ART AT HOME IN THE NEW SERVICE-COMMERCIAL SPACE (Zadomowienie sie sztuki w nowej przestrzeni uslugowo-handlowej)
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The presented text demonstrates an unprecedented phenomenon that started to function on an increasing scale since the 1980s: corporations had rendered art a business venture, treating it as one of the most effective marketing instruments. The intentional pursuit of art has become a new form of financial investment, accompanied by a marketing strategy of creating a new image. The appearance of a private corporation sector in a domain that in Europe had been almost exclusively public has become a feature of a novel artistic awareness. Moreover, the widely delineated and effective application of marketing by the corporations has affected the approach towards marketing on the part of the temples of art - the museums. Corporation models of institutional activity and management became increasingly often models of functioning for museums. The article discusses factors that influence the transformation of traditional art museums into cultural malls as well as the increased number of renowned museums (so-called super stars) and their expansion across the world. The author analyses a process in which commercial organisations, on the one hand, develop their own forms and strategies of a cultural policy (e. g. by creating art collections) in order to retain and expand the sphere of influence while, on the other had, art institutions adopt and modify corporation strategies so as guarantee public recognition and financial stabilisation. New forms of cultural promotion and mediation have developed as a result of those concurrent interests. Both the corporations and the art institutions seek legitimisation and acceptance, at the same time emphasising the benefits enjoyed by the public/clients from establishing inter-institutional relations. By gradually taking over impact over the museums, the corporations significantly alter the functioning of those institutions and art itself, and by displaying art in their interiors they re-define the discourse, especially the one dealing with contemporary art.
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