I think I’m just a traveler. When you walk across a river and there’s no bridge, you build one. I’m used to having to deal with Chinese Communist ideology.
AI WEIWEIEveryone of us is a potential convict.
More Ai Weiwei Quotes
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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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I believe [the architecture firm] Herzog and de Meuron and our collaboration made the product the best it could be.
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Of course, there [in China] has to be chaos. It has to be crazy, and I don’t think there’s anything wrong about it except this government, which is really incapable of doing anything meaningful.
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No state or society can claim to have established human rights once and for all.
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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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Society becomes very destructive.
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They’ve become part of a conspiracy, collaborators of the crime, which is lying to the general public and trying to hide the kind of criminal acts happening in many cases.
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The world is not changing if you don’t shoulder the burden of responsibility.
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I spent a lot of time standing on street corners [of New York City] talking to local residents. I spent time in bookstores and galleries. But most of the time, I really did not have much to do.
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We literally lived underground. We dug a hole and lived there for years. My father cleaned public toilets, even though he was a highly respected poet.
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Even today the borders they’re seeing the physical borders are very different from the political borders. Because all those powers are so connected, and you cannot even see whose interest in what move.
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I spend a lot of time talking to journalists.
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The purpose of art is the fight for freedom.
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But personally, I don’t think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it’s beyond my own consciousness.
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I also have to speak out for people around me who are afraid, who think it is not worth it or who have totally given up hope. So I want to set an example: you can do it and this is OK, to speak out.
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Of course, people will call you an old artist or young artist, which is just a character of you.
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It became like a symbolic thing, to be “an artist.” After Duchamp, I realized that being an artist is more about a lifestyle and attitude than producing some product.
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You know about the fantasies related to the classics, but there is no real discussion about today’s life and no discussion of the real conditions – which is really sickening.
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To call yourself a Chinese artist or woman artist or African artist reflects a certain kind of condition. To me, that is not necessary.
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The museums used to be exhibition halls for government propaganda, and now every city wants to build a museum.
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I also doubt a man can give really clear reasons for anything.
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I have to respect my life, and free expression is part of my life. I can never really silence myself.
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I always want people to be confused, to be shocked or realize something later.
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Each year, more people want to become artists.
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I saw [Allen Ginsberg] more as an old man who liked poetry and who had a lot of physical and emotional problems. We liked our time together.
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Nationality started as something natural, but we should not be restrained by the old politics that make up these clear lines. It should have its own way of evolving. In some places, it will evolve slower and in others, faster.
AI WEIWEI