Tropicana Magazine Sep-Oct 2018 #120: Art As Life

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THE GAME CHANGER TM | SEPTEMBER/OCTOBER <strong>2018</strong> 108
THE GAME CHANGER “Ai’s adult life and career have been defined by themes of exile and displacement, but he believes his fascination with the refugee crisis is rooted in his upbringing.” Ai has been making filmed pieces for gallery exhibition for more than ten years, but Human Flow is his first feature-length work, and the first to receive a cinema release. In these culturally fractured times, Ai is already an art world superstar, often described as his generation’s Andy Warhol, and many of his best-known works have the scale and showmanship of stadium gigs. One of them actually is a stadium: the Bird’s Nest in Beijing, which he designed for the 2008 Olympic Games with the architects Herzog & de Meuron. His most famous early work, a series of three black and white photographs called Dropping a Han Dynasty Urn (1995), shows the artist doing exactly what its title describes, to the lasting dismay of antique dealers. And for a famous 2010 Tate Modern installation, he blanketed the gallery’s Turbine Hall in 100 million handmade ceramic sunflower seeds. And yet, Ai himself is something of a man displaced. An outspoken critic of China’s ruling party, he was imprisoned for 81 days in 2011 without charge, followed by an extended period of house arrest and the confiscation of his passport. When his passport was handed back in 2015, he relocated to Berlin, the city to which his partner, the Chinese filmmaker Wang Fen, and their seven-year-old son Lao had fled a year before. The family is now based there. Ai’s adult life and career have been defined by themes of exile and displacement, but he believes his fascination with the refugee crisis is rooted in his upbringing. Shortly after Ai’s birth, his father, a poet, was declared an enemy of the people by Chairman Mao, and the family was exiled from Beijing to Manchuria, and then a labour camp on the southern fringes of the Gobi Desert. They lived in excruciating poverty. “ We were enemies of everyone,” he says. “ My classmates threw stones at my father while he was working to clean their toilets. I think that’s why I felt at home in these cities of tents.” By the time Ai was 19, the state’s wrath towards his family had 109 SEPTEMBER/OCTOBER <strong>2018</strong> | TM
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Vol. #120 September / October 2018
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EDITOR’S NOTE Art is Life We are
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VOLUME #120 ON THE COVER 20 Snooze
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THE DIARY 7/9 - 15/9 PENANG ASIA PA
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THE DIARY 24/10 - 31/10 SHORT+SWEET
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THE SCENE The Scene The hottest eve
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CULTURE | BOOKS MOVING PALETTES Fro
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CASEY TEH Snooze Control Casey Teh,
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CASEY TEH Get enough sleep, surroun
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CASEY TEH TM | SEPTEMBER/OCTOBER 20
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CASEY TEH “Most of us complain th
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THE HOME Versace Home 2018 “Home
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THE HOME Crystal - Designed by Stef
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PROPERTY NEWS | AWARDS BCI ASIA AWA
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PROPERTY NEWS | EVENTS MAJLIS HARI
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Tropicana Magazine Sep-Oct 2018 #120: Art As Life

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