Japan Forum of Business and Society Annals, No.10, pp. 31-40, 2021

31

Building Public Relations throughan Art Place――A Case Study of Benesse Art Site Naoshima

Makiko Kawakita
Professor, Faculty of Business Administration, Nanzan University

Yasushi Sonobe
Professor, Faculty of Sociology, Toyo University
Key words：art management, art place, stakeholders, media, public relations, corporate social
responsibility, philanthropy【Abstract】
This study examines why companies become involved with art as a media, using the case of Benesse
Art Site Naoshima (BASN). BASN is an art place that is visited by many art fans worldwide and wasstarted by a single company. Previous studies have shown that the focus of stakeholder theory has
shifted from managing to building relationships. Arts management research has indicated that
corporate involvement with the arts has a positive impact on internal assets as well as external
stakeholders; however, the details remain unclear. Thus, this study aims to reveal the function thatan art place—a place that internalises art—plays as media to build relationships between a company
and its stakeholders through a case study of BASN.
In-depth interviews were conducted with people associated with BASN; the data was used to
examine the impact that BASN had on its relationships with diverse stakeholders. The role of theart place as media was evaluated and three functions were identified: the function of expanding its
reach to stakeholders whom it did not usually come into contact with; the function of facilitating
deeper messages to each stakeholder, which enabled employees to have a perspective on the future;and of building network-based, rather than dyadic, relationships. A community was born from thelong-term creation of a networked relationship with art as a hub. Although it required substantial
time and effort, art succeeded as a powerful communication tool.

Reviewed Article (Received January 27th 2021 / Accepted May 16th 2021)32

投稿（事例紹介・解説）/Reviewed Article (Case Study・General Review)company, and since 1992, he has been spear-

1.

Introduction

heading this project. Thirty years have beenspent carefully constructing the art facility on

For a company to be a going concern, it must

Naoshima to create site-specific modern art

build and maintain good relationships with its

museums and groups of works. ‘Site-specific’various stakeholders. Therefore, companies of-refers to the artwork that expresses the char-ten use communication to build relationships

acteristics of a specific location (Oki, n.d.). Pres-with their stakeholders. In recent years, at-ently, there are 22 facilities spanning five is-tention has focused on the benefits of art inlands, along with many outdoor displays

business, and one of these benefits is building(BASN, n.d.).

public relations through art places.

The basic policy is ‘to create one art space

This study reveals the function of an art

in the middle of the landscape of the Seto In-

place, in other words a place that internalises

land Sea Region over time, and thus, by com-art, as media to build relationships between abining modern art and architecture in the na-

company and its stakeholders through theture and unique culture of each island, tocase of Benesse Art Site Naoshima (BASN).

create novel spaces’. Such places provoke visi-

BASN is an art project funded mainly bytors to think about the corporate philosophy

Benesse Holdings, which has attracted world-of the Benesse Group, ‘Benesse—Well-Being’.

wide media attention and brought tourists

BASN affirms the building and maintenancefrom all over the world to Naoshima.

of long-lasting relationships as follows: ‘In all
our on-going activities, we are committed to

2.

BASN

fostering a relationship of mutual growth between art and the region, aiming to make a

BASN is the collective name for the art activi-

positive contribution to the local communities’

ties conducted on three remote islands in Ja-(BASN, n.d.).

pan, namely, Naoshima, Teshima and Inujima.

In 2000, Naoshima was selected as one of

The project aims to incorporate modern art

Conde Nast Traveller’s Seven Wonders, andinto the unique landscape of these islands.

in 2010, the Setouchi Triennale, or Art Setou-

The project is run by Benesse Holdings, Inc.,chi (collectively referred to below as ‘Art Setou-

and the Fukutake Foundation, which was es-chi’), began in the area centred around Naoshi-

tablished through donations by the family of

ma. In 2019, Art Setouchi became the prime

the company’s founder, Tetsuhiko Fukutake.

destination for National Geographic Traveller

Benesse Group is a Japanese company with

(U.K.) . Today, art lovers from around theannual sales of 448.6 billion yen (March 2020),

world visit Naoshima to appreciate the mod-which focuses on correspondence education

ern art.

for children.
In 1986, Soichiro Fukutake took over theBuilding Public Relations through an Art Place

3.

Literature review andresearch question

33

Relatedly, Lozano (2005) proposed the term‘relational corporation’. This term refers tocompanies that do not manage their relation-

Several fields have studied the involvement ofship with stakeholders but instead change

the business sector with art. Advertising re-their approach towards building a relationshipsearch has studied sponsorship as a type of

together. This approach includes network-

advertising activity. Sponsorship refers to in-based and process-oriented methods. Net-

vestments into causes or events that are car-work-based methods suggest that instead ofried out to support the goals of any firm or

the past firm-centred dyadic relationship ofmarketing agency (Gardner & Shuman, 1988).

‘influence—be influenced’, complex modern

However, sponsorship research is far less prev-

society is perceived as a structure of net-

alent in art than in sports (Sonobe & Kawakita,

works, and companies take on the perspective2020), and the effects of art-specific sponsor-

of co-responsibility, for society with the stake-ship remain unclear.

holders.

Few studies have examined art in the field

Process-oriented methods refer to buildingof public relations; however, in the case oftrust and commitment through exchange and

BASN, because Benesse has built long-term

conversation with partners. ‘It is within thisrelationships with its stakeholders—such asprocess that we confront the inevitable differ-local residents, artists and employees—

ences and conflicts that in practice always af-

through the art places, it can be studied with-fect stakeholder relationships. Building suchin the context of stakeholder theory in public

complex relationships means narrating, ex-relations and informed by art management

plaining, drafting, understanding and giving

research as well as art and media studies.

them meaning, considering the interests, values and principles that are at stake’ (Lozano,3-1. Stakeholder theory

2005, p. 70).

Stakeholder research began when Freeman

Conventionally, the values that stakeholders

and Reed (1983) argued for a paradigm shift

pursue are not the same as those of compa-

where, instead of companies focusing on

nies; thus, a conflict is assumed. Here, Schor-

stockholders only, attention should be paid tomair and Gilbert (2021) summarised how value

all the stakeholders. Subsequently, studies

conflicts with stakeholders are perceived.

classifying and identifying stakeholders (e.g.

They classified values based on whether val-

Frederick, Davis, & Post, 1988) and studies on

ue is perceived as monism or pluralism. The

the different qualities of their relationships (e.g.

former case includes the following three

Payne, Ballantyne, & Christopher, 2005) began tostances: financial value, shared value (Porter &develop. Further, discussions emerged for the

Kramer, 2006; 2011) and aggregate happiness

shift from managing to building relationships(Jones and Felps, 2013a; 2013b). The latter case

(Halal, 2001).

assumes that each stakeholder is oriented to-34

投稿（事例紹介・解説）/Reviewed Article (Case Study・General Review)

wards different values. From this perspective,

budget for culture is as low as 104 billion yen,

the challenge is that a concrete path towards

which is approximately a fifth of the budget

relationship building is not clearly presented.

of France, the country with the highest bud-Presently, research on consensus-building

get for culture in the world. Moreover, pri-process in political science and stakeholder

vate donations from the private sector aretheory in business administration are merg-

minimal owing to the lack of tax benefits (CDI,

ing. Schormair and Gilbert (2021) saw the con-2018). Kawashima (2012) observed that prob-

sensus-building processes as agonistic and de-lems in Japanese cultural administration in-liberative approaches and presented a five-

clude a lack of policy and management profes-

step framework for a comprehensive approachsionals. In such a situation, companies havethat is neither of these. They also indicatedbeen supporting the arts as a form of philan-that in the field of stakeholder management,

thropy and have played a role in cultural pro-few studies deal with the aspects of sharedmotion in Japan. To explain the reasons forcommunication.

this investment in arts support by companies,

Cutlip, Center and Broom (2006: 5) stated

we should consider the benefits to the compa-

that ‘[p]ublic relations is the managementny as well as the cause of social contribution.

function that establishes and maintains mutu-

In the field of art management, sponsorshipally beneficial relationships between an organ-and partnership have been studied in the con-isation and the public on whom its success ortext of acquiring support for art organisations.

failure depends’. BASN is a place where di-Event partnerships between companies andverse stakeholders hold long-lasting dialogues

art organisations not only improve external

about the complex problems of modern soci-brand recognition but also have an impact on

ety through art. In other words, it is a place

the internal corporate assets.

to practice building public relations; Benesse

Comunian (2009) attempted to explain thethus embodies Lozano’s (2005) ‘relational cor-

implications of business investment trends inporation’ through an art place.

art from a business perspective and presented

To practice building public relations, rela-a new conceptual framework for why corpo-

tionships with each stakeholder must be built

rations are becoming more involved in art

through direct communication, and indirect

and culture. There is a competitive advantage

communication with each stakeholder mustat three levels. The first is the competitive

be actualised with mass media as the mode.

advantage that is brought about by the ef-

For the latter, mass media such as newspa-

fects of sponsorship on customers and otherpers and magazines are also important stake-external stakeholders, such as image transfer

holders.

and improvement. Furthermore, arts sponsorship is the best method to attract influential

3-2. Art management researchpeople that other sponsorships cannot. The

Compared to other countries, Japan’s national

second level is defined by the possibility forBuilding Public Relations through an Art Place35

the company to generate competitive advan-

phones, optical fibre networks, etc.) and wirelesstage in its product market. The third level is(radio wave) media (television broadcasts, wire-

the effect on the internal assets of the compa-

less LAN, etc.) (Mikami, 2004) . Based on thisny. It has a positive impact on human re-classification, an art place is categorised assources, not only on visible assets such as art-

spatial media internalising information content

works but also on the interaction with artists.

constituted by modern art. An artwork alone

This effect on assets provides a future com-would be insufficient, but its incorporation

petitive advantage.

into a site enables it to function as media.

Lewandowska (2015) demonstrated that part-

Fukutake (2016) discussed the function ofnership collaboration with the arts, rather thanart as media and noted that in the process ofmere sponsorship by companies, increases

community revitalisation through art prac-creativity and learning and enhances positive

ticed at BASN, art and architecture function

relationships with communities and stakehold-as ‘media’ that build a relationship between

ers.

urban youths and rural elders. He also argued

These studies reveal that internal corporatethat ‘in literature, music and film, the creator

assets are positively affected when companies

is the subject, enforcing their opinions on the

not only provide financial support alone but

recipient; however, modern art may be thealso build interactive relationships with art

only media that lets the recipient be the sub-events and organisations. However, there has

ject’ (36). According to Fukutake, this island

been a lack of clarity regarding the exact na-

with its scattering of modern art is a medium

ture of this positive impact.

that allows recipients to be the active subject.
The aspect that differentiates BASN from a3-3. Art and media

typical art museum is how the whole island

Generally, we perceive the term ‘media’ as aacts as a spatial medium through the scatter-means to mediate communication between en-

ing of artwork.

tities. The broad definition of (information) media refers to all tools and devices that not

3-4. Research question

only transmit but also accumulate and process

In public relations, the goal is to maintain a

information (Mikami, 2004). A more detailed

healthy relationship with stakeholders. Addi-

definition includes being a carrier that trans-

tionally, although arts management researchmits information and a function that repre-

identifies the positive impact of collaboration

sents it.

with the arts on the external and internal

Depending on the type of carrier, media

stakeholders of a company, the specific effects

can be divided into four types: spatial media

thereof are unclear. BASN’s role as media is(plazas, theatres, stadiums, indoor/outdoor eventto build relationships with diverse stakehold-spaces, etc.), portable media (newspapers, maga-ers. Thus, the following research questionzines, CDs, etc.), wired media (landline tele-arises: What impact has the art place, with its

36

投稿（事例紹介・解説）/Reviewed Article (Case Study・General Review)corporate support, had on each stakeholder?

their vegetation. In Teshima, located next toNaoshima, a large amount of illegally discard-

4.

Methodology

ed toxic materials were discovered. Inujima
has also been polluted with soot released from

We conducted in-depth interviews with thosethe copper smelter. To raise the question of ‘Isin positions deeply involved with BASN at

this society acceptable?’ with respect to thisthat time to examine what impact BASN had

negative history, Fukutake borrowed the pow-

on the relationships with diverse stakehold-er of art. According to Fukutake, artistic ac-

ers.

tivities lead to ‘good community-building’.

The interviewees were Soichiro Fukutake

The company’s name Benesse means ‘well-(Honorary Adviser of Benesse Holdings Inc.,

being’. Naoshima is a place where their corpo-

BASN Founder and Chairman of Fukutake Foun-rate philosophy, ‘What does it mean to live

dation), Kenjiro Kaneshiro (Director of Fukutake

well?’, can be contemplated. As Picasso paint-

Foundation), Ryoji Kasahara (President and CEO

ed Guernica, Fukutake is questioning the so-of Naoshima Cultural Village Co., Ltd.), Shigenori

cial issues by considering ‘well-being’ as part

Fujii (Secretary of Town-Naoshima Tourism As-of an art project.

sociation) and Kaori Sakamoto (then Manager ofBenesse Holdings, Public Relations/Investor Rela-

6.

Effects on various stakeholders

tions Department). The interviews were held

over three days between 31 January and 13

Based on the interviews, we examined the im-

April 2019. The main questions were ‘How

pact BASN had on the relationships with vari-

have you been involved with various stake-ous stakeholders.

holders through BASN?’ and ‘What effects has
BASN had?’.

The project nurtured and sustained positive opinions about the company in employees, thus leading them to stay with the job

5.

Findings from the interviews

longer. Additionally, employees’ perspectives
were widened and the organisational culture

This art place was created through the pas-of the company became more creative. As persion of Soichiro Fukutake, the Honorary Ad-

the interviews, employees knew that Benesse

viser of Benesse. His drive was the resistanceis a company driven by its corporate philoso-

to negative aspects of excessive modernisa-

phy of ‘well-being’ (Kaneshiro and Sakamoto).

tion and urbanisation. Modern society has sac-

New employees and managers experienced

rificed rural areas and nature for urban life-

the culture at BASN during their training,styles. Although Naoshima permitted a copper

and this instilled in them the idea that BASN

smelter to be built 100 years ago, pollution

is a place to think about ‘well-being’. Employ-from the sulphurous acid gas released fromees also appreciated the company more when

the smelter had stripped the mountains of

they heard about Naoshima from others out-

Building Public Relations through an Art Place

37

side the company (Kasahara). Naoshima exists

educational products, such as Shinken Zemi

as emotional support, which has kept somecorrespondence education program, are famil-

employees from leaving the company (Sakamo-

iar with Benesse as the owner of BASN. Ad-

to). ‘Each business is a part of many social ac-

ditionally, the existence of Naoshima may ‘im-tivities, right? … So, a company can’t last un-prove the image’ of the company (Sakamoto).

less it has the ability to see society from the

There are 700-800 media interviews yearlybusiness perspective and business from the(Kaneshiro) . As mentioned earlier, world-re-social perspective’ (Kaneshiro). In its relation-

nowned newspapers and magazines visit theship with society, a company develops an eye

island for interviews. This aspect improves

for its own business. Further, Fukutake be-

the trust of business partners and investors.

lieves that cultural activity is one way for

However, for customers, products and BASN

companies to improve their creativity. How-

are not well-connected. Not many customers

ever, the present day-to-day contact with art

seem to know that Shinken Zemi and BASN

is very infrequent.

are both run by Benesse. In that sense, BASN

With respect to the job market, clients andbusiness partners, the effects included not

is not familiar to customers (Kasahara andSakamoto).

only gaining recognition but also understand-

For the community, the use of the whole is-

ing the corporate philosophy, screening forland rather than simply a museum as an art

shared values and acquiring trust as a compa-

place increases the number of people who are

ny with social responsibility. It was argued

involved with artists, people on the island andthat by letting aspiring employees experience

tourists. Local elderly people are being revit-

Art Site Naoshima, the company could ob-

alised and regaining the energy and prideserve if they could understand the corporatethat they once lost due to population decline,

philosophy and be a good fit within the com-pollution and industrial wastes. ‘More thanpany (Sakamoto and Kasahara). As for clients,

any other media, modern art awakens people‘Chinese managers often hear about Naoshima

and changes the community. No one else in

and wish to collaborate’ (Fukutake). With im-

the world has noticed this. I mean, it brought

portant clients and business partners, having

life to old people in this remote little village’

them see BASN enables them to understand(Fukutake).

Benesse’s corporate philosophy and gain trust(Sakamoto and Kasahara).

‘When artists decide to create somethingthat only exists here, they dig up the long his-With respect to investors, particularly thosetory and livelihood of the island and people.

from overseas, it improved recognition andWhen artists research this history, it reminds

corporate image. At domestic ordinary gener-

the people of the island of their own history’al shareholders’ meetings, it leads to favour-(Kasahara). ‘The biggest damage from the in-able support (Fukutake). Even foreign inves-

dustrial problems that have been going on fortors who do not know about the company’s

half a century on Teshima Island is that resi-38

投稿（事例紹介・解説）/Reviewed Article (Case Study・General Review)dents have lost their pride. This is the reason

Figure 1 Art Place as Media

why Fukutake decided to build an art muse-

Investorum over there (Teshima Art Museum). We aimed

Government
Journalist

to change the community with culture and(magazine, web)art. With Teshima Art Museum being built

Company

and becoming the main venue for Art Setou-

Art Placechi, people remember the beauty of their own
island and regain their pride’ (Kaneshiro).
‘Without being asked, many island residents
go out of their way to talk to tourists, share
their knowledge of the artworks and experience interacting with artists and tell stories

Local
Residents

Customer
Employee

Business
Partner
ArtistSource: C reated by the authors based on Freeman(1984) and Sonobe (2014)

about how art has changed the community.
Some may provide tips on how to take photos

international recognition has notably increased.

of the artwork (those for which photography is

By incorporating the modern art preferred bypermitted). People of the island will drive lost

those with high incomes who could become

tourists to the destinations by car instead ofinvestors and the management class whojust giving them the map directions’ (Fujii).

could become business partners, important
stakeholders can be approached.

7.

Results and conclusions

The second function is facilitating deeper
messages to each stakeholder. Simply trying

Based on the data gained from this study, weto express the corporate philosophy of ‘well-determined the functions of company-support-

being’, to others in words alone is nothing

ed art places as media (see Figure 1). Benesse

more than a one-sided message that is unlike-has succeeded in community-building—think-ly to arouse emotion. However, in a place that

ing about society together through BASN—

incorporates modern art allowing recipientsand in building relationships with stakehold-to be the subject, people’s ears and eyes caners. Hence, the following three functions are

be opened, and they can develop feelings forevident.

various social issues. Instead of trying to tell,

The first is the function of expanding its

it waits for others’ feelings to be evoked. This

reach to stakeholders whom they usually do

is a time-consuming process, but they contin-

not come in contact with. If BASN had creat-ue with consistent patience. Even if this mes-

ed a regular art museum instead of an art

sage includes a strong argument for resis-

site, they would not have been able to maketance, it can provide room to think together

contact with the local people with whom they

through the unique refinement of art.

interacted to make artwork. As the appeal ofThis function also allows employees to find

BASN attracts foreign media companies, its

meaning in their existence in society. They

Building Public Relations through an Art Place39

are exposed to social issues through a place

Nonetheless, this community revitalisation

to think about ‘well-being’, thus allowing themmodel is called the ‘Naoshima method’, there-

to nurture perspectives for the future. Thisby referring to the process below and has

aspect also leads them to think about theirgarnered interest overseas in China and else-

own company. Why does art enable this? Art

where.

not only has the power to ‘affect people emotionally’ but also the property of ‘critically an-

Artists create work that can only exist

alysing existing values and discovering new

on this land with a message critical ofperspectives’.

modernity. Island residents become in-

The third function is to build relationships

volved. Artwork remains when artists

based on networks. In traditional public rela-leave, and young people visit the islandtions, activities are aimed towards specificto see the artwork. Seniors begin to tellstakeholders with, for example, the relation-

their stories about the artists, surprisingship of ‘influencing-influenced’ in the corpo-

young people. This situation is very inter-rate-centred perspective. However, withesting. Soon seniors of the island will be-

BASN, the framework enables interaction

gin to talk about the history and culture

throughout the whole island; thus, variousof the island as well (Fukutake, 2016: 45).

stakeholders, such as artists, local people,
young visitors and international fans of theIf business owners can continue to invest

artwork, become connected, thus formulating

their will and funds in this activity and holda communication channel. This aspect builds

dialogues with artists on an equal ground, thisa network-based relationship where trust andmethod may be implemented by other compa-

commitment are born.

nies. However, one should be ready for such a

8.

Practical and social
implications

long-term involvement. The social implicationis that one company’s work through art canchange regional communities. To this end, itWith respect to art support by a company, re-must be process-oriented, as in this case. This

lationships leading to trust can be built withstudy focused on interviews with those at Be-

new stakeholders not only by providing funds

nesse, but we hope to continue this work by

but also by building an art place that values

interviewing external artists, municipalities andthe communication process. In this study, themedia companies.

case of BASN shows that an art place can playa role as a medium. It takes immense commitment for a company to continue expressing aconsistent message over a long period throughtheir activities. Therefore, generalising thisapproach for other companies may be difficult.

Acknowledgements
We would like to thank those who generously participated in the interviews for this study. We were funded by Grant-in-Aid for Scientific Research (C)20K01946 and Nanzan University Pache Research
Subsidy I-A-2 for the 2020 academic year. We thus
extend our most sincere appreciation to them.

40

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