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I don't think China has professional museums - not in the past, present, or near future.
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
Professional
Near
China
Present
Future
Past
Think
Thinking
Museums
More quotes by Ai Weiwei
Once you've tasted freedom, it stays in your heart...
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Even if there have been setbacks during these past years, China is changing. China's society is opening.
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In the '80s, you couldn't walk in the neighborhood without looking back to see if anyone was following you. You had your key in your hand before you got to your apartment and you'd rush in so you didn't have to stop.
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Censorship is saying: I'm the one who says the last sentence. Whatever you say, the conclusion is mine. But the internet is like a tree that is growing. The people will always have the last word – even if someone has a very weak, quiet voice. Such power will collapse because of a whisper.
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I suddenly realized I was getting ten opening notes a day on my mobile phone, more than when I was in New York. But this is China, where nothing is surprising.
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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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Today, we jump into this globalization of the economy and the internet age.
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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 - it's not really an ideology, but a method of control. But China's problems are not just China's problems - they're human problems. Humanity has always worked better when you see it as one.
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New York was not a romantic city at [80th]. Nobody knows who you are and you don't have to care about anybody else. It's a very cold city, I should say.
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Say what you say plainly, and then take responsibility for it.
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Everyone of us is a potential convict.
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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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Because Chinese art is booming, it legitimizes this profession.
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I lived there [ in New York City] as an artist, but never as a Chinese artist.
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Each year, more people want to become artists.
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Many people I know - writers, poets - they have all been sentenced not once but sometimes three times after they come out. They serve five or six years, come out another time, and then nine years. Come out again, 12 years. Only because they have a different opinion. They are innocent people, they have beautiful minds, beautiful hearts.
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To survive, China had to open up to the West. It could not survive otherwise. This was after many millions have died of hunger in a country that was like North Korea is today. Once we became part of global competition, we had to agree to some rules. It's painful, but we had to. Otherwise there was no way to survive.
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Many people are going to use [Beijing National Stadium], which makes it more meaningful. If we don't design it, somebody else has to design it.
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A nation that has no music and no fairytales is a tragedy.
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Beijing is constructing a 100,000 m2 modern art museum, yet it will not feature any of my work.
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