التصوير المعاصر والاقتصاد الإبداعي: دراسة تحليلية لطرق الاستثمار والتسويق في التصوير المعاصر

Abstract EN

The exceptional aspect of this study is the relationship between economy and the creative energy inherent in contemporary painting.

this includes stimulating the ability to generate new innovative ideas and solutions in the creative economy.

when contemporary painting is meaningful and carries a message and content, creativity flourishes among individuals in society.

with the flourishing of creativity, initiatives appear in content creation and marketing skills for contemporary painting through digital media, thus expanding the concept of making art products due to the knowledge impregnated with innovative skills in digital marketing and artificial intelligence.

this promotes investment in talent and creative minds within the community.

from here, it becomes clear that plastic painting is a creative work driven by investment based on a visual language that basically carries a societal vocabulary.

thus, contemporary painting represents the logic of aesthetic production and innovation-based industrial consumption that underpins the creative economy.

the idea was formulated based on the identity and culture of the community and the place where the artist resides.

therefore, the current study aims to deeply understand contemporary painting from a commercial perspective and link it to the creative economy by relying on visual content marketing through digital communication channels.

the study consists of six chapters covering the origins and characteristics of contemporary painting, the creative economy, and their relationship to identity from an anthropological and aesthetic perspective, and the relationship between contemporary painting, investment, marketing, content creation, and artificial intelligence.

in this study, the researcher used the term “contemporary plastic painting product” to refer to a creative physical good that can be sold and exchanged for traditional or digital currency.

the researcher followed a qualitative approach based on the participation and immersion of the research sample and documenting the procedures and non-digital data throughout the research period to monitor and track the results.

the results can be summed up as follows: plastic painting is not just for fun or wall decoration; it is a product that can be invested in because it is expendable and tradable.

the interactive relationship between investment and consumption depends largely on the economic, social, and political conditions of the region.