{"title":"Foreign (In)Direct Investment in Chinese Contemporary Art Game: The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013","authors":"Shucheng Wang","doi":"10.1080/10632921.2021.1918597","DOIUrl":null,"url":null,"abstract":"Abstract The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these investors used a variation of the controversial “Saatchi model” to generate high ROI. A further effect has been to bring CCA onto the global stage and complete the ecosystem of the art industry, building a foundation for the art economy of post-Mao China.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10632921.2021.1918597","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10632921.2021.1918597","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
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Abstract
Abstract The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these investors used a variation of the controversial “Saatchi model” to generate high ROI. A further effect has been to bring CCA onto the global stage and complete the ecosystem of the art industry, building a foundation for the art economy of post-Mao China.
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How will technology change the arts world? Who owns what in the information age? How will museums survive in the future? The Journal of Arts Management, Law, and Society has supplied answers to these kinds of questions for more than twenty-five years, becoming the authoritative resource for arts policymakers and analysts, sociologists, arts and cultural administrators, educators, trustees, artists, lawyers, and citizens concerned with the performing, visual, and media arts, as well as cultural affairs. Articles, commentaries, and reviews of publications address marketing, intellectual property, arts policy, arts law, governance, and cultural production and dissemination, always from a variety of philosophical, disciplinary, and national and international perspectives.
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