thursday 1 November 2012 at 13:30 hours by Femke Josepha Johanna van Hest born in Tegelen Doctoral Committee Promotors: Prof.dr. M.S.S.E. Janssen (EUR) Prof.dr. J.-L. Fabiani (EHESS) Other members: Prof.dr. A.M. Bevers Prof.dr. C.J.M. van Eijck Prof.dr. L. Jeanpierre Prof.dr. G.M.M. Kuipers Prof.dr. G. Sapiro Prof.dr. A. Quemin CONTENTS ACKNOWLEDGEMENTS ......................................................................................................... 9 INTRODUCTION.................................................................................................................... 13 The Dutch case ......................................................................................................................... 17 Aim and contribution ............................................................................................................... 18 Outline ........................................................................................................................................ 19 I THEORETICAL BACKGROUND AND METHODOLOGY .................................................. 21 1 THE INTERNATIONAL FIELD OF CONTEMPORARY ART..................................................23 1.1 Shifting boundaries ........................................................................................................... 24 The contemporary art label ............................................................................................... 24 The international nature of contemporary art ............................................................... 26 1.2 Towards international recognition in the field of contemporary art ...................... 27 Aesthetic and economic value ........................................................................................ 29 Major international contemporary art events: biennials and fairs ............................. 32 1.3 A word on terminology .................................................................................................... 35 2 GLOBALISATION OF CULTURE ......................................................................................37 2.1 Cultural imperialism theory.............................................................................................. 37 Cultural imperialism and contemporary art ................................................................... 40 2.2 Cultural flows or network theory .................................................................................... 41 Cultural flows or network theory and contemporary art.............................................. 43 2.3 Reception theory .............................................................................................................. 46 Reception theory and contemporary art ....................................................................... 47 2.4 Cultural policy theory ....................................................................................................... 49 Cultural policy theory and contemporary art ................................................................ 51 2.5 Concluding remarks ......................................................................................................... 52 2.6 Research questions and hypotheses ............................................................................ 54 3 RESEARCHING THE GLOBALISATION OF THE CONTEMPORARY ART WORLD ..............57 3.1 Method ............................................................................................................................... 57 Operationalisation ............................................................................................................... 58 3.2 Traditional art centres: Berlin, London, New York and Paris...................................... 59 Exhibitions of permanent collections in museums ......................................................... 60 Temporary exhibitions in art centres ................................................................................. 61 Gallery stables ...................................................................................................................... 61 Auction sales ......................................................................................................................... 62 3.3 Transnational art world: beyond geographical embeddedness ............................ 62 Biennials .................................................................................................................................. 62 Fairs ......................................................................................................................................... 63 5 II DUTCH CONTEMPORARY ART IN THE INTERNATIONAL ART WORLD .......................... 65 4 THE VISIBILITY OF DUTCH ART IN INTERNATIONAL CONTEMPORARY ART EVENTS ...... 68 4.1 The institutional art arena ................................................................................................ 68 4.1.1 Exhibitions of museums’ permanent collections ................................................. 68 Dutch art in permanent collections ................................................................................. 69 4.1.2 Temporary exhibitions in art centres ...................................................................... 72 Dutch art in temporary exhibitions ................................................................................... 74 4.1.3 Biennials ....................................................................................................................... 77 Biennials: national representation .................................................................................... 77 Biennials: participation by invitation ................................................................................ 79 4.2 The contemporary art market ........................................................................................ 82 4.2.1 Gallery stables............................................................................................................ 82 Dutch art in international galleries .................................................................................... 83 4.2.2 Art fairs ......................................................................................................................... 84 Dutch art at contemporary art fairs ................................................................................. 85 4.2.3 Auction sales .............................................................................................................. 87 Dutch art at auctions .......................................................................................................... 87 Conclusion ................................................................................................................................. 90 5 BACKGROUND CHARACTERISTICS OF INTERNATIONALLY SUCCESSFUL DUTCH CONTEMPORARY ARTISTS ............................................................................................ 93 5.1 Country of birth ................................................................................................................. 93 5.1.1 Country of birth: representations per event ......................................................... 95 5.1.2 Analyses over time .................................................................................................... 98 Biennials ................................................................................................................................. 98 Temporary exhibitions in art centres............................................................................... 100 5.2 Residence ........................................................................................................................ 102 5.3 Gender ............................................................................................................................. 104 5.4 Age .................................................................................................................................... 106 5.5 Education ......................................................................................................................... 109 Conclusion ............................................................................................................................... 111 III THE VISIBILITY
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