Mathias Woo On Culture: The Quality and Quantity of Art Mathias Woo On Culture: The Quality and Quantity of Art Mathias Woo On Culture: The Quality and Quantity of Art

How do we define artistic quality in our hyper-connected world?  Before the dominance of social media, in the era of modern capitalism, the assessment of art’s “quality” and “quantity” followed a seemingly clearer structure. Academic institutions, with their scholars, theorists, and critics of art and history, took on the mantle of discerning “quality”. They provided in-depth analyses, contextualizing art within historical and theoretical frameworks to evaluate the value of individual works.  The market, meanwhile, focused on “quantity”, determining the commercial value and reach of artistic creations. This system, with its emphasis on scholarly rigour and historical perspective, characterized the pre-internet art world.

However, the advent of the internet has fundamentally reshaped these dynamics. How is artistic quality determined today? Increasingly, it seems to be a product of social media trends and the influence of investors of all kinds. Investors, through their market operations, can significantly influence the perceived value and ultimately the price of art, transforming artworks into prized possessions within exclusive collections. This power shift has profoundly altered the role and status of artists in contemporary society.

In today’s discourse, discussions about art frequently revolve around investment potential and monetary value. The recent frenzy surrounding NFTs exemplifies this trend. Buyers often lack any understanding of the artists or creators behind these digital assets, focusing solely on the potential for speculative profit and financial gain.

These technology-driven trends in the art world challenge traditional notions of authorship and the relationship between artist and artwork.  Traditional “auteur theory” no longer holds the same sway.  In Hong Kong, for example, the promotion of art sometimes appears to prioritize metrics like visitor attendance and investment returns over a more profound engagement with the artistic merit itself. There is a pressing need for a more comprehensive approach, one that moves beyond mere numbers and explores the diverse styles, unique characteristics, and artistic contributions of Hong Kong artists within the broader context of social and cultural development.

There’s a saying that “true art is timeless,” and while this holds a certain appeal, it’s undeniable that artistic tastes evolve with each era. The 1960s, 70s, and 80s each had distinct artistic flavours and styles. The 80s, for instance, witnessed the rise of postmodernism. However, in today’s digital age, dominated by smartphones and fleeting trends, it seems that styles are ephemeral, lasting mere days before being overshadowed by the next wave. This constant state of flux presents a unique challenge to the art world.

Furthermore, the influence of populism in some Western countries, coupled with the dominance of capital investment, has skewed the balance between quality and quantity in art. “Quantity” – measured by metrics like audience numbers and market value – often overshadows “quality”.”  There seems to be a lack of substantive criteria for in-depth evaluation on the social impact and psychological influence of art.  Ultimately, art impacts people, and its most profound effects lie in shaping values and influencing our psychological and spiritual well-being.

As the co-artistic Director cum Executive Director of Zuni Icosahedron, Mathias Woo leads a career as a scriptwriter, director, producer as well as curator. His works con-struct aesthetics in theatre through strong visual images and have toured in cities around the world such as Beijing, Nanjing, Shanghai, Hangzhou, Tokyo, Singapore, Taipei, Berlin, Brussels, Krakow, Milan. Woo’s theatre works explore subjects as wide range as literature, history, current political affairs, architecture, and religion.