Eventos De La Vida De Ai Weiwei E Historia China Contemporánea
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Ai Weiwei Courtyard, Staircase & 1
Ai Weiwei Courtyard, Staircase & 1 Do not remove from gallery Ai Weiwei Main Galleries: 19 September – 13 December 2015 Supported by Multimedia tour Main commentary Descriptive commentary 1 ‘Bed’ 1 4 5 6 7 8 Central 3 Hall 10 9 Way out Way in Wall 2 1 Vestibule Shop Staircase Courtyard You are in 1 1 2 Contents Page 4 Introduction to the exhibition Page 7 Introduction to this gallery Page 9 List of works Royal Academy Large Print is supported by GSK 3 Introduction to the exhibition Ai Weiwei is one of China’s most recognisable and contentious artists, as famous for his outspoken criticism of the government of his native country as for his art. His condemnation of state corruption and suppression of human rights and free speech has seen him beaten by government agents, hospitalised, imprisoned and denied the right to travel. Following his arrest and secret detention in 2011 Ai’s fame as a political dissident overshadowed his artistic practice. Yet Ai remained committed to his art and has produced a body of work that not only supports his political concerns but also gives free rein to his creativity and love of experimentation. 4 Born in Beijing in 1957, Ai Weiwei was an infant when his father, the poet Ai Qing, became a victim of the government’s suppression of free-thinking intellectuals and was sent with his family to a remote labour camp in northwest China for nearly twenty years. The family returned to Beijing after the death of Chairman Mao in 1976, an event that heralded a brief relaxation of state restriction. -
The Italian Approach to Libya
Études de l’Ifri "PLAYING WITH MOLECULES" The Italian Approach to Libya Aldo LIGA April 2018 Turkey/Middle East Program The Institut français des relations internationales (Ifri) is a research center and a forum for debate on major international political and economic issues. Headed by Thierry de Montbrial since its founding in 1979, Ifri is a non-governmental, non-profit organization. As an independent think tank, Ifri sets its own research agenda, publishing its findings regularly for a global audience. Taking an interdisciplinary approach, Ifri brings together political and economic decision-makers, researchers and internationally renowned experts to animate its debate and research activities. The opinions expressed in this text are the responsibility of the author alone. ISBN: 978-2-36567-861-2 © All rights reserved, Ifri, 2018 Cover: “A scratched map of Libya hanging on the walls inside a reception centre for unaccompanied and separated migrant and refugee minors in Western Sicily”. © Aldo Liga. How to quote this document: Aldo Liga, “‘Playing with Molecules’: The Italian Approach to Libya”, Études de l’Ifri, Ifri, April 2018. Ifri 27 rue de la Procession 75740 Paris Cedex 15 – FRANCE Tel.: +33 (0)1 40 61 60 00 – Fax: +33 (0)1 40 61 60 60 Email: [email protected] Website: Ifri.org Author Aldo Liga is a freelance analyst on Middle East and North Africa issues and energy. He works for a Swiss-NGO which implements assessment, monitoring & evaluation and organisational capacity-building programmes. He holds a MA in International Security from Sciences Po Paris and a BA in Political Science from the “Cesare Alfieri” School of Political Sciences of Florence. -
F Grass, 2014 Ai Weiwei (Beijing, China) Iron 13.5 X 13.5 X 0.3 M
F Grass, 2014 Ai Weiwei (Beijing, China) Iron 13.5 x 13.5 x 0.3 m WHO MADE THIS ART INSTALLATION? Ai Weiwei is a versatile artist, sculptor, designer, part-time architect and political activist who today lives and works out of Beijing. Over the past twenty years he has gained international attention and recognition for his diverse body of work, often addressing questions of culture, history, politics, tradition, in addition to issues such as freedom of expression, individual and human rights, and the power of digital communication both in China and around the world. Though his work is rooted in his Chinese experience, his art that transcends dualities between East and West. He was named one of the Top 100 People of 2011 in Time magazine and has exhibited worldwide. One of his best known architectural projects is the Bird’s Nest stadium for the 2008 Beijing Olympics for which he partnered with architects Herzog & de Meuron for the design. He later distanced himself from the project, having become critical of the spectacle of the Olympics and glossing over human rights injustices in China. When asked why he participated in the designing of the Bird's Nest in the first place, Ai replied "I did it because I love design.” Born in 1957 Ai Weiwei grew up during the Cultural Revolution in China. The Ai family was deeply impacted by the policies of General Mao Zedong who was then head of the state. His father Ai Qing was a renowned poet but was denounced during the Anti Rightist movement in 1958, and as a result the Ai family was sent to labour camp and ultimately exiled for 16 years. -
Beijing Spring Documents a Forgotten Struggle for Freedom in China
FOR IMMEDIATE RELEASE Beijing Spring Documents a Forgotten Struggle for Freedom in China Never-Before-Seen Footage Sheds Light on a Generation of Artists and Activists Who Set the Stage for Tiananmen Square First protest since the revolution. Photo courtesy Wang Rui (1979) (NEW YORK, NY – September 18, 2017) – AC Films is finalizing post-production on a new feature-length documentary, Beijing Spring. In 1978, two years after Mao Zedong’s death, a remarkable shift began in China. The new government under Deng Xiaoping, retreating from the violence of the Cultural Revolution, promised reform, and loosened restrictions on political and artistic speech. Deng experimented with free speech by allowing liberal ideas and avant-garde art to be posted along a wall in central Beijing, a space that became known as the Democracy Wall. In this moment of newfound freedom, artists and activists (including Wei Jingsheng and a young Ai Weiwei) dared to voice their ideas, until the government cracked down again, shutting the door on this brief moment of reform known as the Beijing Spring. Now, forty years later, Beijing Spring tells the story of the Democracy Wall, and the artists and activists who created it, as has never been possible before: with reams of never-before-seen 16mm footage, hidden from the Chinese authorities for decades. Beijing Spring marks the directorial debut of Andy Cohen, Executive Producer of artist Ai Weiwei’s Human Flow, which debuted at both the Venice Film Festival and Telluride this September (to be released by Amazon), and the Oscar short-listed films Hooligan Sparrow and Never Sorry. -
That's My Life Jacket!
Critical Arts South-North Cultural and Media Studies ISSN: 0256-0046 (Print) 1992-6049 (Online) Journal homepage: https://www.tandfonline.com/loi/rcrc20 “That’s My Life Jacket!” Speculative Documentary as a Counter Strategy to Documentary Taxidermy Thomas Bellinck & An van Dienderen To cite this article: Thomas Bellinck & An van Dienderen (2019): “That’s My Life Jacket!” Speculative Documentary as a Counter Strategy to Documentary Taxidermy, Critical Arts, DOI: 10.1080/02560046.2019.1627474 To link to this article: https://doi.org/10.1080/02560046.2019.1627474 Published online: 01 Aug 2019. Submit your article to this journal Article views: 185 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcrc20 CRITICAL ARTS https://doi.org/10.1080/02560046.2019.1627474 “That’s My Life Jacket!” Speculative Documentary as a Counter Strategy to Documentary Taxidermy Thomas Bellinck and An van Dienderen School of Arts, KASK & Conservatorium, Ghent, Belgium ABSTRACT KEYWORDS Despite the socially committed attitude many documentary artists Speculative documentary; take, documentaries often end up underpinning a large-scale practice-based research; Ai epistemological enterprise linked to global capitalism and Western Weiwei; documentary colonialism (H. Steyerl, “Documentary Uncertainty,” Re-visiones pioneers; cross-disciplinary research; taxidermic (2011) www.re-visiones.net). Ai Weiwei’s Human Flow (2017), an “ ” documentary; documentary award-winning documentary about the refugee crisis , provides theatre; documentary film; an insightful case study. The film’s well-intended activism visual economy becomes a mere trope that does not prompt any change. The formal strategies deployed do not address the power differentials between the filmmakers and their subjects, so that neither subjects nor viewers are left with any form of agency. -
Chinese Contemporary Art-7 Things You Should Know
Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York. -
Universidade Federal Da Bahia Crítica.Ba
UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO MARINA MONTENEGRO LOPES MACHADO CRÍTICA.BA: AGREGADOR DE CRÍTICAS BAIANAS DE CINEMA Salvador 2018 MARINA MONTENEGRO LOPES MACHADO CRÍTICA.BA: AGREGADOR DE CRÍTICAS BAIANAS DE CINEMA Memorial descritivo apresentado como requisito parcial para obtenção de grau de bacharel do curso de Comunicação Social com habilitação em Jornalismo da Faculdade de Comunicação, Universidade Federal da Bahia. Orientador: Prof. Dr. Guilherme Maia Salvador 2018 2 RESUMO Crítica.Ba (www.critica-ba.com) é um agregador de críticas cinematográficas baianas. Livre e gratuita, a plataforma online visa reunir críticas de filmes escritas por críticos baianos, funcionando como um espaço que guia o público para os trabalhos desses profissionais. No site, o público pode encontrar também perfis dos críticos que atuam no cenário baiano, além de notícias sobre as realizações desses profissionais. O objetivo do projeto é valorizar e fortalecer a crítica produzida na Bahia, além de divulgar o trabalho dos críticos baianos e possibilitar um espaço de discussão entre críticos e público. Palavras-chave: crítica cinematográfica, cinema, crítico, jornalismo cultural, plataforma, agregador, site, Bahia. 3 SUMÁRIO APRESENTAÇÃO 5 1. FUNDAMENTAÇÃO TEÓRICA 8 1.1 A Crítica Cinematográfica na Web 8 1.1.1 Cibercinefilia 11 1.1.2 A relação do público com a crítica na internet 15 1.1.3 Agregadores de críticas 19 2. O PROJETO 33 2.1 Mapeamento e Critérios 35 2.2 Características da Plataforma 38 3. O PERCURSO 42 4. CONSIDERAÇÕES FINAIS 47 5. REFERÊNCIAS 49 6. APÊNDICES 52 4 APRESENTAÇÃO O presente trabalho apresenta a memória do desenvolvimento da plataforma digital Crítica.Ba (www.critica-ba.com) – um agregador de críticas cinematográficas produzidas por críticos baianos. -
Understanding Ai Weiwei As an Entrepreneurial Parrhesiastes
Work in progress. Please don’t circulate or quote. Enterprise, Entrepreneurship and Ethics - understanding Ai Weiwei as an entrepreneurial parrhesiastes Daniel Hjorth and Robin Holt Enterprise Encomiums to enterprise have never been more fulsome and frequent than present; the baleful economic effects of financial crisis will be countered by the rise of new ventures, energetic, virtuous even. In the UK Prime Minister David Cameron has been especially enthusiastic. In his 2011 Conservative Party speech he was asserting “At its beating heart this is still a party of start-ups, go-getters, risk-takers”, going on to argue that, with the public purse empty, the only strategy for recovery were policies that release the ingenuity and persistence of the small firm sector, allowing entrepreneurs to “roll up their sleeves” and help restore economic fortunes. The speech is interesting because, throughout, Cameron finds "enterprise is not just about markets, it’s about morals too”. The financial crisis revealed a profound slackening in the association of economic and social good, and any recovery must acknowledge this; creating environments in which smaller businesses can start, invest, innovate and grow stimulates a rebalancing of an economy weaned on complex debt and avaricious short-term investment cycles. Small is beautiful once more. Our paper investigates this renewed association of enterprise, entrepreneurship and ethics. On the surface come obvious objections to the association of enterprise and economic and social recovery. Was it not precisely enterprise and risk-taking that initiated the crisis? Yet as with Cameron’s agenda, Kenny and Scriver (2012) note how Eire, a country scoured by its almost hubristic enthusiasm for structured finance, is also invoking an enterprise agenda to effect almost saviour-like recovery; with politicians promoting the country as a place where ‘innovation comes naturally”, where entrepreneurial capacity to absorb and relish ambiguity and complexity, to be curious and create connexions, is touted as part of the nation’s zeitgeist. -
Artist Statement Wednesday 19.02.2020 Thursday 20.02.2020 Friday 21.02.2020 Saturday 22.02.2020 Sunday 23.02.2020 Monday 24.02.2
WEDNESDAY 19.02.2020 FRIDAY 21.02.2020 SUNDAY 23.02.2020 MONDAY 24.02.2020 Saal 1 Saal 1 Saal 1 Saal 1 14:00 D Fairytale [2007, 166min] 12:00 D The Rest [2019, 78min] 14:15 D Little Girl’s Cheeks [2008, 78min] 16:30 D Calico Cat [2010, 68min] 17:15 D Disturbing the Peace [2009, 77min] 13:45 D Little Girl’s Cheeks [2008, 78min] 16:00 D Human Flow [2017, 140min] 18:00 D Little Girl’s Cheeks [2008, 78min] 18:45 D So Sorry [2011, 54min] 15:30 D Disturbing the Peace [2009, 77min] 18:45 D One Recluse [2010, 184min] 19:45 D Disturbing the Peace [2009, 77min] 20:00 D The Rest [2019, Berlin Premiere, 78min] 17:15 D Stay Home [2013, 77min] 22:15 D Disturbing the Peace [2009, 77min] 21:30 D Peaceful Land [2011, 102min] 21:45 D One Recluse [2010, 184min] S Ximei Getting Married [2015, 26 min] 19:15 D Fairytale [2007, 166min] Saal 2 Saal 2 Saal 2 22:30 D Human Flow [2017, 140min] 14:30 D Calico Cat [2010, 68min] 13:15 D Human Flow [2017, 140min] 14:00 D Ordos 100 [2011, 60min] 18:30 D Play of the Play [2014, 60min] 16:00 D The Mala Desert [2012, 61min] 15:15 D Peaceful Land [2011, 102min] Saal 2 19:45 D Peaceful Land [2011, 102min] 17:15 D You Know What I Mean [2014, 75min] 17:15 D Ai Weiwei’s Appeal ¥15,220,910.50 11:00 D The Mala Desert [2012, 61min] 21:45 O Ai Weiwei: Yours Truly [2019, 76min] 18:45 D The Rest [2019, 78min] [2014, 127min] 12:15 D Play of the Play [2014, 60min] 20:30 D Ordos 100 [2011, 60min] 19:45 D Stay Home [2013, 77min] 13:30 D You Know What I Mean [2014, 75min] Saal 3 21:45 D Ai Weiwei’s Appeal ¥15,220,910.50 S Ximei Getting -
April 13 – July 2, 2017
Viewer’s Guide Ai Weiwei, Dropping a Han Dynasty Urn , 1995 APRIL 13 – JULY 2, 2017 This guide serves as a viewer’s supplement to the exhibition#AiWeiwei and contains information about the works on view, questions for looking and discussion, and suggested readings. You may download this guide from the museum’s website at mocp.org/education/resources-for-educators.php. To schedule a free docent-led tour, please complete the form here. mocp.org/education/tours-and-print-viewings.php. The MoCP is generously supported by Columbia College Chicago, the MoCP Advisory Board, Museum Council, individuals, and private and corporate foundations. The 2016–2017 season is sponsored by the Efroymson Family Fund and the Illinois Arts Council Agency. Viewer’s Guide Contents Introduction 1 Series Text 2 Timeline 9 Questions for Looking and Discussion 11 Extended Resources 13 Illumination, 2009 Introduction Known as one of the world’s most provocative artists, Ai Weiwei (Chinese, b. 1957) creates work that boldly confronts contemporary sociopolitical issues, both in China and abroad. Prolific in practice, Ai has for over thirty years blurred the boundaries between art and politics, often at great personal risk. As an outspoken human rights activist, writer, and curator, Ai crosses multiple disciplines in his practice, working in sculpture, public works, film, music, poetry, photography, and social media. Designed by the artist specifically for the Museum of Contemporary Photography, #AiWeiwei pairs Ai’s early diaristic photographs from the 1980s and ’90s in New York City and Beijing with his recent social media–based installations, work that he refers to as “photo activism.” Ai’s fame drives over half a million followers to his Twitter and Instagram pages. -
CR14-Aiweiwei.Pdf
The Cairo Review Interview Through a Hole in the Wall Ai Weiwei speaks out on change in China, the promise of art, and the beauty of globalization Though confined to China, Ai Weiwei manages to traverse the globe like no other artist. In a satirical protest against authority in June, he Instagrammed a picture of himself holding up a leg to resemble a gun; social media around the planet exploded in a torrent of leg-gun selfies snapped in solidarity. Ai’s work spans everything from sculpture and photography to installations and archi- tecture; he was the artistic consultant on the design for the “bird’s nest” beijing national Stadium for the 2008 Olympic Games. his art is relentlessly political, whether critiquing China’s democracy and human rights deficits or questioning the human condition. In the 2007 installation Fairytale, Ai brought 1,001 ordinary Chinese to documenta 12 in kassel, Germany, and had them sit on stools. For a show at London’s Tate Modern, Ai created 100 million hand-painted porcelain sunflower seeds and poured them into the exhibition space. Ai documented the names of some five thousand children who died in the Sichuan earth- quake in 2008 as the result of shoddy school construction; in 2011, he was arrested on tax evasion charges in a case seen as a move to silence the critic. Though released after months in prison, authorities fined him $2.4 million and barred him from foreign travel. Ai is unknown in China outside elite circles; mention of his name is banned from media and websites. -
Le Cas D'ai Weiwei Par Catherine Déry Département D'histoi
Université de Montréal Art, Internet et dissidence en Chine : le cas d’Ai Weiwei Par Catherine Déry Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des arts et des sciences en vue de l’obtention du grade de Maître ès arts (M.A.) en histoire Août, 2018 © Catherine Déry, 2018 Résumé Ce mémoire porte sur la vie d’Ai Weiwei. Souvent représenté comme l’un des dissidents chinois les plus populaires au monde, Ai Weiwei est dépeint par les médias et les gouvernements occidentaux comme un brave opposant au Parti communiste chinois qui ose défendre les valeurs des systèmes démocratiques. De son côté, le régime de Chine va plutôt le présenter comme un élément perturbateur qui a perdu son identité chinoise. Au travers de ces représentations divergentes, on s’est demandé qui est réellement Ai Weiwei? Plus exactement, est-il véritablement un dissident ? Qu’elles valeurs défend-il et pourquoi ? Qu’elles autres aspects de sa personnalité peuvent mériter notre attention afin de mieux saisir le personnage dans sa globalité? Afin de répondre à ces questions, ce mémoire s’est proposé d’orienter l’analyse autour des aspects de l’art, d’Internet et de la dissidence en Chine. Ces trois éléments sont intimement liés au parcours d’Ai Weiwei et ils offrent les outils nécessaires à la compréhension de notre sujet d’étude. Ultimement, nous avançons l’hypothèse qu’Ai Weiwei n’est pas le personnage que les gouvernements et les médias du globe nous décrivent. L’analyse révèle qu’il ne défend pas des valeurs exclusivement occidentales et qu’il n’a pas perdu son identité chinoise.