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Truth to Power Ai Weiwei’S Public Discontent Is an Anomaly in the No-Politics World of Chinese Contemporary Art
sunday features SUNDAY, AUGUST 16, 2009 Truth to power Ai Weiwei’s public discontent is an anomaly in the no-politics world of Chinese contemporary art BY DAVID FRAZIER CONTRIBUTING REPORTER arlier this week, around 30 police officers concerns to relate to the human struggle in China.” seems to draw on the aesthetics of minimalism a lineage that ran from Dada to Pop Art and “A state wants to be a world-class power, at top burst into the Sichuan hotel room of one of “Why are you so concerned about society? and process art. But from a bird’s-eye view Conceptual Art. His personal ideas of bringing economic performance, but at the same time E China’s foremost contemporary artists, Ai That is always the question,” he asked rhetorically, — the sculpture is about 3m tall and 10m across together found objects, or readymades, and wants to maintain a non-democratic society and Weiwei (艾未未). They detained him there for about speaking as part of an eight-hour interview — one sees China’s outline. The work is at once Chinese antiques, however, had not yet come in every field it’s very corrupt.” half a day to prevent him from testifying in the trial marathon at the Tokyo opening of Ai Weiwei: an elemental testimony to the Chinese character, into its own. When his father took ill in 1993, he But he has also picked his battles wisely, of activist Tan Zuoren (譚作人), who was charged According to What. “And my answer is simple: a statement against the destruction of its cultural decided to return to China. -
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. -
Eventos De La Vida De Ai Weiwei E Historia China Contemporánea
Eventos de la vida de Ai Weiwei e historia china contemporánea Alcatraz 2013 2013 Ai Weiwei presenta S.A.C.R.E.D. en un evento colateral El 30 de noviembre de 2013, Ai Weiwei coloca un ramo de la 55ª Bienal de Venecia en la Iglesia de de flores frescas en la cesta de la bicicleta fuera de la Sant’Antonin en Castello, el 29 de mayo. Seis grandes entrada de su estudio. Jura continuar este acto hasta dioramas reproducen escenas de su vida diaria que su pasaporte y su derecho a viajar libremente sean mientras estuvo detenidos en 2011. Ai no puede asistir restaurados. a numerosas exposiciones durante el periodo de cinco Mao Zedong años en que tiene prohibido viajar al extranjero. Juegos Olímpicos Ai Weiwei 2011 2014 1966-1976 Mao Zedong pone en marcha la Gran Revolución Cultural Proletaria en mayo de 1966. El movimiento dura diez años, con el objetivo declarado de imponer el comunismo al eliminar los elementos capitalistas, tradicionales y culturales de la sociedad china. Durante la fase más radical (1966-1969), millones de 1956-1957 personas son acusadas posteriormente de participar Entre 1956 y 1957, el Partido Comunista de China en actividades “burguesas”, sufren humillaciones 2010 2010-2011 2014 alienta a sus ciudadanos a expresar sus opiniones y públicas, encarcelamientos, torturas, incautaciones Ai Weiwei presenta Sunflower Seeds, una instalación a El gobierno de Shanghái informa a Ai Weiwei en El 26 de abril de 2014, se inaugura la exposición “15 criticar abiertamente las políticas nacionales. Este de bienes y diversas formas de hostigamiento. -
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. -
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. -
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. -
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. -
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. -
Algunas Cuestiones En Torno a Las Traducciones Chinas De Juan Laurentino Ortiz
UC Merced TRANSMODERNITY: Journal of Peripheral Cultural Production of the Luso-Hispanic World Title Algunas cuestiones en torno a las traducciones chinas de Juan Laurentino Ortiz Permalink https://escholarship.org/uc/item/5qr8r4ns Journal TRANSMODERNITY: Journal of Peripheral Cultural Production of the Luso-Hispanic World, 9(3) ISSN 2154-1353 Author Petrecca, Miguel Ángel Publication Date 2020 DOI 10.5070/T493048191 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Algunas cuestiones en torno a las traducciones chinas de Juan Laurentino Ortiz ___________________________________________ MIGUEL ÁNGEL PETRECCA INALCO, PARÍS Resumen Las traducciones chinas de Juanele Ortiz (Juan Laurentino Ortiz), publicadas por primera vez en un número de Cuadernos de cultura de 1959, continúan generando hoy un cúmulo de preguntas en torno tanto a su estatuto como a las mediaciones implicadas en el proceso de traducción. ¿Se trata más bien de versiones que de traducciones? ¿Más bien de poemas que de versiones? En la recepción de estas traducciones en Argentina, se ha tendido a enfatizar su carácter de traducciones sin origen y su proximidad con las coordenadas estéticas de la obra de Juan L. Ortiz. Contra esa visión, tal vez válida como metáfora de un proceso, nuestro trabajo intenta ir en busca de ese origen, el que ubicamos en el texto chino al que corresponde la traducción y en las mediaciones que funcionan de puente entre ambos. A través del acercamiento a los textos y a los autores elegidos por Juanele, podemos recuperar la experiencia del viaje y, a la vez, esa experiencia del viaje explica no solo la elección de los autores, sino que también el proceso mismo de traducción—en algunos (nuestra hipótesis) corresponde a textos que son el producto mismo del viaje—. -
Ai Weiwei ൻ ൸ Roots ൽ
ൽ ൴ ඃ ൶ Ꭾ ൴ ൴ ൸൴ർඁᎯ൷ൽ൴൸൳൴ ai weiwei ൻ ൸ Roots ൽ ൻ൸ൽ൸൴ൽඁංᎭඁඁ൴ 155 10115 Ꭾ൴ൻ൸ൽ september 7 - october 19, 2019 T 49 30 28877277 F28877278 opening reception ං friday, september 6, 6 - 9 pm ൵ One tree another tree Each standing alone and erect The wind and air Tell their distance apart But beneath the cover of earth Their roots reach out And at depths that cannot be seen The roots of the trees intertwine Ai Qing, Trees, spring 1940 neugerriemschneider is pleased to present our third solo exhibition with Ai Weiwei, on view from September 7 to October 19, 2019. At the core of Roots are seven large-scale iron sculptures, each of which are casts from long- deceased roots of pequi trees (Caryocar coriaceum) native to Brazil. During the preparation of his comprehensive survey exhibition Raiz at the OCA Pavilion in São Paulo (2018), Ai Weiwei visited the rainforests of Bahia and came across monumentally sized roots and trunks, some of which are over a century old, of the endangered pequi tree. Along with a team of local and Chinese craftspeople, the artist fused these root fragments to form sculptural compositions. The resultant wooden sculptures were first shown in the OCA exhibition, with their molds then being transported to China to create iron castings. These hand-cast iron hybrids of nature and culture represent a society uprooted by industrialization and modernization, illustrating how environmental degradation can follow in the wake of progress. The poem Trees by Ai Weiwei’s father Ai Qing (1910-1996) served as inspiration for these at once abstract and figural sculptures.