Wrong Gallery: A New Paradigm for Art Space

Wrong Gallery: A New Paradigm for Art Space

Tsui-Yii Shih, Zhi-An Liu
Copyright: © 2016 |Pages: 16
DOI: 10.4018/JCIT.2016070102
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This case gives a depiction of how the founder of Wrong Gallery, Ron, when facing the competition and operational mode of the traditional art gallery industry in Taiwan, capitalizes on the latest trend of emergent social media, and leads his team to break through the shackles or consumers' stereotypical impression. Ron has set up a brand-new age of art space with the brand thinking and innovative approaches, becoming a practical case in regard of the new-pattern art space. In an era where the total value of output from cultural and creative industries worldwide is rapidly increasing, this case's rich materials give readers a better understanding of the operation of an art gallery amongst the cultural and creative industries. This case allows readers to understand how an innovative enterprise's founder starts by analyzing industry situations, incorporates his/her personal strengths, and further determines the strategy application and implementation for the company's market position and business operation model.
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Recently, in the cultural and creative industries, policymakers have been interested in promoting reliable empirical measures of activity, leading to economic growth and increased social benefits (Pratt, 2009). With the strategic support and promotion of the government, the number of stores engaging in cultural and creative industry in Taiwan increased from 59,668 in 2009 to 61,978 in 2013, and the sales volume increased year by year (see Figure 1). In 2013, the project of “Value Output – Construction and Innovation of Cultural and Creative Industry Value Chain”, as led by the Ministry of Culture, strengthened intermediary and brokerage systems according to the needs of the cultural and creative industry, thus, improving the innovation and connection among the upstream, midstream, and downstream of the cultural and creative industry chain. At this period, the government also established 5 cultural and creative industrial parks, including Huashan, Hualien, Taichung, Chiayi, and Tainan, to provide platforms for performances, exhibitions, transactions, and cross-border cooperation of cultural and creative products. Moreover, the government aggressively welcomed core creations and independent workers to reside in cultural and creative settlements, and subsidized private groups to provide art space for the use of the cultural and creative industry in Taiwan (Department of Education, Science and Culture, 2015). The cultural and creative industry in Taiwan has been prosperously developed, and gallery brokerage has played a critical role as a medium for transactions in the cultural and creative industry chain.

Figure 1.

Overview of the number of stores and sales volume of the cultural and creative industry in Taiwan from 2008-2013. Note 1: Source: Chang et al. (2014), Ministry of Culture Website. Note 2: Units of sales volume: NT$ Ten thousand dollars.


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