"Meet the thorn in China’s side - Ai Weiwei (@Aiww): Never Sorry" @MiamiHerald

 

 

 

 

 

 

 

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

"'Art and the City' Takes to Zurich's Streets" in @wsj

From Colorful Amulets to Red-Brick Monoliths, 40 Contemporary Artists Show Work in Public Spaces

By MARGARET STUDER

[image]
Courtesy of Galerie Lullin + Ferrari
'Mojo' (2012) by Franziska Furter.

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.

[image]
Courtesy of the artist and Hauser & Wirth
Untitled' (2008) by Subodh Gupta

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

"Ai Weiwei vows to Fight Latest Tax Bill" in @nytimes

BEIJING—Chinese artist Ai Weiwei vowed to keep fighting a $2.4 million tax bill after a local court rejected his challenge, an indication that the outspoken dissident has little intention of standing down in his continuing conflict with Beijing. Mr. Ai said on Friday that he plans to press his case in court over the claim. The Beijing tax bureau says the company that markets his work owes 15.22 million yuan in back taxes and fines. "We will keep appealing until the day comes that we have nothing to lose," Mr. Ai wrote on his Twitter account, adding that authorities kept him from attending the hearing. Attempts to reach Mr. Ai through his cellphone Friday were unsuccessful. The Chaoyang District Court on Friday rejected the suit after finding that the tax bureau had acted legally and properly in the investigation into Mr. Ai's company, said Mr. Ai's lawyer, Pu Zhiqiang. In an interview, Mr. Pu dismissed the decision as "shameless." Mr. Ai has said that local tax authorities have acted illegally, limiting his access to his company's financial records and to the employees who oversaw them. Repeated calls to the Chaoyang court rang unanswered on Friday. Tax charges against Mr. Ai date back to June 2011, when the artist was released following nearly three months in detention. Though Mr. Ai was detained without charge, state media said he had confessed to tax evasion and had been released after agreeing to pay back what he owed. Despite being warned by authorities to stay quiet after being let go, Mr. Ai has publicly challenged the tax case on numerous occasions. In November, after the artist announced the size of the tax bill, his supporters caused a stir by donating more than five million yuan to help him pay it, in some cases folding 100-yuan notes into paper airplanes and launching them over the wall of his home in Beijing. Many observers were surprised in May when the Chaoyang District Court agreed to hear Mr. Ai's lawsuit, which described the tax-evasion case as having been marred by numerous violations of law and procedure. Enlarge Image Reuters Authorities say Chinese dissident artist Ai Weiwei owes $2.4 million. While it is rare for a Chinese court to accept a case from a dissident, Mr. Pu on Friday rejected the notion that the mere acceptance of the case represented progress for the rule of law in the country. "I'm not willing to say this is a victory," the lawyer said. "I think this case demonstrates to the masses that the government needs to be restrained. It shows once again the shamelessness" of the authorities. Mr. Pu conceded that chances of an appeal succeeding were slim, but he said they were "not zero." The artist recently established a website, fakecase.com, where he posts materials related to the case, including a timeline. Under July 20, the timeline reads: "The verdict is in. The courts didn't accept a single argument." Reacting to the rejection of the lawsuit on Twitter, Mr. Ai appeared unsurprised by what some said was the court's failure to offer adequate justification. "This country has moved beyond needing to give reasons—it's not used to giving them and can't give them," he wrote. Write to Josh Chin at josh.chin@wsj.com A version of this article appeared July 21, 2012, on page A9 in the U.S. edition of The Wall Street Journal, with the headline: Chinese Artist Vows to Fight Latest Tax Ruling.

"First a Black Hood, Then 81 Captive Days for an Artist in China: Ai Weiwei"

May 26, 2012

At the rear of a white van, one policeman sat on each side of Mr. Ai, China’s most famous artist and provocateur. They clutched his arms. Four more men sat in the front rows.

“Until that moment I still had spirit, because it didn’t look real,” Mr. Ai said. “It was more like a performance. Why was it so dramatic?”

On the morning of April 3, 2011, the policemen drove Mr. Ai, one of the most outspoken critics of the Communist Party, to a rural detention center from Beijing Capital International Airport, where Mr. Ai had planned to fly to Hong Kong and Taiwan on business. So began one ofthe most closely watched human rights dramas in China of the past year.

China’s treatment of social critics has been thrust back into the spotlight by the diplomatic sparring over Chen Guangcheng, the persecuted rights advocate who left here on May 19 for the United States. A blind, self-taught lawyer, Mr. Chen pulled off a daring nighttime escape from house arrest. Like that case, the tale of Mr. Ai’s 81 days of illegal detention, recalled during a series of conversations in recent months, reveals the ways in which the most stubborn dissidents joust with their tormentors and try to maintain resistance in the face of seemingly absolute power. No critic has so publicly taunted the Communist Party as Mr. Ai, even as security officers have employed a variety of tactics in a continuing campaign to cow him.

Despite warnings from the authorities, Mr. Ai, 54, uses Twitter daily and meets with diplomats, journalists, artists and liberal Chinese. This month, a Beijing court agreed to hear a lawsuit that Mr. Ai has filed against local tax officials for demanding that he pay $2.4 million in back taxes and penalties. Last month, Mr. Ai set up four Web cameras to broadcast his daily home life, his way of mocking the police surveillance that surrounds him. Officers ordered him to stop.

“His personality is, ‘The more you push me, the harder I’m going to push back,’ ” said Liu Xiaoyuan, a lawyer and friend who was also detained last year.

During the 81 days, interrogators told Mr. Ai that the authorities would prosecute him for subversion, Mr. Ai said. The three main interrogators worked in an economic crimes unit of the Beijing police, and their aim was to gather evidence to charge him with subversion, tax evasion, pornography and bigamy. (Mr. Ai has a 3-year-old son from an extramarital relationship.) They questioned him repeatedly on his use of the Internet, his foreign contacts, the content of his artwork, its enormous sales value and a nude photography project from 2010.

Mr. Ai’s eyes grew moist when he recalled how interrogators threatened him with a dozen years in prison. “That was very painful,” he said, “because they kept saying, ‘You will never see your mother again,’ or ‘You will never see your son again.’ ”

In two different centers, Mr. Ai was confined to a cramped room with guards watching him around the clock. The second site, a military compound, was harsher, he said: lights remained on 24 hours, a loud fan whirred and two men in green uniforms stared silently from less than three feet away. Mr. Ai got two to five hours of sleep each night. He stuck to a minute-by-minute schedule dictating when he would eat, go to the toilet and take a shower. Mr. Ai, known for his portly frame, lost 28 pounds.

But the authorities at the military center ensured that he saw a doctor four to seven times a day. He received medicine for his many ailments: diabetes, high blood pressure, a heart condition and a head injury from a police beating in 2009. Mr. Ai noticed the hard-boiled egg on his breakfast tray each day had a tiny hole; a guard told him the authorities were keeping samples of each meal in case he got sick or died.

Mr. Ai’s ordeal began the morning that police officers drove him from the airport into the countryside. He was marched into a building and pushed into a chair.

“Stand up,” someone said.

Mr. Ai stood up. A man whipped off his hood. “I saw this tall guy right in front of me,” he said. “This guy looked like he was from an early James Bond movie.”

Mr. Ai thought he was about to get beaten. Instead, the man emptied Mr. Ai’s pockets and took his belt. His right hand was handcuffed to an arm of his chair.

The first team of interrogators arrived much later, at 10 p.m. One typed on a laptop, the other asked questions. The main interrogator, Mr. Li, about 40, wore a pinstriped sports jacket with leather elbow patches. He said he had never heard of Mr. Ai until he did an Internet search.

Mr. Li questioned Mr. Ai for more than two hours while chain smoking. He asked Mr. Ai about Internet chatter urging Chinese to start a “Jasmine Revolution.” Mr. Ai was questioned about a sculpture to be displayed in New York that consisted of 12 bronze heads of the Chinese Zodiac’s animals. Mr. Li accused Mr. Ai of not deserving credit for the work, since the display was modeled after a fountain at the old Summer Palace in Beijing, and workers had done the casting for him.

He also said he was surprised one head could sell for a half-million renminbi, or $80,000.

“Very few people know why art sells so high,” Mr. Ai replied. “I don’t even know.”

Mr. Li asked Mr. Ai about his extramarital relationship with the mother of his son. The policeman threatened Mr. Ai with a bigamy charge. “Don’t try to insult me,” Mr. Ai said. “You wouldn’t call that a marriage.”

As the two argued, Mr. Li took another tack.

“Your real crime will be subversion of state power,” Mr. Li said, as Mr. Ai recalled. “You scold the government all the time, you talk to foreign press all the time. We have to teach you something. We have to announce you’re a liar, you have economic problems and you married twice. And you put pornography on the Internet.”

So it went for about two weeks. Guards brought in a mattress each night. He was interrogated almost daily. Mr. Li alternated with a short, plump man named Mr. Liu.

The investigators were “respectful,” Mr. Ai said. Eventually he sensed them getting bored. Mr. Liu talked about noodle-making. The guards played with their cellphones. “You feel like a bead falling into a gap somewhere and you are forgotten, totally cut off from your connections and whatever experiences you had before,” Mr. Ai said.

The transfer to the second detention center happened without warning. Once again, officers hooded Mr. Ai. The guards were 80 young soldiers from the People’s Armed Police, a paramilitary force. They put Mr. Ai in Room 1135. White padding was taped to the walls, as in an asylum. The compound housed prominent suspects, including billionaires.

The new interrogator was sterner. One day, he and Mr. Ai mused on why Mr. Ai had embraced political activism. Was it because Mr. Ai had lived in New York for 11 years? Or because he had suffered during the Cultural Revolution? No, other Chinese had gone through those experiences and not been radicalized. The two men then hit on the reason: the Internet. Before Mr. Ai began blogging in 2005, he had been a stranger to computers.

On May 15, Mr. Ai was ordered to shower and put on a white dress shirt to see his wife. Mr. Ai knew the visit was for propaganda purposes and did not want to go. Officers told him he could say only three things: that he was being treated well; that he was being investigated for economic crimes; and that his family should not talk to journalists. Mr. Ai and his wife, Lu Qing, met for 15 minutes in the Chaoyang District police headquarters. “I didn’t even want to look at her,” he said. “It was completely insulting.”

Back in detention, the interrogations dragged on. One morning, the officers said they were sending Mr. Ai to prison, and asked him whom he wanted to see one last time. Then they said he might be released if he could persuade Ms. Lu to sign a document stating he was in charge of Beijing Fake Cultural Development, the company registered under Ms. Lu’s name. The police were building a tax case against the company, and the document would give them leverage over Mr. Ai.

The police called Ms. Lu. “Just sign whatever they want you to sign,” Mr. Ai told her.

She signed. Then officers sat Mr. Ai down in front of a videocamera and made him promise certain things: Never get on the Internet again. Never talk to foreigners. And so on. Mr. Ai signed a document saying he had been notified he owed back taxes. Officers blindfolded him for the drive to the Chaoyang police station.

At the station, he met his wife and mother. Together they went home.

Mia Li contributed research

Tate Modern Buys 8 Million Works by Ai Weiwei

The Tate Modern in London announced on Monday that it had purchased one of Ai Weiwei’s famous installations of life-size, hand-painted porcelain “Sunflower Seeds.” It bought 8 million of the 100 million seeds that were on view in a giant installation at the museum a year and a half ago. The mini-version was bought directly from the artist, officials at the Tate said, and the remaining 92 million seeds have been returned to Mr. Ai.

When “Sunflower Seeds” was originally installed in the Tate Modern’s cavernous Turbine Hall, the museum encouraged visitors to touch and even walk on the piece. But it reversed course days later after officials found that the movement of the crowds released hazardous dust. It was also determined that there were traces of lead in the paint.

The new acquisition may be less than one-tenth the size of the original, but it is still a lot bigger than a sunflower piece by Mr. Ai that Sotheby’s sold in London last year, one of an edition of 10 works each composed of 100,000 seeds. That version was bought by an unidentified telephone bidder for $559,394, or about $5.60 a seed. The Tate would not say what it had paid for its eight million seeds, but did say that it managed the purchase with help from the Tate International Council, the Art Fund and the collectors Stephen and Yana Peel.

AI WEIWEI: NEVER SORRY @ Miami International Film Festival 2012

AI WEIWEI: NEVER SORRY
Alison Klayman 2012
Categories: Documentary Competition, Knight Documentary Competition
Ai Weiwei is a dynamic figure on the international art scene, crossing through the disciplines of sculpture, architecture, video, photography, and installation. Perhaps his best-known creation is the “Bird’s Nest” Stadium, a design that he collaborated on with architects Jacques Herzog and Pierre de Meuron (creators of Miami Beach's own 1111 parking garage on Lincoln Road) for the 2008 Summer Olympics in Beijing. Besides his artwork, Ai is also known for pushing the boundaries of free speech by posting critical videos and Twitter messages. His output was curtailed in April 2011 when Chinese authorities jailed him for two months and later charged him with tax evasion.

Since being named Runner-Up for TIME Magazine's 2011 Person of the Year, more people are starting to wonder: who is Ai Weiwei? Director Alison Klayman follows Ai over three years as he pursues massive art projects around the world; and champions free speech in face of intimidation in his home country. - Thom Powers

DIRECTOR ALISON KLAYMAN IS EXPECTED TO BE PRESENT AND ANSWER QUESTIONS FOLLOWING THE SCREENINGS.

 

Ai Weiwei: The Artist Who Pushes - WSJ.com

The Artist: He Pushes

    A new documentary paints Ai Weiwei as both impish and serious.

Alison Klayman, a freelance reporter for National Public Radio, met the artist in 2008 and followed him around for the next three years gathering footage for the film. Initially, she said she was drawn to his irreverent photographs and conceptual sculptures—often made from porcelain, tea or temple wood—but her film also captures his awakening as an activist.

#AiWeiwei makes tax battle a "social performance" @aiww

BEIJING -- Dissident artist Ai Weiwei's latest provocative piece was handed to him by the Chinese government: a $2.4 million tax bill that he says is a trumped-up effort to silence him.

Read more: http://www.miamiherald.com/2011/11/17/2506167/ai-weiwei-makes-tax-battle-a-so...