Thursday, September 08, 2011

China's Reluctant Emperor


By SHELIA MELVIN

A photograph of the hall in the Forbidden City where Wan Li held his morning audiences until he suspended them.
A portrait of Wan Li, who reigned for 48 years (1572-1620).
BEIJING — The Emperor Wan Li was the longest-reigning monarch of the Ming Dynasty (1368-1644), an era considered by some historians to have been one of the most prosperous in human history.
Wan Li ascended the Dragon Throne when he was only 9, but was diligently tutored in history, ritual and statecraft by a minister named Zhang Juzheng.
Ensconced in the Forbidden City, he lived a coddled life, doted on by his mother, waited upon by legions of eunuchs and served by multitudes of women, among them his empress (whom he married at 14), a principal consort, associate consorts and hosts of ordinary concubines.
But despite all this — or perhaps because of it — Wan Li was not a happy monarch.
On the contrary, he ultimately became so frustrated by the constraints of his office and the pieties of his officials that he went on strike against his own court.
For nearly three decades of his 48-year reign (1572-1620), Wan Li refused to read petitions and memorandums sent to him, replace officials who retired or died or even attend his own morning audiences.

A hat belonging to the emperor adorned with jewel-studded gold dragons.His officials held these audiences anyway, rising before dawn every third day, assembling outside the Gate of Brightening Administration — only to enter the throne room and kowtow to an empty chair.
“It was a strange era,” acknowledged Zhang Wenyong, curator of “Retrospect of the Ming Dynasty: Experiencing the Period of Wan Li,” which runs at the Capital Museum through Feb. 12.
“But, while people know what Wan Li did, they don’t understand the reasons. We need to look anew at Wan Li and his reign.”
The exhibition tackles the conundrum of Wan Li head-on in a thought-provoking examination of both the emperor and his era.
It includes more than 200 objects from the collections of Capital Museum and Dingling Museum (Wan Li’s tomb), accompanied by extensive historical background material (some of it in English).

Works on show at the Capital Museum include the emperor's ceremonial robe, which took 13 years to make.
A modern reproduction of the robe, which included 12 imperial symbols and the characters for "luck" and "longevity."
A photograph of Wan Li's tomb, which was badly excavated in 1956.
A Ming Dynasty bowl from the era of Wan Li.Divided into three sections, it starts by considering Wan Li’s decades-long suspension of his own audiences. In his early years Wan Li was deemed precocious; a copy of “A Primer of Emperors in History” that was compiled for his education is on display, as are some of the clothes he might have worn when he still went to work. 
These include a spectacular black gauze hat adorned with jewel-studded gold dragons, a faded fragment of his yellow ceremonial robe — which took 13 years to make — and a stunning modern reproduction of the same garment. 
The beginning of Wan Li’s decline is alluded to with a portrait of Zhang Juzheng, the minister who mentored him through the early years of his rule. 
After Zhang died, it was revealed that, while lecturing Wan Li on frugality and responsibility, he himself had led a corrupt, dissolute life. 
This betrayal seems to have left Wan Li wounded and cynical. 
His alienation grew when it came time to designate an heir, who had to be chosen from the children of consorts since his empress did not bear a boy. 
While his officials insisted on his oldest son — born of the consort Lady Wang — he instead chose his third son, born of Lady Zheng, the consort he truly loved. 
The officials balked and a 15-year standoff ensued, the period in which his strike began. 
Objects from the tomb of Lady Zheng and other consorts include a sublime white-glazedmeiping vase, jade buttons and pendants, and a pair of openwork gold hairpins embedded with rubies, sapphires, and pearls. The second section of the exhibition, entitled “A Dynamic Society,” explores the flourishing world outside the palace gates. 
“Although politics was corrupt in the Wan Li period, society, economy, technology and culture had great achievements,” explained Mr. Zhang, the curator. 
“This is a very important issue — you can’t say Wan Li promoted all this, but he didn’t prevent it.” 
Indeed, the period was one of great creativity; works now deemed classic that were produced in this period include Li Shizhen’s “Compendium of Materia Medica,” Tang Xianzu’s “The Peony Pavilion,” Wu Chengen’s “Journey to the West,” and “The Golden Lotus,” attributed to “The Scoffing Scholar of Lanling.” Although only a few original artworks are displayed, the exhibition presents a good overview of the intellectual ferment through reproductions and biographies of the artists. 
It also delves into Ming China’s burgeoning relationship with the West. 
The renowned Italian Jesuit Matteo Ricci (or Li Madou, as he is known in China) and his colleagues were the first Westerners allowed to reside in the Ming capital, beginning in 1601. 
Although Wan Li would not break his strike to meet them or answer their letters, he nonetheless gave them an allowance and land for a church and a graveyard. 
The exhibition includes copies of Ricci’s world map, the Chinese version of Euclid’s “Elements” (which Ricci translated with the high-ranking Catholic convert Xu Guangqi) and his book “The True Meaning of the Lord in Heaven,” which, according to Mr. Zhang, first introduced the concept of the seven-day week to China. Another example of China’s growing contact with the West is the blue and white porcelain first exported to Europe in the 30th year of Wan Li’s reign. 
Known as kraak — apparently after the Portuguese ships, or carracks, that transported it — the porcelain became extremely popular. 
The final section explores Wan Li’s tomb, known as Dingling, which he started constructing at age 20. 
The massive underground complex — the biggest pieces of granite used were transported in carts pulled by 1600 mules each — included a “Mysterious Palace” in which Wan Li, the empress, and the mother of whoever was selected as his heir would be placed after their deaths, alongside objects like gold chopsticks; a shiny, cobalt blue icebox; and piles of gold and silver ingots. 
They were to be waited upon by scores of doll-sized wooden eunuchs, whose pale faces and downcast eyes remind a modern viewer of zombies. 
Because Wan Li finally gave in to his officials and chose his firstborn son as heir, it was Lady Wang who accompanied him in death rather than his beloved Lady Zheng. 
His afterlife, indeed, proved ill-fated as his life — the 1956 excavation of his tomb was badly botched, with so many objects destroyed that China has never again authorized the opening of an imperial tomb. 
During the Cultural Revolution, the skeletons of Wan Li, his empress, and Lady Wang were stolen by Red Guards and torched in a public bonfire. 
Wan Li became generally known in Chinese history as an indolent hedonist whose ineffectiveness led directly to the fall of the Ming in 1644. 
Somewhat kinder accounts — like Ray Huang’s masterful “1587, A Year of No Significance” — paint him as an intelligent, if weak-willed, man trapped in a bankrupt system. 
But Mr. Zhang, the curator, hopes that the exhibition will help show that, though a flawed ruler, Wan Li presided over a flourishing society — and that, perhaps, it was precisely his detached style of ruling, combined with the government’s inability to interfere — that enabled this great prosperity.

Posted by Đặng-Vũ Chính at 2:32 AM 0 comments Links to this post

Saturday, August 13, 2011

Culture theft: Mongolia fights China's claim to th...

Chính's news: Culture theft: Mongolia fights China's claim to th...: "Why a move by China has Mongolian throat-singing teacher angry. By Andrew Higgins ULAN BATOR, Mongolia — For nearly 20 years, Odsuren Ba..."

Posted by Đặng-Vũ Chính at 1:54 PM 0 comments Links to this post

Friday, April 22, 2011

Ai Weiwei

Ai Weiwei   艾未未
Born28 August 1957 (age 53)
Beijing, China
NationalityChinese
WorksSunflower Seeds

Ài Wèiwèi (born 28 August 1957) is a Chinese artist and activist, who is also active in architecture, curating, photography, film, and social and cultural criticism.[1][2] 


Ai collaborated with Swiss architects Herzog & de Meuron as the artistic consultant on the Beijing National Stadium for the 2008 Olympics.[3] 

In addition to showing his art he has investigated government corruption and cover-ups. 

He was particularly focused at exposing an alleged corruption scandal in the construction of Sichuan schools that collapsed during the 2008 Sichuan earthquake. 

He intensively uses the internet to communicate with people all over China, especially the young generation.[4] 

On 3 April 2011 police detained him at Beijing airport. 

His studio in the capital was sealed off, and his staff interrogated pursuant to official allegations of "economic crimes". 

On 20 April Ai was appointed Visiting Professor of the University of the Arts in Berlin.[5]

Life and work

Ai Weiwei's father was Chinese poet Ai Qing, who was denounced during the Anti-Rightist Movement and in 1958 sent to a labour camp in Xinjiang with his wife, Gao Ying.[6] 

Ai Weiwei was one year old at the time and lived in Shihezi for 16 years. 

In 1975 the family returned to Beijing.[7] 

Ai Weiwei is married to artist Lu Qing.[6]

In 1978, Ai enrolled in the Beijing Film Academy and attended school with Chinese directors Chen Kaige and Zhang Yimou.[8] 

In 1978, he was one of the founders of the early avant garde art group the "Stars", together with Ma Desheng, Wang Keping, Huang Rui, Li Shuang, Zhong Acheng and Qu Leilei. 

The group disbanded in 1983.[9] Yet Ai Weiwei participated in regular Stars group shows,The Stars: Ten Years, 1989 (Hanart Gallery, Hong-Hong and Taipei), and a retrospective exhibition in Beijing in 2007:Origin Point (Today Art Museum, Beijing).

From 1981 to 1993, he lived in the United States, mostly in New York, creating conceptual art by altering readymade objects.[9] 

While in New York, he studied at Parsons School of Design.[10] 

In 1993, Ai returned to China because his father became ill.[11] 

Back in Beijing, he helped establish the experimental artists' Beijing East Village and published a series of three books about this new generation of artists: Black Cover Book (1994), White Cover Book (1995), and Gray Cover Book (1997).[12]

Ai Weiwei is co-founder and Artistic Director of China Art Archives & Warehouse (CAAW), founded in 1997, Beijing. 

It is a contemporary art archive and experimental gallery that concentrates on experimental art from the People's Republic of China, initiates and facilitates exhibitions and other forms of introductions inside and outside China.[13] T

he building is designed by Ai Weiwei.


In 1999, Ai moved to Caochangdi, in the northeast of Beijing, and built a studio house, his first architectural project. 

Since he was getting more involved with architecture, he founded the architecture studio FAKE Design, in 2003.[14]

In 2000, he co-curated the art exhibition Fuck Off with curator Feng Boyi in Shanghai, China.[15]

Ai Weiwei and HHF Architects designed a private residence in upstate New York in 2006. 

According to the New York Times, the residence, completed in 2008, is "extraordinarily refined" and designed to incorporate a large, contemporary Chinese art collection.[16][17] 

In 2010, Wallpaper magazine nominated the home for its Wallpaper Design Awards category: Best New Private House.[18]

On 15 March 2010 he took part in Digital Activism in China: A discussion between Ai Weiwei, Jack Dorsey (founder of Twitter) and Richard MacManus, hosted by The Paley Media Center in New York.[19]

Exhibitions

Ai's artwork has been exhibited in China, Japan, Korea, Australia, United Kingdom, Belgium, The Netherlands, Luxembourg, France, Germany, Italy, Austria, Switzerland, Ireland, Israel, Brazil and the United States.

Ai Weiwei’s work was included in the 48th Venice Biennale in Italy (1999), 1st Guangzhou Triennale in China (2002), 1st Monpellier Biennial of Chinese Contemporary Art in France (2005), The 2nd Guangzhou Triennial (2005), Busan Biennialin Korea (2006), The 5th Asia-Pacific Triennial of Contemporary Art in Australia (2006), Documenta 12 in Germany (2007), Liverpool Biennial International 08 in the United Kingdom (2008), 2010 Venice Architecture Biennale and the 29th Sao Paulo Biennial in Brazil (2010).

Fairytale is the title of Ai Weiwei's contribution for Documenta 12 in 2007. 

For this project Ai Weiwei brought 1001 people from all over China to a small town in Germany called Kassel. 

They were chosen through an open invitation he posted on his blog.[20] 

Ai even designed clothes, luggage and a temporary home in an old textile factory. 

He let them wander around the city during the exhibition time of three months. 

The participants were divided into five groups that each stayed in Kassel for eight days. 

According to Philip Tinari the primary design object here is not the clothing or suitcases but the participants' experiences, even their spirits.[14] 

During the exhibition his monumental outdoor sculpture titled Template, made of wooden doors and windows from destroyed Ming and Qing Dynasty houses (1368–1911), collapsed after a storm.[21] 

The Beijing National Stadium at night during the 2008 Summer Olympics

Ai's 'indecent' self-portrait snub to the Party apparatus. 草泥马挡中央: the six characters possessed of a double meaning in Chinese but may be interpreted as: "F. . k your mother, the Communist party central committee".[62]


In 2008 he curated the architecture project Ordos 100 in Ordos City, Inner Mongolia. 

He invited 100 architects from all over the world (29 countries) to participate in this project.[22]


Ai curated the exhibition The State of Things, together with Belgian artist Luc Tuymans. 

It was shown at the Centre for Fine Arts in Brussels from 18 October 2009 to 10 January 2010 and at the National Art Museum in Beijing from 1–30 May 2010.[23]

From October 2009 to January 2010 Ai Weiwei exhibited So Sorry at Haus der Kunst in Munich, Germany. 

This solo exhibition showed Ai Weiwei’s largest retrospective to date.[24] 

The title refers to the thousands of apologies expressed recently by governments, industries, and financial corporations worldwide in an effort to make up for tragedies and wrongdoings – though often withhout shouldering the consequences or the desire to acknowledge let alone repair. 

Saying sorry – or not saying it – is in the headlines everywhere and thus also in China.[25] 

For this show Ai Weiwei created the installation Remembering on Haus der Kunst's façade. 

It was made out of 9000 children's backpacks. 

They spell out the sentence 'She lived happily for seven years in this world' in Chinese characters. 

This is a quote from a mother whose child died in the Sichuan earthquake in 2008. 

Ai Weiwei said: "The idea to use backpacks came from my visit to Sichuan after the earthquake in May 2008. During the earthquake many schools collapsed. Thousands of young students lost their lives, and you could see bags and study material everywhere. Then you realize individual life, media, and the lives of the students are serving very different purposes. The lives of the students disappeared within the state propaganda, and very soon everybody will forget everything."[26]

One tiger eight breasts, Ai's disputed artwork [63


Ai's artwork (in foreground), "Zodiac Heads (Circle of Animals), 2010", which references the famous historical Yuanmingyuan zodiac heads.


On 25 July 2009 Ai Weiwei opened his solo show According to What? at Tokyo's Mori Art Museum, Japan. 

This exhibition presented 26 works, most made over the past decade.[27]

In December 2009, Ai Weiwei had a small exhibition at the Comme des Garcons store in Hong Kong.[28]

From March to September 2010, Ai exhibited Barely Something, an exhibition curated by Roger M. Buergel, the director of Documenta12, at the Museum DKM in Duisburg, Germany.[29]

In October 2010, Sunflower Seeds was installed at the Tate Modern Turbine Hall, London. 

The work consists of one hundred million porcelain "seeds," each individually hand-painted in the town of Jingdezhen by 1,600 Chinese artisans, and scattered over a large area of the exhibition hall.[30] 

The artist was keen for visitors to walk across and roll in the work to experience and contemplate the essence of his comment on mass consumption, Chinese industry, famine and collective work. 

However, on 16 October, Tate Modern stopped people from walking on the exhibit due to health liability concerns over the porcelain dust.[31]

In February 2011, a 220-pound (100 kg) pile from Sunflower Seeds sold for $559,394 (well above its high estimate of $195,000) at Sotheby's in London, weeks after Ai Weiwei's studio was destroyed by the government.[32]

Awards

In March 2010 Ai Weiwei received an Honorary Doctorate Degree from the Faculty of Politics and Social Science, University of Gent, Belgium.[33]

In September 2010 he received Das Glas der Vernunft (The Prism of Reason), Kassel Citizen Award, Kassel, Germany.[34]

Ai Weiwei was ranked 13 in ArtReview's guide to the 100 most powerful figures in contemporary art: Power 100, 2010.[35]

Beijing National Stadium


Ai was commissioned as the artistic consultant for design, collaborating with the Swiss firm Herzog & de Meuron, for the Beijing National Stadium for the 2008 Summer Olympics, also known as the "Bird's Nest."[36] 

Although ignored by the Chinese media, he had voiced his anti-Olympics views.[2] 

He later distanced himself from the project, saying, "I've already forgotten about it. I turn down all the demands to have photographs with it," saying it is part of a "pretend smile" of bad taste.[37][38] 

In August 2007 he also accused those choreographing the Olympic opening ceremony, including Steven Spielberg and Zhang Yimou, of failing to live up to their responsibility as artists. 

Ai said "It's disgusting. I don't like anyone who shamelessly abuses their profession, who makes no moral judgment."[39] 

In February 2008, Spielberg withdrew from his role as advisor to the 2008 Summer Olympics.[40][41] 

When asked why he participated in the designing of the Bird's Nest, Ai replied "I did it because I love design."[42]

Sichuan earthquake student casualties investigation


On 15 December 2008, Ai Weiwei supported an investigation into student casualties in the 2008 Sichuan earthquake started by another Chinese artist. 

The investigation aimed to compile a list of students killed in the earthquake by 12 May 2009, the earthquake's first anniversary.[43] 

As of 14 April 2009, the list had accumulated 5,385 names.[44] 

Ai published the collected names as well as numerous articles documenting the investigation on his blog which was shut down by Chinese authorities in May 2009.[45] 

He also posted his list of names of schoolchildren who died on the wall of his office at FAKE Design in Beijing[46]

Ai Weiwei suffered headaches and claimed he had difficulty concentrating on his work since returning from Chengdu in August 2009, where he was beaten by the police for trying to testify for Tan Zuoren, a fellow investigator of the shoddy construction and student casualties in the earthquake.

On 14 September 2009, Ai was diagnosed to be suffering internal bleeding in a hospital in Munich, Germany, and the doctor arranged for emergency brain surgery.[47] 

The cerebral hemorrhage is believed to be linked to the police attack.[48][49]

According to the Financial Times, in an attempt to force Ai to leave the country, two accounts used by him had been hacked in a sophisticated attack on Google in China dubbed Operation Aurora, their contents read and copied; his bank accounts were investigated by state security agents who claimed he was under investigation for "unspecified suspected crimes".[50]

Shanghai studio controversy

In November 2010, Ai was placed under house arrest by the Chinese police. 

He said this was to prevent the planned party to mark the demolition of his newly built Shanghai studio from taking place.[51]

The building was designed and built by Ai upon encouragement and persuasion from a "high official [from Shanghai]" as part of a new cultural area designated by Shanghai Municipal authorities; Ai would have used it as a studio and to teach architecture courses. 

But now Ai has been accused of erecting the structure without the necessary planning permission and a demolition notice has been ordered, even though, Ai said, officials had been extremely enthusiastic, and the entire application and planning process was "under government supervision". 

According to Ai, a number of artists were invited to build new studios in this area of Shanghai because officials wanted to create a cultural area.[52]

On 3 November 2010 Ai said the government had informed him two months earlier that the newly completed studio would be knocked down because it was illegal. 

Ai complained that this was unfair, as he was "the only one singled out to have my studio destroyed." 

The Guardian reported Ai saying Shanghai municipal authorities were 'frustrated' by documentaries on subjects they considered sensitive:[52] two of the better known ones featured Shanghai resident Feng Zhenghu, who lived in forced exile for three months in Narita Airport, Tokyo; another well known documentary focussed on Yang Jia, who murdered six Shanghai police officers.[53]

In the end, the party took place without Weiwei's presence; his supporters feasted on river crab, an allusion to "harmony", and a euphemism used to jeer official censorship. 

Ai was released from house arrest the next day.[54]

Like other activists and intellectuals, Ai was prevented from leaving China in late 2010. 

Ai suggested that the authorities wanted to prevent him from attending the ceremony in December 2010 to award the 2010 Nobel Peace Prize to fellow dissident Liu Xiaobo.[55] 

Ai said that he had not been invited to the ceremony, and was attempting to travel to Korea for a meeting when he was told that he could not leave for reasons of national security.[56]

In the evening of 11 January 2011, Ai's studio was demolished in a surprise move by the local government.[57][58]

2011 arrest

South China Morning Post reports that Ai received at least two visits from the police, the last being on 31 March -- three days before his detention -- apparently with offers of membership to the Chinese People's Political Consultative Conference. 

A staff member recalled that Ai had mentioned receiving the offer earlier, "[but Ai] didn't say if it was a membership of the CPPCC at the municipal or national level, how he responded or whether he accepted it or not."[59]

On 24 February, amid an online campaign for Middle East-style protests in major Chinese cities by overseas dissidents, Ai posted on his Twitter account: "I didn’t care about jasmine at first, but people who are scared by jasmine sent out information about how harmful jasmine is often, which makes me realize that jasmine is what scares them the most. What a jasmine!"[60][61]




On 3 April, Ai was arrested just before catching a flight to Hong Kong and his studio facilities were searched.[64] 

A police contingent of approximately 50 officers came to his studio, threw a cordon around it and searched the premises. 

They took away laptops and the hard drive from the main computer; they detained Ai, eight staff members and Ai's wife, Lu Qing. 

Police also visited the mother of Ai's two year-old son.[65] 

While state media originally reported on 6 April that Ai was arrested at the airport because "his departure procedures were incomplete,"[66] the Chinese Ministry of Foreign Affairs said on 7 April that Ai was arrested under investigation for alleged economic crimes.[67] 

Then, on 8 April, police returned to Ai's workshop to examine his financial affairs.[68] 

On 9 April, Ai's accountant, as well as studio partner Liu Zhenggang and driver Zhang Jingsong, disappeared[69], while Ai's assistant Wen Tao has remained missing since Ai's arrest on 3 April.[70] 

Ai's wife said was summoned by Beijing Chaoyang district tax bureau, where she was interrogated about his studio's tax on 12 April.[59] 

Chinese police announced that Ai was under arrest for tax evasion, bigamy and spreading indecent images on the internet.[71]

[edit]Response to Ai's arrest

Analysts and other activists said Ai had been widely thought to be untouchable, but Nicholas Bequelin from Human Rights Watch suggested that his arrest, calculated to send the message that no one would be immune, must have had the approval of someone in the top leadership.[72]

International governments, human rights groups and art institutions, among others, have called for Ai's release, while Chinese officials have yet to notify Ai's family of his whereabouts.[73]

State media started describing Wei as a 'deviant and a plagiarist' in early 2011.[74] 

The China Daily subsidiary, the Global Times editorial on 6 April 2011 attacked Wei, saying "Ai Weiwei likes to do something "others dare not do." He has been close to the red line of Chinese law. Objectively speaking, Chinese society does not have much experience in dealing with such persons. However, as long as Ai Weiwei continuously marches forward, he will inevitably touch the red line one day."[75] 

Two days later, the journal scorned Western media for questioning Ai's charge as a "catch-all crime", and denounced the use of his political activism as a "legal shield" against everyday crimes. 

It said "Ai's detention is one of the many judicial cases handled in China every day. It is pure fantasy to conclude that Ai's case will be handled specially and unfairly."[76] 

Frank Ching expressed in the South China Morning Post that how the Global Times could radically shift its position from one day to the next was reminiscent of Alice in Wonderland.[77]

Michael Sheridan of The Times suggested that Ai had offered himself to the authorities on a platter with some of his provocative art, particularly photographs of himself nude with only a 'horse' hiding his modesty – with a caption『草泥马挡中央』. The term possesses of a double meaning in Chinese: one possible interpretation was given by Sheridan as: "F..k your mother, the party central committee".[78]

Ming Pao in Hong Kong reacted strongly to the state media's character attack on Ai, saying that authorities had employed “a chain of actions outside the law, doing further damage to an already weak system of laws, and to the overall image of the country.”[74]


The United States and European Union protested Ai's detention.[79] 

The international arts community also mobilised petitions calling for the release of Ai: "1001 Chairs for Ai Weiwei" was organized by Creative Time of New York that calls for artists to bring chairs to Chinese embassies and consulates around the world on 17 April 2011, at 1 pm local time "to sit peacefully in support of the artist's immediate release."[80][81] 

Artists in Hong Kong,[82] Germany[82] and Taiwan demonstrated and called on Ai to be released.[83]

The Solomon R. Guggenheim Foundation and the International Council of Museums, who organised petitions, said they had collected more than 90,000 signatures calling for the release of Ai Weiwei.[84]

On 13 April 2011, a group of European intellectuals led by Václav Havel had issued an open letter to Wen Jiabao, condemning the arrest and demanding the immediate release of Ai Weiwei. 

The signatories include Ivan Klima, Jiří Gruša, Jáchym Topol, Elfriede Jelinek, Adam Michnik, Adam Zagajewski, Helmuth Frauendorfer; Bei Lin (Chinese:贝岭), a Chinese poet in exile drafted and also signed the open letter.[85]

References

  1. ^ "Ai Weiwei". Wolseley Media. 2008. Retrieved 6 July 2008.
  2. ^ a b Cooper, Rafi (6 July 2008). "Cultural revolutionary". The Observer. UK. Retrieved 6 July 2008.
  3. ^ "China's New Faces: Ai Weiwei". BBC News. 3 March 2005. Retrieved 26 April 2010.
  4. ^ Osnos, Evan, It's Not Beautiful, The New Yorker, 24 May 2010 pp.54–63.
  5. ^ "Detained artist Ai offered Berlin university post". Reuters. 20 April 2011.
  6. ^ a b Meacham, Steve (24 April 2008). "Child of the revolution in revolt".Sydney Morning Herald. Retrieved 6 July 2008.
  7. ^ Merewether, Charles, Ruins in Reverse, in Ai Weiwei: Under Construction, University of New South Wales press, Sydney, 2008, pp.29.
  8. ^ Blackwell, Adrian (5 December 2006). "Ai Weiwei: Fragments, Voids, Sections and Rings". Archinect. Retrieved 6 July 2008.
  9. ^ a b "Ai Weiwei". Groninger Museum. 28 February 2008. Retrieved 6 July 2008.
  10. ^ Aloi, Daniel (15 November 2006). "Ai Weiwei literally smashes China's traditions in art and architecture". Cornell University. Retrieved 6 July 2008.
  11. ^ Toy, Mary-Anne (19 January 2008). "The artist as an angry man". The Age. Australia. Retrieved 6 July 2008.
  12. ^ Napack, Jonathan (2 August 2004). Ai Weiwei: Works Beijing 1993–2003. Timezone 8. p. 148. ISBN 978-988-97262-8-7.
  13. ^ "China Art Archives & Warehouse". Retrieved 19 January 2011.
  14. ^ a b Tinari, Philip (1 June 2007). "A kind of True Living: The art of Ai Weiwei". Retrieved 19 January 2011.
  15. ^ Vulliamy, Ed (29 June 2008). "The nest generation". The Observer. UK. Retrieved 6 July 2008.
  16. ^ Nicholson, Louise (1 November 2006). "Art to live with". Apollo. Retrieved 6 July 2008.[dead link]
  17. ^ The New York Times: “Global Summit”[dead link]
  18. ^ "Wallpaper Magazine, November 2010". Wallpaper.com. 25 February 2008. Retrieved 6 April 2011.
  19. ^ "Digital Activism in China". Retrieved 14 March 2011.
  20. ^ Merewether, Charles, Ruins in Reverse, in Ai Weiwei: Under Construction, University of New South Wales press, Sydney, 2008, pp.125.
  21. ^ "Art Forum". Art Forum. Retrieved 6 April 2011.
  22. ^ McGetrick, Brandon (23 April 2008). "Ordos 100: Bringing a taste of everywhere to the middle of nowhere". Retrieved 14 March 2011.
  23. ^ "Ai Weiwei". The State of Things. Retrieved 14 March 2011.
  24. ^ Tinari, Philip (1 February 2010). "Ai Weiwei: So Sorry". Retrieved 19 January 2010.
  25. ^ Dercon, Chris ; Lorz, Julienne, So Sorry, in Ai Weiwei So Sorry, Prestel Verlag, Munich, Berlin, London, New York, 2009, pp.6.
  26. ^ Ai Weiwei, Remembering, 2009, in Ai Weiwei So Sorry, Prestel Verlag, Munich, Berlin, London, New York, 2009, pp.14.
  27. ^ Worrall, Julian (31 July 2009). "Escape from Propaganda". Retrieved 25 January 2010.
  28. ^ "Ai Weiwei and Comme des garcons". Hypebeast.com. 3 December 2009. Retrieved 6 April 2011.
  29. ^ www.galerieursmeile.com
  30. ^ Higgins, Charlotte (11 October 2010)."People power comes to the Turbine Hall: Ai Weiwei's Sunflower Seeds". The Guardian. Retrieved 9 April 2011.
  31. ^ "Tate seed art shut due to health concerns", 15 October 2010. BBC News
  32. ^ "Exchange Rate". Architectural Digest (Condé Nast): p. 164. May 2011.
  33. ^ "HART Magazine". 2008. Retrieved 19 January 2011.
  34. ^ "Zeit Online". Retrieved 19 January 2011.
  35. ^ "ArtReview Power 100". Retrieved 19 January 2011.
  36. ^ "Artist behind Beijing's 'bird's nest' stadium boycotts Olympics". CBC News. 11 August 2007. Retrieved 6 July 2008.
  37. ^ "Stadium designer blasts China Olympics". Al Jazeera. 12 August 2007. Retrieved 6 July 2008.
  38. ^ "Chinese architect slams Olympic 'pretend smile'". CNN. 13 August 2007. Retrieved 6 July 2008.
  39. ^ Watts, Jonathan (11 August 2007). "Olympic artist lashes out over PRC propaganda". Taipei Times. Taiwan (ROC). Retrieved 6 July 2008.
  40. ^ Rachel Abramowitz (2008). "Spielberg drops out as Beijing Olympics advisor". Los Angeles Times. Retrieved 13 February 2007.[dead link]
  41. ^ "Spielberg in Darfur snub to China". BBC. 13 February 2008. Retrieved 16 May 2008.
  42. ^ CBC Arts (11 August 2007). "Artist behind Beijing's 'bird's nest' stadium boycotts Olympics – Arts & Entertainment – CBC News". Cbc.ca. Retrieved 6 April 2011.
  43. ^ Ai Weiwei (13 March 2009). ""5.12汶川地震死亡学生"调查 09.03.12" (in Chinese). Retrieved 15 April 2009.
  44. ^ Ai Weiwei (14 April 2009). "5.12遇难学生名单 补充 (八十四) 09.04.11" (in Chinese). Retrieved 15 April 2009.
  45. ^ CBC News (12 July 2009). "China cracks down on outspoken artist". Retrieved 12 July 2009.
  46. ^ Grube, Katherine (Jul/Aug 2009) "Ai Weiwei Challenges China’s Government Over Earthquake"
  47. ^ "Chinese artist gets emergency brain surgery in Munich – The Local". Thelocal.de. Retrieved 6 April 2011.
  48. ^ "Operation in Munich: Chinese Artist Accuses Government for Injury". Der Spiegel. Retrieved 6 April 2011.
  49. ^ Wines, Michael (28 November 2009). "China's Impolitic Artist, Still Waiting to Be Silenced". The New York Times. Retrieved 23 April 2010.
  50. ^ Anderlini, Jamil (15 January 2010). "The Chinese dissident’s ‘unknown visitors’". Financial Times.
  51. ^ Ai Weiwei under house arrest, Guardian, 5 November 2010.
  52. ^ a b Branigan, Tania & Gabbatt, Adam (3 November 2010)."Ai Weiwei's Shanghai art studio to be demolished" The Guardian
  53. ^ Zheng Yi and Yang Ruoyu (7 April 2011) "Ai Weiwei investigated for economic crimes", Global Times.
  54. ^ "An update on Chinese dissent artist Ai Weiwei's latest protests". Asiapacificarts.usc.edu. Retrieved 6 April 2011.
  55. ^ China: 2 Intellectuals Barred From Leaving the Country,New York Times, 3 December 2010
  56. ^ China Nobel row: Artist Ai Weiwei stopped from leaving , BBC News, 3 December 2010
  57. ^ Chinese Authorities Raze an Artist’s Studio, nytimes.com,
  58. ^ China artist Ai Weiwei's Shanghai studio demolished, BBC Online, 12 January 2011
  59. ^ a b Staff reporter (13 April 2011). "Ai Weiwei offered CPPCC role before arrest, staff say", South China Morning Post
  60. ^ Richburg, Keith B. (3 April 2011)."Chinese artist Ai Weiwei arrested in latest government crackdown", Washington Post
  61. ^ Twitter (8 April 2011).http://twitter.com/aiww/status/40606428100177920
  62. ^ Sheridan, Michael (11 April 2011). "Ai Weiwei held for 'obscene' political art", The Times
  63. ^ http://www.nownews.com/2011/04/12/91-2703832.htm
  64. ^ "Chinese artist Ai Weiwei arrested in ongoing government crackdown".The Washington Post. Retrieved 6 April 2011.
  65. ^ "Ai Weiwei detained by Chinese police".
  66. ^ "Law will not concede before maverick". Global Times.
  67. ^ "Chinese artist Ai Weiwei held for 'economic crimes'". BBC. 7 April 2011.
  68. ^ "China omits Ai Weiwei references from transcript". BBC.
  69. ^ "Free Ai Weiwei". Free Ai Weiwei.
  70. ^ "Chinese Defend Detention of Artist on Grounds of ‘Economic Crimes’".The New York Times.
  71. ^ Branigan, Tania (14 April 2011). "Ai Weiwei confessing to crimes, says state-run newspaper", The Guardian
  72. ^ Clem, Will & Choi Chi-yuk (6 April 2011). "Beijing's silence an ominous signal", South China Morning Post
  73. ^ "Ai Weiwei's whereabouts still unknown". RTHK.
  74. ^ a b Bandurski, David (19 April 2011) "How state media used to report on Ai Weiwei", China Media Project, University of Hong Kong
  75. ^ "Law will not concede before maverick" Global Times, 6 April 2011
  76. ^ "Political activism cannot be a legal shield " Global Times, 8 April 2011
  77. ^ Ching, Frank (13 April 2011). "A case of nonsense", South China Morning Post op ed.
  78. ^ Sheridan, Michael (11 April 2011). "Ai Weiwei held for 'obscene' political art", The Times
  79. ^ Demick, Barbara (7 April 2011) [http://articles.latimes.com/2011/apr/07/world/la-fg-china-weiwei-20110408 "China accuses dissident artist Ai Weiwei of 'economic crimes',Los Angeles Times
  80. ^ Davis, Ben (18 April 2011). "'1,001 Chairs for Ai Weiwei' Protesters Wouldn't Stand For Chinese Oppression" ArtInfo.
  81. ^ Taylor, Kate (14 April 2011). "Arts Group Calls for Worldwide Sit-In for Ai Weiwei". The New York Times. Retrieved 19 April 2011.
  82. ^ a b "香港声援艾未未活动与警方发生摩擦". Deutsche Welle. 17 April 2011. Retrieved 19 April 2011.
  83. ^ Taipei art center calls for release of Ai Weiwei 15 April 2011
  84. ^ 'Culture Monster' blog (8 April 2011). LACMA, other museums demand release of Ai Weiwei in petition". Los Angeles Times
  85. ^ http://www.aboluowang.com/news/data/2011/0415/article_122854.html欧洲作家致温家宝联署签名信 吁请释放艾未未

Further readings

  • Documentary- AI WEIWEI: FAIRYTALE, JRP|Ringier, 2011, [1]
  • Laura Murray Cree, AI WEIWEI: UNDER CONSTRUCTION, University of New South Wales Press/ SCAF/CAC, Sydney, 2009[2]
  • Urs Meile, Peter Pakesch, Ai Weiwei, AI WEIWEI: WORKS 2004–2007, JRP|Ringier, 2008, [3]
  • Ai Weiwei, Chen Weiqing, AI WEIWEI: FRAGMENTS BEIJING 2006,Timezone 8, 2007,[4]
  • Examples of indecent images spread by Ai Weiwei on the internet, which was part of the reason why he was arrested in 2011.[5]

External links

Ai Weiwei's contribution to the Documenta 12 in Kassel 2007
Template (2007) after collapse
Sunflower Seeds, 2010
Ai Weiwei in May 2009 with his list of names of schoolchildren who died in the 2008 Sichuan earthquake, posted on the wall of his Beijing office
Tate Modern in London, home to Ai's 'Sunflower Seeds' exhibition, put a large sign on their exterior that reads "Release Ai Weiwei"

Posted by Đặng-Vũ Chính at 4:08 PM 0 comments Links to this post

Subscribe to: Posts (Atom)