2015年由“段君事件”引发了关于批评家与艺术家关系的讨论又重新开始,我以前用过“坐台批评”来描述中国批评家工作方法,而这次韩啸与段君冲突实质上是一起典型的“坐台批评公案”。但在批评界,对坐台体制不是每个批评家都持否定态度的,彭德就直接鼓吹坐台体制,并且为坐台批评立了很具体的游戏规则,如他说:韩啸同批评家的关系,更多地体现为雇佣和被雇佣的关 In 2015, the discussion on the relationship between critics and artists was triggered again by the “Duan Jun Incident.” I have used “criticism from Taiwan” to describe the working methods of Chinese critics. This time, Jun conflict is essentially a typical “sit on the bench to criticize the case ”. However, in the critical circles, not every critic of the system of giving aid to Taiwan has a negative attitude. Peng Teh directly advocated the system of empowerment and criticized Taiwan for establishing very specific rules of the game. For example, he said: Relationship, more reflected in the hiring and hired