With decades of experience in art internationally, Patrick Foret is offering Perth and Western Australia an opportunity to shine.
LYN DI CIERO
♦ Patrick Foret of Cultural Enterprise.
Can the visual arts in Western Australia do better? Can the art community pull together to change its long-term future and benefit from increased economic outcomes? Patrick Foret certainly thinks we can. French-born, Foret initially pursued a business degree and studied Japanese. In Japan he joined the French Embassy in Tokyo and started a company, supporting the activities of French galleries in Japan. A former gallerist in Sydney in the 1990s, he developed training programs about art and culture for tour guides in preparation for the Sydney Olympics in 2000. In 2008 he was recruited by the Abu Dhabi Royal Family for the Saadiyat Island Cultural District development, leading negotiations and managing partnerships with the French government and the Guggenheim Foundation to deliver the Louvre and Guggenheim Abu Dhabi museums.
By 2010 Foret had joined Art Basel, the global contemporary art fair, to build meaningful long-term engagement partnerships with luxury brands. “I became deeply passionate about developing art initiatives that generated financial returns, enabling accelerated impact and audience engagement for greater results,” he says. By 2015 he was appointed its Director of Partnerships and Business Initiatives. After Art Basel had extended its reach to include Art Basel Miami 15 years ago, in 2012 Foret was tasked with overseeing the launch Art Basel Hong Kong, contributing to business initiatives that expanded its visual arts sector and international recognition.
He says one of his most impactful initiatives for Art Basel was the Art Basel Cities program, which aimed to promote and elevate cities with vibrant yet unrecognised art scenes to a greater level of international recognition. “Within a few weeks of announcing it, we received around 60 expressions of interest from cities worldwide,” he says. “Notably, Brisbane contacted us immediately, while the City of Perth reached out in 2019.”
Ultimately, Buenos Aires was selected for the Art Basel Cities program, delivered over several phases. In consultation with the local art community, the first year brought knowledge and expertise from international organisations and individuals fostering exchange opportunities. Year two, in 2018, focused on bringing the international art world to Buenos Aires. With the approval of the program’s Advisory Board, Cecilia Alemani, later Artistic Director of the 2022 Venice Biennale, worked with local curators to creat an opportunity for locals to exhibit alongside international artists and attract international media attention. The third year provided Argentinian artists the opportunity to be seen on the international stage during Art Basel Miami. Unfortunately, Art Basel Cities Buenos Aires coincided with political and economic upheaval in the country, with the currency collapsing and austerity reigning. Art Basel itself began cost-cutting too, slowing or ceasing expansion programs. Then the pandemic hit in 2020.
Back in Australia, spearheaded by Tabitha McMullen, now CEO of FORM, the City of Perth signed an agreement to bring the Art Basel Cities program to WA in February 2020. “Within two weeks of signing the agreement, the City of Perth requested we put the mission on hold due to the uncertainty brought about by COVID-19,” says Foret. While the pandemic dragged on, the agreement was left in limbo. In 2023 he spoke with Perth gallerist Kamille Burinskaite at an Art Basel show. “I shared with her my determination to elevate an Australian city to a higher level of international recognition in the arts and mentioned the initial agreement with the City of Perth. Together, we decided to revive this opportunity for Perth,” he says. “It’s not a financial partnership, but a ‘mission partnership, with an aim for further mission partnerships in WA.”
Foret officially left the Art Basel organisation in May 2020, but continued to be connected with it as a consultant. An Australian citizen, living between France and Queensland, Foret had formed his own Australian company, Cultural Enterprise. With intellectual ownership of the Art Basel Cities concept and based on the knowledge gained in Buenos Aires, in 2022 he redesigned the program. The Cultural Enterprise Art Scene Accelerator program is similar in intent – to elevate the arts by providing unique opportunities for a city, with the aim of long-term benefits.
Foret was in Perth late last year, meeting with the Chamber of Arts and Culture and the City of Perth and presenting talks to establish contact with the local art community. He says the overall feedback has been very positive. “While the City of Perth cultural team expressed enthusiasm and interest and demonstrated an understanding of the value of the proposition, it is now a different team there, and this has not yet resulted in a funding commitment.”
Foret is in Perth again this coming April and is hoping to meet the Premier, ministers responsible for tourism and culture, departments responsible for trade and economic development, as well as the Mayor of the City of Perth. “The engagement and commitment of the State Government and the City of Perth to fund and support the initial phase of research and development are essential. This program is about economic development, international exchange, and sustainable growth of the arts industry. It is designed to broadly engage the regional art scene and to translate the elevated strategic plans for the arts, as outlined in the State and City economic development strategies, into measurable actions with real economic returns,” he says.
Despite Foret’s long involvement with international art fairs, he is not proposing one for Perth. “The art fair industry today faces significant challenges within a saturated marketplace,” he says. “The traditional art fair model is becoming obsolete as many fairs struggle to achieve profitability. Instead, Perth should aim to create a marketplace – a vibrant cultural ecosystem that attracts international interest while engaging the local community.”
The first step in a proposed three-year plan is to raise funds, outside of normal art funding channels, managed locally by an appointed organisation under the oversight of an advisory board and an independent auditor. Phase 1 of the program is a five-month focus of research, interviewing locals in the art community and bringing together an international team of cultural development experts to assess Perth and WA to establish the best possible action to elevate the arts to greater international recognition. Included in the three-year plan would be funds allocated to an international public relations agency to promote Perth and elevate its brand as a premier international art destination. “Ultimately, our goal is to expand funding sources for the Perth Western Australian art scene by creating new opportunities and a strong focus on return on investment,” says Foret.
He says budgets for three-year engagement can vary depending on the city, but are typically in the seven figures a year. “Funds are allocated to the program, which is designed by and for the local art scene,” says Foret. “In a nutshell, it’s about offering Perth and Western Australia access to the tools, expertise and international networks needed to accelerate growth and development, with a focus on sustainable economic returns.”
See the Q&A with Patrick Foret below.
♦ Perspective of Absence by Eduardo Basualdo in the 2018 Art Basel Cities Buenos Aires initiative, Hopscotch, connecting the visual arts, urban spaces and the city’s history, together with exhibitions, performances and special events at museums, foundations, associations and non-profit organisations.
Q&A Lyn Di Ciero and Patrick Foret
LD: Before we delve into the nuts and bolts of the Cultural Enterprise Art Scene Accelerator program, could you provide a quick overview?
PF: During my 30-year career in the arts, I have been very fortunate to be actively involved in cultural development programs and art initiatives designed to boost and propel art scenes to greater levels of international recognition: Abu Dhabi during its foundational years, Miami Beach and its past 15 years of art scene explosion, the Art Basel Cities program that I created and founded, the launch of the Art Basel show in Hong Kong, and its catalysing impact on the Chinese art scene. I am coming to Perth and WA to share this expertise, work collaboratively with its art scene, and harness opportunities for exchange with a network of leading art organisations and art businesses.
Just to be clear, this is not about bringing an Art Fair or a new art event to Perth, the Cultural Enterprise Art Scene Accelerator Program goes well beyond a one-week-per-year impact. It is a three-year program that combines a multitude of initiatives designed to create the foundation of a sustainable art scene in Perth and Western Australia. By sustainable, we mean an art and cultural scene that generates economic returns fueling long-term sustained growth. Western governments report between 3:1 and 5:1 economic return from their cultural industry, which is better than many other sectors.
Our program is about working collaboratively with the WA art scene to implement a very pragmatic action plan allowing the City of Perth and the Government of Western Australia to fulfill their vision of a diversified economy. WA politicians have mentioned their commitment to arts and culture as a driving pillar for economic development. Cultural Enterprise is bringing the tools, expertise, and international network to “walk the talk” and deliver tangible and measurable actions and results in the arts.
LD: Could you expand on your previous experience in the visual arts?
PF: I’ve been working in the art world, like you, all my life. My mother is an artist, so I grew up in France surrounded by the arts. However, I never formally studied art history. Instead, I pursued a business degree and studied Japanese at Sorbonne University in France before moving to Japan. We moved frequently during my childhood, which gave me an early passion for visiting countries and discovering new cultures. When I moved to Japan, I received a prestigious research grant from the French Ministry of Foreign Affairs to attend Waseda University for two years. Later, I joined the French Embassy in Tokyo for a couple of years. I’ve always had a strong entrepreneurial spirit, so, I had no choice but to start my own company and immediately offered my services to French art galleries, such as Galerie Mitterrand and Galerie Navarra, to support their activities in Japan – organising exhibitions and dealing with artworks. Since then, I’ve had an intense journey in the art world, experiencing many aspects of our industry.
Australia: the discovery of a remote but vibrant art scene
In 1994, I moved to Australia and settled in Sydney, where I established another company. I selected 12 artists and opened an art gallery in The Rocks, Sydney’s historic district, which I ran for five years. Like many art professionals passionate about the arts, I tried my hand at many business ventures and art initiatives. In addition to the gallery, I consulted for the Sydney Harbor Foreshore Authority, developing training programs about art and culture for tour guides in preparation for the Sydney Olympics in 2000. I ran a monthly publication listing arts and cultural events in Sydney, promoting galleries and museums. I also created Art Hop, a tour of Sydney’s museums, galleries, and artists’ studios designed for international tourists from Europe and Japan.
Abu Dhabi: investment in art and culture for economic growth
In 2008 I was recruited by the Abu Dhabi Royal Family to become the Business Manager of the Cultural Department of TDIC (Tourism Development and Investment Corporation) in charge of the Saadiyat Island Cultural District development. I was leading negotiations and managing the partnerships with the French Government and the Guggenheim Foundation to deliver the Louvre and the Guggenheim Abu Dhabi museums.
This was a rare and unique experience in the arts to work for an organisation with a significant budget for cultural development and the chance to hire and build relationships with the best art world experts. The government of Abu Dhabi has been extraordinary in its commitment and vision to art and culture since 2004, and one can see the extraordinary impact and economic return of such investment today.
I feel privileged to have been a leading member of the team that created the foundations for Abu Dhabi to become a legitimate and respected international art destination. The leadership’s vision was to accelerate social evolution through art and culture, which they’ve achieved brilliantly. I still visit the Emirates regularly and maintain an excellent network of contacts and relationships in the local art scene which has dramatically expanded since then.
Global Engagement: Art Basel 2010 – 2020
In 2010, I joined Art Basel, now the leading global contemporary art fair. At that time, we were a small team of 17 people. I was the first international hire – the first non-Swiss, non-German-speaking employee – tasked with building the partnership program that brought top luxury brands into meaningful collaborations with Art Basel. These were not simple financial partnerships but genuine long-term strategic engagements, resulting in impactful brand elevation through the arts and delivering tangible returns for all parties involved.
In 2012, I relocated to Hong Kong to oversee the launch of Art Basel Hong Kong. Once again, I witnessed and contributed firsthand to business initiatives that accelerated and expanded Hong Kong’s art scene and its international recognition. Today, the Hong Kong Tourism Board is an official global sponsor of the Art Basel show, a fantastic approach to driving cultural tourism back to the city. Research shows that international cultural tourists spend 40% more and stay 20% longer than other tourist categories.
By 2015, I had been promoted to Director of Partnerships and Business Initiatives, where I developed new art business ventures and diversified Art Basel’s revenue streams. For reference, the economic impact of Art Basel in the cities of Miami, USA, and Basel, Switzerland, is reported by their respective city councils to be USD 500 million for the week of the event. In Miami, this impact is further amplified by the city’s extraordinary economic development, driven by its ability to attract the “Creative Class” throughout the year (refer to Richard Florida’s seminal book, The Rise of the Creative Class, 2002).
Art Basel Cities: an impactful initiative in cultural Development
One of my most impactful initiatives for Art Basel was the Art Basel Cities program, which aimed to promote and elevate cities with vibrant yet underrecognised art scenes to a greater level of international recognition. We witnessed the growing maturity and understanding among many city governments regarding the value and importance of developing art and culture for economic returns.
Our goal was to strengthen relationships with leading collectors by offering them opportunities for discovery and exchange beyond the shows, which, at the time, were three one-week events held in different cities across three continents: Basel for Europe, Miami for the Americas, and Hong Kong for Asia.
Our strategic objective was to become the most trusted advisors and guides for collectors seeking to discover new art destinations. To achieve this, I designed and launched the program with my team. The concept harnessed the power of the Art Basel brand – already a leading name in the art world, combined with our global marketing capabilities, our influential and affluent art-world network, and our expertise in delivering impactful events. We packaged this offering to promote cities with exciting art scenes. These cities, despite having high-quality arts and creative content, were not necessarily in the global spotlight. While destinations like Paris, London, and New York are well-known, many other places possess a Unique Cultural Proposition (UCP). This is particularly relevant today, as leading collectors increasingly seek “art experiences” as much as “art to collect.”
We selected Buenos Aires as our partner for this experimental program, which involved in-depth research, strategic action plans, and the creation of sustainable growth opportunities for its cultural ecosystem. The government of Buenos Aires was extremely eager to become the first Art Basel Cities partner, and through this collaboration, we discovered an exceptional art scene. Although remote from the established art circuit, it offered singular and unique content.
It is important to note that the Cultural Enterprise Art Scene Accelerator Program, which we propose to offer Perth and Western Australia, was conceived from the learning from this experience. However, it now expands strategic alliance opportunities beyond Art Basel to include other select leading international art organisations. The choice of organisations to engage with will be determined collaboratively with the stakeholders of Perth and WA’s art and cultural scene and assessed during the research and evaluation phase of the Cultural Enterprise Art Scene Accelerator Program.
To be extremely clear, I am not an employee of Art Basel which I left in 2020 and I do not represent here Art Basel in any way. While I maintain a close relationship with the Art Basel leadership team and continue to serve in a consulting framework, the proposition I present to Perth is not connected to Art Basel and is the intellectual property of Cultural Enterprise.
LD: How did Art Basel Cities unfold in Buenos Aires?
PF: Quoting the Mayor of Buenos Aires: “If you can get our art scene to work together, that would be an extraordinary achievement.” This sentiment inspired the launch of Phase 1 of the program, which aimed to build relationships of trust with key stakeholders in the art scene while also identifying and understanding Buenos Aires’ Unique Cultural Proposition (UCP).
To achieve this, we engaged in deep exchanges and meetings with artists, collectors, galleries, museum employees, public officials, art advisors, nonprofit organisations, and other cultural stakeholders. These discussions captured their knowledge, challenges, hopes, and vision. A critical focus during this early evaluation stage was identifying barriers to the growth of the local art scene and proposing actionable solutions to turn these challenges into opportunities. With the endorsement of the local art scene, we were then able to recommend policy changes to the government to foster accelerated growth. For instance, customs processes and regulations related to the import and export of artwork were streamlined, and new tax incentives were introduced to encourage corporate sponsorship of the arts.
On the sponsorship front, we developed and delivered training programs to educate both sponsors and arts organisations on the concept of sponsorship as a marketing partnership designed to deliver measurable returns on investment (ROI). Too often, sponsorship is misunderstood as a one-way donation. To ensure sustainability, we emphasised the importance of defining clear success metrics that are SMART (Specific, Measurable, Achievable, Relevant, Time-bound). Our goal was to establish a long-term, sustainable funding model by aligning mutual expectations and measuring outcomes effectively. Expanding revenue sources also meant demonstrating the value and return for both the arts and their sponsors.
Ultimately, the three-year action plan we presented to the government received the full commitment and endorsement of the Buenos Aires art scene. The program was collaboratively designed with the local stakeholders and supported by international experts in cultural development. It leveraged our global marketing and communication capabilities while harnessing an extensive international network of leading art-world decision-makers.
The overarching goal was to create a platform that promoted and elevated Buenos Aires’ art scene on the global stage, fostering opportunities for international exchanges and connections with the broader art world. Importantly, despite receiving initial support from the government, we ensured that our funding efforts did not rely on reallocating existing resources already supporting the local art community. Instead, we created entirely new funding sources to expand opportunities for growth.
The Cultural Enterprise Art Scene Accelerator Program, which we propose to Perth, is built upon these same strong values and foundations. I firmly believe in the power of strategic alliances and partnerships to accelerate growth and development. Through the established international network and relationships that Cultural Enterprise has today with leading art organisations, we aim to create meaningful opportunities for exchange and development for Perth’s art scene.
LD: Could you describe the various phases of the Cultural Enterprise Art Scene Accelerator program you propose for Perth?
PF: Phase 1: Our first steps with Perth and WA, once we have secured the funding required for the five-month evaluation and research phase, will involve interviewing approximately 100 key stakeholders from the local arts scene. Our goal is to learn and understand the opportunities, challenges, and barriers to growth and development, as well as identify what makes Perth unique as a cultural destination. In essence, we aim to discover the identity of Perth from an artistic and cultural perspective, and the best people to define this are those who dedicate their lives and passion to the arts in Western Australia.
Once we gain this understanding, we will bring our expertise and extensive network to create and propose a three-year action plan. This plan will be presented back to all the stakeholders we engage with to ensure that the goals and outcomes are collaboratively defined, achievable, and measurable. The action plan will include a clear timeline and a comprehensive three-year budget proposal. By the end of the five-month phase, we will deliver a practical and actionable tool that is endorsed by the local art scene and represents its best interests.
This entire process will be articulated, structured, and empowered with the insights and expertise of leading international art-world professionals.
Phase 2: The action plan we deliver after five months will include a financial projection developed around three proposed program scenarios. The first is a minimum value proposition, which outlines the positive impact we can achieve on the art scene with a defined and limited amount of funding. The second is a dream scenario, where budget constraints are removed, allowing for the definition of the most impactful action plan. In between, there is an ambitious but realistic proposition, which typically becomes the preferred and most feasible option. Our deliverables at the end of Phase 1 will also include a comprehensive fundraising strategy with a clear roadmap and timeline.
An advisory board comprising leading international and Australian art-world professionals will be appointed to oversee and guide the program. With their supervision, we will activate the fundraising strategy, focusing on generating new sources of funding for the arts. In the case of Buenos Aires, for example, we engaged new players such as the Ministry of Trade and Commerce, the Ministry of Tourism, and the Ministry of Foreign Affairs, which previously never contributed financially to the arts. We also introduced a Patron of the Arts Legacy Program, inviting affluent patrons to contribute to specific art events and commissioned artworks, and of course onboarded new corporate sponsors.
The budget raised during Phase 2, which will fund the three-year program, will be managed by a local arts organisation proposed by the advisory board and the Phase 1 funding partner. Transparency will be a priority, and we will recommend appointing an audit company to oversee budget management, as well as to evaluate and measure the economic impact and ROI of the program annually. While there will be short-term impacts, the program will also focus on creating a foundation for long-term growth and future opportunities for exchange.
The spending schedule and budget allocation will be implemented as defined in the strategic action plan presented at the end of Phase 1. This process will be monitored by the auditors, ensuring that only what has been agreed upon by the Perth and Western Australian art scene and the funding partners is implemented.
Once the required budget is raised, the program’s delivery will be coordinated by a local organisation managing the budget under the supervision of the advisory board. Cultural Enterprise will hold a seat on the board and serve as the appointed party representing Perth internationally. Our responsibilities will include negotiating and managing strategic alliances with high-profile art organisations, facilitating connections and opportunities abroad, overseeing international PR and communication campaigns, and more, as we will keep a lead role in driving the full program for the delivery of agreed goals and objectives.
Cultural Enterprise will not be involved in producing content or events; these responsibilities will be entrusted to the engaged and active parties within the WA arts scene, under the coordination of the appointed local arts organisation. A portion of the budget, as determined by the agreed-upon action plan, will be directed toward local initiatives, including events, communications, education, or others. Another portion will be allocated to international outreach and opportunities, ensuring a balanced focus on both local and global growth.
Appointing Perth and Western Australia Art Ambassadors would be an excellent initiative, whether they are Australian expatriates actively engaged in the international art scene or Western Australian art professionals who occasionally travel to attend art events or conferences. In the arts, due to the lack of budget – a global common denominator in art scenes worldwide – a good idea can sometimes be impactful without incurring significant costs. Over the years, I have witnessed the growing quality and influence of Australian expatriates in the arts.
Phase 3: In Buenos Aires, the program’s first year was foundational, during which we were tasked with bringing expertise and knowledge from successful international art organisations and individuals to share best practices and foster relationship-building and exchange opportunities.
For example, Buenos Aires art galleries wanted to connect with internationally successful galleries to learn how to structure their organisations and approach the international market. Similarly, young Argentine artists sought opportunities to meet and exchange ideas with their international peers. Museum directors expressed interest in connecting with their counterparts abroad, so we invited several leading museum directors to visit Buenos Aires.
Every two months, we organised exchanges and talks featuring renowned curators, the Art Basel selection committee, leading gallery directors, and influential, affluent collectors to address these needs. Additionally, we developed an internship program for young Argentine art professionals. We negotiated for the Ministry of Foreign Affairs for sponsored flights and accommodation while we leveraged our strong connections with international galleries and museums to invite them to host participants in this program.
One of the lasting legacies of this initiative, beyond its impact on communication and promotion, is the quality and significance of the personal relationships built internationally, which continue to translate into exchange opportunities for the Buenos Aires art scene over time. Today, Cultural Enterprise continues to open doors and create these opportunities.
Year two focused on bringing the attention of the international art world to Buenos Aires.
As soon as we announced that Buenos Aires was the first Art Basel City, media coverage followed globally. The Art Newspaper headlined that month: “Is Buenos Aires the next destination for contemporary art?” Our PR and communication played a critical role in elevating the city’s position as an international destination of interest. It was fundamental to leverage partnerships and strategic alliances to benefit from their brand aura and the marketing power of partners and sponsors. Sponsors focus on monetary contributions, but other value components are equally critical, such as brand equity transfer, which brings validation, access to their clients and communities, and leveraging the sponsor’s communication channels to engage new audiences.
With the approval of the local art scene and the program’s Advisory Board, we commissioned Cecilia Alemani – later appointed Artistic Director of the Venice Biennale 2022 – to curate a special art moment for Buenos Aires in collaboration with Argentine curators. Cecilia organised an event, a sort of mini-Biennale, featuring approximately 30% international artists and 70% Argentine artists. To capture the international media’s attention, as well as that of collectors and prominent art organisations, we included star names like Barbara Kruger and Maurizio Cattelan. This created an opportunity to showcase Buenos Aires’ galleries, museums, artists, and nonprofit organisations to a global audience. The Cattelan’s project alone involved the contribution of about 150 young Argentinian artists, demonstrating our capacity to create opportunities for exchange.
To complement this event, we launched a comprehensive communication campaign and organised tours and visits for the international art world, ensuring that we curated connections and relationships between relevant parties.
In year three, Buenos Aires sought an opportunity to present Argentine art on an international stage. We negotiated for them to host an outdoor public art exhibition in Miami Beach, in front of the Bass Museum, during Art Basel Miami Beach week. This prime location was accessible and frequented by Art Basel VIPs and media representatives. The exhibition was paired with participation in a talk program designed to promote and present the Argentine art scene. These were the program’s highlight moments, but numerous other initiatives took place throughout the year, including of course an on-going media campaign promoting Buenos Aires as a contemporary arts destination.
LD: I guess people would say why Perth?
PF: When I arrived in Sydney back in 1994, the arts were certainly not the focus of any international promotional campaigns to attract visitors to the city. However, things are very different today, as both Melbourne and Sydney now boast strong arts infrastructure. Additionally, there is a significant number of Australian expatriates who have made their mark on the international art scene, working for high-profile institutions, non-profit organisations, museums, and art fairs across Europe, the Americas, and Asia. This network of expatriates represents an incredible asset and a pool of potential ambassadors that can be activated and leveraged. There is also now great maturity and understanding of the importance of investing in art and culture to secure a city economic growth and power.
I strongly believe that the program we are proposing has the potential to transform Perth, where the art scene remains relatively small and where targeted actions can have a profound impact. I also believe that the time is now. The conditions are ideal, given the public statements from both city and state governments about their commitment to supporting arts and culture as part of a more diversified economy. There is a growing maturity and understanding of the importance of attracting the “creative class” (Richard Florida, 2002) to drive economic growth at the city and state levels.
Perth’s remote location makes it a singular and unique destination with a distinctive art scene. It is also the closest Australian city to key international destinations, facing the Indian Ocean, which further enhances its appeal. You are close to many cities, powerful cities in terms of art and culture. There could be some significant opportunities of alliances and exchange, considering India, Thailand, Hong Kong and others.
LD: Thank you Partick.
Patrick is currently collecting expressions of interest from members of the Western Australian arts community who are interested in being part of the program. Contact Patrick at nexsteps@culturalenterprise.art
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