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Exposición, Ai Siente Un Dolor De Cabeza Persistente Tionamiento Central Del Proyecto De Ai: Forzar a Los Intelectuales

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Exposición, Ai Siente Un Dolor De Cabeza Persistente Tionamiento Central Del Proyecto De Ai: Forzar a Los Intelectuales S.A.G.R.A.D.O.—S.A.C.R.E.D. (Ritual), 2011–2013. Detalle—Detail. Cortesía de—Courtesy of Ai Weiwei Studio 2 S.A.G.R.A.D.O. (Cena)—S.A.C.R.E.D. (Supper), 2011–2013. Detalle—Detail. Cortesía de—Courtesy of Ai Weiwei Studio3 El Museo Universitario Arte Contemporáneo, MUAC, UNAM agradece el generoso apoyo de— The Museo Universitario Arte Contemporáneo, MUAC,UNAM, thank the generous support of: Publicado con motivo de la exposición Ai Weiwei. Restablecer memorias (13 de abril al 6 de octubre de 2019) MUAC, Museo Universitario Arte Contemporáneo. UNAM, Universidad Nacional Autónoma de México, Ciudad de México; (28 de noviembre del 2019 al 8 de marzo del 2020) MARCO, Museo de Arte Contemporáneo de Monterrey, Monterrey — Published on occasion of the exhibition Ai Weiwei. Resetting Memories (April 13 to October 6, 2019) MUAC, Museo Universitario Arte Contemporáneo. UNAM, Universidad Nacional Autónoma de México, Mexico City; (November 28, 2019 to March 8, 2020) MARCO, Museo de Arte Contemporáneo de Monterrey, Monterrey Textos—Texts María Luisa Aguilar Ai Weiwei Santiago Aguirre Espinosa Cui Cancan Restablecer memorias John Gibler Cuauhtémoc Medina · MUAC, IIE, UNAM Evan Osnos Resetting Memories Ai Weiwei Traducción—Translation Christopher Fraga, Ana Negri Daniel Saldaña Paris, Jaime Soler Dirección editorial—Editorial Direction Ekaterina Álvarez Romero · MUAC Coordinación editorial—Editorial Coordination Ana Xanic López, Vanessa López García · MUAC, Darryl Leung Corrección—Proofreading Ekaterina Álvarez Romero, Ana Xanic López, Vanessa López García · MUAC Christopher Fraga Ana Negri Jaime Soler Frost Transcripción—Transcription Joshua Neuhouser Diseño—Design Cristina Paoli · Periferia Asistente de formación—Layout Assistant Raquel Achar Cohen Primera edición—First edition 2019 D.R. © MUAC, Museo Universitario Arte Contemporáneo, UNAM Insurgentes Sur 3000, Centro Cultural Universitario, c.p. 04510, Ciudad de México D.R. © de los textos, sus autores—the authors for the texts D.R. © de la traducción, sus autores—the translators for the translations D.R. © de las imágenes, sus autores—the authors for the images Todos los derechos reservados. Esta publicación no puede ser fotocopiada ni reproducida total o parcialmente por ningún medio o método sin la autorización por escrito de los editores. — All rights reserved. This publication may not be photocopied nor reproduced in any medium or by any method, in whole or in part, without the written authorization of the editors. Impreso y hecho en México—Printed and made in Mexico MUAC · Museo Universitario Arte Contemporáneo, UNAM “Algo bello ya no está”. Sobre el quebranto de la memoria 10 “Something Beautiful Is Missing”: On the Decay of Memory 20 — Cuauhtémoc Medina El Salón ancestral de la familia Wang de Ai Weiwei 30 Ai Weiwei’s Wang Family Ancestral Hall 42 — Cui Cancan No es bello. Un artista se enfrenta al sistema 58 It’s Not Beautiful. An Artist Takes on the System 82 — Evan Osnos Cuando no hay oscuridad, no hay luz. Una conversación 104 When There’s No Darkness, There’s No Light. A Conversation 122 — Cuauhtémoc Medina Ai Weiwei Entrevistas para la película Ser 152 Interviews Related to the To Be Film La desaparición forzada de 43 estudiantes de Ayotzinapa 204 The Forced Disappearance of 43 Ayotzinapa Students 222 — John Gibler Ayotzinapa: defender la dignidad 238 Ayotzinapa: Defending Dignity 246 — María Luisa Aguilar Rodríguez Santiago Aguirre Espinosa Semblanza 257 Biographical sketch Catálogo 258 Catalog Créditos 260 Credits Urna de la dinastía Han con logo de Coca-Cola—Han Dynasty Urn with Coca-Cola8 Logo, 1993. Cortesía de—Courtesy of Ai Weiwei Studio Tenemos un dicho en China: el agua, si gotea por sufi- “Algo bello ya no está”. ciente tiempo, puede perforar una piedra. Debemos ver las cosas con esa perspectiva.1 Sobre el quebranto de El doble proyecto que Ai Weiwei presenta en México es suge- la memoria rente porque plantea una comparación no evidente, marcada por la asimetría en el tiempo y el espacio, e incluso en la diso- — nancia de medios. Aunque Ai Weiwei hace uso del habla popular Cuauhtémoc Medina como referente de realidades incompatibles, se ha propuesto explorar los traumas de las experiencias de China y México en un relato que apela a la obligación de construir la memoria social. Este proyecto une la inquietud que representa la destrucción del patrimonio cultural y nuestra relación con los ancestros; el trauma que significa el atentado contra el futuro, el cual supone la violencia contra los jóvenes. Esa complejidad refleja un pensa- miento que rechaza ser solamente un vehículo para la reiteración de lo ya conocido a fin de desafiar, en cada momento, las ideas que albergamos sobre lo que representa el legado de una época. Ai Weiwei retoma una obra que tiene una dimensión signifi- cativa, no sólo por el tamaño físico de la pieza, sino por el lugar en el recorrido de sus intervenciones como artista y activista en China. El Salón ancestral de la familia Wang (2015) es el mayor de los readymades con significado político que definen el tra- bajo de Ai Weiwei, y la obra más significativa en relación con sus intervenciones sobre artefactos históricos. Se trata de la estruc- tura ruinosa del templo familiar del clan Wang, proveniente de la dinastía Ming, cuya antigüedad es de 400 años. Como muchas otras construcciones, este templo vio su historia cercenada por la Revolución Comunista China. Desde que la reforma agraria de 1950 y la ofensiva maoísta contra las terratenientes despojaron a la familia Wang de su rol tradicional en el poblado de Xiaoqi, sus propiedades pasaron a fraccionarse y este templo acabó sin uso. Posteriormente, bajo la campaña de los “Cuatro Antiguos” que pretendió erradicar todo vestigio del pasado tradicional en la Revolución Cultural, el templo perdió sus accesorias laterales y fue dejado a la intemperie. Hacia 2010, al momento del despegue del nuevo capitalismo en el país, los restos del templo fueron adquiridos por un mercader de antigüedades, quien los llevó a su 1— Ai Weiwei, Weiwei-isms, Larry Warsh (ed.), Princeton y Oxford, Princeton Uni- versity Press, 2013, p. 4. [We have a saying in China: water, if it drips long enough, can penetrate a stone.] Fragmentos—Fragments, 2005. Cortesía de—Courtesy of Ai Weiwei Studio 11 bodega en Dongyang con el propósito de venderlos como mate- de picos de tetera antiguos de la dinastía Song (Sprouts, 2015), rial de decoración para restaurantes o comercios. En 2014, Ai el muro hecho de fragmentos de templos desmantelados (Kippe, Weiwei decidió adquirir la estructura entera, intervenir con color 2006) y las muchas vasijas neolíticas, datadas entre 5 000 y 3 000 las partes que habían sido restauradas posteriormente con tallas años antes de nuestra era, que Ai Weiwei sumerge rutinariamente de madera y exhibirla, atravesando dos galerías contiguas en en cubetas de pintura industrial (Colored vases, 2006). Más allá Bejing: la Galleria Continua y el Tang Contemporary Art Center, de compartir una serie de métodos, todas esas obras despliegan en una exposición que aludía tanto al destino de la cultura del país la preocupación que el artista tiene por la experiencia de ruptura bajo el régimen comunista, como también al estado de libertad de la sociedad china como una falla ética: “Al referir a la memoria restringida en que todavía vivía y trabajaba el artista en esa ciudad, y nuestra historia, yo pienso que nuestra humanidad, especial- luego de su cautiverio a manos del Estado chino en 2011. mente en China, está cortada. Cortada, rota, separada. Si reci- La irrupción de esta ruina arquitectónica en la sala de exhi- bimos una personalidad de parte de nuestra historia y memoria, bición, con su estructura original además de una variedad de esa personalidad está rota y despedazada”.3 elementos coloridos y reconstruidos, pertenece al catálogo de El templo familiar Wang funciona como vehículo de una ope- operaciones que el artista ha ejecutado para apropiarse, inter- ración ambivalente en la amplia diversidad de esas operaciones venir o destruir residuos y objetos históricos y arqueológicos, irónicas e iconoclastas, que al mismo tiempo son reverenciales y como un modo de transgresión de la materialidad y de la tem- dialógicas con el residuo material de la historia cultural. Además poralidad histórica de la cultura. Como Ai Weiwei ha declarado de monumentalizar el tiempo de un cautiverio incierto, esta ruina en una variedad de ocasiones, las relaciones entre lo “viejo y lo de medio milenio de antigüedad aparece a la vez como una res- nuevo” y lo “verdadero y lo falso” son uno de los temas centrales tauración parcial y un acto final de pillaje. de su trabajo,2 y forman parte de una investigación de la estética Por un lado, como apunta Cui Cancan, esta obra marca el del valor que define nuestra mirada sobre las obras de arte y los interés de Ai Weiwei por los sistemas estructurales y éticos tradi- objetos culturales. De hecho, Ai Weiwei debe mucho de su noto- cionales chinos que este tipo de construcciones simbolizaban, en riedad a la provocativa forma en que, desde mediados de los años relación íntima con la conducta de sus dueños.4 El artista busca noventa, tomó la capacidad transgresora de toda clase de cate- compartir con su público el asombro que le produce la virtud gorías que subyacen en la tradición del readymade para intervenir técnica de estos antiguos edificios y el aura que todavía portan artefactos que usualmente están conservados y protegidos bajo sus tallas, sin importar si son auténticas o falsificadas. Por otra el criterio
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