CCAA | Chinese Contemporary Art Award

With the birth of the CCAA, apart from giving artists a platform, it gave Chinese artists an insight into the standards of presenting their works to any foreign entity, specifically to an international audience. From presentation down to the application by post.

As Anna Liu in the interview said that the people's reaction to the CCAA was that it was quite a mystery. With the lack of media and communication & of course lack of interest in the Chinese government & the various other complications, I think that the very “lack” of a written mission/vision allowed the CCAA to adapt itself to the changing conditions without having to amend its mission/vision every time.

It's actually kind of sad that most artists in China require an international/ foreign entity to justify their value & existence in the international world because China simply couldn't and wouldn't make the effort to do so.
The saddest part is China just doesn't want Mr. Sigg's collection. Hong Kong's accidental receiving of the collection is of course a blessing in disguise because this collection will bring about many exciting things to come and bring about traffic in the Hong Kong art scene.

I would like to bring the two questions back from before.
Do we prefer an awarding platform that gives opportunities on a massive level to search for an army of new "unknown artists"(excellency & to understand artists of China)? or Does the world need another fancy award that is only exclusively for the elite and well-known/ well to do mature artists- thus excluding up and coming immersing young talent?

In order to create a solution to the problem of reaching artists due to limited media & lack of awareness, the award has resorted to the nomination system. By doing so, this has created another form of restriction to the artist applicants that depend their lives on this golden opportunity, therefore causing the mass public in misunderstanding the sudden change by misinterpreting this change as "substituting real talent" for "recognition based merely on connections and dumb luck" (famous artists get more well-known, whereas unknown talent stand in line with no avail.)
As mentioned previously, with the modernization in China and the fast developments of the media and communication, the award can consider resorting back to their original intent of open applications to continue their search of the "true unknown artist" as opposed to merely nominating and segregating other artists.
Lastly, the decision to open up the award to all nationalities still strikes me as quite odd. but this should be left for conversation on a later day.