In recent decades, quite a lot of new talents begin to emerge within the Taiwanese contemporary art scene, bringing diverse likes and forms to the genre and making public the vigor and aesthetic of 21st century Taiwan. On the other hand, the scale and development of art colleges are more and more mature and steady among higher educations. In terms of the global thinking which highlights soft power and local culture, numerous students decided not to take into consideration a job’s salary, but to devote into artistic creation so as to fulfill their dreams. These young artists who value humanities are still endeavoring to produce—after they have departed from today’s Taiwanese society where utilitarian leads the trend—and have strived to establish the new generation of art. However, in reality, their quality of life is considerably limited and confined, mainly because of the benefit-related manipulations by collectors and public organizations.

    During recent years, works by Chinese artists have constantly broken new records at international auctions, as a result of money-thirst brokers and collectors playing up the market just for the sake of extravagant profits. They completely abandoned the ethic of art collecting, which is followed by many investors who began to abundantly purchase works by Chinese artists. From that moment, the Chinese art market turns into a bench market, in which artists have become high potential stock. As a result, on the other side of the ocean, Taiwanese artists lost their room for creating. A growing new generation, about to make its first step, ends prematurely since its living expense has been thrown into stock speculation; being in a state where the market defies the structure of arts, those young artists face saturation once their work career starts. They have no other choice but to strife in a market that is incredibly narrowed and small. What’s worse, they are forced to compete with artists who work in the field earlier. Government departments can hardly deny the responsibility for such forbidding environment.

    After the government’s pro-Beijing policy reached cultural development, many state-run culture organizations are having more contacts with China. In the past few years, we can obviously see that there are more and more Chinese artists holding their exhibitions in Taiwan, however, the most worrying problem is that the government gives a great percentage of the limited resources to Chinese artists; this will definitely deprive the spaces for local artists. Especially for those internationally known Chinese artists, the treatments and resources they have is thousands times better than local artists, which is insanely disproportionate.

    Lately, the Economic Cooperation Framework Association (ECFA) has been actively driven by the government, and Taiwanese government claimed that the policy can raise the economic growth and competitiveness in the future, and stressed that this is a deep, right and urgent governmental plan, but how many problems and voices are left behind this bright policy? Inspired by such a disadvantaged art environment in Taiwan, “Post 98, China Contemporary Supreme-Medium-Artworks Exhibition” is an imagined tragic future to such a vicious art environment how many people's living right can be hurt by a straightforward policy which seems to benefit the nation? Government is not equal to people, and the stake vital interest-concern is unbalanced. If the government arranges the direction and policy of the cultural development based on the numbers and rates of the economic growth, the simulated situation in the exhibition might happen in similar ways in the future. At that time, this ridiculous play will become a prediction. A cold shiver runs down my spine.