Artikel getaggt mit ‘Ai Weiwei’
Video at The New Yorker
http://www.newyorker.com/online/blogs/evanosnos/2010/05/ai-weiwei-video.html
This video shows shortly the return to China in April, when Ai Weiwei officially complained about the Chengdu incident.
Does someone know which software would download videos which are not youtube?
Alison Klayman’s video on Ai Weiwei’s NY photographs
“This 20-minute video includes interviews with Ai Weiwei and behind the scenes footage of the show. The video ran with the exhibition in Beijing from January-April 2009.”
A nice video with great scenes and cuts.
Zitat
Am 4.Mai schrieb Ai Weiwei um 3:58 auf Twitter:
“Verglichen mit dem derzeitigen politischen System ist so ziemlich alles, was sich bisher in der Geschichte der Menschheit ereignet hat trivial.”
Mermaid Exchange
Quote:
As part of the “Mermaid Exchange” Ai Weiwei’s work “Remote” utilizes modern surveillance technique and the WWW to recreate the image of the missing icon on a LED-screen erected in the little Mermaids’ original position in Langelinie/Denmark.
The video transmission is non-stop and in realtime for the full duration of this exhibition. The camera image can be seen at: www.mermaidexchange.com
Marble Arm
When looking at this piece many questions open up. What did change since the photo series “study of perspectives”? Is the marble arm still offering a study of perspective? And whose perspective? Is it the visitor entering the anonymuous head and creating his or her own expression, and chosing the direction by him or herself?
One piece, three titles, three dates
Looks like this piece changes its name every few years. Some refer to it as “Hanging Man”, others as “Rose Selavy” and the latest title was given in the exhibition catalogue of “So Sorry!”, which is “Profile Duchamp”. I worked with the latest title, because during the years many things can get mixed up. There is actually a lot of false or superficial researched information in news articles on Ai Weiwei, but to find out, you have to read a lot.
And dates? Wow! It is even more confusing than titles. The above mentioned piece is a very good example for this problem as well, you will find 1983, 1985 and 1988. Since 1985 is the one mostly used, I guess it is correct. “Profile Duchamp” was first exhibited in 1988 at Ethan Cohen Fine Arts, this could be a reason for the last dating. 1983 must be a typing mistake.
Does anyone know more about the different titles, or does someone know where to get similar works of his?
Profile Marcel Duchamp, Ai Weiwei 1985
A book of importance
While reading the mass of interviews Ai Weiwei has given I found a very good hint on his basics. Besides exhibitions Ai Weiwei also consumed literature on Duchamp. He got Marcel Duchamp: Salt Seller, The Writings of Marcel Duchamp from the library and never gave it back, because he loved the book so much.
JOCKS Heinz-Norbert, Ai Weiwei: Was heißt Leben? IN Kunstforum International: Künstler in Peking, Band 194, November-Dezember 2008, S.228-239
Zitat zur Kunst
„Kunst führt uns zu einer neuen Erfahrung. In dem wir so eine neue Erfahrung durch
machen, entwickeln wir die Fähigkeit, die Wirklichkeit auf eine neue Weise wahrzunehmen
und in eine neue Beziehung zu ihr zu treten. Gleichzeitig interpretieren wir damit
die intellektuelle Position des Menschen neu. Das müssen nicht nur Skulpturen und
Gemälde sein, das kann eine Geste, ein Ton, eine Linie sein, so lange sie uns nur von
der Wirklichkeit befreien und auf eine andere Stufe führen. Diese neue Kunst schlägt
andere Möglichkeiten vor.“[1]
[1] MAURUSCHAT Ania, Ai Weiwei so sorry: Der chinesische Konzeptkünstler und Regimekritiker in München, Manuskript zur Sendung auf BR – Bayern2, Sendedatum 08.10.2009, zu finden unter der URL: http://www.br-online.de/content/cms/Universalseite/2008/12/04/cumulus/BR-online-Publikation-ab-05-2009–160343-20091009134129.pdf , S.9.
Shoes
Ai Weiwei’s works with shoes started in the early 80ies. On Artzine China I found this photo of a “pair” of shoes sewed into each other, entitled “One-Man-Shoe” from 1987. It is said, that this idea was related to his experience as a boy living in the countryside of Xinjiang, where his father Ai Qing had to live with his family due to his banishment. The family was so poor, that the young Ai had no pair of shoes.
found at Art Zine China
http://www.artzinechina.com/
It is ironic of course to finally have shoes, which one cannot wear with both feet. The directions of the shoes are opposing, which would make a straight or decisive walk impossible.
The Galerie Urs Meile provides another piece dealing with shoes dating back to 1986. Here the back part of the shoe is cut as well, glued to a red book. Without wanting to speculate too much I would like to mention two associations that came up when looking at this. One is that the red colour of the book refers to China in a strong way, the other is, that the shoe is stucked to the red book, so the direction of walking is not freely definable anymore. It is depending on the book.
found at Real Time Arts
http://www.realtimearts.net/
