What Ai Weiwei's New Passport Means for the Artist's Career
How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei
Art Behind Bars: On Alcatraz, Ai Weiwei Celebrates the Silenced
Postcard From The Rock: A Review of Ai Weiwei on Alcatraz
Exploring Freedom and Confinement on Alcatraz
The Making of ‘@Large, Ai Weiwei on Alcatraz’
First Look: Ai Weiwei on Alcatraz
‘I Was Born to Give Out My Opinions’: An Ai Weiwei Top Ten
No Man Is an Island: Ai Weiwei's Life and Art Before Alcatraz
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Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216223313″]\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=W_UkcNhY0IM]\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"KQED chats with gallerist Cheryl Haines about the rehabilitation of the famous dissident Chinese artist, whose immensely popular recent '@Large' exhibition on Alcatraz was put together without the artist setting foot in San Francisco.","status":"publish","parent":0,"modified":1705046706,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":350},"headData":{"title":"What Ai Weiwei's New Passport Means for the Artist's Career | KQED","description":"KQED chats with gallerist Cheryl Haines about the rehabilitation of the famous dissident Chinese artist, whose immensely popular recent '@Large' exhibition on Alcatraz was put together without the artist setting foot in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Ai Weiwei's New Passport Means for the Artist's Career","datePublished":"2015-07-25T00:08:01.000Z","dateModified":"2024-01-12T08:05:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10858301/what-ai-wei-weis-new-passport-means-for-the-artists-career","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/216223313″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/216223313″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W_UkcNhY0IM'\n title='//www.youtube.com/embed/W_UkcNhY0IM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10858301/what-ai-wei-weis-new-passport-means-for-the-artists-career","authors":["7240"],"series":["arts_582"],"categories":["arts_235","arts_70"],"tags":["arts_596","arts_901"],"featImg":"arts_10858379","label":"arts_582"},"arts_10144320":{"type":"posts","id":"arts_10144320","meta":{"index":"posts_1591205157","site":"arts","id":"10144320","score":null,"sort":[1414005780000]},"guestAuthors":[],"slug":"how-alcatraz-became-a-canvas-for-chinese-artist-ai-weiwei","title":"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei","publishDate":1414005780,"format":"standard","headTitle":"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei | KQED","labelTerm":{"site":"forum"},"content":"\u003cp> \u003ca href=\"http://www.kqed.org/epArchive/R201410221000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201410221000?pid=RD19\" target=\"_self\" title=\"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei\" rel=\"noopener\">Forum Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"\u003cp>\r\n\t\u003c/p> \u003ca href=\"http://www.kqed.org/epArchive/R201410221000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>","status":"publish","parent":0,"modified":1705048091,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":9},"headData":{"title":"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei | KQED","description":"\r\n\t ...read more","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei","datePublished":"2014-10-22T19:23:00.000Z","dateModified":"2024-01-12T08:28:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"redirect":{"type":"external","url":"http://www.kqed.org/epArchive/R201410221000?pid=RD19"},"rssmiSourceLink":"http://www.kqed.org/epArchive/R201410221000?pid=RD19","sticky":false,"path":"/arts/10144320/how-alcatraz-became-a-canvas-for-chinese-artist-ai-weiwei","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003ca href=\"http://www.kqed.org/epArchive/R201410221000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201410221000?pid=RD19\" target=\"_self\" title=\"How Alcatraz Became a Canvas for Chinese Artist Ai Weiwei\" rel=\"noopener\">Forum Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"http://www.kqed.org/epArchive/R201410221000?pid=RD19","authors":["92"],"series":["arts_582"],"categories":["arts_235"],"featImg":"arts_10144321","label":"arts"},"arts_10142970":{"type":"posts","id":"arts_10142970","meta":{"index":"posts_1591205157","site":"arts","id":"10142970","score":null,"sort":[1411840992000]},"guestAuthors":[],"slug":"art-behind-bars-on-alcatraz-ai-weiwei-celebrates-the-silenced","title":"Art Behind Bars: On Alcatraz, Ai Weiwei Celebrates the Silenced","publishDate":1411840992,"format":"video","headTitle":"Art Behind Bars: On Alcatraz, Ai Weiwei Celebrates the Silenced | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>Artist and activist Ai Weiwei’s exhibition on Alcatraz Island opens to the public Saturday. The Chinese dissident has been a relentless critic of his own government, especially after shoddy construction of schools killed thousands of children in the Sichuan earthquake of 2008. Because Chinese authorities confiscated his passport after imprisoning him in 2011, Ai himself has never been to Alcatraz. He designed and directed the installation – which features the voices and visages of prisoners of conscience around the world — from his compound in Beijing.\u003c/p>\n\u003cp>Some in the art world are calling this latest show unprecedented, the hottest ticket of the year. KQED’s Mina Kim tours the exhibit and examines the issues raised by this unusual combination of artist and setting.\u003c/p>\n\u003cp>\u003cem>Correction: Howard Levitt is director of communications and partnerships for the National Park Service. In the video he was incorrectly identified as vice president of special projects.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Artist and activist Ai Weiwei’s exhibition on Alcatraz Island opens to the public Saturday. Because Chinese authorities confiscated his passport after imprisoning him in 2011, Ai designed and directed the installation from Beijing. The works in the show explore themes of freedom and imprisonment; many feature the voices and visages of prisoners of conscience around the world. KQED’s Mina Kim tours the exhibit and examines the issues raised by this unusual combination of artist and setting. ","status":"publish","parent":0,"modified":1705048198,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":173},"headData":{"title":"Art Behind Bars: On Alcatraz, Ai Weiwei Celebrates the Silenced | KQED","description":"Artist and activist Ai Weiwei’s exhibition on Alcatraz Island opens to the public Saturday. Because Chinese authorities confiscated his passport after imprisoning him in 2011, Ai designed and directed the installation from Beijing. The works in the show explore themes of freedom and imprisonment; many feature the voices and visages of prisoners of conscience around the world. KQED’s Mina Kim tours the exhibit and examines the issues raised by this unusual combination of artist and setting. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art Behind Bars: On Alcatraz, Ai Weiwei Celebrates the Silenced","datePublished":"2014-09-27T18:03:12.000Z","dateModified":"2024-01-12T08:29:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/NzG-s7zkpqc","sticky":false,"nprByline":"Monica Lam, Mina Kim","path":"/arts/10142970/art-behind-bars-on-alcatraz-ai-weiwei-celebrates-the-silenced","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist and activist Ai Weiwei’s exhibition on Alcatraz Island opens to the public Saturday. The Chinese dissident has been a relentless critic of his own government, especially after shoddy construction of schools killed thousands of children in the Sichuan earthquake of 2008. Because Chinese authorities confiscated his passport after imprisoning him in 2011, Ai himself has never been to Alcatraz. He designed and directed the installation – which features the voices and visages of prisoners of conscience around the world — from his compound in Beijing.\u003c/p>\n\u003cp>Some in the art world are calling this latest show unprecedented, the hottest ticket of the year. KQED’s Mina Kim tours the exhibit and examines the issues raised by this unusual combination of artist and setting.\u003c/p>\n\u003cp>\u003cem>Correction: Howard Levitt is director of communications and partnerships for the National Park Service. In the video he was incorrectly identified as vice president of special projects.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142970/art-behind-bars-on-alcatraz-ai-weiwei-celebrates-the-silenced","authors":["byline_arts_10142970"],"series":["arts_582","arts_610"],"categories":["arts_235","arts_70"],"featImg":"arts_10142981","label":"arts_610"},"arts_10142801":{"type":"posts","id":"arts_10142801","meta":{"index":"posts_1591205157","site":"arts","id":"10142801","score":null,"sort":[1411736405000]},"guestAuthors":[],"slug":"postcard-from-the-rock-a-review-of-ai-weiwei-on-alcatraz","title":"Postcard From The Rock: A Review of Ai Weiwei on Alcatraz","publishDate":1411736405,"format":"standard","headTitle":"Postcard From The Rock: A Review of Ai Weiwei on Alcatraz | KQED","labelTerm":{"term":582,"site":"arts"},"content":"\u003cp>First, an admission: I’d never been to Alcatraz and only recently had my first visit. Its histories of isolation and displacement were always amplified in my mind by its sorrowful emptiness. Why would anyone go to Alcatraz, I always wondered – then came Ai Weiwei.\u003c/p>\n\u003cp>But, to be clear, Ai Weiwei has also never set eyes on the place. The seven site-specific installations around the prison today were conceptualized by the artist from his studio in China, where he remains unable to travel since being detained by the government in 2011. As I wrote in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/15/no-man-is-an-island-ai-weiweis-life-and-art-before-alcatraz/\">a recent article\u003c/a> about his life and art, despite this limitation Ai has cultivated an exceptional ability to work as a “remote control artist,” and has produced many large-scale exhibitions, site-specific projects, music videos, interviews, etc, using the Internet.\u003c/p>\n\u003cp>Ai developed new work for Alcatraz using research materials and maps delivered to him by Cheryl Haines, executive director of the For-Site Foundation, the non-profit that produced the $3.6M Alcatraz project in partnership with the National Park Service. Haines has also represented Ai Weiwei at her eponymous commercial gallery since 2010.\u003c/p>\n\u003cp>With this show, the artist has given much consideration to his own experiences of detainment, as well as to the experiences of many others persecuted for acting out against inequity. The strongest works here are sparse sound installations that push the viewer to consider empathy. To rush through the site on a mission to see the work is to miss something of the point.\u003c/p>\n\u003cp>The most powerful work in \u003cb>@Large \u003c/b>is \u003cem>Stay Tuned\u003c/em>, a series of sound pieces located in twelve cells in Block A. Visitors enter the tiny rooms to hear recordings of spoken word, poetry and music created by people imprisoned for expressing their beliefs. A single cold stainless steel stool, designed by the artist, is centered in each cell, evoking the solitary nature of confinement. One features a recording of the Robben Island Singers, imprisoned for anti-apartheid activism in South Africa; another features the song that led to the recent imprisonment of members of the Russian punk band Pussy Riot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/ZqauzCeJ52M\u003c/p>\n\u003cp>Another sound installation, \u003cem>Illumination,\u003c/em> is situated in two adjacent psychiatric observation rooms in the former prison hospital. One audio recording features a traditional song of the Native American Hopi tribe, some of whom were the first prisoners of conscience held on Alcatraz, and the other features the chanting of Buddhist monks. The work attempts to draw parallels between the powerlessness of the detained and the mentally ill and to touch upon the possible catharsis offered by chanting in situations of duress. Though these were perhaps the most emotionally loaded sites, the work stops short of the empathy evoked by \u003cem>Stay Tuned\u003c/em>.\u003c/p>\n\u003cp>As disturbing as it is to see these rooms, and the hospital in general, \u003cem>Illumination \u003c/em>does not seem to touch upon the history of despair or containment and isolation that resonates within those walls. I was aware of the audio, but I was more mindful of the original tile and how many hands must have gone over its surfaces. Short of locking people up in isolation, it is hard to know if an artwork can achieve the same gravity of such lived experiences. When art tries and fails in such contexts, does spectacle somehow diminish the integrity of history? This is the thorny challenge of site-specific work that engages with the past.\u003c/p>\n\u003cfigure id=\"attachment_10142891\" class=\"wp-caption alignright\" style=\"max-width: 638px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing2.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"638\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2.jpg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2-300x199.jpg 300w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond audio, there are also works that deliver visually stunning results with varying emotional impact. \u003cem>Refraction \u003c/em>is a massive sculpture referencing a bird’s wing; it is comprised of reflective panels used for Tibetan solar cookers. The five-ton apparatus \u003cem>looks\u003c/em> functional and it appears mechanical, as though it could move if powered, but it is none of these things. The viewer only sees the sculpture from a gun gallery positioned above the former workroom floor where well-behaved prisoners once worked. The broken glass and small rusty windowpanes of the gun gallery obscure the view — there are no clear sightlines to consider the work in its totality, and viewers must choose between considering the art below and the remnants of history literally in front of their eyes. Though the work promises a remarkable image to behold by virtue of its scale, the resulting effect is more subtle.\u003c/p>\n\u003cfigure id=\"attachment_10142892\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legosagain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legosagain.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/staytuned.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142893\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/staytuned.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>The work that is not subtle and is bound to be discussed far and wide is \u003cem>Trace\u003c/em>, an impressive array of 175 floor-based Lego portraits of people the world over who have been imprisoned for their beliefs or their affiliations. The range of images and craftsmanship is impressive and it is a work that is certain to have wide appeal, from children to technically minded adults. (Many of the newer tech companies have Lego walls in their offices — Ai Weiwei may have cracked the code when it comes to engaging tech upstarts with contemporary art.)\u003c/p>\n\u003cp>Certainly \u003cem>Trace\u003c/em> lends itself well to being documented on social media — the pixilated forms actually coalesce in front of a lens — and given that the island was rigged with wi-fi specifically for this occasion, visitors will be able to post and tweet to their hearts’ content, while also distributing images of these persecuted subjects around the world and communicating to Ai over the ether that his message has been received. \u003cem>Trace \u003c/em>isn’t complicated, but it does have many layers of brilliance within its multicolored plastic grids. The fact that these Lego portraits are also the most marketable of Ai’s endeavors on Alcatraz is but one layer. Surely they will be very popular at some art fair somewhere someday. They’re cool.\u003c/p>\n\u003cp>The positioning of work such as \u003cem>Refraction \u003c/em>or \u003cem>Trace \u003c/em>in the New Industries building where inmates earned prison wages for assembly work, mostly sewing, raises interesting questions about For-Site’s open call for volunteer labor to assist with production. Given that a very successful Kickstarter was launched — in addition to the project budget raised by For-Site — to pay for the art guides program, the absence of compensation for assembly work seems to perpetuate the art world’s penchant for free production labor. It also appears shortsighted given the site itself and the larger history of prison labor.\u003c/p>\n\u003cp>In response to questions about the volunteer program, a For-Site representative noted that part of Ai’s practice is to involve the community. Many of his works have engaged this type of participatory making. For-Site recruited 90 volunteers via the Parks Conservancy to work on one piece. This is part of normal operations for the Conservancy, which routinely lines up volunteers to do all kinds of things in the parks.\u003c/p>\n\u003cp>But is it fair to compare volunteerism for the Parks Conservancy with unpaid production labor for an international artist with blue chip prices in the art market? In the end, the For-Site representative stated noted that Ai Weiwei owns the works, so he can sell them when the show is done. In light of the expansive budget and elaborate infrastructure of paid workers associated with the project, the call for volunteer labor in this scenario seems to counter the social justice message of the exhibition, especially considering recent debates about the value of art and labor within the Bay Area’s meteoric cost of living.\u003c/p>\n\u003cp>As a privately organized “public” project, \u003cb>@Large\u003c/b> circumnavigates the usual processes for public art, as much large-scale work does today. The larger economic implications of the project are still unclear. The exhibition benefits the National Park Service — the New Industries building, among other spaces, was spruced up for the project and the island was wired with wi-fi — but it also has the potential to benefit Alcatraz Cruises, the private ferry company with an exclusive government contract to service the island. As the exhibition dates overlap with typically slower tourism during the winter months, \u003cstrong>@Large \u003c/strong>could potentially boost ticket sales as an unusual attraction in the off-season. (See Cy Musiker’s \u003ca href=\"http://ww2.kqed.org/arts/2014/05/13/alcatraz-tickets-expected-to-become-scarce-during-ai-wei-wei-exhibit/\">article \u003c/a>about securing tickets for more details.)\u003c/p>\n\u003cp>It is hard to imagine how \u003cb>@Large\u003c/b> will impact the Bay Area community in terms of social justice, or if it will at all. Will it raise larger questions about freedom of expression, or the prison system, or public access? What is the function of so-called public art, exactly, in this context — when the work isn’t publicly accessible at all and bears a complex relationship to private interests? \u003cb>@Large\u003c/b> seems to be directed beyond the Bay Area public, and aimed towards a much larger, networked global community propelled by the tourists who come in droves to see San Francisco. It is possible to consider Alcatraz as a prison in the larger metaphorical sense, as Ai appears to do in the exhibition, but it would further succeed in the vein of art activism if the project prioritized accessibility and engagement within the local community.\u003c/p>\n\u003cp>I’ve wondered all along if the visibility of this project will impact Ai’s situation. Can art affect change at that level? If it could, would that be Ai Weiwei’s ultimate artwork — or a great shift in thinking about what art can do, or both? Ai can’t be here, so the work will have to speak for itself. I bought tickets to go back this weekend with a guest, an old friend who has visited many times and yet has never been to “The Rock.” “Finally,” he said to me, “finally you’ll go to Alcatraz – now that it’s about art.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> opens September 27, 2014 and runs through April 26, 2015; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\u003c/p>\n\n","blocks":[],"excerpt":"Chinese artist Ai Weiwei is internationally known both for his artworks and for the fact that he has been detained by the Chinese government since 2011. With the seven works in \u003cb>@Large\u003c/b>, Ai uses the world-famous prison to consider his own experiences of detainment, as well as the experiences of many others persecuted for acting out against inequity.","status":"publish","parent":0,"modified":1705048207,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1695},"headData":{"title":"Postcard From The Rock: A Review of Ai Weiwei on Alcatraz | KQED","description":"Chinese artist Ai Weiwei is internationally known both for his artworks and for the fact that he has been detained by the Chinese government since 2011. With the seven works in @Large, Ai uses the world-famous prison to consider his own experiences of detainment, as well as the experiences of many others persecuted for acting out against inequity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Postcard From The Rock: A Review of Ai Weiwei on Alcatraz","datePublished":"2014-09-26T13:00:05.000Z","dateModified":"2024-01-12T08:30:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10142801/postcard-from-the-rock-a-review-of-ai-weiwei-on-alcatraz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, an admission: I’d never been to Alcatraz and only recently had my first visit. Its histories of isolation and displacement were always amplified in my mind by its sorrowful emptiness. Why would anyone go to Alcatraz, I always wondered – then came Ai Weiwei.\u003c/p>\n\u003cp>But, to be clear, Ai Weiwei has also never set eyes on the place. The seven site-specific installations around the prison today were conceptualized by the artist from his studio in China, where he remains unable to travel since being detained by the government in 2011. As I wrote in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/15/no-man-is-an-island-ai-weiweis-life-and-art-before-alcatraz/\">a recent article\u003c/a> about his life and art, despite this limitation Ai has cultivated an exceptional ability to work as a “remote control artist,” and has produced many large-scale exhibitions, site-specific projects, music videos, interviews, etc, using the Internet.\u003c/p>\n\u003cp>Ai developed new work for Alcatraz using research materials and maps delivered to him by Cheryl Haines, executive director of the For-Site Foundation, the non-profit that produced the $3.6M Alcatraz project in partnership with the National Park Service. Haines has also represented Ai Weiwei at her eponymous commercial gallery since 2010.\u003c/p>\n\u003cp>With this show, the artist has given much consideration to his own experiences of detainment, as well as to the experiences of many others persecuted for acting out against inequity. The strongest works here are sparse sound installations that push the viewer to consider empathy. To rush through the site on a mission to see the work is to miss something of the point.\u003c/p>\n\u003cp>The most powerful work in \u003cb>@Large \u003c/b>is \u003cem>Stay Tuned\u003c/em>, a series of sound pieces located in twelve cells in Block A. Visitors enter the tiny rooms to hear recordings of spoken word, poetry and music created by people imprisoned for expressing their beliefs. A single cold stainless steel stool, designed by the artist, is centered in each cell, evoking the solitary nature of confinement. One features a recording of the Robben Island Singers, imprisoned for anti-apartheid activism in South Africa; another features the song that led to the recent imprisonment of members of the Russian punk band Pussy Riot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZqauzCeJ52M'\n title='//www.youtube.com/embed/ZqauzCeJ52M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another sound installation, \u003cem>Illumination,\u003c/em> is situated in two adjacent psychiatric observation rooms in the former prison hospital. One audio recording features a traditional song of the Native American Hopi tribe, some of whom were the first prisoners of conscience held on Alcatraz, and the other features the chanting of Buddhist monks. The work attempts to draw parallels between the powerlessness of the detained and the mentally ill and to touch upon the possible catharsis offered by chanting in situations of duress. Though these were perhaps the most emotionally loaded sites, the work stops short of the empathy evoked by \u003cem>Stay Tuned\u003c/em>.\u003c/p>\n\u003cp>As disturbing as it is to see these rooms, and the hospital in general, \u003cem>Illumination \u003c/em>does not seem to touch upon the history of despair or containment and isolation that resonates within those walls. I was aware of the audio, but I was more mindful of the original tile and how many hands must have gone over its surfaces. Short of locking people up in isolation, it is hard to know if an artwork can achieve the same gravity of such lived experiences. When art tries and fails in such contexts, does spectacle somehow diminish the integrity of history? This is the thorny challenge of site-specific work that engages with the past.\u003c/p>\n\u003cfigure id=\"attachment_10142891\" class=\"wp-caption alignright\" style=\"max-width: 638px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing2.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"638\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2.jpg 638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing2-300x199.jpg 300w\" sizes=\"(max-width: 638px) 100vw, 638px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond audio, there are also works that deliver visually stunning results with varying emotional impact. \u003cem>Refraction \u003c/em>is a massive sculpture referencing a bird’s wing; it is comprised of reflective panels used for Tibetan solar cookers. The five-ton apparatus \u003cem>looks\u003c/em> functional and it appears mechanical, as though it could move if powered, but it is none of these things. The viewer only sees the sculpture from a gun gallery positioned above the former workroom floor where well-behaved prisoners once worked. The broken glass and small rusty windowpanes of the gun gallery obscure the view — there are no clear sightlines to consider the work in its totality, and viewers must choose between considering the art below and the remnants of history literally in front of their eyes. Though the work promises a remarkable image to behold by virtue of its scale, the resulting effect is more subtle.\u003c/p>\n\u003cfigure id=\"attachment_10142892\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legosagain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legosagain.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legosagain-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/staytuned.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142893\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/staytuned.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/staytuned-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>The work that is not subtle and is bound to be discussed far and wide is \u003cem>Trace\u003c/em>, an impressive array of 175 floor-based Lego portraits of people the world over who have been imprisoned for their beliefs or their affiliations. The range of images and craftsmanship is impressive and it is a work that is certain to have wide appeal, from children to technically minded adults. (Many of the newer tech companies have Lego walls in their offices — Ai Weiwei may have cracked the code when it comes to engaging tech upstarts with contemporary art.)\u003c/p>\n\u003cp>Certainly \u003cem>Trace\u003c/em> lends itself well to being documented on social media — the pixilated forms actually coalesce in front of a lens — and given that the island was rigged with wi-fi specifically for this occasion, visitors will be able to post and tweet to their hearts’ content, while also distributing images of these persecuted subjects around the world and communicating to Ai over the ether that his message has been received. \u003cem>Trace \u003c/em>isn’t complicated, but it does have many layers of brilliance within its multicolored plastic grids. The fact that these Lego portraits are also the most marketable of Ai’s endeavors on Alcatraz is but one layer. Surely they will be very popular at some art fair somewhere someday. They’re cool.\u003c/p>\n\u003cp>The positioning of work such as \u003cem>Refraction \u003c/em>or \u003cem>Trace \u003c/em>in the New Industries building where inmates earned prison wages for assembly work, mostly sewing, raises interesting questions about For-Site’s open call for volunteer labor to assist with production. Given that a very successful Kickstarter was launched — in addition to the project budget raised by For-Site — to pay for the art guides program, the absence of compensation for assembly work seems to perpetuate the art world’s penchant for free production labor. It also appears shortsighted given the site itself and the larger history of prison labor.\u003c/p>\n\u003cp>In response to questions about the volunteer program, a For-Site representative noted that part of Ai’s practice is to involve the community. Many of his works have engaged this type of participatory making. For-Site recruited 90 volunteers via the Parks Conservancy to work on one piece. This is part of normal operations for the Conservancy, which routinely lines up volunteers to do all kinds of things in the parks.\u003c/p>\n\u003cp>But is it fair to compare volunteerism for the Parks Conservancy with unpaid production labor for an international artist with blue chip prices in the art market? In the end, the For-Site representative stated noted that Ai Weiwei owns the works, so he can sell them when the show is done. In light of the expansive budget and elaborate infrastructure of paid workers associated with the project, the call for volunteer labor in this scenario seems to counter the social justice message of the exhibition, especially considering recent debates about the value of art and labor within the Bay Area’s meteoric cost of living.\u003c/p>\n\u003cp>As a privately organized “public” project, \u003cb>@Large\u003c/b> circumnavigates the usual processes for public art, as much large-scale work does today. The larger economic implications of the project are still unclear. The exhibition benefits the National Park Service — the New Industries building, among other spaces, was spruced up for the project and the island was wired with wi-fi — but it also has the potential to benefit Alcatraz Cruises, the private ferry company with an exclusive government contract to service the island. As the exhibition dates overlap with typically slower tourism during the winter months, \u003cstrong>@Large \u003c/strong>could potentially boost ticket sales as an unusual attraction in the off-season. (See Cy Musiker’s \u003ca href=\"http://ww2.kqed.org/arts/2014/05/13/alcatraz-tickets-expected-to-become-scarce-during-ai-wei-wei-exhibit/\">article \u003c/a>about securing tickets for more details.)\u003c/p>\n\u003cp>It is hard to imagine how \u003cb>@Large\u003c/b> will impact the Bay Area community in terms of social justice, or if it will at all. Will it raise larger questions about freedom of expression, or the prison system, or public access? What is the function of so-called public art, exactly, in this context — when the work isn’t publicly accessible at all and bears a complex relationship to private interests? \u003cb>@Large\u003c/b> seems to be directed beyond the Bay Area public, and aimed towards a much larger, networked global community propelled by the tourists who come in droves to see San Francisco. It is possible to consider Alcatraz as a prison in the larger metaphorical sense, as Ai appears to do in the exhibition, but it would further succeed in the vein of art activism if the project prioritized accessibility and engagement within the local community.\u003c/p>\n\u003cp>I’ve wondered all along if the visibility of this project will impact Ai’s situation. Can art affect change at that level? If it could, would that be Ai Weiwei’s ultimate artwork — or a great shift in thinking about what art can do, or both? Ai can’t be here, so the work will have to speak for itself. I bought tickets to go back this weekend with a guest, an old friend who has visited many times and yet has never been to “The Rock.” “Finally,” he said to me, “finally you’ll go to Alcatraz – now that it’s about art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> opens September 27, 2014 and runs through April 26, 2015; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142801/postcard-from-the-rock-a-review-of-ai-weiwei-on-alcatraz","authors":["58"],"series":["arts_582"],"categories":["arts_70"],"featImg":"arts_10142888","label":"arts_582"},"arts_10142748":{"type":"posts","id":"arts_10142748","meta":{"index":"posts_1591205157","site":"arts","id":"10142748","score":null,"sort":[1411650056000]},"guestAuthors":[],"slug":"exploring-freedom-and-confinement-on-alcatraz","title":"Exploring Freedom and Confinement on Alcatraz","publishDate":1411650056,"format":"audio","headTitle":"Exploring Freedom and Confinement on Alcatraz | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED Radio News report on \u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b>:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3\u003c/p>\n\u003c/aside>\n\u003cp>The only way to get to the exhibit is to hop on a ferry. Once you reach the island in the middle of the San Francisco bay, follow signs that lead to a building marked “Penitentiary Laundry” and there you’ll be greeted by the head of a dragon kite. For-Site Foundation founder Cheryl Haines curated the exhibit.\u003c/p>\n\u003cp>“This in my mind is the pièce de résistance,” Haines says, as she takes in the dragon head just before it’s installed. “I just got goose bumps.”\u003c/p>\n\u003cp>The massive, yet delicate kite in a rainbow of hues snakes around columns of peeling, institutional green paint.\u003c/p>\n\u003cfigure id=\"attachment_10142750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\" alt=\"Ai Weiwei, <i>Wind</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Wind\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Haines dreamed up the idea of bringing Ai’s art to Alcatraz three years ago. The artist — perhaps best known for his work on the 2008 Beijing Olympic “Birds Nest” stadium — was released from an 81-day detention by Chinese authorities for alleged tax evasion. Ai’s supporters say it was more an attempt to clamp down on his criticism of China’s government. Haines says all the works touch on themes of incarceration and individual rights, including the kite.\u003c/p>\n\u003cp>“It’s suspended above the viewer. It will be flying; it will be free,” Haines says. “But it’s also restricted within the building, so there’s this really interesting conversation between control and freedom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Restrictions and freedom are basically two sides of the same thing,” said Ai Weiwei from his Beijing studio last month. “The two faces of the matter.”\u003c/p>\n\u003cfigure id=\"attachment_10142751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>A massive, five-ton bird’s wing further reflects that point. Made from metal panels once used as solar cookers in Tibet, the wing appears trapped in a basement. It’s viewable only from above through broken glass windows. Haines says Ai is also giving a nod to the island’s role as a seabird sanctuary. “His ability to interpret space and engage audience is unparalleled.”\u003c/p>\n\u003cp>They are skills Ai Weiwei has come to rely on. Unable to leave China after authorities confiscated his passport, Ai had to envision Alcatraz from his Beijing studio, including a row of crumbling prison cells for another work: a sound installation that pipes in the voices of people imprisoned for expressing their views.\u003c/p>\n\u003cfigure id=\"attachment_10142752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\" alt=\"Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\u003c/figcaption>\u003c/figure>\n\u003cp>In one cell, music by the Russian feminist punk band Pussy Riot plays from decaying air vents. In 2012, the band’s members were sentenced to two years in prison after singing a song that protested Russian President Vladimir Putin.\u003c/p>\n\u003cp>Another cell plays the music of late musician Fela Kuti, who decried the Nigerian government and served 20 months in prison for alleged currency smuggling.\u003c/p>\n\u003cp>The U.S. is also implicated. A recording of a Hopi Indian chant plays in one of Alcatraz’s psychiatric observation cells. Nineteen members of the Hopi tribe were jailed at Alcatraz in 1895 for opposing the forced education of their children in government boarding schools.\u003c/p>\n\u003cfigure id=\"attachment_10142753\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142754\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>This 3-and-a-half million dollar, mostly privately funded project, has been a major undertaking. National parks officials had to seek the clearance of the U.S. state department to host one of China’s most vocal critics on federal land. None of the site’s historic walls could be harmed.\u003c/p>\n\u003cp>“We cannot touch anything, add anything, it’s a hanging installation,” Ai Weiwei said. “Like prisoners themselves who are only there for a period of time.”\u003c/p>\n\u003cp>No doubt, the obstacles also bring more attention to the exhibit. Chad Coerver, Chief Content Officer at the San Francisco Museum of Modern Art, says Ai needs visibility in the West.\u003c/p>\n\u003cp>“The more recognized he is, even though he’s incarcerated at home, the safer he is from eventually being shut off completely or disappeared again, as he was in 2011,” Coerver says. “It’s a very dicey gamble that he’s playing, because we know the West’s attention doesn’t always guarantee political freedom in China.”\u003c/p>\n\u003cp>The fight to stay visible permeates the artwork called \u003ci>Trace\u003c/i>. More than 175 portraits made from Legos of “prisoners of conscience” cover a building floor. Prominent figures like Nelson Mandela and NSA contactor Edward Snowden are among those fashioned out of colorful plastic bricks, but many are likely unknown to most Americans.\u003c/p>\n\u003cp>“One thing about Ai Weiwei, he’s really doing either research, or he wants to understand,” says celebrated Oakland painter Hung Liu.\u003c/p>\n\u003cp>Liu is close friends with Ai Weiwei and grew up during China’s Cultural Revolution under Mao Tse Tung. Like Ai, whose poet father was exiled by Mao’s government and forced to clean lavatories, China’s politics and culture permeate her work. But she is wary of political art becoming too didactic.\u003c/p>\n\u003cp>“When you have a strong political agenda, strong message, you have to be careful if you want to use art form,” Liu says. Liu plans to take a serious look at Ai’s Alcatraz work, and hopes others will get past his superstar status and do the same.\u003c/p>\n\u003cp>“Ai Weiwei’s super famous. Some people call him a god,” Liu says. “I think it’s a little too far. People tried to make Mao Tse Tung a god, so in a bigger sense, I just feel like it’s important for other people to be critical.”\u003c/p>\n\u003cp>Additional reporting by Monica Lam and Adam Grossberg.\u003cbr>\n\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> is on view through April 26, 2015. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit for-site.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Chinese artist Ai Weiwei's @Large debuts on Alcatraz this weekend. Some in the art world are already calling it the hottest ticket of the year. ","status":"publish","parent":0,"modified":1705048211,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1047},"headData":{"title":"Exploring Freedom and Confinement on Alcatraz | KQED","description":"Chinese artist Ai Weiwei's @Large debuts on Alcatraz this weekend. Some in the art world are already calling it the hottest ticket of the year. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Exploring Freedom and Confinement on Alcatraz","datePublished":"2014-09-25T13:00:56.000Z","dateModified":"2024-01-12T08:30:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mina Kim","path":"/arts/10142748/exploring-freedom-and-confinement-on-alcatraz","audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED Radio News report on \u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b>:\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audioLink","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140925artsweiwei.mp3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>The only way to get to the exhibit is to hop on a ferry. Once you reach the island in the middle of the San Francisco bay, follow signs that lead to a building marked “Penitentiary Laundry” and there you’ll be greeted by the head of a dragon kite. For-Site Foundation founder Cheryl Haines curated the exhibit.\u003c/p>\n\u003cp>“This in my mind is the pièce de résistance,” Haines says, as she takes in the dragon head just before it’s installed. “I just got goose bumps.”\u003c/p>\n\u003cp>The massive, yet delicate kite in a rainbow of hues snakes around columns of peeling, institutional green paint.\u003c/p>\n\u003cfigure id=\"attachment_10142750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/convict.jpg\" alt=\"Ai Weiwei, <i>Wind</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/convict-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Wind\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Haines dreamed up the idea of bringing Ai’s art to Alcatraz three years ago. The artist — perhaps best known for his work on the 2008 Beijing Olympic “Birds Nest” stadium — was released from an 81-day detention by Chinese authorities for alleged tax evasion. Ai’s supporters say it was more an attempt to clamp down on his criticism of China’s government. Haines says all the works touch on themes of incarceration and individual rights, including the kite.\u003c/p>\n\u003cp>“It’s suspended above the viewer. It will be flying; it will be free,” Haines says. “But it’s also restricted within the building, so there’s this really interesting conversation between control and freedom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Restrictions and freedom are basically two sides of the same thing,” said Ai Weiwei from his Beijing studio last month. “The two faces of the matter.”\u003c/p>\n\u003cfigure id=\"attachment_10142751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing.jpg\" alt=\"Ai Weiwei, <i>Refraction</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Refraction\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>A massive, five-ton bird’s wing further reflects that point. Made from metal panels once used as solar cookers in Tibet, the wing appears trapped in a basement. It’s viewable only from above through broken glass windows. Haines says Ai is also giving a nod to the island’s role as a seabird sanctuary. “His ability to interpret space and engage audience is unparalleled.”\u003c/p>\n\u003cp>They are skills Ai Weiwei has come to rely on. Unable to leave China after authorities confiscated his passport, Ai had to envision Alcatraz from his Beijing studio, including a row of crumbling prison cells for another work: a sound installation that pipes in the voices of people imprisoned for expressing their views.\u003c/p>\n\u003cfigure id=\"attachment_10142752\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cellblock.jpg\" alt=\"Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cellblock-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chinese artist Ai Weiwei has installed sounds by international dissidents inside a cell block on Alcatraz; Photo by Monica Lam\u003c/figcaption>\u003c/figure>\n\u003cp>In one cell, music by the Russian feminist punk band Pussy Riot plays from decaying air vents. In 2012, the band’s members were sentenced to two years in prison after singing a song that protested Russian President Vladimir Putin.\u003c/p>\n\u003cp>Another cell plays the music of late musician Fela Kuti, who decried the Nigerian government and served 20 months in prison for alleged currency smuggling.\u003c/p>\n\u003cp>The U.S. is also implicated. A recording of a Hopi Indian chant plays in one of Alcatraz’s psychiatric observation cells. Nineteen members of the Hopi tribe were jailed at Alcatraz in 1895 for opposing the forced education of their children in government boarding schools.\u003c/p>\n\u003cfigure id=\"attachment_10142753\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/legolongshot.jpg\" alt=\"Ai Weiwei, <i>Trace</i>, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/legolongshot-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i>, 2014\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142754\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snowden.jpg\" alt=\"Ai Weiwei, <i>Trace</i> detail, 2014\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snowden-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Trace\u003c/i> detail, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>This 3-and-a-half million dollar, mostly privately funded project, has been a major undertaking. National parks officials had to seek the clearance of the U.S. state department to host one of China’s most vocal critics on federal land. None of the site’s historic walls could be harmed.\u003c/p>\n\u003cp>“We cannot touch anything, add anything, it’s a hanging installation,” Ai Weiwei said. “Like prisoners themselves who are only there for a period of time.”\u003c/p>\n\u003cp>No doubt, the obstacles also bring more attention to the exhibit. Chad Coerver, Chief Content Officer at the San Francisco Museum of Modern Art, says Ai needs visibility in the West.\u003c/p>\n\u003cp>“The more recognized he is, even though he’s incarcerated at home, the safer he is from eventually being shut off completely or disappeared again, as he was in 2011,” Coerver says. “It’s a very dicey gamble that he’s playing, because we know the West’s attention doesn’t always guarantee political freedom in China.”\u003c/p>\n\u003cp>The fight to stay visible permeates the artwork called \u003ci>Trace\u003c/i>. More than 175 portraits made from Legos of “prisoners of conscience” cover a building floor. Prominent figures like Nelson Mandela and NSA contactor Edward Snowden are among those fashioned out of colorful plastic bricks, but many are likely unknown to most Americans.\u003c/p>\n\u003cp>“One thing about Ai Weiwei, he’s really doing either research, or he wants to understand,” says celebrated Oakland painter Hung Liu.\u003c/p>\n\u003cp>Liu is close friends with Ai Weiwei and grew up during China’s Cultural Revolution under Mao Tse Tung. Like Ai, whose poet father was exiled by Mao’s government and forced to clean lavatories, China’s politics and culture permeate her work. But she is wary of political art becoming too didactic.\u003c/p>\n\u003cp>“When you have a strong political agenda, strong message, you have to be careful if you want to use art form,” Liu says. Liu plans to take a serious look at Ai’s Alcatraz work, and hopes others will get past his superstar status and do the same.\u003c/p>\n\u003cp>“Ai Weiwei’s super famous. Some people call him a god,” Liu says. “I think it’s a little too far. People tried to make Mao Tse Tung a god, so in a bigger sense, I just feel like it’s important for other people to be critical.”\u003c/p>\n\u003cp>Additional reporting by Monica Lam and Adam Grossberg.\u003cbr>\n\u003cb>@Large: Ai Weiwei on Alcatraz\u003c/b> is on view through April 26, 2015. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener noreferrer\">more information\u003c/a> visit for-site.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142748/exploring-freedom-and-confinement-on-alcatraz","authors":["byline_arts_10142748"],"series":["arts_582","arts_610"],"categories":["arts_70"],"tags":["arts_3181"],"featImg":"arts_10142749","label":"arts_610"},"arts_10142707":{"type":"posts","id":"arts_10142707","meta":{"index":"posts_1591205157","site":"arts","id":"10142707","score":null,"sort":[1411585220000]},"guestAuthors":[],"slug":"the-making-of-large-ai-weiwei-on-alcatraz","title":"The Making of ‘@Large, Ai Weiwei on Alcatraz’","publishDate":1411585220,"format":"video","headTitle":"The Making of ‘@Large, Ai Weiwei on Alcatraz’ | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>The title of international art star Ai Weiwei’s installation on Alcatraz, \u003ci>@Large\u003c/i>, is a contradiction, since the artist himself is anything but. Ai was imprisoned by Chinese authorities for 81 days in 2011, ostensibly on tax-related charges, and his travel is still restricted to his native China. The unusual exhibition on the site of the famous penitentiary opens this weekend and explores themes of freedom and imprisonment. “The idea of freedom is not just a concept,” Ai told KQED, referring to prisoners of conscience around the world who suffer confinement only because “they want to change society.”\u003c/p>\n\u003cp>Planning and set-up of the installation was a labyrinthian affair, coordinated across continents, complicated by multiple layers of jurisdiction and permission and requiring more than 100 volunteers and staffers. KQED visited the site earlier this month and came back with footage that shows some of the works in process: \u003ci>Trace\u003c/i>, formed from over 1 million Lego blocks, offers portraits of 176 prisoners of conscience from around the world. \u003ci>With Wind\u003c/i>, built from multiple kites created by Chinese artisans, offers quotations from dissidents. \u003ci>Stay Tuned\u003c/i>, an audio piece, fills individual cells with the words and music of Pussy Riot, Fela Kuti, Martin Luther King and others imprisoned for their views. \u003ci>Refraction\u003c/i>, composed of Tibetan solar cookers, evokes a bird’s wing and associated ideas both of the freedom of flight and of the many birds who make their home on Alcatraz island.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The installation of international art star Ai Weiwei's Alcatraz exhibition was a labyrinthian affair, coordinated across continents, complicated by multiple layers of jurisdiction and permission and requiring more than 100 volunteers and staffers. KQED visited the site and came back with footage that shows some of the works in process. ","status":"publish","parent":0,"modified":1705048218,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":275},"headData":{"title":"The Making of ‘@Large, Ai Weiwei on Alcatraz’ | KQED","description":"The installation of international art star Ai Weiwei's Alcatraz exhibition was a labyrinthian affair, coordinated across continents, complicated by multiple layers of jurisdiction and permission and requiring more than 100 volunteers and staffers. KQED visited the site and came back with footage that shows some of the works in process. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Making of ‘@Large, Ai Weiwei on Alcatraz’","datePublished":"2014-09-24T19:00:20.000Z","dateModified":"2024-01-12T08:30:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/W_UkcNhY0IM","sticky":false,"path":"/arts/10142707/the-making-of-large-ai-weiwei-on-alcatraz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of international art star Ai Weiwei’s installation on Alcatraz, \u003ci>@Large\u003c/i>, is a contradiction, since the artist himself is anything but. Ai was imprisoned by Chinese authorities for 81 days in 2011, ostensibly on tax-related charges, and his travel is still restricted to his native China. The unusual exhibition on the site of the famous penitentiary opens this weekend and explores themes of freedom and imprisonment. “The idea of freedom is not just a concept,” Ai told KQED, referring to prisoners of conscience around the world who suffer confinement only because “they want to change society.”\u003c/p>\n\u003cp>Planning and set-up of the installation was a labyrinthian affair, coordinated across continents, complicated by multiple layers of jurisdiction and permission and requiring more than 100 volunteers and staffers. KQED visited the site earlier this month and came back with footage that shows some of the works in process: \u003ci>Trace\u003c/i>, formed from over 1 million Lego blocks, offers portraits of 176 prisoners of conscience from around the world. \u003ci>With Wind\u003c/i>, built from multiple kites created by Chinese artisans, offers quotations from dissidents. \u003ci>Stay Tuned\u003c/i>, an audio piece, fills individual cells with the words and music of Pussy Riot, Fela Kuti, Martin Luther King and others imprisoned for their views. \u003ci>Refraction\u003c/i>, composed of Tibetan solar cookers, evokes a bird’s wing and associated ideas both of the freedom of flight and of the many birds who make their home on Alcatraz island.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142707/the-making-of-large-ai-weiwei-on-alcatraz","authors":["188"],"series":["arts_582","arts_610"],"categories":["arts_70"],"featImg":"arts_10142739","label":"arts_610"},"arts_10142554":{"type":"posts","id":"arts_10142554","meta":{"index":"posts_1591205157","site":"arts","id":"10142554","score":null,"sort":[1411086656000]},"guestAuthors":[],"slug":"first-look-ai-weiwei-on-alcatraz","title":"First Look: Ai Weiwei on Alcatraz","publishDate":1411086656,"format":"standard","headTitle":"First Look: Ai Weiwei on Alcatraz | KQED","labelTerm":{"term":582,"site":"arts"},"content":"\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED News report on the installation.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/09/530NewsAiWeiWei.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_10142558\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142558 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\" alt=\"A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia. Photo, Adam Grossberg for KQED.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia; Photo by Adam Grossberg/KQED\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142581\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142581 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\" alt=\"The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142583\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\" alt=\"A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\" alt=\"Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cp>Next week, organizers will unveil an unusual public art exhibit on Alcatraz. The installation is expected to draw a record number of visitors to the island during a seven-month run, but the international art-star behind it won’t be attending.\u003c/p>\n\u003cp>That’s because Chinese dissident-artist Ai Weiwei is unable to leave the country, his passport confiscated by authorities following an 81-day detainment for alleged tax evasion.\u003c/p>\n\u003cp>Ai Weiwei is perhaps best known for his work on the elaborate Birds Nest stadium created for the 2008 Beijing Olympics, but his work – often conceptual in nature and political in theme – spans all media, from video to woodworking (for a crash-course on his career, see this “\u003ca href=\"http://ww2.kqed.org/arts/2014/09/18/i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei Top Ten\u003c/a>”).\u003c/p>\n\u003cp>The seven major new sculptural and mixed-media works now being installed in the former military fortress and penitentiary employ everything from Legos to teapots and bamboo to explore themes of freedom and confinement. Installation by a team of Ai’s assistants and local installers and volunteers has been a dizzyingly complex process. In addition to the fact that the artist can’t leave China, Alcatraz is both a bird sanctuary and a national historic site. That means, for example, that none of the walls can be disturbed.\u003c/p>\n\u003cp>“It’s actually the opposite of a museum,” said Greg Moore, head of the Golden Gate National Parks Conservancy. “The lack of water on-site, the generated electrical power, no climate control — but it will be an amazing museum for this art work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To check on the progress of this unusual artwork, KQED visited the island recently. The photos here are a first-look at the exclusive coverage KQED will unveil in the coming weeks.\u003c/p>\n\n","blocks":[],"excerpt":"Next week organizers will unveil an exhibit on Alcatraz by international art-star and Chinese dissident Ai Weiwei. KQED visited the island and brought back these exclusive photographs.","status":"publish","parent":0,"modified":1705048244,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":474},"headData":{"title":"First Look: Ai Weiwei on Alcatraz | KQED","description":"Next week organizers will unveil an exhibit on Alcatraz by international art-star and Chinese dissident Ai Weiwei. KQED visited the island and brought back these exclusive photographs.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"First Look: Ai Weiwei on Alcatraz","datePublished":"2014-09-19T00:30:56.000Z","dateModified":"2024-01-12T08:30:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mina Kim","path":"/arts/10142554/first-look-ai-weiwei-on-alcatraz","audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/09/530NewsAiWeiWei.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED News report on the installation.\u003c/h4>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audioLink","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2014/09/530NewsAiWeiWei.mp3"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_10142558\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142558 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\" alt=\"A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia. Photo, Adam Grossberg for KQED.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia; Photo by Adam Grossberg/KQED\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142581\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142581 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\" alt=\"The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142583\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\" alt=\"A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\" alt=\"Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cp>Next week, organizers will unveil an unusual public art exhibit on Alcatraz. The installation is expected to draw a record number of visitors to the island during a seven-month run, but the international art-star behind it won’t be attending.\u003c/p>\n\u003cp>That’s because Chinese dissident-artist Ai Weiwei is unable to leave the country, his passport confiscated by authorities following an 81-day detainment for alleged tax evasion.\u003c/p>\n\u003cp>Ai Weiwei is perhaps best known for his work on the elaborate Birds Nest stadium created for the 2008 Beijing Olympics, but his work – often conceptual in nature and political in theme – spans all media, from video to woodworking (for a crash-course on his career, see this “\u003ca href=\"http://ww2.kqed.org/arts/2014/09/18/i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei Top Ten\u003c/a>”).\u003c/p>\n\u003cp>The seven major new sculptural and mixed-media works now being installed in the former military fortress and penitentiary employ everything from Legos to teapots and bamboo to explore themes of freedom and confinement. Installation by a team of Ai’s assistants and local installers and volunteers has been a dizzyingly complex process. In addition to the fact that the artist can’t leave China, Alcatraz is both a bird sanctuary and a national historic site. That means, for example, that none of the walls can be disturbed.\u003c/p>\n\u003cp>“It’s actually the opposite of a museum,” said Greg Moore, head of the Golden Gate National Parks Conservancy. “The lack of water on-site, the generated electrical power, no climate control — but it will be an amazing museum for this art work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To check on the progress of this unusual artwork, KQED visited the island recently. The photos here are a first-look at the exclusive coverage KQED will unveil in the coming weeks.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142554/first-look-ai-weiwei-on-alcatraz","authors":["byline_arts_10142554"],"series":["arts_582"],"categories":["arts_235","arts_70"],"featImg":"arts_10142559","label":"arts_582"},"arts_10141545":{"type":"posts","id":"arts_10141545","meta":{"index":"posts_1591205157","site":"arts","id":"10141545","score":null,"sort":[1411045220000]},"guestAuthors":[],"slug":"i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten","title":"‘I Was Born to Give Out My Opinions’: An Ai Weiwei Top Ten","publishDate":1411045220,"format":"standard","headTitle":"‘I Was Born to Give Out My Opinions’: An Ai Weiwei Top Ten | KQED","labelTerm":{"term":582,"site":"arts"},"content":"\u003cp>Chinese artist and antagonist extraordinaire Ai Weiwei came to the attention of the western art establishment as the market for contemporary Asian art flourished beginning in the late 1990s. Ai has distinguished himself as a multi-disciplinary practitioner, working with photography, sculpture, design, architectural principals, and social networking platorms from a conceptual yet deeply critical perspective. For his work, for his opinions, Ai has endured intimidation, police raids of his studio, imprisonment, and beatings from the Chinese government, yet he prevails.\u003c/p>\n\u003cp>On September 27, a site-specific installation of new work entitled \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> will open under the direction of San Francisco gallerist Cheryl Haines, the FOR-SITE Foundation, and the National Park Service. Building on the success of \u003cem>International Orange\u003c/em>, the 75th anniversary celebration of the Golden Gate Bridge that was mounted by FOR-SITE in 2012 and received wide spread praise, \u003cem>@Large\u003c/em> considers the dimensional and contested history of Alcatraz Island as a military installation, a prison, confiscated Native American land, and now as a tourist attraction and protected space.\u003c/p>\n\u003cp>Before you don windbreakers for the chilly ride out to Alcatraz, take a few minutes to learn about or brush up on a few other objects, exhibitions, and interventions that sustain Ai Weiwei as a “person of interest”.\u003c/p>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/twitter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/twitter.jpg\" alt=\"twitter\" width=\"400\" height=\"205\" class=\"alignleft size-full wp-image-10142499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/twitter.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/twitter-300x153.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>1. Instagram and Twitter feed (ongoing)\u003c/h3>\n\u003cp>Ai Weiwei has made the most of social media in connecting with his audience and subverting the Chinese government’s attempts to silence him. As we know, access to and use of the Internet is heavily regulated in China, so it is remarkable that the artist manages to transmit missives with any regular frequency. It is the ongoing dialogue, which verges on messianic messaging at times, that makes this aspect of his practice both engaging and troubling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142500\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/birdsnext.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/birdsnext-400x300.jpg\" alt='Source: <a href=\"http://en.wikipedia.org/wiki/Ai_Weiwei\">Wikimedia</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://en.wikipedia.org/wiki/Ai_Weiwei\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Beijing National Stadium (the Bird’s Nest) (2003-2008)\u003c/h3>\n\u003cp>Constructed as the central venue in which the 2008 Summer Olympics and Paralympics in China were held, Ai worked as part of the team that included the esteemed Swiss architectural pair Herzog & de Meuron to create the space in which the excitement of the Games unfolded. The structure is an architectural and engineering marvel. The design, which emerged after the working group studied aspects of Chinese ceramics, includes a rainwater collection and purification system, subterranean pipes which heat and cool the stadium, and latticework steel beams masking supports for a retractable roof that was ultimately abandoned in the final design. Speaking to a Japanese news agency in 2012, Ai stridently distanced himself from the project, citing intense frustration with China’s human rights violations years before and in the lead up to the Games, and the sense that his position on the international stage was exploited.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142501\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sunflowerseeds.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sunflowerseeds-400x400.jpg\" alt='Source: <a href=\"http://ja.wikipedia.org/wiki/%E8%89%BE%E6%9C%AA%E6%9C%AA\">Wikimedia</a>' width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10142501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://ja.wikipedia.org/wiki/%E8%89%BE%E6%9C%AA%E6%9C%AA\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Sunflower Seeds (2010)\u003c/h3>\n\u003cp>Covering completely the floor in the Tate Modern’s massive Turbine Hall as part of the Unilever Series in 2010-11, Sunflower Seeds consisted of millions of porcelain “seed husks” which appear at first glance to be identical, but are in fact unique, hand-crafted objects. Painted by craftsmen and women working in the city of Jingdezhen, the production and display of the seeds brought audience attention to issues of consumption (Western taste for Chinese porcelain and other goods) and identity (the anonymity of Chinese artisans and workers across the industrial landscape who struggle under the boot of obscene production demands and working conditions). In a spectacularly ironic turn, Tate administrators closed the installation to the public shortly after it opened due to concerns that dust kicked up by those walking on the seeds would exacerbate respiratory problems. When the exhibition reopened, it was only visible from a bridge high above the gallery floor. For a brief moment, visitors to one of the world’s preeminent museums for contemporary art and anonymous Chinese artisans stood on common and decidedly unhealthy ground.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142502\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/remembering.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/remembering-400x148.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:%E5%A5%B9%E5%9C%A8%E8%BF%99%E4%B8%AA%E4%B8%96%E7%95%8C%E4%B8%8A%E5%BC%80%E5%BF%83%E5%9C%B0%E7%94%9F%E6%B4%BB%E8%BF%87%E4%B8%83%E5%B9%B4%EF%BC%8CAi_weiwei%EF%BC%8CHaus_der_Kunst,_Munich_2009.jpg\">Wikimedia</a>' width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10142502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:%E5%A5%B9%E5%9C%A8%E8%BF%99%E4%B8%AA%E4%B8%96%E7%95%8C%E4%B8%8A%E5%BC%80%E5%BF%83%E5%9C%B0%E7%94%9F%E6%B4%BB%E8%BF%87%E4%B8%83%E5%B9%B4%EF%BC%8CAi_weiwei%EF%BC%8CHaus_der_Kunst,_Munich_2009.jpg\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Remembering (2009)\u003c/h3>\n\u003cp>Installed on the facade of Munich’s Haus der Kunst as a part of the retrospective exhibition So Sorry, Remembering was composed of 9,000 children’s backpacks and spelled the phrase in Mandarin characters “She lived happily for seven years in this world.” The quote, uttered by a mother who’s child died in one of the many poorly constructed schools that were leveled by the 8.0 earthquake that rocked Sichuan province in May 2008, commemorates those needless deaths and illuminates Ai’s ongoing denouncement of the Chinese government. Beginning in December 2008, Ai listed the names of the dead children on his website and by May 2009, the one-year anniversary of the catastrophe, the list had ballooned to 5,385. Outside of China, it is widely believed that Ai’s exposure of ineptitude and corruption at the state level brought the near-full brunt of the government’s wrath down upon his head.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142503\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cokeurn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cokeurn-400x396.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:Ai_Weiwei_sculpture,_Metropolitan_Museum_of_Art_NYC.jpg\">Wikimedia</a>' width=\"400\" height=\"396\" class=\"size-thumbnail wp-image-10142503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Ai_Weiwei_sculpture,_Metropolitan_Museum_of_Art_NYC.jpg\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Han Dynasty Urn with Coca Cola Logo (1994)\u003c/h3>\n\u003cp>Ai Weiwei lived and studied in New York for 13 years before returning to Beijing in 1993. One year later, he purchased an assortment of urns produced during the Han Dynasty (206 BCE-220 CE) and painted one of them with the familiar Coca Cola logo, an act that prioritized Ai’s interest in the readymade and reflected both the time he spent immersed in the western cultural/artistic milieu and his skeptical view of globalism. Ai’s alteration of the urn also visualizes his desire to overcome staid notions of Chinese art as purely historical, the erasure of skilled labor over the course of centuries, and notions of “fake” vs. “original” in art collecting.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142283\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/aidropping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/aidropping-400x145.jpg\" alt=\"Ai Weiwei, Dropping a Han Dynasty Urn, 1995; Courtesy Art 21, WNET, New York\" width=\"400\" height=\"145\" class=\"size-thumbnail wp-image-10142283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping-400x145.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping-300x109.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Dropping a Han Dynasty Urn\u003c/i>, 1995; Courtesy Art 21, WNET, New York\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>6. Dropping a Han Dynasty Urn (1995)\u003c/h3>\n\u003cp>In a large photographic triptych, Ai is photographed holding and then dropping a Han Dynasty urn. His near-placid facial expression is a pointed contrast to the destruction that unfolds by his act. For many western antique collectors, the urns represent historical significance and a demonstration of wealth. For others, including Ai, the urns represent the stranglehold of history and tradition within Chinese culture that must be questioned and perhaps, as the sequence suggests, fractured outright.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142504\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/straight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/straight-400x329.jpg\" alt='Source: <a href=\"http://www.ago.net/aiweiwei\">ago.net</a>' width=\"400\" height=\"329\" class=\"size-thumbnail wp-image-10142504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight-300x247.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight.jpg 594w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://www.ago.net/aiweiwei\">ago.net\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>7. Venice Biennale 2013: Straight\u003c/h3>\n\u003cp>Ai Weiwei made his first appearance at the Venice Biennale in 1999 when he and 20 other Chinese artists were selected to represent their country in what is arguably the art world’s most prestigious fair. Appearing in 2007 and again in 2013, Ai debuted three installations that criticized the Chinese government in no uncertain terms. Straight comprises 150 tons of twisted rebar that was retrieved from sites impacted by the earthquake that rattled Sichuan and then restored to their original state. The stacks spread wave-like across the gallery floor, creating a somber landscape that memorializes the dead and visualizes the frustration of those who struggled to put things right in disaster’s wake.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142505\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sacred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sacred-400x300.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:Expo_SACRED_Venice_ai_weiwei_1.JPG\">Wikimedia</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Expo_SACRED_Venice_ai_weiwei_1.JPG\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>8. Venice Biennale 2013: S A C R E D\u003c/h3>\n\u003cp>Arrested in April 2011 and held for 81 days for alleged “economic” crimes including fraud, Ai’s imprisonment was widely understood both in and out of China as the government’s way of silencing the artist for speaking against the state for a litany of administrative violations. S A C R E D is a series of dioramas that visualize Ai’s experience of incarceration, specifically the 24/7 monitors – human and electronic – that watched his every move. As visitors to the Biennale discovered, peering into the hulking 5×12 foot iron boxes enacted the same lurid scopic thrill enjoyed by his captors. Installed in the Church of Sant’Antonin, arguably one of the most serene environments in Venice, the dioramas reenact in muted tones the trauma to which Ai and countless other Chinese dissidents are subjected.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142506\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/according.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/according-400x300.jpg\" alt='Source: <a href=\"https://www.flickr.com/photos/shifted/8737474818/\">Flickr</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"https://www.flickr.com/photos/shifted/8737474818/\">Flickr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>9. According to What? (2013 – present)\u003c/h3>\n\u003cp>A large retrospective of Ai’s work currently traveling between venues in the United States and Canada, According to What? is the first major exhibition of Ai’s work mounted in the west. Objects on view date mostly to 2008 and after, when the artists’ political dissent and creative output reached a fevered pitch. This is the first opportunity most museum audiences have had to experience his work collectively, and at each venue, attendance has been overwhelming.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142507\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/zodiak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/zodiak-400x600.jpg\" alt='Courtesy: <a href=\"http://awasiany.com/\">AW Asia</a>, New York' width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10142507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy: \u003ca href=\"http://awasiany.com/\">AW Asia\u003c/a>, New York\u003c/figcaption>\u003c/figure>\n\u003ch3>10. Circle of Animals: Zodiac Heads (2011 – present)\u003c/h3>\n\u003cp>The Chinese zodiac is populated by familiar animal figures including the horse, the rat, and the dragon. Ai’s project, the first major sculptural endeavor of his career, is based on the heads created for the imperial retreat at Yuanming Yuan and the looting of the palace by British and French troops in the 1860s. Ai considers looting vs. notions of paternalistic “preservation” as they were advanced by colonial agents in Asia.\u003c/p>\n\u003cp>As this brief list suggests, Ai Weiwei is a dynamic and controversial artist. What do you think about an installation of his work at one of San Francisco’s most popular tourist sites? Feel free to leave your thoughts in the comments section.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Before you check out \u003cb>@ Large: Ai Weiwei on Alcatraz\u003c/b>, which opens September 27, find out why the Chinese artist has had such a profound global impact.","status":"publish","parent":0,"modified":1705048246,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1611},"headData":{"title":"‘I Was Born to Give Out My Opinions’: An Ai Weiwei Top Ten | KQED","description":"Before you check out @ Large: Ai Weiwei on Alcatraz, which opens September 27, find out why the Chinese artist has had such a profound global impact.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘I Was Born to Give Out My Opinions’: An Ai Weiwei Top Ten","datePublished":"2014-09-18T13:00:20.000Z","dateModified":"2024-01-12T08:30:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10141545/i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chinese artist and antagonist extraordinaire Ai Weiwei came to the attention of the western art establishment as the market for contemporary Asian art flourished beginning in the late 1990s. Ai has distinguished himself as a multi-disciplinary practitioner, working with photography, sculpture, design, architectural principals, and social networking platorms from a conceptual yet deeply critical perspective. For his work, for his opinions, Ai has endured intimidation, police raids of his studio, imprisonment, and beatings from the Chinese government, yet he prevails.\u003c/p>\n\u003cp>On September 27, a site-specific installation of new work entitled \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> will open under the direction of San Francisco gallerist Cheryl Haines, the FOR-SITE Foundation, and the National Park Service. Building on the success of \u003cem>International Orange\u003c/em>, the 75th anniversary celebration of the Golden Gate Bridge that was mounted by FOR-SITE in 2012 and received wide spread praise, \u003cem>@Large\u003c/em> considers the dimensional and contested history of Alcatraz Island as a military installation, a prison, confiscated Native American land, and now as a tourist attraction and protected space.\u003c/p>\n\u003cp>Before you don windbreakers for the chilly ride out to Alcatraz, take a few minutes to learn about or brush up on a few other objects, exhibitions, and interventions that sustain Ai Weiwei as a “person of interest”.\u003c/p>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/twitter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/twitter.jpg\" alt=\"twitter\" width=\"400\" height=\"205\" class=\"alignleft size-full wp-image-10142499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/twitter.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/twitter-300x153.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>1. Instagram and Twitter feed (ongoing)\u003c/h3>\n\u003cp>Ai Weiwei has made the most of social media in connecting with his audience and subverting the Chinese government’s attempts to silence him. As we know, access to and use of the Internet is heavily regulated in China, so it is remarkable that the artist manages to transmit missives with any regular frequency. It is the ongoing dialogue, which verges on messianic messaging at times, that makes this aspect of his practice both engaging and troubling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142500\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/birdsnext.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/birdsnext-400x300.jpg\" alt='Source: <a href=\"http://en.wikipedia.org/wiki/Ai_Weiwei\">Wikimedia</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/birdsnext.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://en.wikipedia.org/wiki/Ai_Weiwei\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Beijing National Stadium (the Bird’s Nest) (2003-2008)\u003c/h3>\n\u003cp>Constructed as the central venue in which the 2008 Summer Olympics and Paralympics in China were held, Ai worked as part of the team that included the esteemed Swiss architectural pair Herzog & de Meuron to create the space in which the excitement of the Games unfolded. The structure is an architectural and engineering marvel. The design, which emerged after the working group studied aspects of Chinese ceramics, includes a rainwater collection and purification system, subterranean pipes which heat and cool the stadium, and latticework steel beams masking supports for a retractable roof that was ultimately abandoned in the final design. Speaking to a Japanese news agency in 2012, Ai stridently distanced himself from the project, citing intense frustration with China’s human rights violations years before and in the lead up to the Games, and the sense that his position on the international stage was exploited.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142501\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sunflowerseeds.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sunflowerseeds-400x400.jpg\" alt='Source: <a href=\"http://ja.wikipedia.org/wiki/%E8%89%BE%E6%9C%AA%E6%9C%AA\">Wikimedia</a>' width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10142501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sunflowerseeds.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://ja.wikipedia.org/wiki/%E8%89%BE%E6%9C%AA%E6%9C%AA\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Sunflower Seeds (2010)\u003c/h3>\n\u003cp>Covering completely the floor in the Tate Modern’s massive Turbine Hall as part of the Unilever Series in 2010-11, Sunflower Seeds consisted of millions of porcelain “seed husks” which appear at first glance to be identical, but are in fact unique, hand-crafted objects. Painted by craftsmen and women working in the city of Jingdezhen, the production and display of the seeds brought audience attention to issues of consumption (Western taste for Chinese porcelain and other goods) and identity (the anonymity of Chinese artisans and workers across the industrial landscape who struggle under the boot of obscene production demands and working conditions). In a spectacularly ironic turn, Tate administrators closed the installation to the public shortly after it opened due to concerns that dust kicked up by those walking on the seeds would exacerbate respiratory problems. When the exhibition reopened, it was only visible from a bridge high above the gallery floor. For a brief moment, visitors to one of the world’s preeminent museums for contemporary art and anonymous Chinese artisans stood on common and decidedly unhealthy ground.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142502\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/remembering.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/remembering-400x148.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:%E5%A5%B9%E5%9C%A8%E8%BF%99%E4%B8%AA%E4%B8%96%E7%95%8C%E4%B8%8A%E5%BC%80%E5%BF%83%E5%9C%B0%E7%94%9F%E6%B4%BB%E8%BF%87%E4%B8%83%E5%B9%B4%EF%BC%8CAi_weiwei%EF%BC%8CHaus_der_Kunst,_Munich_2009.jpg\">Wikimedia</a>' width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10142502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/remembering.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:%E5%A5%B9%E5%9C%A8%E8%BF%99%E4%B8%AA%E4%B8%96%E7%95%8C%E4%B8%8A%E5%BC%80%E5%BF%83%E5%9C%B0%E7%94%9F%E6%B4%BB%E8%BF%87%E4%B8%83%E5%B9%B4%EF%BC%8CAi_weiwei%EF%BC%8CHaus_der_Kunst,_Munich_2009.jpg\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Remembering (2009)\u003c/h3>\n\u003cp>Installed on the facade of Munich’s Haus der Kunst as a part of the retrospective exhibition So Sorry, Remembering was composed of 9,000 children’s backpacks and spelled the phrase in Mandarin characters “She lived happily for seven years in this world.” The quote, uttered by a mother who’s child died in one of the many poorly constructed schools that were leveled by the 8.0 earthquake that rocked Sichuan province in May 2008, commemorates those needless deaths and illuminates Ai’s ongoing denouncement of the Chinese government. Beginning in December 2008, Ai listed the names of the dead children on his website and by May 2009, the one-year anniversary of the catastrophe, the list had ballooned to 5,385. Outside of China, it is widely believed that Ai’s exposure of ineptitude and corruption at the state level brought the near-full brunt of the government’s wrath down upon his head.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142503\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cokeurn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cokeurn-400x396.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:Ai_Weiwei_sculpture,_Metropolitan_Museum_of_Art_NYC.jpg\">Wikimedia</a>' width=\"400\" height=\"396\" class=\"size-thumbnail wp-image-10142503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cokeurn.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Ai_Weiwei_sculpture,_Metropolitan_Museum_of_Art_NYC.jpg\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Han Dynasty Urn with Coca Cola Logo (1994)\u003c/h3>\n\u003cp>Ai Weiwei lived and studied in New York for 13 years before returning to Beijing in 1993. One year later, he purchased an assortment of urns produced during the Han Dynasty (206 BCE-220 CE) and painted one of them with the familiar Coca Cola logo, an act that prioritized Ai’s interest in the readymade and reflected both the time he spent immersed in the western cultural/artistic milieu and his skeptical view of globalism. Ai’s alteration of the urn also visualizes his desire to overcome staid notions of Chinese art as purely historical, the erasure of skilled labor over the course of centuries, and notions of “fake” vs. “original” in art collecting.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142283\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/aidropping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/aidropping-400x145.jpg\" alt=\"Ai Weiwei, Dropping a Han Dynasty Urn, 1995; Courtesy Art 21, WNET, New York\" width=\"400\" height=\"145\" class=\"size-thumbnail wp-image-10142283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping-400x145.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping-300x109.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/aidropping.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei, \u003ci>Dropping a Han Dynasty Urn\u003c/i>, 1995; Courtesy Art 21, WNET, New York\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>6. Dropping a Han Dynasty Urn (1995)\u003c/h3>\n\u003cp>In a large photographic triptych, Ai is photographed holding and then dropping a Han Dynasty urn. His near-placid facial expression is a pointed contrast to the destruction that unfolds by his act. For many western antique collectors, the urns represent historical significance and a demonstration of wealth. For others, including Ai, the urns represent the stranglehold of history and tradition within Chinese culture that must be questioned and perhaps, as the sequence suggests, fractured outright.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142504\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/straight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/straight-400x329.jpg\" alt='Source: <a href=\"http://www.ago.net/aiweiwei\">ago.net</a>' width=\"400\" height=\"329\" class=\"size-thumbnail wp-image-10142504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight-400x329.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight-300x247.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/straight.jpg 594w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://www.ago.net/aiweiwei\">ago.net\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>7. Venice Biennale 2013: Straight\u003c/h3>\n\u003cp>Ai Weiwei made his first appearance at the Venice Biennale in 1999 when he and 20 other Chinese artists were selected to represent their country in what is arguably the art world’s most prestigious fair. Appearing in 2007 and again in 2013, Ai debuted three installations that criticized the Chinese government in no uncertain terms. Straight comprises 150 tons of twisted rebar that was retrieved from sites impacted by the earthquake that rattled Sichuan and then restored to their original state. The stacks spread wave-like across the gallery floor, creating a somber landscape that memorializes the dead and visualizes the frustration of those who struggled to put things right in disaster’s wake.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142505\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sacred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sacred-400x300.jpg\" alt='Source: <a href=\"http://commons.wikimedia.org/wiki/File:Expo_SACRED_Venice_ai_weiwei_1.JPG\">Wikimedia</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sacred.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Expo_SACRED_Venice_ai_weiwei_1.JPG\">Wikimedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>8. Venice Biennale 2013: S A C R E D\u003c/h3>\n\u003cp>Arrested in April 2011 and held for 81 days for alleged “economic” crimes including fraud, Ai’s imprisonment was widely understood both in and out of China as the government’s way of silencing the artist for speaking against the state for a litany of administrative violations. S A C R E D is a series of dioramas that visualize Ai’s experience of incarceration, specifically the 24/7 monitors – human and electronic – that watched his every move. As visitors to the Biennale discovered, peering into the hulking 5×12 foot iron boxes enacted the same lurid scopic thrill enjoyed by his captors. Installed in the Church of Sant’Antonin, arguably one of the most serene environments in Venice, the dioramas reenact in muted tones the trauma to which Ai and countless other Chinese dissidents are subjected.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142506\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/according.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/according-400x300.jpg\" alt='Source: <a href=\"https://www.flickr.com/photos/shifted/8737474818/\">Flickr</a>' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10142506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/according.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"https://www.flickr.com/photos/shifted/8737474818/\">Flickr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch3>9. According to What? (2013 – present)\u003c/h3>\n\u003cp>A large retrospective of Ai’s work currently traveling between venues in the United States and Canada, According to What? is the first major exhibition of Ai’s work mounted in the west. Objects on view date mostly to 2008 and after, when the artists’ political dissent and creative output reached a fevered pitch. This is the first opportunity most museum audiences have had to experience his work collectively, and at each venue, attendance has been overwhelming.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10142507\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/zodiak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/zodiak-400x600.jpg\" alt='Courtesy: <a href=\"http://awasiany.com/\">AW Asia</a>, New York' width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10142507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/zodiak.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy: \u003ca href=\"http://awasiany.com/\">AW Asia\u003c/a>, New York\u003c/figcaption>\u003c/figure>\n\u003ch3>10. Circle of Animals: Zodiac Heads (2011 – present)\u003c/h3>\n\u003cp>The Chinese zodiac is populated by familiar animal figures including the horse, the rat, and the dragon. Ai’s project, the first major sculptural endeavor of his career, is based on the heads created for the imperial retreat at Yuanming Yuan and the looting of the palace by British and French troops in the 1860s. Ai considers looting vs. notions of paternalistic “preservation” as they were advanced by colonial agents in Asia.\u003c/p>\n\u003cp>As this brief list suggests, Ai Weiwei is a dynamic and controversial artist. What do you think about an installation of his work at one of San Francisco’s most popular tourist sites? Feel free to leave your thoughts in the comments section.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10141545/i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten","authors":["77"],"series":["arts_582"],"categories":["arts_70"],"featImg":"arts_10142508","label":"arts_582"},"arts_10142219":{"type":"posts","id":"arts_10142219","meta":{"index":"posts_1591205157","site":"arts","id":"10142219","score":null,"sort":[1410786023000]},"guestAuthors":[],"slug":"no-man-is-an-island-ai-weiweis-life-and-art-before-alcatraz","title":"No Man Is an Island: Ai Weiwei's Life and Art Before Alcatraz","publishDate":1410786023,"format":"standard","headTitle":"No Man Is an Island: Ai Weiwei’s Life and Art Before Alcatraz | KQED","labelTerm":{"term":582,"site":"arts"},"content":"\u003cp>Chinese contemporary artist Ai Weiwei’s prominence in the public eye is largely fueled by his absence. Unable to leave China since 2011 — after being held in detention for 81 days on tax evasion charges, following his extended inquiry into the Chinese government’s involvement in poor construction that contributed to the deaths of more than 5,000 schoolchildren in the 2008 Sichuan earthquake — Ai has since advanced his public profile with a number of international exhibitions and projects executed remotely. On September 27, \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em>, a series of site-specific commissions within the historic former Alcatraz Federal Penitentiary will debut. Don’t expect to see the artist; he remains unable to travel, though his ideas will be everywhere.\u003c/p>\n\u003cp>It is fitting that Ai should explore the contours of history and personal freedom through a series of artworks in an infamous prison, site-unseen. He spent his childhood living with his family in exile, after his father, the poet Ai Qing, was sent to a labor camp for opposing the Chinese government. Following the Cultural Revolution, his family returned to Beijing and shortly thereafter, Ai began to explore his ideas as an artist.\u003c/p>\n\u003cp>For more than a decade he lived in New York’s East Village, studying at Parsons School of Design and the Art Students League of New York, before returning to China in the early ’90s. Mounting tensions around government restrictions began to fuel an underlying anger in his work — \u003cem>Dropping a Han Dynasty Urn\u003c/em> 1995, a series of stop-motion photographs of the artist dropping an ancient relic, embody Ai’s frustrations with revisionism and censorship in governance.\u003c/p>\n\u003cp>In 2005 Ai began to experiment with blogging and offered daily doses of cultural criticism online for several years before Chinese authorities shut down his blog, following his outspoken criticism of the government in the wake of the Beijing Olympics (he was lead artistic consultant on the design of the Bird’s Nest stadium) and the Sichuan earthquake. Selected writings from his blog were later compiled into \u003cem>Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006 – 2009\u003c/em>, published by MIT Press. Since May 2009, he has been active on Twitter, as @aiww, and more recently on Instagram.\u003c/p>\n\u003cp>Social media, in many respects, has not only enabled Ai to continue his outspoken criticism, it has allowed him to gain further international recognition. In a 2010 \u003ca href=\"http://www.theguardian.com/artanddesign/video/2010/mar/18/ai-weiwei-turbine-hall-tate\" target=\"_blank\" rel=\"noopener\">video interview\u003c/a> with \u003cem>The Guardian\u003c/em>, he noted, “People often say that I started to become well spoken after a certain period, but it is all because of the Internet. If we didn’t have this technology, I would be the same as anybody else: I could not really amplify my voice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following his illegal detention — he was held without charges for six weeks — social media might have also saved his life. Secondary protest strategies initiated by thousands of supporters online are largely credited with creating the sustained international attention that resulted in his release. \u003ca href=\"http://www.artpractical.com/feature/secondary_protest_strategies_for_ai_weiwei/\" target=\"_blank\" rel=\"noopener\">I wrote about many of these gestures\u003c/a>, from online petitions to fliers to videos to public actions, for \u003cem>Art Practical\u003c/em> in 2011. The plight of Ai Weiwei was covered by news outlets the world over and it was an illuminating early example of social media-fueled globalized protest.\u003c/p>\n\u003cp>Today the Internet enables Ai to continue to remain connected and to produce ambitious international projects at a remove, even while he is still restricted from travel. “I may not be the best artist,” he said in an \u003ca href=\"http://www.timeoutshanghai.com/features/Art-Art_Features/21018/Interview-Ai-Weiwei.html\">interview\u003c/a> with Aaron Fox Lerner in \u003cem>Time Out Shanghai\u003c/em>, but I really am the best remote control artist. I use the Internet, use Skype, and just use communication.”\u003c/p>\n\u003cp>His output is decidedly political, by version of his mechanisms, but it can also be unexpected and, at times, humorous. In 2012, at the height of the Gangnam Style craze, he released a music video produced with his studio crew. In it, Ai appears to refute authority by enthusiastically dancing handcuffed. In the last year he has also organized major exhibitions in Berlin, Ontario, and Venice; produced a \u003ca href=\"http://www.youtube.com/watch?v=lyQZ-oLshOQ\" target=\"_blank\" rel=\"noopener\">metal music video\u003c/a> — no, really — and was featured in a Kickstarter-funded short film that \u003ca href=\"https://docs.google.com/file/d/0B4qvsKb092NHYnVTaE1LY0wtWHp4N0xNdl8yNWN3Mndfc2pr/edit?pli=1\" target=\"_blank\" rel=\"noopener\">he later renounced\u003c/a> via a Google doc that he posted on Twitter. He was also \u003ca href=\"http://www.pusspussmagazine.com/ai-weiwei-%E2%80%A8talks-%E2%80%A8art-activism-%E2%80%A8and-cats/\">highlighted\u003c/a> with his thirty studio cats in the new feline-themed \u003cem>Puss Puss \u003c/em>magazine, among many other seemingly nonstop activities online and in print media.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=n281GWfT1E8\u003c/p>\n\u003cp>It has been noted that the constancy of his efforts to stay publicly visible is in itself a political strategy; he simply cannot afford to be forgotten. As he is one of China’s most vocal advocates for human rights and freedom of expression, the stakes around his publicity are high, extending perhaps far beyond his own survival.\u003c/p>\n\u003cp>For this reason, many artists from wide ranging disciplines have been vocally supportive of him. In April a group of \u003ca href=\"http://www.pen.org/press-release/2014/04/11/pen-american-center-defies-chinese-government-brings-ai-weiwei-new-york\" target=\"_blank\" rel=\"noopener\">200 writers gathered\u003c/a> at the invitation of PEN America Center to demonstrate solidarity with Ai and other persecuted Chinese artists, on the occasion of Ai’s major exhibition opening at the Brooklyn Museum. “Freedom of Expression is to encourage every individual to question authority and to become more creative,” Ai said in a message projected onto the museum’s exterior. “It will never come as a gift but rather through our artworks.”\u003c/p>\n\u003cp>Later this month, Ai will take over Alcatraz by remote control. What the work will be is anyone’s guess — everyone involved is lip-locked so far as I’ve been able to tell. He has always delivered on visual spectacle, so grand visual gestures are highly anticipated. Surely the space itself will deliver its own impressions and previously unseen rooms are also promised. With these revelations, Ai Weiwei’s unique ability to work across the Internet to open doors, within and beyond locked-down facilities, will be on very public display, here and, as is always his goal, at large.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> opens September 27, 2014; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\u003c/p>\n\n","blocks":[],"excerpt":"As the Bay Area prepares to get its first glimpse of \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> on September 27, we take a look at the artist's life both in and out of the public eye.","status":"publish","parent":0,"modified":1705048262,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1063},"headData":{"title":"No Man Is an Island: Ai Weiwei's Life and Art Before Alcatraz | KQED","description":"As the Bay Area prepares to get its first glimpse of @Large: Ai Weiwei on Alcatraz on September 27, we take a look at the artist's life both in and out of the public eye.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"No Man Is an Island: Ai Weiwei's Life and Art Before Alcatraz","datePublished":"2014-09-15T13:00:23.000Z","dateModified":"2024-01-12T08:31:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10142219/no-man-is-an-island-ai-weiweis-life-and-art-before-alcatraz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chinese contemporary artist Ai Weiwei’s prominence in the public eye is largely fueled by his absence. Unable to leave China since 2011 — after being held in detention for 81 days on tax evasion charges, following his extended inquiry into the Chinese government’s involvement in poor construction that contributed to the deaths of more than 5,000 schoolchildren in the 2008 Sichuan earthquake — Ai has since advanced his public profile with a number of international exhibitions and projects executed remotely. On September 27, \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em>, a series of site-specific commissions within the historic former Alcatraz Federal Penitentiary will debut. Don’t expect to see the artist; he remains unable to travel, though his ideas will be everywhere.\u003c/p>\n\u003cp>It is fitting that Ai should explore the contours of history and personal freedom through a series of artworks in an infamous prison, site-unseen. He spent his childhood living with his family in exile, after his father, the poet Ai Qing, was sent to a labor camp for opposing the Chinese government. Following the Cultural Revolution, his family returned to Beijing and shortly thereafter, Ai began to explore his ideas as an artist.\u003c/p>\n\u003cp>For more than a decade he lived in New York’s East Village, studying at Parsons School of Design and the Art Students League of New York, before returning to China in the early ’90s. Mounting tensions around government restrictions began to fuel an underlying anger in his work — \u003cem>Dropping a Han Dynasty Urn\u003c/em> 1995, a series of stop-motion photographs of the artist dropping an ancient relic, embody Ai’s frustrations with revisionism and censorship in governance.\u003c/p>\n\u003cp>In 2005 Ai began to experiment with blogging and offered daily doses of cultural criticism online for several years before Chinese authorities shut down his blog, following his outspoken criticism of the government in the wake of the Beijing Olympics (he was lead artistic consultant on the design of the Bird’s Nest stadium) and the Sichuan earthquake. Selected writings from his blog were later compiled into \u003cem>Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006 – 2009\u003c/em>, published by MIT Press. Since May 2009, he has been active on Twitter, as @aiww, and more recently on Instagram.\u003c/p>\n\u003cp>Social media, in many respects, has not only enabled Ai to continue his outspoken criticism, it has allowed him to gain further international recognition. In a 2010 \u003ca href=\"http://www.theguardian.com/artanddesign/video/2010/mar/18/ai-weiwei-turbine-hall-tate\" target=\"_blank\" rel=\"noopener\">video interview\u003c/a> with \u003cem>The Guardian\u003c/em>, he noted, “People often say that I started to become well spoken after a certain period, but it is all because of the Internet. If we didn’t have this technology, I would be the same as anybody else: I could not really amplify my voice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following his illegal detention — he was held without charges for six weeks — social media might have also saved his life. Secondary protest strategies initiated by thousands of supporters online are largely credited with creating the sustained international attention that resulted in his release. \u003ca href=\"http://www.artpractical.com/feature/secondary_protest_strategies_for_ai_weiwei/\" target=\"_blank\" rel=\"noopener\">I wrote about many of these gestures\u003c/a>, from online petitions to fliers to videos to public actions, for \u003cem>Art Practical\u003c/em> in 2011. The plight of Ai Weiwei was covered by news outlets the world over and it was an illuminating early example of social media-fueled globalized protest.\u003c/p>\n\u003cp>Today the Internet enables Ai to continue to remain connected and to produce ambitious international projects at a remove, even while he is still restricted from travel. “I may not be the best artist,” he said in an \u003ca href=\"http://www.timeoutshanghai.com/features/Art-Art_Features/21018/Interview-Ai-Weiwei.html\">interview\u003c/a> with Aaron Fox Lerner in \u003cem>Time Out Shanghai\u003c/em>, but I really am the best remote control artist. I use the Internet, use Skype, and just use communication.”\u003c/p>\n\u003cp>His output is decidedly political, by version of his mechanisms, but it can also be unexpected and, at times, humorous. In 2012, at the height of the Gangnam Style craze, he released a music video produced with his studio crew. In it, Ai appears to refute authority by enthusiastically dancing handcuffed. In the last year he has also organized major exhibitions in Berlin, Ontario, and Venice; produced a \u003ca href=\"http://www.youtube.com/watch?v=lyQZ-oLshOQ\" target=\"_blank\" rel=\"noopener\">metal music video\u003c/a> — no, really — and was featured in a Kickstarter-funded short film that \u003ca href=\"https://docs.google.com/file/d/0B4qvsKb092NHYnVTaE1LY0wtWHp4N0xNdl8yNWN3Mndfc2pr/edit?pli=1\" target=\"_blank\" rel=\"noopener\">he later renounced\u003c/a> via a Google doc that he posted on Twitter. He was also \u003ca href=\"http://www.pusspussmagazine.com/ai-weiwei-%E2%80%A8talks-%E2%80%A8art-activism-%E2%80%A8and-cats/\">highlighted\u003c/a> with his thirty studio cats in the new feline-themed \u003cem>Puss Puss \u003c/em>magazine, among many other seemingly nonstop activities online and in print media.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n281GWfT1E8'\n title='//www.youtube.com/embed/n281GWfT1E8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has been noted that the constancy of his efforts to stay publicly visible is in itself a political strategy; he simply cannot afford to be forgotten. As he is one of China’s most vocal advocates for human rights and freedom of expression, the stakes around his publicity are high, extending perhaps far beyond his own survival.\u003c/p>\n\u003cp>For this reason, many artists from wide ranging disciplines have been vocally supportive of him. In April a group of \u003ca href=\"http://www.pen.org/press-release/2014/04/11/pen-american-center-defies-chinese-government-brings-ai-weiwei-new-york\" target=\"_blank\" rel=\"noopener\">200 writers gathered\u003c/a> at the invitation of PEN America Center to demonstrate solidarity with Ai and other persecuted Chinese artists, on the occasion of Ai’s major exhibition opening at the Brooklyn Museum. “Freedom of Expression is to encourage every individual to question authority and to become more creative,” Ai said in a message projected onto the museum’s exterior. “It will never come as a gift but rather through our artworks.”\u003c/p>\n\u003cp>Later this month, Ai will take over Alcatraz by remote control. What the work will be is anyone’s guess — everyone involved is lip-locked so far as I’ve been able to tell. He has always delivered on visual spectacle, so grand visual gestures are highly anticipated. Surely the space itself will deliver its own impressions and previously unseen rooms are also promised. With these revelations, Ai Weiwei’s unique ability to work across the Internet to open doors, within and beyond locked-down facilities, will be on very public display, here and, as is always his goal, at large.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> opens September 27, 2014; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10142219/no-man-is-an-island-ai-weiweis-life-and-art-before-alcatraz","authors":["58"],"series":["arts_582"],"categories":["arts_70"],"featImg":"arts_10142283","label":"arts_582"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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