By Tish Wells
McClatchy News Service
WASHINGTON -- For Chinese artist and activist Ai Weiwei, the line between his public and his private life is thin. This is made abundantly clear in a 90-minute documentary, Ai Weiwei: Never Sorry.When filmmaker Alison Klayman graduated from Brown University in 2006, she knew she wanted to be a journalist or a foreign correspondent. Her only experience, however, was an internship at National Public Radio’s All Things Considered and some other radio work. So she went to China, bought a camera and began filming Ai at his home, a walled courtyard with 40 cats and dogs, and at his studio, where fellow artists help him create his masterpieces.The result is a documentary that shows clearly why Ai has become such a thorn for the Chinese government.“Who knew that a movie about an artist was going to have so many lawyers in it?” said Klayman. “And activists and filmmakers.”Ai has become an international superstar known for his art, but it is his activism that fuels his fame. He was invited by the Chinese government to help design the 2008 BeijingOlympics Bird’s Nest Stadium. But then he rejected doing any publicity on China’s behalf shortly before the Games.
He is known for his provocative performance art, including dropping 1,000-year-old clay pots to smash into pieces on the floor. But it is the photographs showing him giving the middle-finger salute to Tiananmen Square that directly challenge China’s government.
His preoccupation with the 2008 Sichuan earthquake, which killed 70,000 people, is another constant source of tension with the government. Struck by online videos of the dead, particularly the thousands of children who died in collapsed schools, he started a “citizen’s investigation” to get the names of all the children whose dust-covered knapsacks he’d seen discarded in the rubble of the substandard concrete buildings. He sought out volunteers on Twitter, who descended on the stricken area and came away with lists of the dead, including their ages, birthdates and schools. One year later, he published all 5,121 names on his blog, and the lists, on paper, are a regular backdrop to scenes shot in his studio.
He revisited the theme again in a 2009 exhibit in Munich called Remembering, where he built a wall of knapsacks whose different colors spelled out a Chinese phrase sent to him by the mother of one of the victims — “She lived happily on this Earth for 7 years.” A year later, he asked people to record themselves reading a name and send the file to him on Twitter. He published the audios again on the anniversary.
After the 2009 list was made public, the government shut down his blog.
He has turned to Twitter as his major means of communications. “I’m mostly interested in communication. I couldn’t think of a world without good communication,” Ai says at one point in the documentary. “In the past two years I did about 10 to 15 documentaries. I put all those on Internet so that young people can see ‘this clown, and what he’s doing.’”
In 2011, Ai was arrested and disappeared for 81 days. Returning to his compound, he said he couldn’t speak of what had happened under the terms of his probation. This didn’t stop him from returning to Twitter shortly after. The Chinese government levied a fine of $1.85 million on him for unpaid tax and fines. After he posted this on Twitter, citizens drove to his compound and donated yuan.
Klayman sees Ai as more cautious now, partly because of his young son, Ai Lao, born to a girlfriend outside of his marriage, a circumstance he talks about openly, if somewhat embarrassedly, in the film. He doesn’t want the son to end up as a leverage point between him and Chinese government. One question weighs over Ai, who lived for 16 years in the New York, one of the first Chinese allowed to study abroad when China began its opening to the West: Could he be forced into exile? Recently Chen Guangchen, a blind civil rights lawyer who escaped house arrest by fleeing to the U.S. Embassy in Beijing and then, ultimately, by flying with his family for a fellowship at New York University.
Klayman says she thinks that would not be Ai’s choice. “I don’t think he wants to be a citizen of anywhere but China, to be honest,” she said. “I do still think that that’s true, but what options the authorities present to him may result in some other choice having to be made. But I think . . . if he had his choice, absolutely he wants to stay in China to do the work there, to be relevant there.”
via miamiherald.com
Zurich's lively contemporary art scene has taken to the streets this summer in "Art and the City," an international exhibition that includes a number of today's most collectible artists.
The event (until Sept. 23) was initiated by the city's government, which worked with galleries and other art institutions to bring pieces by more than 40 artists from around the world into Zurich's public spaces, including sculptures, installations, posters and performances. Works span the abstract, figurative and conceptual, reflecting the wide diversity of contemporary art today.
Zurich has a high number of top-quality galleries dealing in contemporary art that make the city an interesting stop for international collectors.
With this summer show, says Zurich Mayor Corine Mauch in the catalog's introduction, people can wander "through a city which is evolving, growing and continuously expanding its horizons through art."
Two white marble armchairs comprising "Sofa in White" (2011) by Chinese artist Ai Weiwei stand on the square outside the headquarters of Credit Suisse, inviting passersby to take a seat. The works play on the theme of globalization, reproducing one of China's most popular sofas in the heart of the financial district.
A five-minute tram ride away, on the site of a weekly farmers' market, Indian artist Subodh Gupta deals with the topic of the sustainability and flow of commodities in a more than 5-meter-tall metal bucket that recreates in giant size the vessels commonly used to carry water in his country's villages. This is one of my favorite pieces in the show.
The gentrifying quarter of the city known as Zurich West will host most of the show's works. Formerly an industrial area, this district has turned trendy, with emerging high-rise buildings, cultural institutions, galleries and restaurants.
On the wall of one tall building, which houses the headquarters of the Migros retail chain, British artist Martin Creed has installed one of his popular neon pieces with the slogan, "Every thing is going to be alright."
Beneath a railway bridge, Swiss artist Franziska Furter's "Mojo" (2012), a colorful concoction of magic amulets, hangs like a chandelier, moving and tinkling with the wind. "Kids love it," says Etienne Lullin, her art dealer.
At a busy traffic intersection, Cuban duo Marco Castillo and Dagoberto Rodriguez (known as Los Carpinteros) have placed "Catedrales" (2012), five red-brick monoliths embodying attachments for a cordless electric screwdriver, as an ode to craftsmen. They stand like guardians of peace.
Another monumental work, and among my favorites, is Swiss artist Alex Hanimann's "Vanessa" (2012), a 5-meter-high chrome statue of a tomboyish teenage girl that gleams in the sun and reflects the surrounding buildings. Californian artist Paul McCarthy creates a more sinister note with "Apple Tree Boy Apple Tree Girl" (2010). The aluminum sculptures seem playful but express a disgust with the destruction of childhood innocence through commercialization.
The Zurich West Löwenbrau Areal center, a former brewery, will reopen Aug. 31 after two years of restoration. It is a notable event for the city as the center will once again house major art institutions.
Hauser & Wirth, one of the world's most influential galleries, will open with a show of Paul McCarthy works. Galerie Bob van Orsouw, a Swiss gallery with a nose for new talent, will inaugurate with upcoming U.S. object artist Hannah Greely. The Kunsthalle Zürich, which first discovered numerous now internationally successful artists, will present a show of new works by German photo artist Wolfgang Tillmans. And the Migros Museum, which has a renowned collection of cutting-edge art, will open with hip Icelandic performing artist and painter Ragnar Kjartansson.
Write to Margaret Studer at wsje.weekend@wsj.com