Public-private collaboration and the "Venice Effect": Chilean art in the Venice Biennale (2009-2019)

Abstract

Biennials (also known as biennales) have proliferated globally, becoming key platforms for the international agenda of contemporary art. As central institutions of the art system, biennials serve as public arenas where cultural and foreign policies intersect with market dynamics—an archetype shaped by the Venice Biennale in 1895. This study analyzes the role of public-private collaboration in Chile’s participation at the Venice Art Biennale between 2009 and 2019. Drawing on public-private partnership (PPPs) theory, dossier analysis, and interviews, the study adapts Johanson et al.’s methodology to assess the impact of this participation, commonly referred to as the “Venice Effect,” and to examine the factors influencing this impact. The findings reveal that Chile’s participation evolved from informal, network-based arrangements to more structured and transparent processes. Outcomes varied across cases depending on artists’ career stages, international positioning, support structures, and the specific curatorial approach of each exhibition. Only one case resembled a formal PPPs. By treating the Biennale as a pivotal moment for artistic validation, this study contributes to ongoing debates on symbolic capital, cultural policy, and international projection. It highlights the need for cohesive cultural strategies and data-informed policies to support Chilean art on a global yet hierarchically unequal stage.

Keywords

Biennialization / Public-private partnership / Venice Effect / Valuation device / Cultural diplomacy

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