Dslfinal

The DSL collection A White Paper

“It is about what we do and don’t do as brands. What is worth it to people, what has meaning, what moves the story forward believably. Culture feeds this meaning.”

Tim Stock, The Culture of Luxury 2011 (Brand Packaging)

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 2

CONTENT About the DSL Collection

5

The Brief

6

The Scope Achievements thus far Moving Forward Identity and Benchmarking

7 7 7 8

Mission

9

How can private collections become timeless brands (like the best-loved museums)?

The Organisational Set Up The Cause The Collection The Scholarship The Programme The Personality The Facility The Communications The International Outlook and Authentic Cultural Identity The Ethical Code

10 11 11 12 12 13 14 14 15 16 17

What Transferable Lessons About Engineering For Timelessness Can Be Drawn From Luxury Brands?

The Best in Class The Uncompromising Quality The Heritage The Timeless Product

18 18 18 18 19

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 3

The Communications The Emotional Experience The Service The Technology The International Identity

19 20 20 20 21

How can DSL collection become timeless ?

Quantitative Goals Qualitative Goals Current Positioning Targeted Positioning SWOT Analysis Brand Competition Unique Selling Proposition Target Audience Primary Target : Opinion Leaders and Influencers Secondary Target Target Audience and Desired Benefits = Locomotive of timelessness Key Messages for Media Strategy with Media Pillars of the DSL brand

22 22 22 23 23 24 26 27 28 28 28 29 30 30 31

In Conclusion

32

Appendix 1 Targets in Relationship Building (Curatorial circle)

33

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 4

About the DSL Collection This white paper arose out of Sylvain and Dominique’s desire to engineer a ‘timeless’ brand positioning to the DSL collection.

Sylvain and Dominique have been collecting for over 25 years. They started with modern and contemporary Western art, before moving on to Art Deco furniture and contemporary design.

It was in 2005 that the couple started collecting contemporary Chinese art -- partly to partake in the rapid changes that have been taking place in China and partly for the thrill of fuelling new discoveries in art and culture. The Chinese contemporary collection started with artists from the Big Tail Elephant Group.

“Museums serve the purpose of preserving the past. Art collecting is, to us, about connecting the living, rather than accumulating lifeless objects,” says Sylvain Levy, co-founder of the DSL collection. Armed with a vision of establishing an ever-evolving everrenewing collection, Dominique and Sylvain set out with a target of 150 works.

They believe that art mirrors society and as the Chinese society evolves, so will its arts. With this, they would like the collection to be timeless, one that has continued resonance, equity and relevance with the artistic and cultural communities, even beyond their lifetime.

Apart from its unique acquisition approach, the use of the latest technological advancements is another key differentiating factor.

“The 21st century collector must think beyond established boundaries,” says Sylvain Levy. The DSL collection aims to revolutionise the way the public accesses art, making possible in the virtual what traditional art spaces cannot offer.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 5

The Brief Sylvain and Dominique (The Client) would like to develop the DSL collection into respected timeless brand, sought after by artists and esteemed by the international art circuit, one that continually evolves and regenerate, nourishes and enriches through the most innovative and accessible means.

In the course of conversations, the Guggenheim and different luxury brands have been cited as examples of successful brand names that the Client would like their collection to emulate after – in terms of business model, impact and legacies.

The Client would specifically like the white paper to look into the issue of timelessness - if it can be engineered into a brand in the context of a private collection; and if so, how. In answer to these enquiries, the white paper sets out to address 3 main areas of interest : a.

Is it possible for private collections become timeless, like those of public museums? If so, how ?

b.

How do luxury brands engineer for timeless legacies ? Are the strategies transferable ? If so, how ?

c.

How can the DSL collection become timeless?

In this paper, they are put together, examined and studied in a single platform for the first time.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 6

The Scope Achievements thus far DSL, at this stage, thus far, has/ are • • • • •

Achieved a fairly respectable level of recognition amongst important stakeholders in China comprising people in the museum, artist and dealer circuits.

Increasingly well-regarded in the international museum circuit with Chinese connections, as seen by invitations to prestigious advisory panels of the Tate Modern and the Guggenheim.

Established a successful technological platform for sharing its collection. It was launched in Shanghai at SH Contemporary in September 2011.

Strong working relationships with local art communities and academies, an ardent supporter of projects in emerging fields.

Been approached to create a Middle Eastern collection under the DSL collection brand.

Moving Forward The focus of the white paper is thus not as much about Brand Creation or Development as it is about Brand Penetration and Distribution. This paper involves • • •

Scoping and formalising the vision and mission of its founders, against expressed goals, activities and deliveries in recent years.

Formalising a branding strategy for focused action to serve as a documented blueprint, a charter, even if some of the tactics may be currently deployed.

Recommending new strategies to inject timelessness into its brand profile and providing a rationalised structure of overarching strategies, under which existing programmes shall function.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 7

Identity and Benchmarking The client would like DSL to be benchmarked against the following collections : •

Business Structure - Franchise Guggenheim & Le Louvre

•

Private Collections held in High Regard Francois Pinaut : “In confronting the best of western contemporary art with its Chinese counterparts” Prada Foundation : “In the presentation of works” Guanyi : “Most interesting contemporary chinese art collection”

Quotes all Sylvain’s words.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 8

The Mission The DSL collection is a platform that connects people and culture through deep engagements in contemporary artistic creations and cross-cultural collaborations. It is a conduit for exciting partnerships to be forged between collectors, artists and the communities it serves; between France, China and the world. It is an incubator for the new and the emerging. The collection, its projects and its sharing platform is one that engages, enriches and excites even as it educates. In all that DSL does, it services the artists and the artistic communities.

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 9

How can private collections become timeless brands (like the best-loved museums)?

History is littered with examples of foundation-backed private collections but not many have become timeless brands the way the Guggenheim has. Still, there are others that are held in high regard – The Pinault Collection, The Broad Collection, but have chosen not to monetise the cultural brand. The difference between these is perhaps not so much what the brand represents or how much the collection is revered, but what the collectors decide to DO with the brand - the commercial value collectors wish to extract from it.

The Guggenheim has taken it to one commercial extreme, by setting up a franchise operation, though it was not without reprisals.

Museums have both brand and longevity; both are not the same thing : they are paid by the public, presented for the public and set up for the public and so their existence is sustained by the authority of their collections, validated by the scholarship, made relevant by the new educational initiatives and preserved for posterity.

Engineering for Timelessness is about Programming for Continued Relevance and Meaning.

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 10

How can Private Collections Become Timeless Brands (like the best-loved museums)?

1

Pillars

Public Musuems & Private Collections

Brand By :

The Organisational Set Up

Museums are timeless because they are operationally set up for posterity – mission, trustee, professional leadership.

•

Exploring the set up of a private foundation for the express purpose of ensuring continuity of founders’ values, priorities and legacy. It would signal a commitment put in place a formal structure to propagate the vision of its founders.

•

Setting a Foundation is only step one.

•

Considering collaborative, visible and impactful projects/ventures with museums as a short to medium term brand-enhancing strategy. While such initiatives strengthen the brand appeal, they do not ensure longevity.

Having a succession plan

2

The Cause Having social cause that is public-centred.

A brand needs to be set up and managed if longevity is its goals. Hence, a formal philanthropic structure needs to be put in place with trustee succession plans, built on the expressed wishes of the founders to ensure continued operational viability.

In the minds of the public, the line between private and public set up is clearly differentiated. Private collections generally do not have a public and social cause unless it is institutionalised as such.

See point 1.

Best in class example of a private foundation taking on public cause in collection : The Broad Foundation

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 11

3

The Collection About the strength of works; the depth and rigor of the collection in mapping contemporary culture and art history.

4

The Scholarship Helping the public to understand the importance of works in the context of general artistic developments in the art scene.

DSL may not have the breadth of collection, but has a respectable collection that is revered by artistic communities. DSL’s strengths lie also with the collaborative projects involving new media, film and emerging art fields, which will grow to become significant.

Scholarship is eminent - scholars/ curators provide a neutral validation on the quality and significance of the works, it is a stamp of quality. It allows the collection to be viewed and understood from different perspectives –great for return visits.

Creating a brand infrastructure that recognises its strengths in different fields of specialisation.

•

Creating a DSLnewmedia or DSLfilm or DSLincubator sub identity or DSLscholarship and having quick tab access to it. This paves the way for prospective expansions in other geographical extensions eg. DSLmiddleeast or DSLsoutheastasia.

•

The sub identity to be strategically chosen to only brand those that reflect the commitment of DSL, otherwise it dilutes the impact.

•

Generating exciting and desire for return visits by updating new acquisitions in website and feed it on RSS.

•

Developing a concise blurb about what the collection is and using it consistently eg.

Chinese contemporary works since year 2005 (for example). It suggests a focus to the collection.

•

Deepening the appreciation of the works by involving noted Chinese scholars/ curators to curate virtual online exhibitions and publish their essays in electronic formats for public access. DSL to also develop a distribution strategy for its effective dissemination (and data collection).

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 12

5

The Programme Making visits nourishment, meaningful and create a desire for return visits.

In collecting, collectors only need to satisfy its own eyes/ judgment. In programming, collectors need to be end-user focused Being content-driven, project-fronted and discourse-oriented building on the thrust of Talent Development; Involvement in a vibrant contemporary culture; and Engagement in art education.

Artists - Talent Development •

By becoming an Arts Incubator, a patron for high value ‘greenhouse projects’ that are currently under-served.

•

By supporting competitions/projects in new media and be the conduit/vehicle for co-brand partnerships to be bridged with international partners so that content can be shown to a global audience. Eg. Google TV or YouTube for mileage and distribution.

•

These projects give DSL reasons to be in the news without being outright about publicity.

Social causes have great mileage and goodwill.

[See pp. 29 on Target Audience and Opportunities]

Scholars/ Curators/ Researches/ Museum Directors - Involvement in contemporary culture & discourse •

Collections and thinking have a shelf life, but discourse and scholarship can be perpetuated through equipping, encouraging and supporting scholarship – so that the works and publications can be cited by researchers and scholars.

Public - engagement in art through technology •

DSL’s technological renditions are engaging ways to introduce art to a new audience.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 13

6

The Personality Having a unique DNA

7

The Facility Making the collection VISIBLE and ACCESSIBLE

A positioning tells the public what you are good at and known for and when to come to you.

Based on DSL’s past and present projects, DSL is •

An avid Arts Incubator - in its support for emerging artists and projects: Support of the young and emerging by giving them an immediate distribution and sharing platform for their works AND

•

A Conduit of Innovation - in collecting and sharing. Technology is but only one of the manifestations.

Physical facility and access may not be a crucial for branding, but it is important for timelessness.

There are many collectors who do not have permanent facilities but have collections that are highly regarded. The lack of physical accessibility may not take away from the brand but it may erode efforts to build longevity.

•

Developing a permanent patron relationship with independent art spaces and art institutions so that works can be studied and exhibited periodically. As the brand grows, museum requests for loan will eventually come. In the meantime, working with art spaces ensures maximum visibility.

Technological advancements are great short-term remedies for accessibility and visibility, but it will never replace face-to-face encounters.

•

Providing a blurb on the home page where artworks travel, so people always know where to see it in person.

•

Boldly communicating the availability of a contemporary art loan facility on the website, so that works can travel and be exposed. Having a permanent site signals rootedness and commitment. http://broadartfoundation.org/loanprogram.html?sid=58

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8

The Communications Having a consistent communications & distribution strategy

On-going communications programme differentiate collections of public and private parentage.

Communications strategy of private collectors cannot take on the trajectory of consumer product marketing, as products are homogenised commodities. Art is not.

Being project-fronted, content/discourse-driven and opinion influencer-focused.

•

Having a ‘corporate information’ site with quick access to all of DSL project involvements.

Aggressive branding / PR campaigns will not work for a collector brand strategy as it can lead to the questioning of collector intent and integrity. It needs to be done with sensitivity, allowing art content to always be dominant.

•

Allowing projects to speak for themselves and generate media interest. Information fact sheet to be always available on the website for 24/7media access.

Project-fronting strategies

Content/ Discourse driven strategies •

Devising an RSS feed on DSL website so new content can be disseminated automatically and expediently to interested public.

•

Starting an online DSLsalon contemporary Chinese art Salon by partnering with a respected editor/ publication as moderator or Yishu/Art Asia Pacific.

•

Developing a strong distribution through cobrand partnerships with respected periodicals via collaborative technological platforms.

Opinion Influencer-focused strategies •

Having a focused and targeted people strategy – of people who resides in inner art circles but are opinion shapers. See Target Audience.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 15

9

The International Outlook and Authentic Cultural Identity

An international outlook with an authentic crosscultural identity makes an open and inclusive brand, one that is inclusive.

•

Making cross-cultural collaboration one of the brand’s mission.

•

Focussing on collaborations that take the burden of Innovation for People away and allows for new perspectives, new network and resources to be introduced, so that innovation is generated WITH PEOPLE.

•

Developing a French-Chinese platform in its programme – it is authentic, it bridges and brings the best of 2 cultures, allows for cultural flow. Such collaborations can include : 

DSL art scholar Sponsoring a curators training programme by working with Chinese and French academies.



DSL artists residency programme Funding an artist residency programme – for budding Chinese artists to be attached to a French art space for a fixed period – DSL can negotiate for ownership of the work.

•

Developing accessibility by allowing for publications in French, English and Chinese.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 16

10 The Ethical Code Public museums are institutes of public character governed by a moral code of ethics and values.

Public institutions have a moral unwritten code of behaviour. This ethical code exists in greater potency for public institutions in the arts.

When comes to the art market where collectors are involved in, in the trading of artworks, the art market is on the other extreme – the art market is one of the most opaque and under-regulated markets in the world that can be subjected to manipulation.

Adhering to ethical practices that are accountable to and respectful of the artists and the healthy development of the art scene can be one of the strongest differentiators. The brand will inherit much goodwill from the people who are involved in it.

In the staunch international curatorial circles, business and art do not mix well. Those who do see their brands severely eroded.

The Ullens collection The Estella Collection.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 17

What Transferable Lessons About Engineering For Timelessness Can Be Drawn From Luxury Brands?

Pillars 1

Luxury Brands

The Best in Class

DSL Collection

Tiffany, Cartier, Hermes, Louis Vuitton

Broad Art Foundation (public cause); Guggenheim Foundation (commercial brand & discourse).

2

The Uncompromising Quality

About sourcing for the best materials, using the best craftsmen who specialise, and have personal attention on each product.

Quality in process and craftsmanship that gives rise to great products

3

The Heritage “When comes to luxury, it is as much about where it is from as who it is for”.

Tom Stock

•

Having historically important art collection, getting only the best works.

•

Working with the experts in the different fields to being the story alive.

Give attention to the maker – the artist.

Communicate each artwork as if it were the only artwork in the collection.

•

Connecting to the source and work in the human part of the brand for emotional connections.

Brands that distinguish themselves on emotional attributes can capture 60% greater loyalty (Forrester research) –

•

Developing a short documentary video of the founders in talking about their art, memorable experiences with artists and float it on You Tube and website. http://www.youtube.com/watch?v=EyAxZHwQq T0

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 18

4

The Timeless Product

A luxury product does not follow fashion trends. It is a classic that is made to last.

“Hermès isn’t about trendy. It isn’t even a fashion house. We are a house of craftsmanship.

We are committed to making products that have an enduring quality and are very versatile.”

•

Focusing on art that remains significant art historically, art history-making, culture bearing, and engaging.

•

DSL’s evolving art collection strategy of 160 works has an ever-relevant element that perpetuates timelessness.

•

Communicating collecting philosophy, acquisition criteria and highlighting recent acquisitions clearly and visibly in the public domain. http://broadartfoundation.org/mission.html?sid= 11

Bob AChavez CEO,Hermès

5

The Communications Authentic brands deliver on poetry.

“The words we use are out of sync with the real cultures that bring them meaning and power – build language from the culture to the brand, not using the latest buzzwords and hoping for the best.”

Luxury Brands pick their media channels wisely – ensuring the least possible exposure in mass media.

Focus communications on the uniqueness of the product and craftsmanship (technical skills, authentic cultural traits and inspiration), not on customer benefits. Customer benefit is to be experienced through retail store, the product and the service, not communicated.

•

Attaching to the ‘right media’ that helps to position the brand correctly – have least possible exposure in media that courts the market/ is flippant about art or does not agree with the values of the brand. Work with partners and suppliers who correctly reflect the DSL philosophy.

•

Centering communicating on the art works, the artists, programmes and values, but not to latch the brand solely on viewers’ experience on technology.

Keeping the focus on the works, the artists and expert perspectives with which to understand the works.

Glorifies the creator, the craftsman and consumption rituals.

•

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6

•

Investing time and efforts to build subtlety and sophistication in the tone and manner of language used to enhance visitor experience.

•

Use technological platform for visualisation, develop an authentic personal voice in all communication, to help others enter and see the world through the collectors’ eyes.

•

Develop a mailing list of people who wish to be kept abreast of programmes so they will always be the first to be in the know.

Niche culture- of connoisseurship, taste and discernment

•

Keeping the experience of enrichment and nourishment a constant.

Provides for quick, easy and immediate information as 60% feedback to say that they would abandon online purchase if they cannot find quick answers to their questions.

•

Using technology to fuel collective intelligence by inviting different experts to the website for forum discussions on specifics on topics.

•

Developing a ‘corporate’ site as primary access to DSL collection with all of the collection’s projects clearly line up, segmented and quickly loaded.

The Emotional Experience

The inner circle experience that is not made available to, or cannot be afforded by the masses.

Bespoke/ Exclusive/ Once in a lifetime experience

http://www.ichotelsgroup.com/intercontinental/en/g b/concierge/video/HKGHC Create the world of the dream. Bring the subject into that dream and fill in with their subconscious level.

Happiness isn’t something you experience, it is something you remember.” (Oscar Levant)

7

The Service Value-aligned service

8

The Technology Technology serves the product by providing quick answers.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 20

9

The International Identity

Luxury brands have a cosmopolitan outlook and feel.

•

Developing a site that involves Chinese, English and French, languages that reflects the crosscultural roots of DSL (allow Google translate tab) and allow it to reach its audiences authentically and effectively.

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How Can DSL Collection Become Timeless ?

Quantitative Goals Enduring goodwill, to the extent that such goodwill can be accounted for in the unlikely event of a liquidation.

Qualitative Goals 1.

DSL to be a revered provenance To be first to be approached by artists so that the best works can enter the collection. By their inclusion, there also is a stamp of quality - the artists are deemed to have achieved a certain recognition, regard, artistic quality, importance and entered into a revered provenance.

To be a highly regarded platform that provides visibility to artists

2.

For works in the DSL collection to be sought after by top museums For high regard for the works as a collective that top museums of the world would request to have it on medium term loan and short term exhibitions.

3.

Brand Recognition and Top-of-Mind-Recall To have top-of-mind awareness in the minds of its interested public and fellow collectors for being one of top collectors in the world for Chinese contemporary art.

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 22

Current Positioning The DSL collection is comparatively “young”, having started its collection in 2005. Still in the 6 short years, it’s accomplishments are phenomenal, especially in the following areas : 

Presenting interesting virtual exhibitions on technological platform



Promoting the discovery, study and promotion of Chinese contemporary art



Taking on education seriously- website is easily accessible and enriching



Taking on a long term perspective in its promotion, patronage and activities



Novel in the way it has extensive engagements not only with the most powerful agents of the art system but with a wider and open circle: from artists to students, scholars, critics, collectors, museums and other art institutions” (Source : DSL LinkedIn Recommendation)

Targeted Positioning DSL is a timeless art collection with a dynamic collecting and collection-sharing approach that is second to none. It supports young incubator projects in emerging art fields, facilitates discourses and advances the understanding of [contemporary Chinese art] enriching and engaging ways.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 23

SWOT Analysis Strengths •

The DSL brand is fairly established and heavily invested in Chinese contemporary art.

•

Founders are slowly establishing connections with opinion shapers around the world. Collection of historically important pieces is slowly getting traction.

Current Weaknesses •

Collection size by design, goes against the grain of how important general and art media, whose support it needs for enhanced branding, view importance. Third party interface needed to enhance endorsements.

•

The designed collection size also limits the number of different configurations/ perspectives the works can generate and thus the number of returning visits.

•

Artists and artworks in collection are respected names in the visual arts contemporary scene.

•

Limited amount of exposure in international media. Once endorsement and regards heightens, media interest will eventually come.

•

Founders are already involved in niche projects in emerging fields, allowing for partnerships to be formed with different segment of local population, from artists to students, academies to museums.

•

Collection is considered young in comparison.

•

Founders are seen as visionaries, connoisseurs and knowledgeable in Chinese contemporary art, with excellent relationship with artists and key representatives in the art scene.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 24

Opportunities

Threats •

Publicity efforts that accompany a branding programme that are not content-led may be seen as too aggressive/ commercial and may backfire.

To develop on-line discourse in collaboration with respected media partners.

•

Currently, website is accessed through technology so DSL is dominantly defined by its technology. That technology as a medium would overshadow content of the collection if overextended.

Other Asian collections have focused on physical premises and publication/ art projects. DSL technological platforms have created the imagination of the art world in very visible ways.

•

Mileage and publicity generated by other glitzy private museums will hog headlines and dominate noise level.

•

To establish the identity of DSL as one of the most important international collectors of Chinese contemporary art. This crosscultural bridge is a great asset if properly developed.

•

To deepen involvement in uncharted fields – in artist residencies/ film/ new media projects involving French and Chinese artists.

Develop periodic live video capture to encourage return visits and generate anticipation.

•

•

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 25

Level of Exposure HIGH

Brand Competition (Based on communications on web platforms).

•

Pinault

•

Budi Tek

•

•

White Rabbit

Passive in local Chinese arts scene

•

•

DSL

•

Uli Sigg

Burger Collection

DSL TARGETED

Active involvement in local Chinese arts scene.

Level of Exposure LOW The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 26

Unique Selling Proposition The DSL collection is an international platform that embraces the discovery, scholarship and promotion of Chinese contemporary artistic and cultural productions. It is a patron of the new and still-emerging in art and culture. Whether it is collecting, scholarship and sharing, DSL is a conduit of innovation.

Element

What it is about

Trusted Promise

•

Incubator of the New & Promising

•

Conduit of Innovation

•

Source of Discovery, Cultural Enrichment

Position vis-à-vis Competition

Novel combination of collection + Innovative sharing platform + Supporter of emerging art fields + ongoingengagement into contemporary culture + international platforms.

Need and Motivations of Visitors

Education, Knowledge, Enrichment

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 27

Target Audience Primary Target : Opinion Leaders and Influencers Groups

Desired Results

Artists

Be the collector of choice

Scholars, Curators, Museum Directors

•

Access to AAA artworks

•

First right of refusal

Authoritative voice for endorsement of significance – gets DSL into the museum circuit. They are some of the most frequently quoted opinion leaders.

Secondary Target Interested Public General Public, Dealers, Collectors, students

For excellent word of mouth reports having been enriched.

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 28

Target Audience and Desired Benefits = Locomotive of timelessness Opinion Leaders & Influencers in the Contemporary art world so that meaning is cultivated inside cultures and spread naturally within clusters to near neighbours with shared language.

Target Audience

Benefit

Ongoing Sharing Platform

Engines of Timelessness

Structure for Timelessness

Scholars, Curators, Researchers, Museum Directors

Artists

Art Projects & Talent Development

Interested Public

Discourse/ Salon Scholarship/ Publications

Education

Technology & Web presence

Publications

Beneficiaries of DSL Programme

Collaborative Shows

Evolving 150 museum quality works

Foundation

Cited Research from Printed/ Online Publications/ Discourse

Permanent Premises

The DSL Collection – A White Paper/Copyright Š Patricia Chen, Text, 2011/p. 29

Key Messages for Media 1.

A Timeless Collection That DSL collection approach of 160 works ensures that the works are always timeless in that they are relevant and central to critical discourses on contemporary Chinese art and culture.

2.

3.

A Conduit of Innovation •

That innovation marks DSL approach to collecting and sharing – it aims to innovate not only for people, but with people.

•

That DSL collection pioneers many fresh approaches, especially with regards to collaborative projects that grow the artists, the arts scene and promotes its scholarship of Chinese art.

•

That DSL is a supporter of the new and still emerging

An International Platform •

That not only bridges collaborations, networks and opportunities between the French and Chinese art communities, but also those on the international art circuit.

Note on Media The opportunity to be proactive is only when there are projects to be fronted and public response to be sought.

At other times, be reactive generally; wait to be approached. Always get information kit with key messages and images at hand.

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Pillars of the DSL brand “Structural pillars” of DSL brand

TIMELESSNESS Time & Consistency

Catalyst & Locomotive FOUNDATION

Text in Blue – new initiatives

Philanthropic Structure

Text in Black – initiatives carried out

COLLECTION

Quality

Significance

Exposure Visibility

- Art historically important works

- On-line technology

- Evolving 160 works

- Collaborations with Art Spaces

- Ethically oriented

- Museum Exhibitions

BRAND & COMMUNICATIONS

ENGAGEMENT

Content

Projects

Context /Appreciation

High impact Collaborations

- Independently curated online exhibitions - PDF publications of independently curated exhibitions

Discourse

Distribution

Continued Relevance

Accessibility/ Reach

- Support of emerging fields

- On-line DSLsalon

- Artist Residencies

- Scholarship through curated exhibitions & publications

- 24/7 IT platform to allow publications to be downloaded

- Talent Hunt through Competitions - Curator training - Participation in contemporary culture

- Corporate website with RSS function - Multi lingual website

Communications Consistency

- Co-brand collaborations - Teaching and Talks in international circuits - Brand infrastructure - Communicating Art Loan facility - Documentary on collectors

The DSL Collection – A White Paper/Copyright © Patricia Chen, Text, 2011/p. 31

In Conclusion The white paper is intended to be a blue print for branding. In the course of development, it became apparent that branding efforts alone cannot generate the intended timeless legacies -- that thinking also needs to be extended beyond conventional branding efforts, to also tap into structures for succession planning, organisational set up, arts programming and discourse and distribution.

In devising a brand map with timelessness as its core mandate go forward, this paper • Considers and uses conventional branding tools and channels, without overt promotional or publicity employs that are suggestive of commercialism so that the client’s integrity and authenticity can be preserved; • Achieves visibility and drive meaning and engagement into the brand by negotiating with and working through complex art world structures and hierarchies; • Activates changes in behaviour and promoting brand penetration through engagement in knowledge and discourse; • Shifts the paradigm from Innovating for People to Innovating with People so as to promote involvement, authenticity and sustainability.

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Appendix 1 Targets in Relationship Building (Curatorial circle) Hou Hanrou, Director of Exhibitions and Public Programmes, San Francisco Art Institute Ami Barak, Paris-based curator and art critic Lewis Bigg, Director, Liverpool Biennale Kathy Halbreich, Deputy Director, MoMA, NY Frances Morris, Head of Collections International Art, Tate London Alexandra Munroe, Senior Curator of Asian Art, Solomon Guggenheim Museum, NY Wang Huangsheng, Director, CAFA Art Museum, Beijing He Juxing, Director, Minsheng Art Museum, Shanghai Suhanya Raffel, Head of Asian and Pacific Art, Queensland Art Gallery, Brisbane Raiji Kuroda, Chief Curator, Fukuoka Art Musem, Fukuoka Manuel J. Borja-Villel, Director, Museo Nacional Centro de Arte Reina Sofia, Madrid Fan Di'an, Director, National Art Museum of China, Beijing David Elliott, Artistic Director, 17th Biennale of Sydney Founding Director, Mori Art Museum (2001-2006) Udo Kittelmann, Director, Nationalgalerie, Berlin Dr.Glenn D.Lowry, Director, The Museum of Modern Art, New York Mr.Alfred Pacquement, Director, Musee National d d'Art Moderne, Centre national d d'art et de culture Georges Pompidou, Paris Sir Nicholas Serota, Director, Tate Gallery, London Fumio Nanjo, Director, Mori Art Museum, Tokyo Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum John Clark, University of Sydney Lynne Cooke, Dia Art Foundation Okwui Enwezor, Critic & Curator Britta Erickson, Independent Scholar & Curator Fan Di’an, National Art Museum of China

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Philip Tinari, Guy & Myriam Ullens Foundation Gao Minglu, University of Pittsburgh Hou Hanru, San Francisco Art Institute Hu Fang, Vitamin Creative Space and the shop Katie Hill, University of Westminster Claire Hsu, Asia Art Archive Martina Köppel-Yang, Independent Critic & Historian Sebastian Lopez, Critic and Curator Lu Jie, Independent Curator Charles Merewether, Director, ICA Singapore Ni Tsaichin, Tunghai University Apinan Poshyananda, Ministry of Culture, Thailand Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago Pauline J. Yao, Independent Scholar

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