26. 提供香港藝術館(如雙年展、虛白齋)以外
另一套藝術家提攜的價值觀,讓另類的當代
藝術家能以「素人」姿態上位。
給予商業畫廊一個提攜年青藝術家的指標
不只是衡量作品本身的美學價值,還要評核
藝術家遞交的展覽紀錄、公共教育經驗及社
會服務貢獻,要求的是具備「holistic
capabilities」的多元智能藝術家。
Deleuze and Guattari criticized Lecan for an over-
emphasis on “discourses” in his “superego” theories
which neglected the possibility of “social
engagements”
28. 推崇「新媒體」及「跨媒界」創作,且要「入世」,具「應用
藝術」的功能,藝術家亦必須具備自身公關能力,當然具「公
司背景」的nomination亦同時獲推崇:定立新的social order
朱大成博士引用SarahThornton的精英主義理論解讀藝發局獎項
不用向各創作媒介派別民意屈服而「派糖」(如《新城勁爆頒
獎禮》般創出一大堆「豬肉獎」):
A good reputation is not necessarily an original sin.One of the ways to
launch successfully one’s artistic career, as spelled out by Sarah
Thornton, is to get an important award.All the policy related to art
development in Hong Kong is elitist,in the sense that, like in sport
development, there is no grass root planning. In Bourdieu‘s sense,
there has been and is no desire to accumulate cultural capital for the
society as a whole in Hong Kong.As such it will remain elitist, only a
very few can make it big -- in terms of reputation and money spinning.
In general, reputation of an artist requires years to establish, as there
are a lot of mechanism, institutional assessment, as well as trial by time.