哪里需要我们我们就在哪里出现——专访澳门基金会行政委员会主席吴志良

文本刊记者 张亚萌 何瑞涓 ZHANG Yameng HE Ruijuan

澳门艺术传承与发扬的重任，落在富有创意的人肩上

记者（以下简称“记”）：澳门基金会的艺术家推广计划和“澳门制作 本土情怀”——澳门基金会市民专场演出项目已经进行了多年，贵会设立这两个项目的初衷是什么？

吴志良（以下简称“吴”）：一个城市需要灵性。近30年来，澳门艺术创作积累了相当多的成果。上世纪80年代中期崛起的一批优秀艺术家，经过30多年的探索，如今已成为澳门艺坛的中坚力量，引领时风。这一群体人生历练丰富、艺术造诣日臻完善，所投射下的物化形象有着迷人的魅力。另一方面，近十年来，随着高等教育的普及，本地的美术创作逐渐走向专业化和多元化，新人辈出，又带来新的艺术思潮、新的创作技巧、新的视觉元素和新的欣赏方式。然而，由于缺乏系统的推介，澳门艺术家总体形象尚不够鲜明，其在城市文化艺术发展中的贡献也未受到足够的关注和颂扬。澳门基金会致力推动澳门本地文化艺术活动，为艺术家提升艺术素质创造交流平台，为此，我们推出“澳门艺术家推广计划”，邀请澳门资深及青年艺术家参与此项目，以艺术家造诣、作品质量等因素来考虑邀请对象，旨在为默默耕耘的澳门艺术家们塑造一组栩栩如生的群像。

“澳门制作 本土情怀”——澳门基金会市民专场演出的“澳门制作”是指本地、本地与外地团体联合举办的演出，坚持从市民中来、到市民中去，得到市民的支持和欣赏；“本土情怀”则要抒发澳门人的家国情怀，讴歌我们这个中西文化交汇城市的迷人风韵，歌颂中华文化的博大精深，并以此向世人展示我们高度的人文关怀，展示澳门引人入胜的人文风景线。

记：在您看来，这些项目对于澳门的文艺建设有哪些积极意义？

吴：澳门市民希望视觉艺术和舞台艺术的创作者和社团能够提供更高品质的公共文化产品。截至2017年底，“艺推”已经完成了71位艺术家的展览和推广，我们希望系统地为澳门艺术家举办展览、出版图录，整体建立澳门艺术家的群像；同时希望他们不断创作，在艺术创作上不断完善。“艺推”计划的实施，能够活跃澳门艺术创作气氛，检视目前的美术创作水平，深化艺术教育，塑造文化城市形象，张扬城市的文化性格，并在唤起广大市民对文化创意产业的重视与支持方面起到积极的作用。

“市民专场演出”的原意，便是基金会搭台、社团演戏，展现本土演艺团体的群体形象，放大社团活动在社区里的功能，彰显文化在市民生活中的地位，最终达到传承文化、延续文脉、凝聚人心、增强归属感的目的。每年“市民专场演出”的申请项目数以百计，但水平参差不齐，我们希望每年通过专业的评审，挑选出十余场演出给予更多的支持和更充分的资源，推动文艺项目走向专业化。“市民专场演出”除了支持、鼓励推动本地文艺团体制作更好更精彩的节目外，还提供更多演出机会让本地青年艺术表演者发挥所长，提升演艺水平；更为重要的是，促使他们深入社区，充分利用社区文化设施，走近市民，加强演艺团体与市民之间的互动，让市民欣赏高水准的本地艺术表演，提高市民对表演艺术的兴趣和欣赏水平，丰富社区文化生活，活跃社区文化氛围，塑造动感城市的形象。

在推动这两个项目的同时，我们也没有减少对其他没有纳入项目的艺术作品与演出的支持：我们每年支持的视觉艺术展览数量基本在“艺推”项目的十倍以上；每年还做8至10个艺术交流项目，把外地的艺术家邀请到澳门做展览，同时促使澳门艺术家走出去，比如与中国文联合作的、2016年在宁夏、2017年在湖南的交流项目。演出项目也是一样，促使更多的艺术家进行更多的演出，比如粤曲演出每年就有200多场，也邀请外地的艺术团体来澳门演出。

记：基金会的项目更多针对澳门本地的艺术家和艺术社团，有没有考虑更多地纳入内地或者国际上的一些艺术项目？

吴：目前这一类项目还不太多。具体原因是澳门具有竞争优势的项目并不多，专职的艺术家、文学家不多，大都是业余创作，因而交流呈现不对等的样态。澳门很小，我们能派出的团体不多，但想来澳门展览、表演的艺术家和团体很多，这是个客观存在的现象。但我们鼓励不同地域的艺术家和艺术团体之间的交流，比如我们与中国文联合作，每年联系一个省，做一次合作的展览，期待互相学习，达成更加充分地交流。10多年来，我们每年邀请中国京剧艺术基金会和中央芭蕾舞团来澳表演并走进校园，效果十分理想。

不参与受资助项目执行，只评估结果和效益的合作关系

记：澳门本地有超过8000个社团，澳门基金会以什么样的标准和原则选择合作的社团？

吴：大的标准有三个：首先看项目，看看这个项目的社会效益与意义如何；第二，规模比较大、历史比较悠久的社团自然比较容易入选，这就是看这个社团本身的项目执行能力；第三就是看具体项目预算的合理性。

记：有些社团连续几年都能够获得基金会的项目资助，有的社团可能还是头一次或者还未获得过资助，哪些类型的艺术团体更有利于入选？它们呈现出哪些特色？被基金会纳入推介的艺术家又要达到怎样的要求？

吴：很多小型社团在运行项目的时候会遇到很多困难——不仅是资金上的困难，在组织和执行能力方面也会明显力不从心。所以我们与社团合作时主要以项目为主导，就是希望澳门同类、同质社团之间有协作，因为澳门的社团中成员交叉现象非常普遍。我们也从众多的项目中择优选择；总体来说，得到支持的社团数量远远超过未得到支持的社团数量。到目前为止，基金会还是以团结凝聚艺术家为中心目标，专业的要求并没有摆在首位。这是我们一直在考虑的方向：未来将推动文艺社团走向专业化的发展方向。

记：您曾说，不希望基金会与社团的关系只是一个“施”与“受”的关系：不仅仅是基金会提供资金、社团负责做事，而是希望通过社团培养更多人才，希望社团活动使更多市民受惠。目前的资助模式具体是怎样的，有无摆脱施受关系？

吴：澳门基金会的主要工作方法和思路一直就是“拾遗补缺”——哪里需要我们，我们就在哪里出现。基金会与社团的关系是合作关系，也不会参与到受资助项目执行的过程中，我们只会最终评估它的结果和效益。但一些与我们合作关系密切或主动要求基金会提出意见的项目，我们乐意提供协助。

记：在您的观察中，澳门文艺社团的创作项目还有哪些提升的空间和方向？

吴：澳门基金会每年资助大约2500多个项目，其中有一些现象需要我们引起重视。第一，每个社团成立的初衷是什么？有社团成立时间久了，就把最初成立社团的初衷忘记了，开展的项目与社团宗旨不相符，比如一个书画家团体突然去开演唱会，唱粤曲的突然去办展览。这些年社团的发展开始出现一些无序的现象，我们没有权力干预，但它们对澳门社会的整体进步的促进作用不是很大。我们鼓励更多同类社团、不同社团能够协调合作、集中资源，提升项目的规模、水平、质量，为社会提供更多优质的公共产品。第二，项目的同质化现象较为明显，有些社团为了做项目而做项目，这是我们不希望看到的情况，因为基金会的钱是纳税人的钱，我们应该把这笔钱用得更有社会效益，使更多市民可以受惠。因此，我们鼓励社团多讲实效、少讲形式；鼓励小众剧目走向社区，提升社会居民的修养，活跃社会文化气氛；通过项目培养人才，不仅包括艺术创作人才，还包括策划和管理人才；同时培养观众，比如“澳门制作 本土情怀”——澳门基金会市民专场演出，就明确规定无论场地大小，都要保证七成的入座率，这是一个基本的要求。

形成更加广泛的爱国爱澳力量

记：基金会近年来与中国文联和内地各文艺家团体开展了丰富的合作与交流。在您看来，这样的交流呈现怎样的特色？对今后的合作与交流，您又有怎样的期许？

吴：澳门基金会在力所能及的领域里对艺术家、艺术团体的交流进行推动、组织和支持。推动和组织这两种方式是我们主动完成的，比如我们与中国文联合作的海峡两岸暨港澳地区艺术论坛、与文化部合作的“艺海流金”等项目成果丰硕；但更多的是艺术家和团体自发进行交流合作，我们提供资金支持这样的模式。中国文联聚集了中国各地包括港澳台地区的文艺界优秀人才，长期以来关注支持澳门文化艺术的发展；我们希望能与中国文联等单位，通过不同的交流形式，进行资源引导、填充空白领域，推动文艺向专业化和国际化方向发展。

澳门基金会参与主办的“水果FUN享日”启动仪式Launching Ceremony of Fruit FUN Enjoyment Day hosted by Macao Foundation

“艺匠显影”展览开幕式后，澳门艺术家合影Group photo of artists from Macao after opening ceremony of Image of Artists Exhibition

“艺推”计划中，澳门基金会行政委员会主席吴志良向艺术家颁发收藏证书WU Zhiliang, Chairman of Executive Committee of Macao Foundation presents complimentary collection certificate to artists in Macao Artists Promotion Program

“艺推”计划中，澳门基金会行政委员会主席吴志良向摄影家郭向新颁发作品收藏证书WU Zhiliang, Chairman of Executive Committee of Macao Foundation presents works collection certificate to photographer GUO Xiangxin in Macao Artists Promotion Program

记：2018年澳门基金会的“艺推”与市民专场演出项目已启动，今年这两个项目会有怎样的新面貌？

吴：在未来一两年，我们将在专业方面有所提升，评审委员会的项目评审将会更加严格，会对创作提出更多的要求、更为细化。

记：接下来，澳门基金会在文艺扶持方面的新目标是什么？

吴：我们希望通过不同类型的资助项目，促进文化艺术界的大团结、大和谐；这些年明显能够看到澳门的文化艺术在进步，专业水平不断提高；更加重要的是，年轻的文化艺术人才不断成长，队伍不断壮大，形成繁荣的局面。我们要在澳门推动爱国爱澳的教育，形成更加广泛的爱国爱澳的力量，当然更需要文化艺术界的大力协助。

Important task of inheritance and development of art in Macao falls on the shoulders of creative people.

Journalist (Hereinafter referred to as J): The MAPP and PMLS have been carried out for many years. What are your initial purposes of these two projects?

WU Zhiliang (Hereinafter referred to as WU): A city needs spirituality. In the past 30 years, Macao has accumulated considerable achievements in artistic creation. After nearly three decades of exploration, a group of outstanding artists emerged in the mid-1980s has now become the backbone of the art in Macao, leading the vogue. This group of people, with abundant life experience and improving artistic attainments, has fascinating charms through the materialized images. On the other hand, with the popularization of higher education in the past decade, local art creations have gradually become more specialized and pluralistic,with continuous emergence of newcomers, bringing brandnew artistic trends, creative techniques, visual elements and appreciation manner.However, due to the lack of systematic promotion, the overall image of Macao artists is not yet clear enough, and its contribution to the development of urban culture and the arts has not received enough attention and commendation. The Macao Foundation is dedicated to promoting Macao's local arts and cultural activities and creating a platform for artists to enhance their artistic qualities. To this end, we have launched the MAPP and invited senior and young artists from Macao to participate in the project. The consideration concerning invitation, based on the accomplishments of artists and the quality of their works,is committed to creating a vivid group of portraits for the quietly working Macao artists.

The Produced in Macao of PMLSrefers to performances of local organizations, and those of local and foreign groups,adhering to the essence of from the public and back to the public, receiving the public's support and appreciation;the Local Sentiment is to express the feelings of national identification of people in the city, praising the enchanting charms of our city gathering both the Chinese and Western cultures, the profound Chinese culturewhile showcase the world our high degree of humanistic concern and Macao's fascinating cultural landscape.

J: In your opinion, what is the positive significance of these projects for the cultural construction in Macao?

WU: The people of Macao hope that the creators and societies of visual arts and stage arts will provide public cultural products of higher quality. By the end of 2017, the MAPP has completed the exhibition and promotion of 71 artists. We hope to organize exhibitions for Macao artists,publish catalogs, and create a group portrait of Macao artists as a whole in a systematical manner, meanwhile, hoping that they will continue their creation with constant artistic improvement. The implementation of the MAPP will revitalize the atmosphere of artistic creation in Macao, examine the current level of art creation, deepen the arts education,shape the image of a cultural city, publicize the urban cultural character and play a positive role in arousing the public's attention and support to the cultural and creative industries.The original intention of PMLS is to display the group image of local performing arts troupes, amplify the functions of community activities and demonstrate the status of culture in the life of citizens via setting up the stage by the Foundation with community performance so as to eventually realize the target of inheritance of culture, continuation of context,union of people and enhancement of sense of belongings.Every year, there are hundreds of application projects for the PMLS, but of uneven levels. It is our hope that,through professional review and selection each year, more than ten performances will be selected with more support and resources to promote the art programs to further specialization. In addition to supporting and encouraging local arts and cultural troupes to produce better and more exciting programs, PMLS also provides more performing opportunities for local youth artists to take the lead in performing arts and enhancing their performing standards.More importantly, they are encouraged to get closer to the community and make full use of community cultural facilities with the purpose of approaching the public, enhancing the interaction between the performing arts groups and the public, enabling the public to enjoy a higher standard of local arts performances, raising their interest and appreciation for the performing arts, enrich theing cultural life of the community, creating an active community culture and building the image of a dynamic city.

While promoting these two projects, we also did not reduce the support for other works of art and performances not included in the project: the number of visual art exhibitions we support each year is basically over ten times that of the MAPP. We also conduct 8 to 10 art exchange programs each year by inviting foreign artists to make exhibitions in Macao and encouraging Macao artists to go out, for example, the cooperation with China Federation of Literary and Art Circles and the exchanging projects in Ningxia in 2016 and Hunan in 2017. It is the same for the performance projects, which encourage more artists to provide more performances. For example, more than 200 performances of Cantonese Opera are performed every year. Art groups from other places are also invited to perform in Macao.

J: As the foundation's projects are more directed at local artists and art associations in Macao, have you considered more art projects from the Mainland or other countries?

WU: There aren’t many projects of this type at present. The specific reason is that there are not many projects in Macao that have competitive advantages, but only a small number of full-time artists and writers, most of whom are amateurs.As a result, the exchanges have shown unequal status.There are not many groups that we can send out in Macao.However, there are many artists and organizations who want to come to Macao for exhibitions. This is an objective phenomenon. However, we encourage exchanges between artists and art organizations from different regions. For example, our cooperation with China's Federation of Literary and Art Circles, we contact a province every year and conduct a cooperative exhibition. We look forward to learning from each other and reaching more exchanges. For more than a decade, it has witnessed a very satisfactory result as we have invited the China Beijing Opera Arts Foundation and the National Ballet of China to come to Macao and perform in the campus each year.

No participation into the implementation of funded projects, only assess the results and eあectiveness of the partnership

J: There are more than 8000 local groups in Macao. What kind of standards and principles will the Macao Foundation choose to cooperate with?

WU: There are three major criteria: firstly, find out the social benefits and significance of this project; secondly, groups with relatively large scale and long history are naturally to be selected, in other words, its capacity of project execution is also important; thirdly, evaluate the rationality of the specific project budget.

J: Some groups have been able to obtain funding support from the Foundation for several years in a row. Some may have been funded for the first time or never. What types of arts groups are more likely to be selected? What are their characteristics? What are the requirements to be met by artists involved in the promotion by the Foundation?

WU: Many small groups encounter much difficulty when it comes to running projects - not only financially, but also obviously remains powerless to organize and implement.Therefore, when we work with art groups, it mainly focuses on project-led issues, we hope that there will be cooperation among similar and homogeneous groups in Macao because cross-cutting membership in Macao's groups is most common.

J: You once mentioned that you do not want the relationship between the Foundation and groups to be just "giving" and"accepting": it is not just for the Foundation to provide funds,and the groups to be responsible for implementation, but for training more talents through the group, hoping that the activities of the groups would benefit more citizens. What is the current funding model? is it getting out of the relationship abovementioned?

WU: Macao Foundation's main working methods and ideas have always been "make up for missing"--- we shall appear at any place in need of us. The relationship between the Foundation and groups is a partnership, which will not participate in the implementation of the funded projects. We will only evaluate its outcome and effectiveness. However,we are most willing to provide assistance to some of the projects that work closely with us or ask the Foundation to make suggestion.

J: In your observations, what are the room and orientation for the improvement in the creative projects of the Macao art groups?

WU: The Macao Foundation subsidizes about 2,500 projects each year, and some of these phenomena require our attention. Firstly, what is the original intention of each group? A society has been established for a long time, and the original intention of the establishment of the group has been forgotten, the project does not match the purpose of the group, for instance, a group of calligraphy and painting artists suddenly go to hold a concert, a group of Cantonese opera suddenly went to organize exhibitions. The development of these groups has begun to show some disorder in these years. We have no power to intervene. However, they do not contribute too much to the overall progress of Macao society. We encourage more similar groups and those of diversity to coordinate their efforts and concentrate their resources on enhancing the scale, level and quality of the projects so as to offer more high-quality public products to the community. Secondly, the homogenization of the project is more obvious.Some groups do projects just for the purpose of it. This is a situation that we do not want to see, because the fund of the Foundation is the taxpayer's money. We should spend the money with more social returns, so that more people can benefit from it. Therefore, we encourage groups to practice more effectively and focus less on formalities. In addition, we also encourage repertoire with minor reception to go to the community, enhance people’s self-cultivation and activate the social and cultural atmosphere. We should train qualified personnel through the project, including not only artistic creation talents, but also planning and management personnel. Meanwhile, nurturing audiences is also crucial, such as the PMLS,it clearly stipulates that 70% of the attendances should be guaranteed no matter the size of the venue. This is a basic requirement.

Form a more extensive power of patriotism of Macao and China

J: The Foundation has carried out abundant cooperation and exchanges with China Federation of Literary and Art Circles and various literary groups in the Mainland in recent years. In your opinion, what is the characteristic of such communication? What are your expectations for future cooperation and exchanges?

WU: The Macao Foundation promotes, organizes and supports the exchange of artists and arts groups in the best of its ability. The two means of promotion and organization are what we did on our own initiative. For example, some projects have gained rich achievement like the Cross-Strait Hong Kong and Macao Art Forum and the project of Splendid Art Platform under the cooperation with Ministry of Culture. But more projects are the spontaneous exchanges and cooperation between artists and groups and we only provide financial support for such a model. China Federation of Literary and Art Circles brings together outstanding talents in literary and art circles from all over China, including Hong Kong, Macao and Taiwan,and has long been concerned about supporting the development of Macao's culture and arts. We hope to promote resource orientation and fill in blank areas with China Federation of Literary and Art Circles and others through different forms of exchanges to accelerate the literature and art to develop to the professional and international direction.

J: The MAPP and PMLS of the Macao Foundation in 2018 have been launched. What are the new appearances of these two projects this year?

WU: In the next year or two, we will enhance our professionalism. The judging panel will have a more rigorous review of the project and make more detailed demands on the creation.

J: What is Macao Foundation’s next new target in literary support?

WU: We hope that, through various types of funded projects, we will promote greater unity and harmony among the arts and cultural communities. In these years, we can clearly see that Macao's culture and arts are improving and their professional standards are constantly growing. What is more important is that young talents of arts and culture have grown continuously, their ranks have grown with much formed prosperity. We must promote the education of patriotism for Macao and our country in the city so as to form a broader patriotic force. Of course, we do need more assistance from the arts and culture community.