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Abstract
This study develops a conceptional foundation for the phenomenon of cultural entrepreneurship based on the much-noted work of Shane and Venkataraman from the field of business research. The resulting analytical model is applied to Uli Sigg, who is considered one of the most influential collectors and mediators of contemporary Chinese art. Analysis of the personal motivation and activities of Sigg demonstrates how a private initiative became an internationally recognized, unique venture, which has had a significant influence on the Chinese art world. Vice versa, Sigg’s activities have been significantly influenced by the socio-political conditions of the Chinese arts sector.
Notes
1 Zurich University of the Arts, 2013 Lecture on Global Culture. The Narrative of Chinese Contemporary Art. http://www.connectingspaces.ch/chinese-contemporary-art-award-ccaa-a-case-study-on-global-culture/. Accessed on February 22, 2018.
2 It should be noted that statistics in China are difficult to verify and the question of what constitutes the creative and cultural industries remains controversial.
3 Although it is true that China's efforts to embrace the arts has led to the creation of some 4,000 museums in recent years, it should also be noted that many of them are vacant, have no collections of their own, or exhibit only art that is in line with Communist Party’s preferences (Chen Citation2014).
4 www.artprice.com on October 13, 2017.
6 Ibid.
7 Ibid.
8 Works privately owned by Uli Sigg.
9 Other powerful figures were involved including Alanna Heiss, former director of the PS1 in New York; Chris Dercon, Director of the Tate Modern; Ruth Noack, curator of documenta; and Hans Ulrich Obrist of the Serpentine Galleries in London (Chen, Citation2014, 47).