What led to the PR debacle around ‘Inflatable Wonders’ recreation?

The “Inflatable Wonders” organisers have expressed their regret for the disputes over the creation of the giant exhibits. 

The dispute came after Central Venue Management (CVM), the organiser of the event, defended the exhibition as its concept originator Joann said the final display was “very ugly” and was presented without her approval.  

Don’t miss: Organisers defend 'Inflatable Wonders' after creator says final display not approved

Running from 5 July to 11 August, the exhibition features five large-scale inflatable replicas of “world wonders” along the Central Harbourfront. They were created using generative AI technology by Joann. At night, the installations are illuminated with colourful lighting effect. 

According to Joann’s latest statement seen by MARKETING-INTERACTIVE, she said despite having granted permission to CVM for the creation of the exhibition, she wasn't involved in either the execution or any aspect of it.  

“I did not participate in the project, and I am not the designer of the final installations, contrary to some public perceptions.” 

Joann further explained that she didn’t receive or review any images of the installations before the event. “My first view of the installations was through various media outlets post-launch.”  

Nonetheless, Joann pointed out the challenges of physically recreating the exhibition. “While AI allows for limitless and surreal creativity, translating these designs into physical installations involves significant challenges. Therefore, variations from the original AI concepts are to be expected.” 

CVM added that it regrets for the disputes over the creation of the show and hopes that interested citizens would come to the venue for visits and comments. 

Social sentiments  

On the other hand, the disputes have drawn mixed reactions among Hong Kong netizens. Media intelligence firm CARMA has observed over 5,000 mentions related to the entire incident. Of these, 46.1% were negative and 10.8 were positive.  

The discussions remain primarily focused on netizens expressing dissatisfaction with the quality of the art installations, said CARMA’s HK GM Charles Cheung. “Some also expressed confusion over the responses from both CVM and Joann.” 

Several angry netizens took their resentment to Joann’s official Instagram page and directly criticised the artworks being exhibited in Hong Kong, particularly their scale and presentation, Cheung added. 

Industry reactions 

Industry players MARKETING-INTERACTIVE spoke to believed that there was a miscommunication between the organiser and the artist. 

The main challenge lies in the highly subjective nature of art itself and its potential for polarisation, according to Miranda Xie, general manager, TEAM LEWIS Hong Kong. “It would be a feat for all parties involved to truly be satisfied, especially the creator.” 

The organisers have grandiose aims but puny abilities as they didn’t adequately manage the transition from Joann's original artwork to the physical installation, said Desmond Ku, founder and director, The Bridge Agency. 

“Before moving into production, it is crucial to obtain Joann's approval, which seems to have been lacking in this case. [...] Even if the initial layout of the physical pieces appeas to align with Joann's original designs, the organisers should continuously monitor the production process.” 

Alternatively, the organisers may have overlooked some obvious considerations such as featuring China landmarks in the exhibition, said David Ko, managing director, RFI Asia. “I have no issue with the white colour, since these inflatables are clearly meant to be appreciated when illuminated at night." 

How can organisers better manage audience expectations? 

True enough, it’s a delicate art to balance between the creator’s expression and audience’s perception. “That’s why art has never been an easy subject for PR experts to handle,” said TEAM LEWIS’ Xie. 

The case also revealed a lack of cultural sensitivity and potential miscommunication with the creator, event organisers need specialised and experienced PR teams to handle creator relations, alongside local marketing experts who can help navigate the cultural environment and have a good understanding of the dynamic changes in public sentiment, Xie added.  

Agreeing with her was Carbo Yu, regional executive director, Sinclair, who said effective stakeholder mapping and phased communications are key to managing a large-scale public engagement campaign. 

“From artists to curators to attendees, each stakeholder shapes the positioning and narrative of the public display, be it an art installation or a vibrant carnival.” 

Furthermore, quality control for any production process, even for intellectual property (IP) projects, is crucial to ensure the executed work faithfully reflects the artist's original expression, said The Bridge Agency’s Ku. 

“If the final outcome does not align with the original idea after the set-up was completed, the organisers should have identified the disparity before the event and addressed the issues before the public launch.” 

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