A Term Paper about the phenomenon of artist-award schemes in Hong Kong art scene * Feedback from Dr. Nick CHU Tai-sing after correcting my assignment: A good reputation is not necessarily an original sin, right? One of the ways to launch successfully ones 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. Yet the market in Hong Kong and China is such that this trial by time like long term investment is taken over by short term speculation and even money laundry.

1. 1
FAAS5305 Seminar in Cultural Theory & Criticism
Final Assignment
Analyze the cultural phenomenon about the fragmentation of artist-award
schemes in Hong Kong
LEE Kwun-leung Vincent (李冠良) Student ID: 1007070165
Major: MA Fine Arts (Year 1, Semester 1)
The Canto-pop stars can easily obtain annual awards from the music industry
prize-giving ceremonies organized by various press-media units, whereas the athletes
from Hong Kong sport teams can strive for social recognitions through obtaining
medals from Olympic Games or Asian Games. There’s a clear index for singers and
sport enthusiasts to pursue upward mobility and earn widespread acknowledgement
on their enhanced reputations. However, for the visual-art field, such index of
meritocracy is often vague as the artist-award schemes in Hong Kong use to be very
fragmented and even the awardees themselves can hardly gain respects from the
conservatives within the art academia.
The former colonial government has established Hong Kong Arts Development
Council in 1995 and this official unit endeavors to annually enforce the “Arts
Development Award” since 2003. This system of acknowledgement persists
effectively after the Handover. However, once Leung Chun Ying succeeded as the
Chief Executive, this artist-award scheme by the official strata began to be challenged.
Florence Hui Hiu-fai (1974 – 2018) took up the responsibility to plan for the
establishment of Cultural Bureau. The blue-ribbon painters, such as urban-sketchers
from Civic Painting Society Camp, began to make use of this reformative opportunity1
for challenging the “artist-award scheme” culture of HKADC, asking Cultural Bureau
to be the role of traditional patron in distributing continuous premium offers of
survival supports to painters2
for the sake of getting focused to purely produce
paintings as similar as artisans from Da Fen Cun in Shenzhen practicing. The
awardees from HKADC’s strata of acknowledgement, though being legitimate in
HKSAR government’s legal and institutional level, can hardly earn respects because
the philosophy of those blue-ribbon painters think about another story which is a
1
Shaw Tze (蕭滋), Publishing, Fine Arts, Life 出版．藝術．人生 (Hong Kong: Joint Publishing Hong
Kong Company Limited, Sep 2017, 1st Edition) {P.139 - Painting is the most disastrous district within
Hong Kong's culture and art: In response to Shu Hua (舒華)'s "Three attempts of visits with Leung
Chun Ying for discussing the establishment of Cultural Bureau"}
2
Same as above {P.150 – What problems have there been appearing from the visual arts in Hong
Kong? – The HKADC should increase expenditures and make good use of these expenditures. It should
change from a passive allocation of resources to a subjective exploitation of resources.}

2. 2
desire for a direct feeding by a centralized rule as a fulfillment of pragmatism.
The reason for such ideological denial on the authority of artist-award scheme is
subjected to the matter of Sino-Western cultural dispute. If tracing Mou Zhongjian
(牟鍾鑒)’s explanation on how Western Civilization stresses individuality that violates
the “family-nation” altruistic thought of Confucianism, you can find that the
traditional Chinese art culture uses to remain with a hostile attitude against artists
climbing up the social ladder through getting any sorts of personal-brand awards by
defining this gesture as “self-centered protection of egocentric interests”:
The origin of Western thoughts was the classical Greek philosophy that stressed
individuality. Democritus advocated “Atomism”, which was used to explain the
basic formation of substances within the Universe. Atom is a single particle.
When the particles fabricate, they form a substance. When the particles scatter,
they lead to voidness…… After the Renaissance, Baruch de Spinoza advocated
“Substantialism as a Cause of Itself” theory, which stresses that an entity of a
substance is of self-existent, independent and eternal peculiarities. Thomas
Hobbes advocated that the self-preservation of humans is the inborn nature of
mankind, as well as a “natural right” of mankind. This kind of natural status
definitely causes a power struggle among humans. Therefore, “Natural Law”
and “Social Contract” are needed. This is associated with Xunzi’s thought from
China.3
Going through the ecology of art education in Hong Kong, we can hardly find a
college that grants a “Student Artist of the Year” eternal honour as similar as
Rosaryhill School does. The Sovereign Art Foundation began to offer “The Sovereign
Art Foundation Students Prize” since 2012 for letting college students in Hong Kong
optimistically and hopefully experience how a teenager of DSE Visual Arts studies can
emerge as an influential master-artist with an international reputation in advance. Of
course, the “estate colleges” deny such artist-award scheme as the educators there
worry about their students getting arrogant to overwhelm the contributions of the
elder generation and become isolated from basic-class humble services. However, if
looking at the case of the United Kingdom, the “Turner Prize” is a very common
acknowledgement scheme hosted by Tate Modern in which the widespread British
citizens and global art lovers jointly foresee the results of annual awardees as
3
Mou Zhongjian (牟鍾鑒), The Contemporary Spirits of Chinese Culture 中國文化的當下精神 (Hong
Kong: Chung Hwa Book Company, Mar 2017, 1st Edition) {P.168 - Chinese Civilization stresses
family-nation as centered thought, whereas Western Civilization stresses individuality as cored basis}

3. 3
joyously as watching the K-Pop singers from “BTS” music band obtaining an “Artist of
the Year” honour from “MAMA Music Awards 2020”. Even for the watercolour
magazines from the United States such as the “American Watercolour Society”
catalogues, there are often some chapters for promoting artist-award scheme to
uphold some annual representational painters whom can fulfill the perfection of
Watercolour Photorealism.
The pure painters from Civic Painting Society Camp in Hong Kong would regard the
artist-award scheme as causing disorders to the curators in defining which kind of
artworks are of good qualities for collection purposes. Just like how Tomia Koyama
commented, “Merchandizing can hardly remain netural within the realm of fine
arts”4
. For example, a curator can see an ugly art piece by a renowned artist with
public honour as good for promotion, whereas he sees a pretty art piece by a
low-profile painter from Da Fen Cun as not cost-effective for promotion. The matter
of artist-award scheme can thus disorder a businessman or a client’s ability in
aesthetic judgment due to the herd mentality. Tomia Koyama even mentioned that,
“The exploitations and productions of enterprises that connect with the artists
themselves can actually be very vague. It is because, the artworks are the creations
by various artists with various stylistic personalities. For how the finished products
should be like, it is an issue that we can hardly predict”.5
For example, a gallery from
Central called “Illuminati Fine Arts” has come up a permanent contract with Lam Tian
Xin whom has a great reputation due to its leading position of being an
Art-representative member in “Cultural Coexistence” alliance as well as being
sheltered by pro-establishment great TV stars like Lisa Wang and Cally Kwong. The
Illuminati Fine Arts requests Lam Tian Xin to keep submitting lotus ink paintings
every month for continuous exhibitions. But, owing to Lam’s influential reputation
within Lisa Wang’s acknowledgement, Illuminati Fine Arts as an enterprise stressing
rewards from exploitations can hardly go through the details of Lam Tian Xin’s lotus
ink painting submissions and ask Lam to remove the occasional ugly pieces. So, no
matter Lam Tian Xin’s pieces are good or bad, all the submissions from him will be
consistently sold to the clients whereas Lam will never strive for improvements. This
will lead to an unfair phenomenon of reputation-based keen competitions among
artists themselves without prior precaution to the beauty refinements of their
artworks at all. So, the painters from Civic Painting Society Camp strongly hope
4
Tomio Koyama, The Commercial Opportunities from Contemporary Art (Japan: ACII Media Works
Incorporation, 2008, Original Edition; Taiwan: Business Weekly Publications, a division of Cite
Publishing Limited, 2010, Translated Traditional-Chinese Edition) {P.125 - The hidden problems from
the “commoditization of fine arts”}
5
Same as above

4. 4
Florence Hui Hiu-fai’s establishment of Cultural Bureau to be successful in order to
substitute the role of HKADC and eliminate the “Arts Development Award” so that
everybody from the art scene will just concentrate on their creative contents instead
of their brands. In accordance with Tomia Koyama’s logics of analysis, the systematic
prospering of an artist’s personal brand through institutional means like artist-award
scheme will also lead to a deteriorating circulation in “commoditization of fine arts”.
From Imke Elliesen-Kliefoth’s case of interviewing a painter called Albert Oehlen,
artists often encounter a variation between academic emphasis and commercial
gains within their spiritual realms of value judgments. Just like how Albert Oehlen
argued, “I am impoverished but I can be very famous!”6
Albert Oehlen clearly knows
that he cannot be as fortunate as William Kentridge who can get his blue-pastel
drawings to be universally reported by global press media and even have a chance to
exhibit his portrait paper-cutting installations at Hong Kong Art Basel. But Albert will
remain satisfied with his gain from friendships all over his living circuits. Similar to
Albert Oehlen’s non-utilitarian thought, many pro-Beijing painters from Civic Painting
Society Camp and the leftard artists from the social-movement field in Hong Kong
would define that, a victory within the art market is rewarding for some persons’
money-desiring minds. But, it is nothing about a purely subjective judgment from
artist himself for being satisfied with the contents and aesthetic effects the artwork
he has created, as well as nothing about a particular community or group of people
with same affinities who comprehend that you’re successful in art practices. If an
artist has obtained “Arts Development Award” from HKADC, it does not mean that
the very academic group of internal art practitioners will equivalently acknowledge
his award-based achievement by submissively following the institutional index of
government rulers whom are secular-minded in bureaucratic operations without any
previous background of art learning before. Rather, this artist might lose the
important friendships from the insiders, and get isolated from the art academia as
well in accordance with Albert Oehlen’s logics. The urban-sketchers from Civic
Painting Society Camp would usually warn off the awardees from HKADC’s
acknowledgement strata, that you can still be proactive in the contemporary art
market of Hong Kong, but we won’t recommend you to enjoy the immense
opportunities of joining national exhibitions in the art-collection market of Mainland
China because you’re too short-sighted in just fulfilling the local meritocracy
requirements.
6
Imke Elliesen-Kliefoth, Bergauf beschleuni 何謂成功 — 藝術？名利？ (Zurich: Ammann Verlag,
2009, Original Edition; Beijing: SDX Joint Publishing Company, 2011, Translated Simplified-Chinese
Edition)

5. 5
The influx of leftard thoughts since Donald Tsang’s administration era with Choi Yuen
Village Incident and property hegemonies also discourage Hong Kong citizens from
cherishing the awardees from artist-award schemes as precious assets of success in
Hong Kong art. As Wang Sufeng (王素峰) wrote for a publication issued by Taipei Fine
Arts Museum, it is understood that the leftards, including the social activists in Hong
Kong, usually regard the chasing for artist-award achievements as an enrichment of
their career resumes as adopting “conscious brains” instead of “consciences”7
to
achieve a target rapidly through the manipulation of cunning gestures, which finally
makes a human being get exhausted from the immense pursuit on speeds within this
metropolitan realm and diminish your truthful leisure in art expressions. For example,
if you’re obliged to strive for a “Sovereign Asian Art Prize”, you cannot create some
explorative works like visual diaries, collages, printmakings, zentagles and
harmonious soft-pastel greeting card designs because these works are not
cost-effective and risky in adjudications as you can hardly highlight your
advantageous image from these works with loosened contents or an over-multiple
visions of styles. However, art is full of diversity, and art-making is not simply for
obtaining personal-brand awards. So, there’s often a point of contradiction in dealing
with these psychological struggles by some moderate artists with creative
personalities but without aggressive career aspirations. So, both the blue-ribbon
painters and the leftard artists commonly condemn artist-award scheme as not a
totally humanitarian asset of talent formation. The Civic Painting Society Camp would
argue that, not all the painters would be eager to externalize their
“commodity-based” materialistic desires on interests as everyone can see from the
cases of painting artisans in Da Fen Cun that they are submissively willing to serve for
the national mission of cultural prospering by putting aside their egocentric
consideration for transforming to be a hedonistic slavery of Capitalism, whereas their
ultimate glory should go to the PRC regime.
The blue-ribbon painters in Hong Kong use to draw an equal line between the
meritocracy from artist-award scheme and the idea of post-colonialism. They think
that, to the agrarian-minded knowledge of senior citizens in Hong Kong, the liaison
groups of the basic-class community would only grant “service awards” to those
community volunteers, and they never hear about a huge enterprise or a property
developer like K11 Atelier giving a young artist a “Sovereign Asian Art Prize” simply
because of the attractive gimmicks from a particular piece of his nominated artwork.
7
Wang Sufeng (王素峰), Post-Modern Aesthetics and Living 後現代美學與生活 (Taipei: Taipei Fine
Arts Museum, June ROC 85, 1st Edition) {P.55}

6. 6
Even for the “estate colleges”, the principals there will just grant service awards to
prefects, boy scouts, Red Cross members and Civil Aid Service members to remind
their fruits that they have to be humble in committing to the caring duties of our
basic-class society even after graduation, instead of asking their fruits to emerge as a
“painter star” flying to the United States or Europe for showing-offs. Just like the
anti-colonialists in the West or other parts of Asia and Africa, these
proletariat-minded persons would think that, art is also enriched by “migratory
experiences” in which they can never be diminished by the British value of nobility
through an implementation of artist-award scheme. A statement from Anne Ring
Petersen’s publication can illustrate such anti-British feeling that exactly obstructs
Hong Kong people from cherishing the “Art Development Award” from HKADC:
In John Drucker’s words, “We jettisoned the idea of originality a long time ago.
But, oddly, we remain attached to the concept of the individual talent.” This
traditional model continues to structure the way artists are marketed and
presented in many exhibitions, galleries and auction houses today; and there is
nothing to suggest that the marketable concept of the autonomous creator is
going to go out of use in the foreseeable future. Nevertheless, we need new
conceptual models because we cannot account for the extent to which
contemporary artistic practices and careers are structured by migratory
experience without developing a conception of the artist as a relational and
transculturally interconnected subject.8
The term “migratory experience” by Anne Ring Petersen implies that the
anti-colonialists, including the Civic Painting Society Camp in Hong Kong supporting
the establishment of Cultural Bureau, blame the British meritocracy as not forbearing
the primitive art practices by Oriental, South American and African natives with
cultural and material flexibilities, such as the nomad paintings with tattoos and dry
leafs without any honoring to the technological visual elements as similar as
Umberto Boccioni and Gino Severini’s trend of Futurism in Italian Art.
The blue-ribbon painters would think that, Macau has demonstrated a successful
example of running an “Instituto Cultural” no matter before and after the Handover,
and it is not appropriate for HKSAR to remain HKADC as a colonial unit for persisting
with the elitist mode of artist-award scheme that further intensifies social divisions
and hierarchical exploitations. This department within the RAEM will implement an
8
Anne Ring Petersen, Migration into art – Transcultural identities and art-making in a globalized
world (The United Kingdom: Manchester University Press, 2017, 1st Edition) {P.86}

7. 7
egalitarian allocation of the exhibition chances and resources to all Macau local
artists from different age groups. The Instituto Cultural tightly collaborates with
“Associação de Mestres de Arte de Macau” to play the centralized role and nominate
quality artists for different joint-exhibitions, as well as contacting institutions like
Fundação Macau, Instituto para os Assuntos Cí
vicos e Municipais and Fundação Rui
Cunha to realize these joint-exhibition proposals by offering venues. Different great
casinos, Clube Militar and Casa de Portugal em Macau also feel pleasant in helping
artists curate solo-exhibitions. But they won’t uphold anybody as distinguished
Macau-artist stars with transcendental awardee status that overwhelm Instituto
Cultural’s index of egalitarianism. In Hong Kong, the Hong Kong Arts Development
Council can exert influences to the decision-makings of various social and
commercial institutions through its artist-award scheme. For example, it has granted
an “Award for Young Artist (Visual Arts)” to Chan Wai Lap in mid-2020 for
acknowledging his inter-disciplinary art contributions with swimming-pools as his
creative themes covering installation, painting and hand-drawn design mediums.
Then, both Tai Kwun and Karin Weber Gallery promptly cope with HKADC’s
acknowledgement index to offer Chan Wai Lap sustainable chances in serving for
their Artist-in-Residence projects. Thus, everybody from our society will be aware of
Chan Wai Lap’s emergence as a brand-new “swimming pool” contemporary young
artist. Chan Wai Lap’s story of upward mobility is never seen in Macau, as HKADC has
successfully made Chan Wai Lap transform from an unknown status to a
suddenly-popular status that even the outsiders can initially pay attention to his
king-making charisma. Also, in Macau, the Instituto Cultural administers both library
and artist-nomination affairs. But, in Hong Kong, the Leisure & Cultural Services
Department administers Central Library and City Hall for dealing with Civic Painting
Society Camp’s hiring of exhibition halls from these two public facilities, whereas the
Hong Kong Arts Development Council is absolutely independent from LCSD in terms
of acknowledging contemporary artists with transcendental personal-brand awards.
So, HKADC is actually confronting with LCSD’s mission in collectivized Chinese cultural
inheritance due to its unique role of commercialism under the post-colonial basis of
British meritocracy. This kind of confrontation is never seen from the compromising
politics of the Macau bureaucracy at all, and so the blue-ribbon painters in Hong
Kong urge the art-management rulers to humbly learn from the harmonious case of
Macau.
Proletariat-minded people in Hong Kong possess an anti-Freud mindset to lower
artists’ personalities

8. 8
Sigmund Freud’s theory is important for the Visual Arts students who aim at winning
the “The Sovereign Art Foundation Students Prize” through a submission of narrative
paintings, as Freud stresses the reflection of subconscious mind as an
accomplishment of one’s “ego” for better portraying imaginative episodes as similar
as how Salvador Dali expressed his daydreaming desires to create Surrealist paintings
with illogical episodes. However, Lecan was renowned as counteracting against the
“ego” emphasis of Sigmund Freud and his theories were a violation on the evolution
of an artist’s creative development. From Arthur Kroker and David Cook’s analysis,
you can see that the leftards including social activists in Hong Kong tend to uphold
Lecan’s ideal for justifying their anti-expressionistic approach of ethnographical art
practices:
In the fully estheticized phase of late capitalism, art as institution works to incite
desire in the designer body by providing a reception aesthetics suitable for
“promotional culture”……… Psychoanalytically, the estheticization of the
commodity-form implies that Lacan’s misrecognition as the basis of the
bourgeoisie ego (the mirrored self is the fictive centre of the misplaced concrete
unity of bourgeosis identity)9
Lecan believed that artists should lower their personalities to avoid declaring their
desires and “promotional cultures” for being objective in striving for widespread
recognitions within the institutional framework through the “discourses” of
community penetrations, as well as admitting the limitations from the displacements
of unconsciousness within our “superegos”. Lecan was restricted to a
“fiction-oriented” mode of objective art practice, in which Deleuze and Guattari
criticized him as making a wrong allocation of dialogue application on art in terms of
striving for an anthropological level of socio-political recognitions because the
process of his psychoanalytical therapy was just a continuous re-positioning of
language notions which excluded the possibility of front-lined political and creative
engagements. However, the leftards in Hong Kong ironically adore Lecan’s
“superego-based” avocation by claiming that all the elites from the artist-award
scheme with narrative-painting submissions are moving towards the decaying stage
of bourgeoisie ego. The leftards think that if a genius in iconographies, who is able to
easily visualize his illusions from his “image archive” onto the canvas based on
Sigmund Freud’s ideal, can directly win a personal-brand award and emerge as a
9
Arthur Kroker and David Cook, The Postmodern Scene – Excremental Culture and Hyper-Aesthetics
(New York: St. Martin’s Press, 1988, 2nd Edition) {P.17 & 19 - Thesis 3. Estheticized Recommodification:
Art and Postmodern Capitalism}

9. 9
kingmaker; this unfairly overwhelms the silent contributions of community-art
servants whom have done lots of solitary data collections, communicative activities,
codings and sequential analysis in a field-observer role but putting aside their
individual honours. So, they make our whole society be disheartened with the
cherishment on art elites whom can write their achievements of artist-award
schemes onto their job-hunting resumes but to prefer employing some mediocre
servants with Social Science mindsets for dealing with the art-project allocation tasks
and the collectivized portfolio-cultivation tasks.
Chinese culture never denies entrepreneurial spirits if talking about artist-award
schemes
Chinese art academia with a mixture of Confucian feudalism and Maoist socialism
uses to think that painters will definitely become famous beyond their ageing or after
their deaths, and there is no need to accumulate personal fames by obtaining
artist-awards since adolescence. The literati-painting intellectuals even suggest that
the cultivation of painting skills must connect with the long-term sedimentation of
Sinological nourishments. This kind of thought also influences the ideology of
blue-ribbon painters in Hong Kong. Just like Liang Shixiong (梁世雄) replied to the
interview by Guangzhou Artists Association, there is a need for painters to indulge in
a realm of persistently studying the Ancient Han Language, talking about Painting
Theories and learning poetries because being a continuous researcher in Sinology
definitely helps refine the spiritual characters of ink-paintings and calligraphies10
. If a
winner in HKACD’s artist-award scheme or “Sovereign Asian Art Prize” hasn’t got a
stable foundation but emerge to be globally renowned all of a sudden, he cannot
take over the complicated collection-based creative tasks with diversified
requirements in spiritual expressions. Their lack of life experiences make them be
unable to highlight cultural significance and spirituality from their
daydreaming-based works, whereas the so-called “self-curatorship” methodologies
cannot directly reflect their sophistication in philosophical thinkings. However, the
modern cultural-management elites from the advanced provinces of Mainland China
have abandoned such autocratic thought of judgments. Enterprises of cultural
industries in Beijing, including those administering the curatorial tasks of 798
Avant-garde Art District, will keep abreast with Deng Xiaoping and Jiang Zemin’s
“Letting the partial civilians become wealthy first” rightist economic philosophies to
10
Ou Guangan (區廣安), The Fine Arts of Guangzhou 廣州美術 (Guangzhou: Guangzhou Artists
Association, 3rd Edition of 2010) {P.46 - Sinology helps enhance the spiritual characters of literati
paintings and calligraphies}

10. 10
efficiently foster art elites based on a new party concept called “Ten New Holistic
Capabilities” (新十全): “moral integrity”, “gifted talents”, “academic excellence”,
“knowledgeable qualities”, “courage”, “applicable contributions”, “forbearance”,
“strategic thinkings”, “flexibility” and “prudence”11
. Hu Jintao and Wen Jiabao further
accomplished the “Ten New Holistic Capabilities” by allowing Yue Minjun, Zhang
Xiaogang, Zeng Fanzhi and Cai Guoqiang to undergo the speculation strikes and
gigantic rewards of the global art-auction market for proving the success of China’s
experimentation that contemporary Chinese artists can reach the bidding level of
Damien Hirst’s “For the Love of God” diamond skull. During Hu Jintao’s administration,
the PRC regime thoroughly trusted Donald Tsang to continue with this HKADC mode
of art-talent management, including HKADC’s artist-award scheme, and connect the
acknowledgement ideal of this official unit with the planning tasks of M+ Pavilion’s
establishment at West Kowloon Cultural District. That’s why, some artists who have
obtained “Arts Development Awards” from HKADC can also be nominated by M+
Pavilion to participate in Venice Biennial Exhibition on behalf of contemporary Hong
Kong art.
The reformative version of contemporary Chinese culture is supposed as being
forbearing to the brand-promotion strategies and an emergence of individuality
because the Capitalism with Socialist features also enforces wholehearted
developers to catch up with keen competitions for adapting to the trend of
globalization. Just like Chen Fang (陳放)’s analysis, earning a graceful reputation is for
a celebrity or a renowned organization to showcase his/its good qualities, or for
those un-popular persons and units to emerge as popular. Chen also reminded that
the curatorship of earning a graceful reputation can associate with the matter of how
an individual person or an organization makes use of charitable events to
demonstrate social contributions as a way of propagandizing himself/itself.12
The
urban-sketchers from Civic Painting Society Camp and the leftards from social
movements are afraid of accumulating a bunch of exhibition records, award records,
art-tutorship experiences and community-art project experiences for enriching the
resume whenever competing for the “Arts Development Awards” of HKADC. They
think that the culture of artist-award scheme is much more like a game of insurance
promoters or banking-and-financial professionals to chase the quotas for salary
increase by supervisors whereas artists should put a prior emphasis on the beauty of
their works first because the HKADC adjudicators might easily neglect this concern
11
Gao Zhanxiang (高占祥), Theories of Cultural & Art Managements 文化藝術管理論 (Beijing:
Peking University Press, July 1994, 1st Edition) {P.156}
12
Chen Fang (陳放), The Methodology of Cultural Curatorship 文化策劃學 (Beijing: Current Issues
Publishing House 時事出版社, Jan 2000, 1st Edition) {P.56-57}

11. 11
due to the bureaucratic evaluation process.
BIBLOGRAPHY
 Shaw Tze (蕭滋), Publishing, Fine Arts, Life 出版．藝術．人生 (Hong Kong: Joint
Publishing Hong Kong Company Limited, Sep 2017, 1st Edition)
 Mou Zhongjian (牟鍾鑒), The Contemporary Spirits of Chinese Culture 中國文
化的當下精神 (Hong Kong: Chung Hwa Book Company, Mar 2017, 1st Edition)
 Tomio Koyama, The Commercial Opportunities from Contemporary Art (Japan:
ACII Media Works Incorporation, 2008, Original Edition; Taiwan: Business
Weekly Publications, a division of Cite Publishing Limited, 2010, Translated
Traditional-Chinese Edition)
 Imke Elliesen-Kliefoth, Bergauf beschleuni 何謂成功 — 藝術？名利？
(Zurich: Ammann Verlag, 2009, Original Edition; Beijing: SDX Joint Publishing
Company, 2011, Translated Simplified-Chinese Edition)
 Wang Sufeng (王素峰), Post-Modern Aesthetics and Living 後現代美學與生活
(Taipei: Taipei Fine Arts Museum, June ROC 85, 1st Edition)
 Anne Ring Petersen, Migration into art – Transcultural identities and art-making
in a globalized world (The United Kingdom: Manchester University Press, 2017,
1st Edition)
 Arthur Kroker and David Cook, The Postmodern Scene – Excremental Culture and
Hyper-Aesthetics (New York: St. Martin’s Press, 1988, 2nd Edition)
 Ou Guangan (區廣安), The Fine Arts of Guangzhou 廣州美術 (Guangzhou:
Guangzhou Artists Association, 3rd Edition of 2010)
 Gao Zhanxiang (高占祥), Theories of Cultural & Art Managements 文化藝術管
理論 (Beijing: Peking University Press, July 1994, 1st Edition)
 Chen Fang (陳放), The Methodology of Cultural Curatorship 文化策劃學
(Beijing: Current Issues Publishing House 時事出版社, Jan 2000, 1st Edition)