Hard‐branding the cultural city – from Prado to Prada

International Journal of Urban and Regional Research - Tập 27 Số 2 - Trang 417-440 - 2003
Graeme Evans1
1[email protected] Saint Martins College of Art & Design, London, UK

Tóm tắt

The industrial ‘Event City’, host to World Fair, sporting, cultural and ceremonial mega‐event, has been transformed in its late‐capitalist form into the ‘City as Event’– from the all year round festival city to the ubiquitous ‘Cities of Culture’. These self‐styled culture cities now look to the contemporary art museum and cultural district to provide a cosmopolitan edge to their promotional icons and associations, with Art now acknowledged as an ‘industry’. Cities worldwide, irrespective of their indigenous culture and heritage (e.g. Guggenheim Bilbao, Rio et al.), are thus emulating the brand reinforcement witnessed in leisure and entertainment products and themed experiences, which themselves have entered the retail environment as prime urban consumption spaces. The paper critiques this evolution of the city of culture and the branded art facility in terms of their form and function, arguing that form has followed regional funding, and that culture‐led regeneration and place‐making now mirrors the product branding of Nike and Sony, vying with them for consumer and political attention through the use of star architecture and retail strategies that belie their public good/realm and cultural distinctions. The cost of these flagships and cultural strategies, the paper concludes, is borne in terms of cultural diversity and production versus consumption and mediation; in community cultural activity and amenity; and by those who do not have a stake in the gentrification process which attaches to these globalized grands projetsLa ‘Ville de l'industrie de l'événement’ (accueillant Exposition universelle ou méga‐événement sportif, culturel ou commémoratif) est devenue sous sa dernière forme capitaliste la ‘Ville‐Evénement’– de la ville festivalière toute l'année, aux ‘Villes culturelles’ ubiquistes. Ces prétendues villes de culture comptent désormais sur le musée d'art contemporain et le quartier culturel pour fournir un atout cosmopolite à leurs associations et icônes promotionnelles, l'Art étant maintenant reconnu comme une ‘industrie’. A travers le monde, quels que soient leurs culture et héritage locaux (ex.: Guggenheim Bilbao, Rio et autres), des villes sont donc en train d'imiter la consolidation de marque appliquée aux produits de loisirs et réalisations thématiques, lesquels ont pénétré la sphère du commerce de détail comme principal espace de consommation urbain. L'article critique cette évolution de la ville culturelle et du lieu artistique ‘étiqueté’, dans la forme et la fonction, affirmant que la forme a suivi le financement régional, et que la régénération ou la fabrication de lieux par la culture reflète la stratégie de marque des produits Nike et Sony; en effet, ils rivalisent avec eux pour attirer consommateurs et politiques, en utilisant une architecture vedette et des stratégies de distribution qui désavouent leurs distinctions culturelles et leur domaine ou bien public. Pour conclure, ces produits vedettes et stratégies culturelles ont un coût en termes de diversié et production culturelles (opposées à consommation et intervention), en charme et activité culturelle de la communauté, coût payé par ceux qui n'ont pas part au processus d'embourgeoisement associéà ces ‘grands projets’ internationaux.

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