Even though everybody who looked at me would call me a Chinese artist, that’s the 1980s. New York in the ’80s was not so interesting.
AI WEIWEIWe should also leave behind discrimination, because it is narrow-minded and ignorant, denies contact and warmth; and corrodes mankind’s belief that we can better ourselves.
More Ai Weiwei Quotes
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I never had a sense of home.
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So for too long Americans take liberty as granted. We think we are in the safe hand, the democracy and the liberty, which is not true. And it can be even getting much worse than today.
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As a human being, member of society, you must clearly state your mind. It’s a responsibility. It is the way you identify yourself otherwise you don’t know who you are and why you are here.
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Just look at the statistics: Each university has tens of thousands of applications for students who want to be in art school, but they can only accept a few hundred.
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I was in the most restricted prison in China, the most tough. The design of the prison is modeled for internal crimes of the Communist party, so it’s like a mafia family’s law. It’s independent to the law this nation openly applies.
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In a society like this there is no negotiation, no discussion, except to tell you that power can crush you any time they want — not only you, your whole family and all people like you.
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In my case, I was stuck there for quite a while. New York is large enough to be a very abstract city, so nobody cares.
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A nation like China has become one of the biggest production fields for exporting cheap labor, which also re-questions our history and past, re-questions human desire, and the human illusions of the past.
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I have to find a place for my own. I have to search for my own happiness.
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I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.
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You only have temporary curiosity, amusement, and challenges, but that does not necessarily mean you are really convinced that it’s necessary or that it’s not even worth to do it.
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To work in architecture you are so much involved with society, with politics, with bureaucrats. It’s a very complicated process to do large projects.
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My definition of art has always been the same. It is about freedom of expression. I don’t think anybody can separate art from politics. The intention to separate [the two] is itself a very political intention.
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Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.
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A few thousand are to be built in the next few years, all using taxpayer money. But there is no system, no research, no content, no good programs, no good managers.
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