SYMBOLS AND ICONS IN BUSINESS AND ART By Bernd Schmitt
" Most art (Chinese or western) is about meaning and symbolism. And a
work of art, if successful, becomes a symbol of culture - a cultural icon.
The same rule applies to corporations and their brands. Consumers (western or
Chinese) do not purchase products simply for their utilitarian and functional
benefit. A mobile phone is not only for making phone calls. It is also a
powerful means of projecting one's status, position or lifestyle. In other
words, consumers buy and consume products for their symbolism. And some of the
most successful brands (Coca Cola, Kentucky Fried Chicken, McDonald's and
Tsingdao Beer) have become cultural icons of consumption.
Ji Wen Yu's work makes extensive use of the associative network inherent in
cultural symbolism. He bombards us with cultural icons (western and Chinese;
commercial and noncommercial). In "Rubens 1" and "Rubens 2",
he juxtaposes the work-inherent icons of Rubens with Chinese symbols of dragons
and butterflies. In "Chinese God of Fortune and Coca Cola" and
"Chinese God of Fortune and McDonald's", he contrasts the iconography
of CocaCola and McDonald's (the trademarked bottle and typeface; Ronald
McDonald, the burgers and fries) with icons of Chinese Buddhist culture. In
"Noble Woman" he mixes both worlds - the world of art and commerce,
Ingres and Mickey Mouse.
Modern corporate communications use a similar approach. As part of a global ad
campaign, Mercedes Benz, Germany's premier car manufacturer, is running
advertisements that look and feel like paintings and celebrate the visual power
of icons including traffic signs, the Peace symbol, Mona Lisa and, of course,
the prime Mercedes symbol - the Mercedes star. In China, Coca Cola has created
outdoor installations along Nanjing Road, one of Shanghai's shopping streets,
featuring the Coke bottle. Chanel displays Warhol's artistic rendering of the
Chanel No.5 flacon as an advertisement.
Ji Wen Yu's work is sensitive to this commercial iconography. He picks up logos
and commercial symbols, strips them off their commercial context and elevates
them to what they are - cultural symbols.
Yet, Ji Wen Yu's work may be interpreted as an artist's critical reading of the
developments of China into a consumerist culture. In my opinion, Ji Wen Yu work
has moved far beyond the trivialities of such a pre-postmodern critical
interpretation. Ji Wen Yu is intrigued by the new visual reality that is created
by cultural contact and the merging of commercialism and art. As such, he offers
a commentary on some of the pressing questions facing corporations today - how
to structure communications between the corporation and the consumer.
For example, what visual styles should a corporation use in its communications
with consumers? What should be the color schemes, the typefaces, and the shapes
of corporate brochures, corporate stationery and business cards? Moreover, what
symbolism should a corporation use in its brand communications? Slogans or tag
lines? Traditional or modern symbols? Universal symbols of local ones? Finally,
what media of communications and transmission are appropriate? Personal or
impersonal media; private ones of shared ones; single channel or multiple
channel; analogue or digital?
These corporate decisions are the same type of decisions that artists-
-consciously or unconsciously--face when they create a painting, a sculpture or
a performance. Modern corporations (Coca Cola, McDonald's, Kentucky Fried
Chicken, Nike, Motorola and the like) approach these issues from a marketing
perspective--by defining (and designing) corporate identities, setting up
websites and retail outlets, associating their brands with new and borrowed
symbols. Ji Wen Yu struggles with the same issues as an artist.