Visual identity for the arts and culture sector : the Singapore biennale from 2006 to 2016 as a case study

• Main Author: Tan, Melvin Ming'en
• Other Authors: Laura Miotto
• Format: Thesis-Master by Research
• Language: English
• Published: Nanyang Technological University 2020
• Subjects: Visual arts and music::Art history
• Online Access: https://hdl.handle.net/10356/137594
• Institution: Nanyang Technological University

This thesis builds upon recent speculative discussions around the theoretical and practical frameworks for agencies that design for the arts and culture sector. Specifically, I focus on the approaches to Visual Identity for Art Biennales through a case study of the first five editions of the Singapore Biennale from 2006 to 2016. The research is structured through the review of historical, procedural and semantic notions to Visual Identity and considering the conception of the Singapore Biennale in relation to other local and international examples. This context sets the backdrop to hone in on the developmental process and theoretical positions to Visual Identity and Art Biennales to elucidate and elaborate on the capabilities and responsibilities of designers. The critical examination of visual identities unfolds by first establishing typologies in Visual Identity based upon factors such as duration and overall cohesiveness of its applications. After-which, I utilised Steven Skagg’s design-centric semiotic analysis as a method of substantiating on the various types of visual identities. Lastly, I conducted in-depth interviews with design agencies involved with the editions of Singapore Biennale. Their first-hand accounts not only helps to demystify the procedures but also allow for affinities and divergent opinions to be mapped and documented in the study. By the comparison of visual attributes and values, I reflect on the findings from my methods in order to have demonstrative grounds to distinguish a specialisation through Cultural Identity. Additionally, I would assess the development process between the curatorial team and design agency to the scope of audiences and the State. Lastly, I address the long-term concerns of visual identities for Art Biennales and broadly discuss its model as a situated-research of the Singapore Biennale in relation to Art Biennales at large. In summary, I would establish what my research findings will mean to design agencies and organising committees working on the identity for Art Biennales and exhibitions alike. I would also cover limitations of my angle and propose further explorations and areas for future developments that would forward what has been established.