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dc.contributor.authorWang, Shuchen
dc.date.accessioned2021-09-07T04:47:21Z
dc.date.available2021-09-07T04:47:21Z
dc.date.issued2021
dc.identifier.citationWang, S. (2021). Foreign (In)Direct Investment in Chinese Contemporary Art Game : The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013. <i>Journal of Arts Management, Law, and Society</i>, <i>51</i>(5), 291-306. <a href="https://doi.org/10.1080/10632921.2021.1918597" target="_blank">https://doi.org/10.1080/10632921.2021.1918597</a>
dc.identifier.otherCONVID_100397372
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/77676
dc.description.abstractThe 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.en
dc.format.mimetypeapplication/pdf
dc.language.isoeng
dc.publisherRoutledge
dc.relation.ispartofseriesJournal of Arts Management, Law, and Society
dc.rightsCC BY-NC-ND 4.0
dc.subject.otherKiina
dc.subject.otherChinese contemporary art
dc.subject.otherart industry infrastructure
dc.subject.otherforeign (in)direct investment
dc.subject.otherSaatchi model
dc.subject.otherSigg, Uli
dc.subject.otherUllens, Guy
dc.subject.otherart game
dc.subject.otherheritage process
dc.titleForeign (In)Direct Investment in Chinese Contemporary Art Game : The Case Studies of Uli Sigg, Guy Ullens and beyond, 1989-2013
dc.typearticle
dc.identifier.urnURN:NBN:fi:jyu-202109074795
dc.contributor.laitosMusiikin, taiteen ja kulttuurin tutkimuksen laitosfi
dc.contributor.laitosDepartment of Music, Art and Culture Studiesen
dc.type.urihttp://purl.org/eprint/type/JournalArticle
dc.description.reviewstatuspeerReviewed
dc.format.pagerange291-306
dc.relation.issn1063-2921
dc.relation.numberinseries5
dc.relation.volume51
dc.type.versionpublishedVersion
dc.rights.copyright© 2021 The Author(s). Published with license by Taylor and Francis Group, LLC
dc.rights.accesslevelopenAccessfi
dc.subject.ysokansallinen kulttuuri
dc.subject.ysokansainvälisyys
dc.subject.ysonykytaide
dc.subject.ysoulkomaiset investoinnit
dc.subject.ysotaidekauppa
dc.subject.ysokulttuuriperintö
dc.subject.ysosijoittajat
dc.format.contentfulltext
jyx.subject.urihttp://www.yso.fi/onto/yso/p8490
jyx.subject.urihttp://www.yso.fi/onto/yso/p3868
jyx.subject.urihttp://www.yso.fi/onto/yso/p9593
jyx.subject.urihttp://www.yso.fi/onto/yso/p12969
jyx.subject.urihttp://www.yso.fi/onto/yso/p11534
jyx.subject.urihttp://www.yso.fi/onto/yso/p8475
jyx.subject.urihttp://www.yso.fi/onto/yso/p18430
dc.rights.urlhttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.relation.doi10.1080/10632921.2021.1918597
jyx.fundinginformationEarnest thanks are due to the funding provided by the Faculty of Humanities and Social Sciences, the University of Jyväskylä.


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