The link between tokenisation and the Artist's ego is quite complex. Tokenisation, which involves the shallow inclusion of Artist to appear "diverse", plays directly into a sense of self-validation. Being tokenised can feel validating and appealing to an Artist's ego, especially in a context where visibility and recognition define success.

Artist may see their inclusion in specific spaces as a sign of exposure for their unique voice. However, when tokenisation inflates their egos, it risks leading to vanity and superficial inclusion rather than encouraging genuine representation and the organic flow of their expression. This can create a loop where the Artist is rewarded for working toward the expectations of the dominant art culture, feeding the Cycle of Tokenisation.

The Melbourne art market/art fair and other institutions often shower with tokens—it aligns with their branding and political optics rather than a genuine commitment to diversity. Under such conditions, the Artist carried into these Herding Calls, finding their work cherished because it supplies a curated image of "diversity" these Hidden Shepherds want to project. Such dynamics feed the Artist's ego by creating a sense of importance or uniqueness tied to their fetishised identity rather than the organic flow of their practice. 

Over time, artists achieve recognition by aligning their work with what the market considers fashionable or valuable. To this end, tokenisation can adopt the Artist's identity and turn it into a commodity. Such a commodity can helm a battle between the ego's desire for recognition and the reality of being seen through the tiniest lens.

This desire might push the Artist to perform toward expectations, believing that visibility is better than negligence and failure. Primarily, the reality exists in spaces where the blessing of white-dominated or Zio-funded Gatekeepers defines success. Tokenisation creates a Misconception of Agency by making Artist believe their inclusion is a sign of progress! The art institutions involved might offer superficial autonomy, such as curating a show centred on, for instance: Migrants, Queer Experiences with some fashionable Oriental-Symbols; ultimately, it's the white authorities controlling and not the P.O.C.  The false sense of agency they give Artists makes them feel like active participants in the art world when, in reality, such inclusion is carefully orchestrated.

Contemporary Artist prioritise criticism, discussion, and exploration of new creative modes for indirect criticism, especially in dawning the blood money topic.

Kia Zand-22.Oct.2024