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Behind every political deal in this country, the first casualties are always the ordinary people, who are barely treated as human.
Ai Weiwei
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Ai Weiwei
Age: 67
Born: 1957
Born: May 18
Architect
Consultant
Contemporary Artist
Designer
Film Director
Human Rights Activist
Painter
Photographer
Sculptor
Social Activist
Peking
Wei-wei Ai
Weiwei Ai
Ai Wei Wei
Human
Treated
Humans
Ordinary
First
Behinds
Country
Deal
Every
Behind
Always
Deals
People
Political
Casualties
Firsts
Barely
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What is important is that we actively express our thoughts and wishes, in every realm that we can access.
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I never had secure, belonging feelings with this society [in China].
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For me, it is OK as long as I can breathe, as long as my heart is pumping, as long as I can express myself.
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We 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. The only way to avoid misunderstanding, war and bloodshed is to defend freedom of expression and to communicate with sincerity, concern and good intentions.
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Artists are the worst [people]. They are selfish, self-centred they don't care what happens.
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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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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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Life is art. Art is life. I never separate it.
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Whenever there is injustice, there is tension. But in China it is very hard to release your anger unless you burn yourself or you jump from a bridge. In a society where there is no freedom of the press, it is difficult for victims to be noticed.
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Recently I danced in a video spoof of the song 'Gangnam Style,' and it was quickly banned across multiple Chinese online video platforms. But the story still traveled all over the world, carried in hundreds of international media reports.
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Creativity is the power to act.
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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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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. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.
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If a society cannot even support somebody like me, then people ask: Who is under protection then? That's why there is such support for me. It is not because I am so beautiful or I am so charming. People feel: This guy is fighting for us.
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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. You start to see the society, how it functions, how it works. Then you have a lot of criticism about how it works.
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If human rights are supposed to have any meaning, then they have to be discussed openly.
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To the media, I have become a symbolic figure, critical of China. According to the government, I am a dangerous threat.
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I think the pearls - one is a necklace, and another you have five hundred pounds of pearls, which may be one million pearls in a bowl - really show a kind of [society] condition.
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The art always wins. Anything can happen to me, but the art will stay.
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For years, I refused to go to any openings, not even my own.
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