Artists, Artworks and Social Responsibility: Leehom Wang and Sakuliu

Some people say: Art is art, and the ethics of painters/singers does not affect our appreciation of their masterpieces. The social responsibility of artists has always been a subject of repeated debate.

Recently, in addition to the news about Leehom Wang, the aboriginal artist Sa Guliu has made a lot of noise in the art world. The Bavawalon sexual assault incident is also an example. Sakuliu, who has won the National Arts Award, was recently exposed to the news that he had repeatedly sexually assaulted and sexually harassed other women. As a result, the Taiwan Pavilion at the upcoming Venice Biennale, which was originally expected to exhibit his works, decided to postpone the exhibition for this reason.

 In other words, for the North American Museum, the artist's moral flaws will damage the appreciation and exhibition value of his artwork.

The Sakuliu and Leehom Wang incidents are different. What Wang Leehom lost was subsequent endorsement cooperation with other manufacturers. For manufacturers, what matters most is not Leehom Wang's works (songs), but his own influence and reputation. Therefore, when Leehom Wang's reputation is damaged, it will naturally directly affect his endorsement opportunities. Therefore, this does not seem to affect our appreciation and singing of Leehom Wang's songs, although the dedicated image of the singer conveyed in these songs has become a laughing stock. But it does not damage its musicality and the charm of the song itself (only for its fans).

As a hero of Aboriginal culture, Sakuliu, on the one hand, gained status in the art world because of his Aboriginal identity, and on the other hand, he used this to get involved in the conflict between tribal culture and mainstream culture. However, it was Sakuliu who actively spoke out on social issues through his art (behavior), which led to the ensuing contrast (not to mention sensitive issues involving sexual violence), which caused the image and reputation he established in society to collapse, and even It will affect his future exhibition at the Taiwan Pavilion of the Biennale (as a representative of Taiwanese society in the world), and it will harm his works. His artistic achievements cannot be cleanly separated from the author's own social image.

When art (performance) is used as a medium for artists/art critics to get involved in public issues, giving them the corresponding right to speak, they must face the attendant operational risks and social responsibilities. Otherwise, like this Sakuru incident, there will be countless extra-criminal cases, or a series of criminal records of other people in the art world, etc. The umbrella of art/academia, as part of the accomplice structure, will not be effective forever.

To put it simply, I can only blame myself for being notorious in the industry, causing everyone to attack me. In the Internet age, the operation and maintenance of image need to be more cautious.

※The original text is published on the Art History Notes FACEBOOK fan page of Shoin Street 5-chome.