I'm at Art HK, Asia's leading art fair, and the one-finger salute is from the 2007 sculpture "Marble Arm" by outspoken artist-activist Ai Weiwei. As we all should know by now, Ai was detained by Beijing authorities almost two months ago in an ongoing campaign against Chinese activists. Ai has since been accused of tax evasion.
"Marble Arm" is linked to a series of provocative snapshots featuring Ai raising his middle finger to various symbols of power from the White House to Tiananmen Square. On reserve, it has a prospective buyer who is willing to pay $280,000 for the work.
And today, that marble middle finger is greeting prospective buyers and curious visitors at Art HK's Galerie Urs Meile exhibition space.
But it is a lonely protest. Among the 260 galleries at the international art fair, "Marble Arm" is the only work by Ai on display.
There are a few "Where is Ai Weiwei?" freebie pins and t-shirts available from Galerie Urs Meile and two other dealers at the fair. But for the most part, at Asian's largest art fair, China's most well-known artist is noticeably missing.
Both the United States and the European Union have called for the artist's release, but the commercial art community in Asia seems to be taking a more, shall we say, diplomatic approach. Art HK director Magnus Renfrew calls Ai Weiwei "an artist who we greatly admire."
And yet Renfrew delivers even more praise for the city of Hong Kong "where freedom of expression is greatly valued, and freedom of expression is protected under the Bill of Rights of Hong Kong and under the Basic Law of Hong Kong. So it is a very good place for the full variety of voices to be heard."
Those voices are being heard far from the gleaming halls of the Hong Kong Convention and Exhibition Center.
In a gritty industrial space in the city's Chai Wan district, 50 Hong Kong artists are speaking out against Ai's detention in a non-selling exhibition called "Love the Future." In Mandarin, it reads as "Ai Wei Lai," a pun on "Ai Wei Wei" and a code name used by the artist's online supporters when he first went missing.
Those three characters have been censored on the Internet in Mainland China, but in Hong Kong it's clearly seen online and throughout the makeshift gallery space. There's a lightbox of a hyper-pixellated portrait of Ai Weiwei. In another corner, there is a photo collage of various Hong Kong figures with Ai's name painted on their foreheads.
"Love the Future" is organized by Hong Kong sculptor Kacey Wong. Wong also organized a Hong Kong protest march in April that attracted an estimated 2,000 people. Wong calls Ai's arrest a wake-up call for him and fellow local artists. He tells me, "We Hong Kong people tend to live inside a bubble because we have freedom here. Whereas in China, there is suppression and illegal detention of good-hearted people."
Wong also says Ai's detention has brought about a personal ephiphany about what it means to be a Hong Kong artist, as opposed to a Mainland Chinese one: "We, in contrast, can speak the truth... without thinking too much."
In the days immediately following Ai's disappearance, high-contrast graffiti images appeared throughout Hong Kong showing the bearded face of the artist and a simple question, "Who's afraid of Ai Weiwei?" Another graffiti campaign flashed a projection of the Ai Weiwei image onto the Chinese People's Liberation Army barracks in Hong Kong.
The artists behind the graffiti are laying low... and for good reason. Hong Kong police are investigating criminal damage charges against them, which could carry a sentence of up to 10 years in jail.
One can only wonder if Ai Weiwei would nod in approval to such acts of creative defiance here in Hong Kong.
Ai remains detained for an indefinite period of time in an undisclosed location. Despite his imprisonment, Ai has opened major exhibitions in New York and London... and inspired a grassroots movement in Hong Kong while defiantly raising his middle finger in a massively public space on Chinese soil.
Ai Weiwei work on show at key Hong Kong art fair (AFP) – 1 day ago
HONG KONG — A leading international art fair is to display a provocative work by detained Chinese artist Ai Weiwei in Hong Kong in a show of solidarity with the outspoken dissident amid a government crackdown.
Director Magnus Renfrew said the organisers of ART HK shared the concerns of the international community over Ai's fate, and called for "due process" of the law to be upheld in his case, which has sparked an international outcry.
"Ai Weiwei's works have been greatly admired," he said.
The fair, starting Thursday, is to display Ai's 2007 sculpture "Marble Arm", which depicts an outstretched arm and hand -- with its middle finger raised.
The artist was taken into custody in Beijing last month during the government's biggest crackdown on dissidents and activists in years, with authorities later saying he was suspected of unspecified "economic crimes".
The US and European Union have called for Ai's release, but Beijing has rejected such calls, denouncing them as interfering and inappropriate.
"Marble Arm" was brought to the fair by Switzerland-based Galerie Urs Meile, which also run a gallery in Beijing.
"By presenting his work, we believe his situation will be discussed," the gallery's assistant Rene Meile told AFP.
Chinese police alleged last week that a firm controlled by Ai had evaded taxes, in a move that appeared to be aimed at building their case against the detained artist.
Hong Kong maintains semi-autonomous status from China and enjoys civil liberties not seen on the mainland. Artists and campaigners have staged a series of protests there calling for Ai's release.
ART HK, which is now in its fourth year, will see a record 260 galleries from 38 countries taking part in the four-day fair. It is expected to draw at least 45,000 visitors to see work by over 1,000 artists.
The city, which has become the world's third-biggest auction hub behind London and New York, has ambitions to establish itself as a centre for art in Asia.
The fair will also show new works by cutting-edge artist Barnaby Furnas and an acclaimed anamorphic projection by South African artist William Kentridge.
Organisers said they expect to see tens of millions of dollars in sales over the four days, but could not provide a forecast for the private transactions.
Several auctioneers, including Christie's and Sotheby's, are holding Hong Kong art sales expected to raise hundreds of millions of dollars in the coming week.
Ai Weiwei: the dissident artist He filled Tate Modern's Turbine Hall with sunflower seeds and campaigned against corruption. Then last month China's most provocative artist disappeared.by Hari Kunzru ,The Guardian Saturday 28 May 2011 'If he is not free then we are not' ... pro-democracy protesters in Ai Weiwei masks. Photograph: Kin Cheung/AP Photo As I write, the Chinese artist Ai Weiwei has been in detention for 51 days and 6 hours. I know this so precisely because someone who goes by the handle "loveaiww" has placed a counter on the web. On the door of my flat is a poster with a silhouette of Ai, made from a photograph taken during a period when he was interested in getting (and giving) weird haircuts. His round head is surmounted by two long tufts of hair, like horns. It looks wild, comic. "Weiwei works here" says the text. We are all Ai Weiwei, is the message. Where we are, he is too. And wherever he is, we are with him.
Ai disappeared on 3 April, as he was about to board a plane at Beijing international airport. Until 16 May, when his wife secured a 10-minute visit, there was no official word of his whereabouts. Three days after he vanished, Xinhua, the Chinese government news agency, put up a story saying he was to be charged with "economic crimes". It was only online for a few minutes, before being taken down. Around the world supporters mounted protests outside Chinese embassies and consulates. In New York a couple of hundred of us were corralled at the side of the busy West Side Highway, the police having thoughtfully positioned us almost out of sight of the consulate and forbidden the organisers to use a megaphone. On 20 May the Beijing police finally confirmed that a company owned by Ai was being investigated for tax evasion. There is still no word of when he will be charged, let alone released.
As a global art star, co-architect of the Beijing Olympic stadium and outspoken dissident, Ai has become internationally famous. His recent Sunflower seeds installation at the Tate Modern won him an enthusiastic British audience. Zodiac Heads, a group of giant bronzes recreating pieces looted from Beijing's Old Summer Palace by British troops during the second opium war, is currently on show at Somerset House. There is no comparable figure in Europe or America. Imagine if one of the faded British celebrities of the 1990s Sensation generation, or the New York art-market titans who paint in $3,000 suits were using their money and fame to confront corruption and become a voice for the powerless. The publication of Ai Weiwei's Blog: Writings, Interviews and Digital Rants, 2006-2009 has, for the first time, given non Chinese speakers access to writings which circulated among millions of people until the authorities took the blog offline two years ago. Ai's comments on everything from street furniture to capital punishment have become an integral part of his identity as an artist. "All people have a responsibility to speak their opinion on things," he wrote in 2006, "to state the simple principles of their lives." Ai exercises this responsibility in a muscular way, berating his fellow citizens in the strongest possible terms. "The People, the so-called People, are really simple-minded loafers . . . who have abandoned their rights and responsibilities, who walk like ghosts on the ever-widening streets, and whose true emotions, dreams and homes are long lost." China is "a land with no truth, no justice and no soul". His criticisms often have a bitter humour. "If national honour did exist, it would merely be something that the autocrats busied themselves with ruining."
Ai's detention is, among other things, a watershed moment for the international art world, the equivalent of the moral tests so badly flunked by technology companies like Cisco and Yahoo when faced with the dizzying financial vistas of the Chinese market. Notoriously fond of adopting radical postures, and notoriously shy of turning down money, players in the business of contemporary art – gallerists, collectors, curators, auctioneers and fellow artists – must now decide what risks (if any) they are prepared to take in defence of one of their own. In the US, the Milwaukee Art Museum, which is about to host a "Summer of China" in collaboration with the Palace Museum in Beijing, has become a focus for discussion about what role museums can or should play in the debate about artistic censorship and human rights. Stung by online criticism of its decision to participate in the Hong Kong International Art Fair, Ai's London dealer, the Lisson Gallery, recently announced that, while it "deplored" the artist's detention and was "committed to the campaign to secure his release" . . . to "withdraw from ART HK and not show work by the artist would make us complicit in the authorities' attempt to silence him and his supporters". His German dealer, Neugerriemschneider, has placed a banner on the outside of its Berlin building, asking "Where is Ai Weiwei?" and distributed badges designed by Ai's friend, the Thai artist Rirkrit Tiravanija. They will also be at ART HK, where they intend to "make Tiravanija's statement visible". The website of Ai's Swiss dealer, Galerie Urs Meile, which has a space in Beijing, offers images of his work but mentions nothing about his detention. Galerie Urs Meile, which did not respond to a request for comment, will also exhibit in Hong Kong. Is "being present", as the Lisson put it, just code for "business as usual"? Or do the galleries intend to use that presence (and their networks of wealthy and influential Chinese collectors) to further Ai's cause?
Ai's confrontation with the Chinese authorities has been a long time coming. One could say, without being melodramatic, that he was born into it. He is the son of the admired poet Ai Qing, a communist who had been with Mao in Yan'an in the years before the 1949 revolution, but fell foul of the party during the anti-rightist movement of the late 1950s and was declared an enemy of the people. In 1957, shortly after Weiwei's birth, Ai Qing was sent for "re-education through labour", first to a forest in Heilongjiang (Manchuria), then to the far western highlands of Xinjiang, where the family lived for a time in a pit dug out of the earth, and Weiwei would go to watch his father, aged almost 60, cleaning the public toilets for a village of 200.
Xinjiang, where winter temperatures can drop as low as -20C, was Weiwei's world until the age of 19. In 1976, as the terror of the cultural revolution abated, Ai Qing was rehabilitated and the family moved back to Beijing. Weiwei began to draw, tutored informally by friends of his father. He was also given three art books, an incredible rarity in China at that time. Two – one on Impressionism and a monograph about Van Gogh, he kept. The third, on Jasper Johns, went in the bin. "I just couldn't figure out whether it was art," he later explained.
In 1978 he enrolled at the Beijing film academy and was soon part of a milieu of artists and radicals who took advantage of the thaw in Communist party policy to voice their desire for change. That December, a long brick wall in Beijing's Xidan street became the focus for dissent. Ai was one of a small group (he estimates it at fewer than a hundred) of activists who pasted posters and broadsides on the so-called "Democracy Wall". The movement was suppressed after a young electrician called Wei Jingsheng put up a poster calling for a "fifth modernisation". It was party policy to push for progress in four areas – industry, agriculture and national defence. Wei wrote that "we want to be masters of our own destiny. We need no Gods or Emperors. We do not believe in the existence of any saviour. We want to be masters of the world and not instruments used by autocrats to carry out their wild ambitions. We want a modern lifestyle and democracy for the people. Freedom and happiness are our sole objectives in accomplishing modernisation. Without this fifth modernisation all others are merely another promise." Wei was arrested and sentenced to 15 years in a labour camp.
Ai was profoundly affected by the fate of Wei Jingsheng and the other leaders of the Democracy Wall movement. As soon as he could, he left China for the US, winding up in New York, where he lived on the Lower East Side and moved in the fringes of the vibrant downtown scene. For a time he studied at Parsons School of Design, but his teacher, the artist Sean Scully, pronounced that his technically adept drawing had "no heart", and Ai, "ashamed", soon dropped out. He supported himself with a variety of odd jobs, including an extremely successful stint as a blackjack player, during which he headed up to Atlantic City two or three times a week for marathon card sessions.
Though Ai was an obsessive gallery-goer ("I must have seen every exhibition in the 1980s," he claims) he found little to connect with in the then-fashionable Neo-Expressionist painting of Julian Schnabel and Jean-Michel Basquiat. His two great New York discoveries were Dada and Andy Warhol. The readymades of Marcel Duchamp, and the notion that functional objects could be subverted to make them "useless" and strange, were fascinating to a young man who had only been exposed to extremely traditional forms of art. Of Warhol he wrote that he "was a self-created product, and the transmission of that product was a characteristic of his identity, including all of his activities and his life itself". The possibility that art could be present in all the actions and gestures of the artist was to be the foundation of his future practice. By about 1986 he had given up painting and was making objects out of coat-hangers, shoes, raincoats and other everyday items. On his return to China in 1993, Ai brought with him a commitment to conceptualism, and a lofty notion of Modernism, which he saw as a kind of total interrogation of the human condition:
"Modernism has no need for various masks or titles; it is the primal creation of the enlightened, it is the ultimate consideration of the meaning of existence and the plight of reality, it is keeping tabs on society and does not cooperate. Enlightenment is attained through a process of self-recognition, attained through a teeming thirst for and pursuit of an inner world, attained through interminable doubts and puzzlement."
The idea that the "pursuit of an inner world" is a primary artistic activity may seem banal to anyone who grew up with conventional western Romantic notions of art, but Ai has made it the foundation of his challenge to the Chinese state, which he accuses of producing "a society without citizens". "A person with no true rights cannot have a complete sense of morality or humanity," he wrote in 2008. "Freedom of expression is one of life's basic rights . . . Modernity cannot exist without freedom of speech." Ai's connection of artistic Modernism to human rights and a kind of relentless questioning of the political, social and psychological status quo is arguably one of the most important developments in Chinese art since it opened up to the West at the end of the Cultural Revolution.
In the 1990s, Ai published a series of influential underground books, known as the "Red Flag books", which introduced other Chinese artists to his ideas and tried to prod them into thinking more critically about their art-making. He also produced thousands of photographs, many of them witty and provocative, such as the now-famous image of his wife-to-be, Lu Qing, winsomely lifting her skirt in Tiananmen Square, or the series drily titled Studies Of Perspective, in which the photographer gives the finger to the White House, the Eiffel Tower and other national cultural monuments. In 2000 he organised a counter-exhibition to the Shanghai bienniale, with the blunt English title "Fuck Off", a phrase deadpanned into Chinese as "Unco-operative Approach". Seen by many international curators and critics, it turned Ai into a fully fledged art-star.
One of Ai's productive borrowings from Warhol was the idea of the factory. Very quickly, he was running an atelier with a huge number of technically skilled assistants, producing large-scale sculptural pieces. Like other Chinese artists, who have access to cheap labour and unusual materials, this positioned him perfectly to perform in the environment of international biennials, the artworld equivalent of the blockbuster summer action flick, where grandeur and scale of statement are everything. After he designed a house for himself in 1999, a string of architectural commissions ensued, as developers in the booming Chinese regions scrambled to add some cultural gloss to their portfolios. His architectural style is simple and unadorned. As he wrote, "I don't aspire to be surrounded by precision, and my own life experiences have little to do with precision, but I do aspire to rationality and reason in art."
One side effect of China's breakneck development has been the wanton demolition of old neighbourhoods. In Beijing, huge swaths of the city's old hutongs, or lanes, have been erased to make way for a new urban landscape of high-rise condos and malls. Ai's art is intimately bound up with this, in complex and sometimes troubling ways. Many of his large sculptures use wood and furniture from Ming and Qing dynasty structures (often temples) which have been demolished by developers. Ai salvages and makes these once "useful" or functional things into oddities: a beam pierces a table; stools cluster together like huddled people; a map of China is drilled through a lintel like words in a stick of rock. In a 2007 piece called Template, decorative doors were fixed together to make a monumental structure with a temple-shaped cut-out at its centre.
Ai is clearly aware of what is being lost through the thoughtless destruction of China's heritage. "The extermination of a nation's collective memory and its ability for self-reflection is like a living organism's rejection of its own immune system. The main difference is that this nation won't die, it will only lose its sense of reason." However he seems to feel a tension between the wish to acknowledge history and a contrary wish to overcome it. In 2008 he wrote that "creativity is the power to reject the past, to change the status quo and to seek new potential". Much of his work involves rejection of the most violent kind. In 1995 he had himself photographed dropping a Han dynasty (206BC– AD202) urn on to a hard tiled floor. This shocking act has analogues in western contemporary art. Robert Rauschenberg erased a drawing by Willem de Kooning and the Chapman brothers made cartoonish alterations to a set of Goya's Disasters of War etchings, titling the result, Insult to Injury.
The art market fetishises objects in the name of preserving their value as commodities, and this is something artists have frequently felt the need to kick against, but in the Chinese context Ai's act has a second set of meanings. China is a place that has sometimes staggered under the weight of history and has more than once attempted to erase it. The "first emperor", Qin Shihuangdi, is said to have decreed the burning of the entire corpus of historical knowledge, and murdered 460 Confucian scholars by burying them alive. During the cultural revolution, museums, archives and temples were ransacked. Ai helped his own father destroy his library. "We had to burn all his books because he could have got into trouble. We burned all those beautiful hardcover books he collected, and catalogues – beautiful museum catalogues. He only had one book left, which was a big French encyclopedia."
Some of Ai's destructive gestures are hard to stomach. In Colored Vases (2006), he started with a group of 50 neolithic vases, dating from between 3,000 and 5,000 years BC. They are beautiful, delicately painted in red, black and ochre, a precious link to prehistory. Ai drenched them in lurid industrial paint, turning them into objects that seem crass and banal. He has painted other vases with corporate logos and ground rare porcelain into powder. Yet he railed against the Beijing city authorities for painting the streetscape of the hutongs a uniform grey in preparation for the Olympics.
A clue to this apparent contradiction may be found in Ai's valorisation of people over objects. Though he speaks of human rights, and much of his thinking is evidently influenced by western liberalism, many of his statements echo the classical Marxist formulation of alienation: "The more the worker expends himself in work the more powerful becomes the world of objects which he creates in the face of himself, the poorer he becomes in his inner life, and the less he belongs to himself." His idea of Modernism as a rediscovery of the inner life of people necessarily involves having an antagonistic relationship to the world of things. In 2006, internet portal sina.com helped him start his famous blog and in 2007 he used it to gather participants for Fairytale, a profoundly humanist project in which he took 1,001 Chinese to Germany for the Documenta exhibition. The participants, from all walks of life, were not themselves "exhibited". They did not become things. The experience was theirs. Ai's intention was to offer them the "fairytale" scenario of foreign travel, alongside a second fairytale for the citizens of Kassel, the experience of seeing and meeting Chinese people in their small town.
In 2008 he collaborated with Herzog & de Meuron on the "bird's nest" Olympic stadium, but rapidly became disgusted with the "pretend smile" he felt China was putting on for the games and announced he would not attend. He publicly excoriated the film director Zhang Yimou (Raise the Red Lantern, House of Flying Daggers) and the artist Cai Guo Qiang (the man whose firework dragon failed to ignite on the Thames at the millennium) for creating the opening ceremony, which he termed "a visual crap-pile of phony affection and hypocritical unctuousness . . . an encyclopedia of spiritual subjugation".
On 12 May 2008 came the turning point, when this provocateur and prankster became a genuine threat to the Chinese state. An earthquake of magnitude 8.0 hit Sichuan province, its epicentre 50 miles north-west of the capital Chengdu. Official figures later confirmed 69,000 dead and 374,000 injured, with another 18,000 unaccounted for. As the scale of the devastation became clear, Ai wrote a series of blog posts, at first grief-stricken and then increasingly angry as it became apparent that school buildings throughout the region had been disproportionately affected by the earthquake. Up to 7,000 schools collapsed, often in places where surrounding buildings remained standing. An unknown number of pupils were inside. The so-called "tofu dregs" construction of these schools appeared to be the result of official corruption and siphoning off of funds. Because of China's one-child policy, many families had lost their only son or daughter.
It soon became clear that the authorities were attempting to hush up the deaths of children in the "tofu dregs" schools. Parents were harrassed. No official list of the dead was published. Incensed, Ai financed a so-called citizen investigation to pressure the provincial government to take responsibility for the deaths and release the list of names. Volunteers met with bereaved families and collected footage for a documentary that Ai distributed freely throughout China. After the citizen investigation, Ai's phone was tapped, surveillance cameras were mounted conspicuously outside his house, and the sina.com blog was closed. Ai turned to Twitter, and began to incorporate imagery of the earthquake into his monumental international commissions. At Munich's Haus der Kunst, he exhibited thousands of children's backpacks, covering the museum's facade, spelling out a quote from the mother of one of the victims: "She lived happily in this world for seven years."
In August 2009 Ai went to Sichuan with his usual entourage of assistants and videographers, to testify at the trial of Tan Zuoren, another activist for the rights of earthquake victims. He was woken at 3am in his Chengdu hotel room by police pounding on his door. As they tried to gain entry, Ai was struck on the head. It was only when he left the country for the Haus der Kunst show the following month that his subsequent headaches were diagnosed as a cerebral haemorrhage, and he underwent surgery. In January this year Shanghai authorities demolished his new studio, claiming it had been built illegally. As the pitch of his confrontation with the authorities increased, some observers began to fear for Ai's life. Others believed his international fame made him untouchable. After the so-called jasmine revolutions swept the Arab world at the beginning of the year, the Chinese authorities mounted an extensive campaign of detentions and ramped up censorship. As the anniversary of the Tiananmen Square massacre approaches on 4 June, it seems to have been decided to remove Ai from circulation.
The news that he is to be prosecuted for fraud seems to be a tactic to discredit him within China, where many people see him as unpatriotic, his human rights activism no more than "shameless" publicity-seeking. Whether it is possible for the international artworld (or even international governments) to influence the Chinese authorities to bring about his release is an open question. Simplistic calls for protests and boycotts have to confront the ineffectiveness of such tactics in previous situations of this kind. Some China-watchers feel that international support for prisoners of conscience like the Nobel prizewinner Liu Xiaobo and journalist Shi Tao have made their freedom less, not more, likely. Yet at the same time there is something distasteful about the spectacle of chic art-folk performing their outrage in the safety of London or New York or Berlin, while raking in the cash in Beijing, Shanghai and Hong Kong. The art market is essentially no more than a high-end service industry catering to the global elite, and it's perhaps asking too much for it to have a moral conscience. Yet art makes high claims for itself, and perhaps players in the 21st-century artworld need to pay more than lip service to the ideals of Ai Weiwei. On 23 August 2009, he tweeted this:
"If there is one person who is still not free, then I am not; if there is one person who still suffers from insult and humiliation, then I do. Do you understand yet?"
If he is not free then we are not. If he suffers from insult and humiliation, then we all do. Wherever he is, we are with him. Do we understand yet?
There is an exhibition of Ai Weiwei's work at Lisson Gallery, London NW1 (020 7724 2739), until 16 July 2011. www.lissongallery.com. Circle of Animals/Zodiac Heads is at Somerset House, London WC2 until 26 June 2011.
内容：艾未未—— 艺术家，建筑师，策展人，出版人，诗人，城市规划专家——他拓宽了艺术的概念，是世界上最重要、最具创意的文化名人之一。本书包括了他的系列访谈，讨论了他艺术生活的多个方面，包括陶瓷、博客、自然和人文学科。 出版社：企鹅集团 PENGUIN GROUP 出版日期：2011年5月28日 ISBN: 9780241957547 Ai Weiwei - artist, architect, curator, publisher, poet and urbanist - extended the notion of art and is one of the world's most significant creative and cultural figures. This title offers a series of interviews that discuss the many dimensions of his artistic life, ranging over subjects including ceramics, blogging, nature, and philosophy. 来源：http://huaren.us/SxWaC http://huaren.us/RYf6j
LONDON (Reuters) - Britain's Royal Academy has made detained Chinese artist Ai Weiwei an honorary member alongside Danish painter Per Kirkeby, the prestigious London art institution said on Wednesday.
The title of Honorary Academician goes to artists not living in Britain, and they do not take part in the governance of the Royal Academy. The 80 full Academicians, who are all practicing artists, vote in up to two new honorary members each year.
The Royal Academy called Ai, detained in China since he was seized at Beijing's international airport on April 3, "one of the most significant cultural figures of his generation in China and internationally."
It made no mention of Ai's detention, which has sparked an international outcry in the art world and beyond. Supporters say he is the victim of a crackdown on dissent, while Chinese authorities have said he was suspected of "economic crimes."
The 54-year-old artist has a high profile in Britain, especially after his giant commission for the Tate Modern gallery in London called "Sunflower Seeds" in which he covered the floor of the cavernous Turbine Hall with millions of handmade porcelain seed replicas.
The same gallery hosted a retrospective of Kirkeby's work in 2009 focusing on his painting, although he is known also for his works on paper, small and large scale bronze sculptures, brick structures and architecture.
美 国视觉艺术家协会向《零八宪章》和《六四真相》英文翻译者美国学者林培瑞 ( Perry Link )颁发天安门精神奖。林培瑞1989年曾帮助科学家方励之进入北京美国大使馆避难，目前正在替哈佛大学编译诺贝尔和平奖得主刘晓波的诗文集。林培瑞对中国 民主的未来表示乐观： “六四本身是一回事，但六四代表的意义，反腐败、民主的理念，对中国的将来会是很大的很好的一面。＂
The MMFA show of the terracotta army creates a vital platform to publicise the plight of the artist detained by China's authorities
Hari Kunzru
Friday 3 June 2011 18.00 BST
The detention of Chinese artist Ai Weiwei is highlighted by artists and activists urging his release by Chinese authorities, in a vigil outside the China liaison office in Hong Kong, April 2011. Photograph: Tyrone Siu/Reuters
It is now 61 days since the artist Ai Weiwei was taken into detention by the Chinese authorities. Since then, protests in his support have been held around the world, and figures such as Hillary Clinton and Angela Merkel have called for his release. Ai's image was projected onto the wall of the Chinese consulate in New York. Hong Kong has been plastered in stickers.
In Beijing, artists Lin Bing and Fei Xiaosheng were detained for having the temerity to include a blank wall, "attributed" to the absent Ai, as part of a group show. Though most of these gestures will have little visibility and less effect in China, international museums and galleries are, at least, being forced (somewhat reluctantly) to think about their relationship to wider political contexts.
An interesting case is that of the Montreal Montreal Museum of Fine Arts (MMFA). Since February, long before Ai's detention, the MMFA has been host to "The Warrior Emperor and China's Terracotta Army", an exhibition of archaeological treasures from the mausoleum of the Qin monarch Shi Huangdi, who united China as "first emperor", from 221-210 BCE. Like the Milwaukee Art Museum, which is about to open a major summer season of Chinese art, the MMFA has become a target for supporters of Ai, who feel that it should be using its show as a platform to draw attention to the artist's plight, and the wider human rights situation in the People's Republic of China.
The MMFA has made no public statement, and held no events relating to Ai Weiwei, though the signature of its director and chief curator, Nathalie Blondil, appears alongside those of many other prominent museum directors on a petition organised by the Guggenheim museum, demanding Ai's release. Questioned by the blog Artists Speak Out, Sabrina Merceron, head of public relations at the MMFA, was quoted as saying:
"We don't do any politics, we just support art as this is the mission of a museum. It's very important that you make the distinction as one can perfectly cohabitate [sic] with the other."
Whether Merceron sincerely believes this, or is just making a mildly incoherent attempt to deflect unwelcome attention, she happens to be wrong. By hosting the terracotta army, the MMFA is "doing politics", of a kind that is acutely relevant to the case of Ai Weiwei. Since 2007, when the British Museum opened a blockbuster exhibition of artefacts from the first emperor's mausoleum (drawing more visitors than any exhibition since the Tutankhamun show in 1972), the terracotta warriors have been on almost continuous display in museums around the world. Along with the 2008 Olympics and this year's Shanghai Expo, the warriors are an integral part of the PRC's cultural outreach programme, doing the work that pandas used to in the 1970s, when images of cute black-and-white creatures frolicking in the zoos of major world capitals were used to offset China's forbidding international image.
The terracotta army also has a particular political meaning for the Chinese state; it is as a projection of Chinese soft power that it is sent out to march through the world's cultural centres. The curators of the MMFA are, no doubt, well aware of the history of these artefacts, but perhaps they have failed to connect the story of the first emperor with the situation that has developed in contemporary China since their exhibition opened.
The first emperor is, above all, a symbol of unity and harmony, qualities prized in China, where a metaphysical notion of balance is often explicitly related to social and political stability. His reign ended the "warring states period" (from around 475 BCE to Qin Shi Huangdi's ascent to the throne in 221 BCE), when seven kingdoms battled for supremacy. As unifier of China, Shi Huangdi organised his empire into administrative divisions, standardised weights and measures, and constructed the first Great Wall to separate his kingdom from the nomadic tribes to the north. He was China's first "great helmsman", a figure of absolute authority and quasi-mystical power, who brutally crushed all dissent. After unification, the so-called "hundred schools of thought" were suppressed and Legalism became the official ideology of the Qin empire.
This ruthlessly utilitarian philosophy held that the only way of ensuring social order was absolute subservience to the state. Control of knowledge and creativity was essential to maintaining harmony, because the ultimate guarantor of stability was a public set of laws, and citizens could not to be permitted to deviate from the behaviour specified by those laws. To avoid scholars being tempted to question the accepted theory, Shi Huangdi ordered almost all books to be burned; 460 scholars were buried alive for owning forbidden texts.
When he died (possibly poisoned by mercury, which he was swallowing as a medicine, in the belief that it would make him immortal), a huge mausoleum was built to house the emperor's remains. Legend has it that 700,000 men were employed in its construction, and it is said to have contained a kind of scale model of the known world, with mercury rivers and seas. The terracotta army was fashioned to guard Shi Huangdi in this underworld. They are, not to put too fine a point on it, the honour guard of an ancient totalitarian state.
The parallels between the China of the first emperor and that of the contemporary PRC are clear enough. The terracotta army provides historical legitimacy for the suppression of Chinese freedoms: China, goes the argument, was unified and made great by such tactics. Anyone who supports democracy opens the country to the perils of disharmony and instability. The Chinese people seem, by and large, to believe that as long as the state is bringing them prosperity, the burning of a few books and the burying of a few scholars is a price worth paying.
It seems to me that in the final days of its (no doubt, excellent and beautiful) show, which finishes later this month, on 26 June, the MMFA would only help its project of bringing Chinese history and culture to the people of Montreal by addressing the question of Ai Weiwei. He has been buried alive, and the political order that has buried him has its origins with the terracotta army. It is clear that Ai's detention is damaging China and weakening its standing in the world.
Perhaps, if the Chinese authorities can be persuaded that their crackdown on Ai and his missing associates is not a sign of strength, but of weakness, they will find a way to release him. This, more than moral arguments based on western notions of human rights, may, in the end, hold the key to his freedom. [此贴子已经被作者于2011/6/5 0:11:08编辑过]
我們不會作出任何有關政治的事，我們只會支持藝術—這是藝術館的使命。人们很容易把藝術和政治联系起来，所以區分兩者是非常重要 的。(We don't do any politics, we just support art as this is the mission of a museum. It's very important that you make the distinction as one can perfectly cohabitate [sic] with the other.)。
附：原文 Pelosi calls for immediate release of Ai Weiwei By Mike Lillis - 06/03/11 03:30 PM ET The top House Democrat hammered the Chinese government on Friday for the continued detention of China's most prominent artist.
House Minority Leader Nancy Pelosi (D-Calif.) is urging the immediate release of artist Ai Weiwei, as well as other high-profile community leaders and human-rights advocates who've been deemed threats to the state.
Ai, who helped design the landmark "Bird's Nest Stadium" for Beijing's 2008 Summer Olympics, has been missing since the government picked him up at the Beijing airport in the first week of April.
Pelosi used the anniversary of the 1989 Tiananmen Square Massacre to slam Chinese leaders for what she says is a failure to heed that tragedy's message, even 22 years later.
"Today, as the heroes of Tiananmen are remembered, the Chinese government intensifies its crackdown on those calling for democratic reform," Pelosi said in a statement. "In recent months, an alarming number of Chinese religious leaders, artists, lawyers, bloggers and workers have disappeared, been harassed and intimidated, forcibly detained and imprisoned."
Aside from Ai, Pelosi urged the "immediate" and "unconditional" release of Liu Xiaobo, a Nobel Peace Laureate; Liu Xianbin, a former Tiananmen protester recently imprisoned for 10 years for criticizing the government; and Gao Zhisheng, a human-rights lawyer who has been detained for more than a year.
Pelosi is no stranger to confronting China head on when it comes to issues of human rights. The San Francisco Democrat thumbed China's eye in 2008 by meeting the Dalai Lama amid Beijing’s violent crackdown on pro-democracy protests in Tibet. She has also been critical of China's support for the oppressive regime in Myanmar.
Pelosi on Friday also pushed Chinese leaders to release more information about the uprising in Tiananmen Square, where Communist Party leaders used military force to clear tens of thousands of pro-democracy activists. An unknown number of protesters was killed during the episode, and many others detained in the weeks and months that followed.
"It is long past time for the Chinese government to provide a full, public accounting of the crackdown, stop persecution of the families, and finally allow the families to mourn publicly without interference," Pelosi said.
The anniversary of the Tiananmen Square Massacre is Saturday.
他同时也极具恶搞。朋友们称呼他为艺术流氓。纽约时报的艺术评论员Holland Carter 称他为“学者小丑”。虽然异议者与活动家通常被认为应当是严肃的、义愤填膺的，但是艾未未却以大不敬的方式狂欢。 纽约现代艺术博物馆拥有一系列照片——讽刺地命名为“透视学研究”——主要是艾未未在艾菲尔铁塔、白宫、蒙娜丽莎和其它文化偶像与权力面前竖起中指。
Artists show solidarity with detained Chinese artist Ai Weiwei
From PRI's The World
08 June, 2011 09:25:00
Mike Brenner shaves his head in solidarity with Chinese artist Ai Weiwei. (Photo: Mary Louise Schumacher)
Galleries in the United States are showing solidarity for artist Ai Weiwei, who was recently arrested by Chinese authorities. Others want to avoid the controversy.
This story was originally covered by PRI's The World. For more, listen to the audio above. By Chuck Quirmbach
Chinese authorities continue to arrest scores of political dissidents and activists. Among those imprisoned is a prominent Chinese artist, Ai Weiwei, detained since April. That has created something of a dilemma for the Milwaukee Art Museum, which is about to open a major exhibition of Chinese art in cooperation with the Chinese government.
Chinese authorities say Weiwei has been arrested for tax evasion. But many see it as China's attempt to silence an artist who frequently criticized the Chinese government.
Several museums have shown support for Weiwei in public ways. The Tate Modern in London hung a banner outside saying "Free Weiwei." A museum in San Diego held a 24-hour protest.
Mike Brenner, a former Milwaukee gallery owner, would like to see the Milwaukee Art Museum make a similar gesture. Last week, he announced he was going to shave part of his head outside the museum to show solidarity with Weiwei.
On Shaving Day, museum security guards were waiting for Brenner. They wanted to make sure that he wasn't even standing on a pedestrian bridge that led to the museum.
"You can do this, but you can't do it on our property," said one of the guards to Brenner.
Brenner moved a few feet off the property and proceeded to turn on his electric razor, and shave chunks of hair off the top of his head. He said he did it to mimic Weiwei's hairline.
"Artists around the world need to shown solidarity," Brenner said after the shaving. "When one of us is taken into custody without explanation for months, it's not acceptable."
Brenner's protest came about a week before the Milwaukee museum is slated to open a summer of Chinese art exhibitions, including a major one featuring works from the Forbidden City.
Brenner isn't suggesting that the museum forgo the exhibit. He just wants the museum to do more to call attention to Weiwei's plight. But Dan Keegan, director of the Milwaukee Art Museum, said that's not the museum's role.
"We're not about protest," Keegan said. "We feel it's important as a convener around culture, a convener around art, to create programs that respond to issues of the day, as well as this 3,000-year-history of Chinese art."
Keegan said the museum isn't ignoring Weiwei's detention. Next month, it plans to hold a panel discussion about Weiwei and artistic freedom.
Sharon Wolfe, a museum member who was visiting, said she supports the museum's approach of educating people.
"Then we can go after our representatives and say look what's going on with this artist in China, "Wolfe said. "And maybe they can put some pressure on the Chinese government to do something about it."
Another museum visitor, Michelle Didier, said she understands the Milwaukee museum may be counting on the long-planned Chinese exhibitions to provide important revenue, but she'd like to see the museum come out publicly in support of free expression.
"That's one of the great parts of being in America," Didier said. "It's unfortunate that the Chinese government has the right to do that kind of thing."
The Milwaukee museum isn't the only one facing this issue, but it's among the first to open a major China exhibit since Weiwei was detained. Louis Lankford, a professor at the University of Missouri-Saint Louis who has written about museum controversies, said the Weiwei case has put museums in a tough spot; but he added that the case can be made for openness about Wei Wei's situation.
"It would be unwise for any art museum showing Chinese art to just say, well, the rest of Chinese art is really good and we're going to keep it on display," Lankford said. "It's best to address such concerns head on."
PRI's "The World" is a one-hour, weekday radio news magazine offering a mix of news, features, interviews, and music from around the globe. "The World" is a co-production of the BBC World Service, PRI and WGBH Boston. More about The World.
Ai Weiwei a Symbol of Free Speech in Hong Kong 6/11/2011 3:44:31 PM
The detention of Chinese artist Ai Weiwei and a crackdown on political dissent on the mainland is pushing Hong Kong's artists to creatively express their concerns. Video courtesy of AFP.
以下是引用 fpiaolin 的发言： 昨天晚上在推特上看到他被抓起来了，很震惊。艾大婶吧，有时候不喜欢他，因为他太能找茬了，跟谁都过不去。但是，更多的是喜欢他，喜欢他弥勒佛样的长相，喜欢他温吞吞说话的语气，喜欢他的........★ Sent from iPhone App: iReader Huaren Lite 7.19
duyanpili
独眼霹雳
美国加州圣地亚哥市艺术界为艾未未静坐5.23，这衣服好玩~
huff.to / jEhuXr #aiww http://flic.kr/p/9LKk5N
[此贴子已经被作者于2011/5/25 3:44:36编辑过]
[此贴子已经被作者于2011/5/25 3:47:03编辑过]
wufake
吴发课
德国出现释放艾未未头像墙体投影。http://flic.kr/p/9Lx675 http://flic.kr/p/9LuhEp @aiww #aiww #freeaiweiwei
[此贴子已经被作者于2011/5/25 4:59:51编辑过]
钱明奇用生命给这个社会敲响了警钟或者丧钟。赶紧把谭作人艾未未冉云飞王荔蕻等等好人全都放了，他们以批评制止滥权，以理性疏导怨恨，以良知抵挡罪恶；没有他们的社会，腐败无所顾忌，专制畅通无阻。今天的蘑菇云已经是一个迫不及待的信号，不允许理性批评，只会发生更多惨剧！
CNN评论：《香港是否害怕艾未未》本文针对艾未未作品参与香港国际艺术展，对最近一段时间在全球以及香港的声援艾未未活动进行了描述。最后作者写道：艾未未的中指撼动了中国权利和公共空间，艺术家可能保持沉默，但这不是他自己的意愿。http://huaren.us/7pEwS
Is Hong Kong afraid of Ai Weiwei?
A man in marble is giving me the finger.
I'm at Art HK, Asia's leading art fair, and the one-finger salute is from the 2007 sculpture "Marble Arm" by outspoken artist-activist Ai Weiwei. As we all should know by now, Ai was detained by Beijing authorities almost two months ago in an ongoing campaign against Chinese activists. Ai has since been accused of tax evasion.
"Marble Arm" is linked to a series of provocative snapshots featuring Ai raising his middle finger to various symbols of power from the White House to Tiananmen Square. On reserve, it has a prospective buyer who is willing to pay $280,000 for the work.
And today, that marble middle finger is greeting prospective buyers and curious visitors at Art HK's Galerie Urs Meile exhibition space.
But it is a lonely protest. Among the 260 galleries at the international art fair, "Marble Arm" is the only work by Ai on display.
There are a few "Where is Ai Weiwei?" freebie pins and t-shirts available from Galerie Urs Meile and two other dealers at the fair. But for the most part, at Asian's largest art fair, China's most well-known artist is noticeably missing.
Both the United States and the European Union have called for the artist's release, but the commercial art community in Asia seems to be taking a more, shall we say, diplomatic approach. Art HK director Magnus Renfrew calls Ai Weiwei "an artist who we greatly admire."
And yet Renfrew delivers even more praise for the city of Hong Kong "where freedom of expression is greatly valued, and freedom of expression is protected under the Bill of Rights of Hong Kong and under the Basic Law of Hong Kong. So it is a very good place for the full variety of voices to be heard."
Those voices are being heard far from the gleaming halls of the Hong Kong Convention and Exhibition Center.
In a gritty industrial space in the city's Chai Wan district, 50 Hong Kong artists are speaking out against Ai's detention in a non-selling exhibition called "Love the Future." In Mandarin, it reads as "Ai Wei Lai," a pun on "Ai Wei Wei" and a code name used by the artist's online supporters when he first went missing.
Those three characters have been censored on the Internet in Mainland China, but in Hong Kong it's clearly seen online and throughout the makeshift gallery space. There's a lightbox of a hyper-pixellated portrait of Ai Weiwei. In another corner, there is a photo collage of various Hong Kong figures with Ai's name painted on their foreheads.
"Love the Future" is organized by Hong Kong sculptor Kacey Wong. Wong also organized a Hong Kong protest march in April that attracted an estimated 2,000 people. Wong calls Ai's arrest a wake-up call for him and fellow local artists. He tells me, "We Hong Kong people tend to live inside a bubble because we have freedom here. Whereas in China, there is suppression and illegal detention of good-hearted people."
Wong also says Ai's detention has brought about a personal ephiphany about what it means to be a Hong Kong artist, as opposed to a Mainland Chinese one: "We, in contrast, can speak the truth... without thinking too much."
In the days immediately following Ai's disappearance, high-contrast graffiti images appeared throughout Hong Kong showing the bearded face of the artist and a simple question, "Who's afraid of Ai Weiwei?" Another graffiti campaign flashed a projection of the Ai Weiwei image onto the Chinese People's Liberation Army barracks in Hong Kong.
The artists behind the graffiti are laying low... and for good reason. Hong Kong police are investigating criminal damage charges against them, which could carry a sentence of up to 10 years in jail.
One can only wonder if Ai Weiwei would nod in approval to such acts of creative defiance here in Hong Kong.
Ai remains detained for an indefinite period of time in an undisclosed location. Despite his imprisonment, Ai has opened major exhibitions in New York and London... and inspired a grassroots movement in Hong Kong while defiantly raising his middle finger in a massively public space on Chinese soil.
The artist may be silenced, but not his message.
[此贴子已经被作者于2011/5/26 11:41:21编辑过]
Ai Weiwei work on show at key Hong Kong art fair
(AFP) – 1 day ago
HONG KONG — A leading international art fair is to display a provocative work by detained Chinese artist Ai Weiwei in Hong Kong in a show of solidarity with the outspoken dissident amid a government crackdown.
Director Magnus Renfrew said the organisers of ART HK shared the concerns of the international community over Ai's fate, and called for "due process" of the law to be upheld in his case, which has sparked an international outcry.
"Ai Weiwei's works have been greatly admired," he said.
The fair, starting Thursday, is to display Ai's 2007 sculpture "Marble Arm", which depicts an outstretched arm and hand -- with its middle finger raised.
The artist was taken into custody in Beijing last month during the government's biggest crackdown on dissidents and activists in years, with authorities later saying he was suspected of unspecified "economic crimes".
The US and European Union have called for Ai's release, but Beijing has rejected such calls, denouncing them as interfering and inappropriate.
"Marble Arm" was brought to the fair by Switzerland-based Galerie Urs Meile, which also run a gallery in Beijing.
"By presenting his work, we believe his situation will be discussed," the gallery's assistant Rene Meile told AFP.
Chinese police alleged last week that a firm controlled by Ai had evaded taxes, in a move that appeared to be aimed at building their case against the detained artist.
Hong Kong maintains semi-autonomous status from China and enjoys civil liberties not seen on the mainland. Artists and campaigners have staged a series of protests there calling for Ai's release.
ART HK, which is now in its fourth year, will see a record 260 galleries from 38 countries taking part in the four-day fair. It is expected to draw at least 45,000 visitors to see work by over 1,000 artists.
The city, which has become the world's third-biggest auction hub behind London and New York, has ambitions to establish itself as a centre for art in Asia.
The fair will also show new works by cutting-edge artist Barnaby Furnas and an acclaimed anamorphic projection by South African artist William Kentridge.
Organisers said they expect to see tens of millions of dollars in sales over the four days, but could not provide a forecast for the private transactions.
Several auctioneers, including Christie's and Sotheby's, are holding Hong Kong art sales expected to raise hundreds of millions of dollars in the coming week.
[此贴子已经被作者于2011/5/26 11:44:31编辑过]
by duyanpili
#CCP #Aiww #Explosion RT @Pengxiaoyun: 愤怒的声音需要艺术的想象力来让愤怒变得高贵，优雅。为何大爱老艾，实在是觉得他太有想象力了。把这可爱的老头儿这样关着，大概他们更爱爆炸和蘑菇云吧！
孔杰荣专栏：软禁艾未未 来硬的
中国时报 2011-05-26
知名艺术家兼社会活动人士艾未未一案
侦查的最新变化，再次毫不留情地揭露了中国警察对中国《刑事诉讼法》的扭曲。五月十六日，艾的家人宣布，艾妻路青刚获准在一处不知名地点与艾未未见面，两
人在监视下得以交谈约廿分钟。也许有人会将此解读为，中国警察在不加解释地将艾与外界隔离关押六周后，可能由于国外普遍谴责警方作为，所以态度终于软化。
但是，从中国官媒新华社五月廿日的报导中不难看出，允许路青探望艾未未，非但不是警方百年不遇地「开恩」，相反地，这正说明对艾未未的长期监禁进入了一个
新阶段，而这阶段本身，就赤裸裸地违反了中国法律。
中国有关法律规定，警方拘
留嫌犯起三十七日内，若没有充足证据以获得检察机关正式逮捕的批准，便只有三种选择﹕第一，警方可以无条件释放嫌犯﹔第二，如还需继续侦查，他们可以将嫌
犯「取保候审」（类似于许多国家的「保释」制度），期限长达一年，这期间嫌犯可在其居住的城市内自由活动﹔最后，如果嫌犯在当地有固定住处，警方可将其严
格限制在其住处中长达六个月。这最后一项措施名为「监视居住」，其本意在于使警方可以对那些未被收押、没有完全丧失个人自由的嫌犯，进行随时随地的严密监
控。只有嫌犯在当地没有固定住处，而又被认为需要被「监视居住」时，才可以由警方指定「监视居住」的居所。
然而，实践
中，警方频频以「监视居住」为借口，将嫌犯以类似羁押的方式继续囚禁在他们指定的场所，即使嫌犯原本就在当地居住，有自己的住处。警方假装是将当地嫌犯
「软禁（在家）」，但地点却不是嫌犯的家，而是警方指定的「家」﹗这种做法直接违背了立法机关制定的法律以及公安部依此法律做出的解释，属于后者明令禁止
的「变相羁押」行为。但是，中国首都的警察─还不是什么偏远村落的警察─肆无忌惮地加诸于北京最著名居民之一的，却恰恰是这种「变相羁押」。
虽然警方在一个月来集中火力侦查此案，多次讯问艾未未及其同事、家人，但看来由于掌握的证据仍不足以说服检察机关批准逮捕，便在关押期间对艾施以「监视
居住」，但此「监视居住」的意义已遭到警方扭曲。这样一来，警方就有五个月的额外时间，可以继续侦查和隔离审讯艾未未﹔在此期间，他们不必受到任何其它法
定时限的压力，可以慢慢考虑，究竟是重新追诉艾未未，还是无条件释放他，抑或是通过取保候审再监管他一年，将其活动范围限制在北京内。当然，如果将艾未未
定罪的希望再度落空，他们也可以随时拿出另一件重要秘密武器─「劳动教养」，即以「行政处罚」为名，将嫌犯送往劳教所，时间可长达三年，且省去了向检察官
和法官提交证据的麻烦。
目前做为唯一消息来源的新华社，在其报导中断定，由艾妻经营、属于艾未未的一家公司，犯下了两
桩罪行，其一为逃税，且金额「巨大」，其二为故意销毁会计凭证。当然，倘若警方掌握的证据连申请批捕都不够，更不要说正式起诉，那新华社又凭什么那么肯定
呢﹖新华社想要传达这样一个讯息﹕即警察是在依法行事，不仅如此，还「额外开恩」，允许路青与艾未未见面。但是，在诺贝尔和平奖得主刘晓波的案件中，警察
也是这样做的。刘晓波是北京居民，在他被正式逮捕之前，他也被以「监视居住」的名义，非法关押在一不知名场所，而最终仍获刑十一年。此外，法院在计算刘晓
波的刑期时，拒绝将他受到「监视居住」的期间做为被羁押时间来折抵刑期，虽然他受到的监视居住根本就是「变相羁押」。
依据相关规定，嫌犯在「监视居住」期间有权会见其律师，且无须经警方批准，但刘晓波在「监视居住」期间，其律师根本无法会见他。从艾未未被带走至今，警方
一直阻拦艾的家人聘请律师，但是他们的朋友刘晓原律师，还是勇敢地表示，如果艾的家人要求，他愿意接手这个案件。刘晓原当然知道，即便是中国最优秀的律
师，在挑战警察违法羁押方面，能做的也十分有限，刘晓波一案已清楚说明了这一点。虽然检察官在理论上有权审查案件，实际上却并不这样做。法院对于非法「监
视居住」的指控，至少有权在决定刑期时予以审查﹔但是，就拿刘晓波一案为例，法院不折抵刑期，把实际的羁押当做是被告被限制在家一样。同时，可以肯定的
是，即便超过法定时限，也从未有警官因为「变相羁押」嫌犯而遭到起诉。
虽然中国法学界普遍认为，全国人大即将修订的新
《刑事诉讼法》应当解决「监视居住」的问题，但如何解决，却不见达成共识。艾未未的遭遇虽已向人们揭露中国警察滥用职权的种种匪夷所思之行径，但在中国目
前以打压为主的政治氛围中，若是相信这次修订就能为此画上一个句号，未免过于乐观。
（作者孔杰荣 Jerome A. Cohen，纽约大学法学院教授，纽约大学亚美法研究所共同主任，外交关系协会亚洲研究兼任资深研究员。英文原文请参http://www.usasialaw.org/。亚美法研究所研究员韩羽译。）
[此贴子已经被作者于2011/5/27 14:02:50编辑过]
冈萨雷斯GONZáLEZ、特雷斯RES为支持中国艺术家、活动家艾未未制作了歌曲“释放未未，请大声播放！
[此贴子已经被作者于2011/5/27 14:16:06编辑过]
明报5月28日报道： 为艾未未击鼓鸣冤
【明报专讯】支联会昨在旺角为艾未未击鼓鸣冤，主席李卓人及张文光等多名常委在场读出中国十大冤情，包括艾未未被捕、刘晓波被判监、六四未获平反等。现场
邀请市民击鼓，并为悼念六四死难者、争取释放艾未未签名，有中学生及外籍人士参与。李卓人表示，内地持续打压维权人士，令现时民主比1989年倒退，明日
举办的「爱国民主大游行」，将加入争取释放维权人士的诉求。
[此贴子已经被作者于2011/5/28 13:24:30编辑过]
内容提要：
他用葵花子将泰特现代美术馆填满，他发起反对腐败的运动。然后上个月，这个中国最具挑衅性的艺术家消失了。 文章用很大的篇幅叙述了艾未未新疆、纽约的人生经历、艺术作品和对社会事件的积极介入。 结尾处写到： “艾未未曾经在2009年8月份发推说”有一个人不自由，我就不自由，有一个人受凌辱，我就受凌辱。有一个人受伤害，我就受伤害。听明白了么？”那么，艾未未不自由，我们就不自由；艾未未受凌辱，我们就受凌辱；艾未未受伤害，我们就受伤害。无论他在哪里，我们都将与他一起，听明白了吗？
[此贴子已经被作者于2011/5/28 13:33:27编辑过]
He
filled Tate Modern's Turbine Hall with sunflower seeds and campaigned
against corruption. Then last month China's most provocative artist
disappeared.by Hari Kunzru ,The Guardian Saturday 28 May 2011
'If he is not free then we are not' ... pro-democracy protesters in Ai Weiwei masks. Photograph: Kin Cheung/AP Photo
As
I write, the Chinese artist Ai Weiwei has been in detention for 51 days
and 6 hours. I know this so precisely because someone who goes by the
handle "loveaiww" has placed a counter on the web. On the door of my
flat is a poster with a silhouette of Ai, made from a photograph taken
during a period when he was interested in getting (and giving) weird
haircuts. His round head is surmounted by two long tufts of hair, like
horns. It looks wild, comic. "Weiwei works here" says the text.
We are all Ai Weiwei, is the message. Where we are, he is too. And wherever he is, we are with him.
Ai
disappeared on 3 April, as he was about to board a plane at Beijing
international airport. Until 16 May, when his wife secured a 10-minute
visit, there was no official word of his whereabouts. Three days after
he vanished, Xinhua, the Chinese government news agency, put up a story
saying he was to be charged with "economic crimes". It was only online
for a few minutes, before being taken down. Around the world supporters
mounted protests outside Chinese embassies and consulates. In New York a
couple of hundred of us were corralled at the side of the busy West
Side Highway, the police having thoughtfully positioned us almost out of
sight of the consulate and forbidden the organisers to use a megaphone.
On 20 May the Beijing police finally confirmed that a company owned by
Ai was being investigated for tax evasion. There is still no word of
when he will be charged, let alone released.
As a global art
star, co-architect of the Beijing Olympic stadium and outspoken
dissident, Ai has become internationally famous. His recent Sunflower
seeds installation at the Tate Modern won him an enthusiastic British
audience. Zodiac Heads, a group of giant bronzes recreating pieces
looted from Beijing's Old Summer Palace by British troops during the
second opium war, is currently on show at Somerset House. There is no
comparable figure in Europe or America. Imagine if one of the faded
British celebrities of the 1990s Sensation generation, or the New York
art-market titans who paint in $3,000 suits were using their money and
fame to confront corruption and become a voice for the powerless. The
publication of Ai Weiwei's Blog: Writings, Interviews and Digital Rants,
2006-2009 has, for the first time, given non Chinese speakers access to
writings which circulated among millions of people until the
authorities took the blog offline two years ago. Ai's comments on
everything from street furniture to capital punishment have become an
integral part of his identity as an artist. "All people have a
responsibility to speak their opinion on things," he wrote in 2006, "to
state the simple principles of their lives." Ai exercises this
responsibility in a muscular way, berating his fellow citizens in the
strongest possible terms. "The People, the so-called People, are really
simple-minded loafers . . . who have abandoned their rights and
responsibilities, who walk like ghosts on the ever-widening streets, and
whose true emotions, dreams and homes are long lost." China is "a land
with no truth, no justice and no soul". His criticisms often have a
bitter humour. "If national honour did exist, it would merely be
something that the autocrats busied themselves with ruining."
Ai's
detention is, among other things, a watershed moment for the
international art world, the equivalent of the moral tests so badly
flunked by technology companies like Cisco and Yahoo when faced with the
dizzying financial vistas of the Chinese market. Notoriously fond of
adopting radical postures, and notoriously shy of turning down money,
players in the business of contemporary art – gallerists, collectors,
curators, auctioneers and fellow artists – must now decide what risks
(if any) they are prepared to take in defence of one of their own. In
the US, the Milwaukee Art Museum, which is about to host a "Summer of
China" in collaboration with the Palace Museum in Beijing, has become a
focus for discussion about what role museums can or should play in the
debate about artistic censorship and human rights. Stung by online
criticism of its decision to participate in the Hong Kong International
Art Fair, Ai's London dealer, the Lisson Gallery, recently announced
that, while it "deplored" the artist's detention and was "committed to
the campaign to secure his release" . . . to "withdraw from ART HK and
not show work by the artist would make us complicit in the authorities'
attempt to silence him and his supporters". His German dealer,
Neugerriemschneider, has placed a banner on the outside of its Berlin
building, asking "Where is Ai Weiwei?" and distributed badges designed
by Ai's friend, the Thai artist Rirkrit Tiravanija. They will also be at
ART HK, where they intend to "make Tiravanija's statement visible". The
website of Ai's Swiss dealer, Galerie Urs Meile, which has a space in
Beijing, offers images of his work but mentions nothing about his
detention. Galerie Urs Meile, which did not respond to a request for
comment, will also exhibit in Hong Kong. Is "being present", as the
Lisson put it, just code for "business as usual"? Or do the galleries
intend to use that presence (and their networks of wealthy and
influential Chinese collectors) to further Ai's cause?
Ai's
confrontation with the Chinese authorities has been a long time coming.
One could say, without being melodramatic, that he was born into it. He
is the son of the admired poet Ai Qing, a communist who had been with
Mao in Yan'an in the years before the 1949 revolution, but fell foul of
the party during the anti-rightist movement of the late 1950s and was
declared an enemy of the people. In 1957, shortly after Weiwei's birth,
Ai Qing was sent for "re-education through labour", first to a forest in
Heilongjiang (Manchuria), then to the far western highlands of
Xinjiang, where the family lived for a time in a pit dug out of the
earth, and Weiwei would go to watch his father, aged almost 60, cleaning
the public toilets for a village of 200.
Xinjiang, where winter
temperatures can drop as low as -20C, was Weiwei's world until the age
of 19. In 1976, as the terror of the cultural revolution abated, Ai Qing
was rehabilitated and the family moved back to Beijing. Weiwei began to
draw, tutored informally by friends of his father. He was also given
three art books, an incredible rarity in China at that time. Two – one
on Impressionism and a monograph about Van Gogh, he kept. The third, on
Jasper Johns, went in the bin. "I just couldn't figure out whether it
was art," he later explained.
In 1978 he enrolled at the Beijing
film academy and was soon part of a milieu of artists and radicals who
took advantage of the thaw in Communist party policy to voice their
desire for change. That December, a long brick wall in Beijing's Xidan
street became the focus for dissent. Ai was one of a small group (he
estimates it at fewer than a hundred) of activists who pasted posters
and broadsides on the so-called "Democracy Wall". The movement was
suppressed after a young electrician called Wei Jingsheng put up a
poster calling for a "fifth modernisation". It was party policy to push
for progress in four areas – industry, agriculture and national defence.
Wei wrote that "we want to be masters of our own destiny. We need no
Gods or Emperors. We do not believe in the existence of any saviour. We
want to be masters of the world and not instruments used by autocrats to
carry out their wild ambitions. We want a modern lifestyle and
democracy for the people. Freedom and happiness are our sole objectives
in accomplishing modernisation. Without this fifth modernisation all
others are merely another promise." Wei was arrested and sentenced to 15
years in a labour camp.
Ai was profoundly affected by the fate
of Wei Jingsheng and the other leaders of the Democracy Wall movement.
As soon as he could, he left China for the US, winding up in New York,
where he lived on the Lower East Side and moved in the fringes of the
vibrant downtown scene. For a time he studied at Parsons School of
Design, but his teacher, the artist Sean Scully, pronounced that his
technically adept drawing had "no heart", and Ai, "ashamed", soon
dropped out. He supported himself with a variety of odd jobs, including
an extremely successful stint as a blackjack player, during which he
headed up to Atlantic City two or three times a week for marathon card
sessions.
Though Ai was an obsessive gallery-goer ("I must have
seen every exhibition in the 1980s," he claims) he found little to
connect with in the then-fashionable Neo-Expressionist painting of
Julian Schnabel and Jean-Michel Basquiat. His two great New York
discoveries were Dada and Andy Warhol. The readymades of Marcel Duchamp,
and the notion that functional objects could be subverted to make them
"useless" and strange, were fascinating to a young man who had only been
exposed to extremely traditional forms of art. Of Warhol he wrote that
he "was a self-created product, and the transmission of that product was
a characteristic of his identity, including all of his activities and
his life itself". The possibility that art could be present in all the
actions and gestures of the artist was to be the foundation of his
future practice. By about 1986 he had given up painting and was making
objects out of coat-hangers, shoes, raincoats and other everyday items.
On his return to China in 1993, Ai brought with him a commitment to
conceptualism, and a lofty notion of Modernism, which he saw as a kind
of total interrogation of the human condition:
"Modernism has no
need for various masks or titles; it is the primal creation of the
enlightened, it is the ultimate consideration of the meaning of
existence and the plight of reality, it is keeping tabs on society and
does not cooperate. Enlightenment is attained through a process of
self-recognition, attained through a teeming thirst for and pursuit of
an inner world, attained through interminable doubts and puzzlement."
The
idea that the "pursuit of an inner world" is a primary artistic
activity may seem banal to anyone who grew up with conventional western
Romantic notions of art, but Ai has made it the foundation of his
challenge to the Chinese state, which he accuses of producing "a society
without citizens". "A person with no true rights cannot have a complete
sense of morality or humanity," he wrote in 2008. "Freedom of
expression is one of life's basic rights . . . Modernity cannot exist
without freedom of speech." Ai's connection of artistic Modernism to
human rights and a kind of relentless questioning of the political,
social and psychological status quo is arguably one of the most
important developments in Chinese art since it opened up to the West at
the end of the Cultural Revolution.
In the 1990s, Ai published a
series of influential underground books, known as the "Red Flag books",
which introduced other Chinese artists to his ideas and tried to prod
them into thinking more critically about their art-making. He also
produced thousands of photographs, many of them witty and provocative,
such as the now-famous image of his wife-to-be, Lu Qing, winsomely
lifting her skirt in Tiananmen Square, or the series drily titled
Studies Of Perspective, in which the photographer gives the finger to
the White House, the Eiffel Tower and other national cultural monuments.
In 2000 he organised a counter-exhibition to the Shanghai bienniale,
with the blunt English title "Fuck Off", a phrase deadpanned into
Chinese as "Unco-operative Approach". Seen by many international
curators and critics, it turned Ai into a fully fledged art-star.
of Ai's productive borrowings from Warhol was the idea of the factory.
Very quickly, he was running an atelier with a huge number of
technically skilled assistants, producing large-scale sculptural pieces.
Like other Chinese artists, who have access to cheap labour and unusual
materials, this positioned him perfectly to perform in the environment
of international biennials, the artworld equivalent of the blockbuster
summer action flick, where grandeur and scale of statement are
everything. After he designed a house for himself in 1999, a string of
architectural commissions ensued, as developers in the booming Chinese
regions scrambled to add some cultural gloss to their portfolios. His
architectural style is simple and unadorned. As he wrote, "I don't
aspire to be surrounded by precision, and my own life experiences have
little to do with precision, but I do aspire to rationality and reason
in art."
One side effect of China's breakneck development has
been the wanton demolition of old neighbourhoods. In Beijing, huge
swaths of the city's old hutongs, or lanes, have been erased to make way
for a new urban landscape of high-rise condos and malls. Ai's art is
intimately bound up with this, in complex and sometimes troubling ways.
Many of his large sculptures use wood and furniture from Ming and Qing
dynasty structures (often temples) which have been demolished by
developers. Ai salvages and makes these once "useful" or functional
things into oddities: a beam pierces a table; stools cluster together
like huddled people; a map of China is drilled through a lintel like
words in a stick of rock. In a 2007 piece called Template, decorative
doors were fixed together to make a monumental structure with a
temple-shaped cut-out at its centre.
Ai is clearly aware of what
is being lost through the thoughtless destruction of China's heritage.
"The extermination of a nation's collective memory and its ability for
self-reflection is like a living organism's rejection of its own immune
system. The main difference is that this nation won't die, it will only
lose its sense of reason." However he seems to feel a tension between
the wish to acknowledge history and a contrary wish to overcome it. In
2008 he wrote that "creativity is the power to reject the past, to
change the status quo and to seek new potential". Much of his work
involves rejection of the most violent kind. In 1995 he had himself
photographed dropping a Han dynasty (206BC– AD202) urn on to a hard
tiled floor. This shocking act has analogues in western contemporary
art. Robert Rauschenberg erased a drawing by Willem de Kooning and the
Chapman brothers made cartoonish alterations to a set of Goya's
Disasters of War etchings, titling the result, Insult to Injury.
The
art market fetishises objects in the name of preserving their value as
commodities, and this is something artists have frequently felt the need
to kick against, but in the Chinese context Ai's act has a second set
of meanings. China is a place that has sometimes staggered under the
weight of history and has more than once attempted to erase it. The
"first emperor", Qin Shihuangdi, is said to have decreed the burning of
the entire corpus of historical knowledge, and murdered 460 Confucian
scholars by burying them alive. During the cultural revolution, museums,
archives and temples were ransacked. Ai helped his own father destroy
his library. "We had to burn all his books because he could have got
into trouble. We burned all those beautiful hardcover books he
collected, and catalogues – beautiful museum catalogues. He only had one
book left, which was a big French encyclopedia."
Some of Ai's
destructive gestures are hard to stomach. In Colored Vases (2006), he
started with a group of 50 neolithic vases, dating from between 3,000
and 5,000 years BC. They are beautiful, delicately painted in red, black
and ochre, a precious link to prehistory. Ai drenched them in lurid
industrial paint, turning them into objects that seem crass and banal.
He has painted other vases with corporate logos and ground rare
porcelain into powder. Yet he railed against the Beijing city
authorities for painting the streetscape of the hutongs a uniform grey
in preparation for the Olympics.
A clue to this apparent
contradiction may be found in Ai's valorisation of people over objects.
Though he speaks of human rights, and much of his thinking is evidently
influenced by western liberalism, many of his statements echo the
classical Marxist formulation of alienation: "The more the worker
expends himself in work the more powerful becomes the world of objects
which he creates in the face of himself, the poorer he becomes in his
inner life, and the less he belongs to himself." His idea of Modernism
as a rediscovery of the inner life of people necessarily involves having
an antagonistic relationship to the world of things. In 2006, internet
portal sina.com helped him start his famous blog and in 2007 he used it
to gather participants for Fairytale, a profoundly humanist project in
which he took 1,001 Chinese to Germany for the Documenta exhibition. The
participants, from all walks of life, were not themselves "exhibited".
They did not become things. The experience was theirs. Ai's intention
was to offer them the "fairytale" scenario of foreign travel, alongside a
second fairytale for the citizens of Kassel, the experience of seeing
and meeting Chinese people in their small town.
In 2008 he
collaborated with Herzog & de Meuron on the "bird's nest" Olympic
stadium, but rapidly became disgusted with the "pretend smile" he felt
China was putting on for the games and announced he would not attend. He
publicly excoriated the film director Zhang Yimou (Raise the Red
Lantern, House of Flying Daggers) and the artist Cai Guo Qiang (the man
whose firework dragon failed to ignite on the Thames at the millennium)
for creating the opening ceremony, which he termed "a visual crap-pile
of phony affection and hypocritical unctuousness . . . an encyclopedia
of spiritual subjugation".
On 12 May 2008 came the turning point,
when this provocateur and prankster became a genuine threat to the
Chinese state. An earthquake of magnitude 8.0 hit Sichuan province, its
epicentre 50 miles north-west of the capital Chengdu. Official figures
later confirmed 69,000 dead and 374,000 injured, with another 18,000
unaccounted for. As the scale of the devastation became clear, Ai wrote a
series of blog posts, at first grief-stricken and then increasingly
angry as it became apparent that school buildings throughout the region
had been disproportionately affected by the earthquake. Up to 7,000
schools collapsed, often in places where surrounding buildings remained
standing. An unknown number of pupils were inside. The so-called "tofu
dregs" construction of these schools appeared to be the result of
official corruption and siphoning off of funds. Because of China's
one-child policy, many families had lost their only son or daughter.
It
soon became clear that the authorities were attempting to hush up the
deaths of children in the "tofu dregs" schools. Parents were harrassed.
No official list of the dead was published. Incensed, Ai financed a
so-called citizen investigation to pressure the provincial government to
take responsibility for the deaths and release the list of names.
Volunteers met with bereaved families and collected footage for a
documentary that Ai distributed freely throughout China. After the
citizen investigation, Ai's phone was tapped, surveillance cameras were
mounted conspicuously outside his house, and the sina.com blog was
closed. Ai turned to Twitter, and began to incorporate imagery of the
earthquake into his monumental international commissions. At Munich's
Haus der Kunst, he exhibited thousands of children's backpacks, covering
the museum's facade, spelling out a quote from the mother of one of the
victims: "She lived happily in this world for seven years."
In
August 2009 Ai went to Sichuan with his usual entourage of assistants
and videographers, to testify at the trial of Tan Zuoren, another
activist for the rights of earthquake victims. He was woken at 3am in
his Chengdu hotel room by police pounding on his door. As they tried to
gain entry, Ai was struck on the head. It was only when he left the
country for the Haus der Kunst show the following month that his
subsequent headaches were diagnosed as a cerebral haemorrhage, and he
underwent surgery. In January this year Shanghai authorities demolished
his new studio, claiming it had been built illegally. As the pitch of
his confrontation with the authorities increased, some observers began
to fear for Ai's life. Others believed his international fame made him
untouchable. After the so-called jasmine revolutions swept the Arab
world at the beginning of the year, the Chinese authorities mounted an
extensive campaign of detentions and ramped up censorship. As the
anniversary of the Tiananmen Square massacre approaches on 4 June, it
seems to have been decided to remove Ai from circulation.
The
news that he is to be prosecuted for fraud seems to be a tactic to
discredit him within China, where many people see him as unpatriotic,
his human rights activism no more than "shameless" publicity-seeking.
Whether it is possible for the international artworld (or even
international governments) to influence the Chinese authorities to bring
about his release is an open question. Simplistic calls for protests
and boycotts have to confront the ineffectiveness of such tactics in
previous situations of this kind. Some China-watchers feel that
international support for prisoners of conscience like the Nobel
prizewinner Liu Xiaobo and journalist Shi Tao have made their freedom
less, not more, likely. Yet at the same time there is something
distasteful about the spectacle of chic art-folk performing their
outrage in the safety of London or New York or Berlin, while raking in
the cash in Beijing, Shanghai and Hong Kong. The art market is
essentially no more than a high-end service industry catering to the
global elite, and it's perhaps asking too much for it to have a moral
conscience. Yet art makes high claims for itself, and perhaps players in
the 21st-century artworld need to pay more than lip service to the
ideals of Ai Weiwei. On 23 August 2009, he tweeted this:
"If
there is one person who is still not free, then I am not; if there is
one person who still suffers from insult and humiliation, then I do. Do
you understand yet?"
If he is not free then we are not. If he
suffers from insult and humiliation, then we all do. Wherever he is, we
are with him. Do we understand yet?
There
is an exhibition of Ai Weiwei's work at Lisson Gallery, London NW1 (020
7724 2739), until 16 July 2011. www.lissongallery.com. Circle of Animals/Zodiac Heads is at Somerset House, London WC2 until 26 June 2011.
来源： http://huaren.us/GnAxS
企鹅集团 PENGUIN GROUP今日出版艾未未新书《艾未未说》
艾未未新书《艾未未说》 Ai Weiwei Speaks 今日出版
内容：艾未未—— 艺术家，建筑师，策展人，出版人，诗人，城市规划专家——他拓宽了艺术的概念，是世界上最重要、最具创意的文化名人之一。本书包括了他的系列访谈，讨论了他艺术生活的多个方面，包括陶瓷、博客、自然和人文学科。
出版社：企鹅集团 PENGUIN GROUP 出版日期：2011年5月28日 ISBN: 9780241957547
Ai
Weiwei - artist, architect, curator, publisher, poet and urbanist -
extended the notion of art and is one of the world's most significant
creative and cultural figures. This title offers a series of interviews
that discuss the many dimensions of his artistic life, ranging over
subjects including ceramics, blogging, nature, and philosophy.
来源：http://huaren.us/SxWaC http://huaren.us/RYf6j
[此贴子已经被作者于2011/5/28 13:35:08编辑过]
duyanpili
独眼霹雳
2011年5月30日。艾未未被非法拘禁59天，志愿者文涛被绑架失踪59天，发课公司出纳胡明芬失踪52天以上，设计师刘正刚被绑架失踪51天，司机张劲松被失踪51天。他们的家属迄今未得到任何法律手续及关押地点等信息。#aiww
http://news.yahoo.com/video/world-15749633/jailed-chinese-artist-ai-weiwei-s-sculptures-on-show-25205366
[此贴子已经被作者于2011/5/30 2:23:24编辑过]
中美人权 -
发表日期 2011年 5月 27日 -
更新日期 2011年 5月 27日
以艾未未为例骆家辉称推动中国人权改善
作者 香港特约记者 麦燕庭
身兼美国商务部长的驻华大使提名人骆家辉在提名听证会上表示，会透过推动中国开放市场，调整中美经贸关系，并致力令中国改善「令人
不安」的人权纪录，更点名指，维权艺术家艾未未被扣留，令人对中国法治产生疑问。中国有传媒预期，骆家辉一旦接任，中美外贸之争或其他人权之争会持续，并
有新的特点。
骆家辉26日当地时间出席参议院外交关系委员会就他获提名出任驻华大使的听证会，他指出，会寻求与北京广泛合作，包括朝鲜半岛无核化、
应对气候变化、重新平衡全球经济和扩大交流，以建立两国元首确立的积极、合作和全面的美中关系。不过，他与华府均对中国人权状况恶化感到不安，日后会极力
向中国表达关注。
骆家辉不讳言，自己与中国打压异见的做法存在「严重分歧」。他指出，保护和推广自由和民权是美国外交政策的基本原则，如果他出任驻华大使，将明确和
坚定地在中国要求普世人权，并会向中国最高层提出异见人士的个案。他在预先准备的书面证辞更点名被监视居住的艾未未：「艺术家艾未未被扣留，令人对中国承
诺建立的法治社会大感质疑。」
经济方面，骆家辉表示，美中经济关系必须回复平衡，而这须要通过中国开放市场来实现。在回答议员提问时，骆家辉认为，人民币在过去一年有显著升值，但美国期望升值的速度能更快一点。
对于中国持有大量美国国债的问题，骆家辉表示，七成的美国国债实际上是由美国木土公司持有，中国持有美国国债只占8%，不会对美国的外交政策产生任何影响。
谈及美台关系时，骆家辉重申，美国信守一个中国政策，这项政策的基本要项之一，是依据「台湾关系法」使台湾拥有足够的自卫能力。但他对议员提问有关
台湾希望采购F-16C/D战机时，并没有正面回应，只是说国会仍在商议，期望中国降低针对台湾所作的军事部署，寻求和平解决台海争议。
美国总统奥巴马三月提名骆家辉出任新一任美国驻华大使，若果是项任命获得参议院批准，骆家辉将成为美国历史上首位华裔驻华大使，亦是1979年中美建交以来第一位担当此职的在任内阁成员。
现年61岁的骆家辉于华盛顿州西雅图出生，是华人移民的第三代，中国对其任命表示欢迎，但《东方网》警告，骆家辉虽是华裔，但仍是美国人，会捍卫美
国利益，月初就曾指责中国政府不鼓励外商投资，目的是保护国内企业，一旦出任驻华大使，将致力消除这些障碍。文章指，骆家辉新官未上任就「来火」是一个预
兆，未来中美外贸之争或其他人权之争既会持续，更会有新的特点，但文章没有明言所指的特点是什么。
http://www.flickr.com/photos/28198184@N04/5769476033/sizes/m/in/photostream/
世界各地都在声援艾未未
德国之声 新闻报道 | 2011.05.28
"若艾未未不自由，我们也无自由"
英国《卫报》在今天发表了长篇评论文章：艾未未，一个异议艺术家，叙述艾未未在新疆、纽约不同时期的人生经历，他对艺术作品和对中国公共事件的积极介入，文章结尾说 "艾未未不自由，我们也就不自由
英国《卫报》在5月28日发表长篇文章，详细讲述艾未未的人生经历，以及近年艾未未参与到中国的多个公共事件中，但上个月，这位用葵花子将英国泰特现代美术馆填满，发起反腐败运动的中国最具挑衅性的艺术家"消失"了。
文章的结尾处说，艾未未曾经在2009年8月份发出推文说"有一个人不自由，我就不自由，有一个人受凌辱，我就受凌辱。有一个人受伤害，我就受伤
害。听明白了么？"那么，艾未未不自由，我们就不自由；艾未未受凌辱，我们就受凌辱；艾未未受伤害，我们就受伤害。无论他在哪里，我们都将与他一起，听明
白了吗？
"艾未未诠释了自由的真正意义"
至5月28日，艾未未已经被限制自由55天时间，5月20日，新华社援引北京公安机关消息，称艾未未涉嫌"逃税"和"销毁会议凭证"，艾未未的家人称这是中国当局欲加之罪。
世界各地的媒体依然对艾未未被捕一事保持持续的关注，在多个国家和地区，声援艾未未的行动也从未间断。最新的声援活动为5月27日香港支联会组织香港市民，在旺角人流集中区域为艾未未"击鼓鸣冤。"
5月28日，企鹅出版集团出版了艾未未的新书《艾未未说》，这本书包括了艾未未的系列访谈，探讨他的艺术生活的多个方面，包括陶瓷作品、博客、自然、人文科学等。
有网友发表推文："被限制自由的艾未未，他的艺术，他的思想却在世界的每个地方自由穿行，艾未未诠释了自由的真正意义。"
"用艾未未的行动方式，对当局施压"
德国之声采访了荷兰的时政评论人立里，他呼吁公众应该为艾未未的自由而行动，因为这些呼吁和行动不是只为艾未未一个人的自由，会促进其他受中国当局迫害的人士获得自由。
立里认为："这篇文章是外国人写出的，他们都有此判断，我觉得中国公众更加应该有此判断。这句话让我想起美国总统肯尼迪关于"柏林墙"的演讲'自由
是不可分割的，只要一个人被奴役，所有的人都不自由'。从我个人来说，从艾未未以前所做的事情象作'豆腐渣工程'调查、上海大火调查等，得到的最大的启
发，就是要继续以他做事的方式去拓展自由的空间，这是最根本的解决方法。否则即便这次放了他，中共当局还会抓了好多其他人，还会继续抓捕其他人。而且以艾
未未的行动方式去做'公民调查'等行动，也是对当局施加压力促其释放艾未未。与此同时还可以争取其他受迫害人士的自由。而且我们这些行动是解救我们自己的
良知，解救我们自己长期的回避、绝望、怯懦的态度。"
"没有只属于一部分人的自由和正义"
德国之声也采访了旅居英国的中国工程师张啸天，他表示一直在关注世界各地对艾未未的声援行动。他对英国卫报文章中提到的自由的理解是："我们的自由
和正义，没有只属于一部分人的自由，也没有只属于一部分人的正义，当我们身边的人权利被践踏时，虽然还没有降临到你自己的身上，但是正义和自由此时已经不
完整了。"
张啸天也期待中国的年轻人能用更多的方式来声援艾未未
："艾未未以前曾经说过很多话，告诉年轻人该怎样有尊严的生活，以及为了自己和他人的权利而生活。艾未未在一条叫做'极权下的生活技巧'中说过，'不要在
被奴役和伤害之前自我奴役和伤害，要疯狂的不合作，不要相信权力的鬼话，要有自尊为他人说话，要不犬儒不信邪，要在知耻的日子里快乐，要每天做件小事证明
正义的存在。'，艾未未被捕这么长时间，官方一直在违背自己所定的司法程序，中国的年轻人，要不断的对政权进行问责；另外不要和暴政合作。"
作者:吴雨
责编:黎京
[此贴子已经被作者于2011/5/30 2:47:07编辑过]
从4月3日算到今天5月31日，艾未未被带走已是第六十一天。如对他监视居住是六个月的话，现已过了三分之一时间。
建议取消“监视居住”强制措施
刘晓原 发表时间：2011-5-31 14:50:00 链接 http://huaren.us/oaokT
(注：虽然写过两篇谈论“监视居住”文章，但仍然感到言犹未尽，故又写了这第三篇博文。）
1979年7月1日，五届全国人大第二次会议通过了《中华人民共和国刑事诉讼法》，建立了刑事诉讼强制措施制度，监视居住就是强制措施中的一种。
监视居住，是指人民法院、人民检察院、公安机关在刑事诉讼中限令犯罪嫌疑人、被告人在规定的期限内不得离开住处或者指定的居所，并对其行为加以监视、限制其人身自由的一种强制措施。
按照法律等相关规定，犯罪嫌疑人、被告人在办案机关所在地的市、县范围内，如有自己的固定住所，监视居住就必须在其住所执行。如没有固定住所，则在指定居所执行。
监视居住，作为一种非羁押性刑事强制措施，从法理上讲，其严厉程度低于拘留和逮捕。
但是，在司法实践当中，绝大多数的监视居住，无论犯罪嫌疑人是否有“固定住所”,一律在“指定的居所”执行，即在办案单位内部设立的“办案点”或指定的宾馆或招待所执行，犯罪嫌疑人24小时有人看守，一举一动全在办案人员监视之下，有的连放风时间都不给，基本上失去了人身自由。这种指定居所的监视居住，其严厉程度超过了拘留和逮捕，完全背离监视居住的立法本意。
犯罪嫌疑人被逮捕后，侦查机关办案期限一般是两个月，而监视居住期限最长可达六个月。监视居住期限届满后，还可以逮捕再羁押。如此一来，侦查机关就可从中获得更长办案期限。
犯罪嫌疑人被羁押后，看守所必须给“放风”时间，同监犯之间也可进行语言交流，聘请的律师可以办理会见，只不过是一般不让家属会见。
但在指定住所执行监视居住，特别是在公安机关内部办案点监视，一般是不允许律师去会见，由于不把监视居住地点通知家属，共同居住人要去会见，就要取得侦查机关批准。尽管法律规定，共同居住人和律师会见是不要经过批准。被监视居住人住在一间房或一套房里，除了办案人员提讯，是无法与其他人交流，再者，其他人也是不允许进来。时间一长，犯罪嫌疑人的心理和精神上很容易出问题。
把犯罪嫌疑人关押在看守所，办案机关与羁押单位就分离了，且还要接受派驻看守所的检察室监督。而在指定居所执行监视居住，则是由办案机关监控犯罪嫌疑人，检察院不派检察官在居所进行监督。在无人监督的状态下，很容易发生暴力取证问题。
犯罪嫌疑人在办案机关监控之下，就可减少提讯中的很多麻烦（如人被羁押在看守所，提讯就要经过批准）。为了获取犯罪嫌疑人口供，侦查机关就有充足时间随时进行讯问，有的还会使用车轮战、熬夜术进行连续讯问，直至犯罪嫌疑人身体极度疲惫、精神完全崩溃、彻底交待自己的问题为止，这种讯问方式，从实质上讲就是变相刑讯逼供。
对侦查机关来说，采取监视居住强制措施，既可以争取到更长的侦查期限，也不用担心犯罪嫌疑人逃避侦查。以监视居住手段来获取口供，不需要高深的讯问技巧，不需要高超的技侦手段，也不需要太多的办案经费。
但是,这种做法严重违背了程序公正。任何案件，特别是刑事案件，不仅要追求实体公正,更要追求程序公正。如果程序不合法、不公正,即使实体结果正确，都是有违诉讼法的规定，不可能产生良好社会效果。
如果继续保留消监视居住强制措施，变相羁押的问题只会愈演愈烈。里面的暴力取证问题，也只会越来越严重。
有学者认为，在司法实践中，办案机关极易陷入“两难”境地:一方面，如果严格执行刑事诉讼法规定，在犯罪嫌疑人住所执行监视居住，很可能带来一系列的难题，比如办案人员吃住问题、监视犯罪嫌疑人时会侵犯到家属的合法权利等问题，特别是在通讯高度发达的今天，可供被监视居住人选择串供手段也很多，只要想进行串供，还是容易成功的，且不容易被暴露。
我想，既能监视居住存在如此之多漏洞，在固定住所（指家中）执行监视居住已经毫无意义；另一方面，在侦查机关“指定的居所”执行监视居住，很可能使犯罪嫌疑人成为事实上的“变相羁押”、“变相拘禁”。由于缺乏制约与监督，更容易发生暴力取证问题。可以这样说，在司法实践中，不论是在固定住所，还是在指定居所执行监视居住，已经没有多少可操作性了。
如取消了监视居住强制措施，反而能促使侦查机关转变“重实体，轻程序”执法理念，改变落后的侦查取证模式，不断提高侦查能力和水平，从而减少刑讯逼供行为的发生。
宪法规定“国家尊重和保障人权”。人权是作为人应享有的权利，即使是犯罪嫌疑人、被告人、犯罪分子也享有人权。
为了健全和完善刑事诉讼制度，更好地实现惩治犯罪和保障人权的刑事政策，建议在修改《刑事诉讼法》时，彻底取消监视居住强制措施。
http://www.thepetitionsite.com/1/bianca-jagger-human-rights-foundation-appeals-for-the-immediate-release-of-ai-weiwei/
[此贴子已经被作者于2011/5/31 16:38:49编辑过]
文章来源: 多维 于 2011-05-31 08:37:33
北京消息人士透露，中国艺术家艾未未案将在近日有官方结果。据悉，艾未未主要罪名是涉嫌偷税漏税，金额接近2,000万元人民币（约合308万美元）。
上述消息人士表示，在中国大陆，包括艺术家在内的偷漏税现象相当普遍，官方也自顾不暇。但令官方不能容忍的是，作为知名艺术家和名人之后（其父
为中国著名诗人艾青）的艾未未存在明显偷漏税情况下，还在积极参与了一些政治和其他活动，尤其是政治活动已触及了中共底线，中共也就顺理成章以经济问题扣
押艾未未。该人士还表示，艾未未已经对存在的经济问题予以认罪。也有消息称，他个人资产约为5,000万元人民币。
今年4月3日，艾未未在北京机场登机准备飞往香港时被警方带走。随后，中国外交部宣称艾未未涉嫌经济犯罪，正在接受警方调查。事件引发西方国家以及中国人权活动人士关注和批评，不少评论认为他被拘的原因是他参与维权活动及抨击中共有关。
5月20日，新华社引述北京市公安机关消息称，初步查明“艾未未实际控制的北京发课文化发展有限公司存在逃避缴纳巨额税款、故意销毁会计凭证等犯罪行为”，这是中国政府首次较具体地指明艾未未所犯何事。
除了从事艺术创作外，艾未未还关注维护公民合法权益等活动，并对中国大陆多个涉及政治腐败而引发的事故进行调查，包括毒奶粉事件、四川汶川地震中因兴建学校偷工减料而倒塌导致大量学生死亡、声援被迫害的维权人士等。
艾未未获颁英国荣誉院士 (08:30)
英国皇家艺术学院颁授荣誉院士，予被中国当局拘捕的艺术家艾未未。
英国皇家艺术学院表示，艾未未是中国甚至全球同代人中，其中一个最重要的文化人物。学院在声明中，没有提及艾未未被拘捕的事。
英国皇家艺术学院每年都会选出两名不在英国居住的艺术家，作为荣誉院士，今年另一位获得这个头衔的是荷兰画家柯克比。
（路透社）
路透社原文：
UK's Royal Academy gives Ai Weiwei honorary title
Wed Jun 1, 2011 4:47pm EDT
LONDON (Reuters) - Britain's Royal Academy has made detained Chinese
artist Ai Weiwei an honorary member alongside Danish painter Per
Kirkeby, the prestigious London art institution said on Wednesday.
The title of Honorary Academician goes to artists not living in Britain,
and they do not take part in the governance of the Royal Academy. The
80 full Academicians, who are all practicing artists, vote in up to two
new honorary members each year.
The Royal Academy called Ai, detained in China since he was seized at
Beijing's international airport on April 3, "one of the most significant
cultural figures of his generation in China and internationally."
It made no mention of Ai's detention, which has sparked an international
outcry in the art world and beyond. Supporters say he is the victim of a
crackdown on dissent, while Chinese authorities have said he was
suspected of "economic crimes."
The 54-year-old artist has a high profile in Britain, especially after
his giant commission for the Tate Modern gallery in London called
"Sunflower Seeds" in which he covered the floor of the cavernous Turbine
Hall with millions of handmade porcelain seed replicas.
The same gallery hosted a retrospective of Kirkeby's work in 2009
focusing on his painting, although he is known also for his works on
paper, small and large scale bronze sculptures, brick structures and
architecture.
(Reporting by Mike Collett-White)
我和艾未未，不得不说的故事：
我稀里糊涂闯进了中文推特圈，听说了艾未未是名人，他有好多粉丝。于是给他留言，还给其他几个推特名人留言，希望他们能关注我。结果艾关注了我。后来，他
还回了我一推。 这样，我才慢慢开始搜关于他的作品，介绍，还有他的草泥马，党中央。
首先是他的作品，N条腿的凳子，差条腿的椅子，再加上他和一帮爷们的裸照，应该说，这样的人，太合我的胃口了。我不喜欢那些迂腐的老家伙，老东西，文字成天带着隔夜的馊饭味。但艾未未很年轻。他思维敏捷，很会损人，也很恶作剧。太对我的路子了。
认识他的时候，他正在做一个行为艺术，就是《念》，他每天零点，在推上推四川地震中不幸死去的孩子的名字。这是很让人伤心的，我做为女人，也是一个母亲，虽然理解他的做法，但是，看到那么名字，忍不住难受。但他的这个行为，却让我认识到，他是个固执地汉子！
有人必须承担责任，为这些孩子的死，付出代价。但谁应该站出来承担这一切呢？也许没有人，于是“念”。我和女儿都参与了当时的念活动，并得到了艾未未工作室赠送的念文化衫。
再过一段时间，就了解了冯正虎。他当时和艾未未走得很近。我们看了美好生活，那是艾未未拍的纪录片。在这个时候，我慢慢知道，喝茶是什么意思，知道原来中国除了警察，还有国保。
当时，我在推特上，一直在推性工作者，还有我的工作室。当时工作室非常困难，一台旧的笔记本，经常坏，修也要花不少钱。艾未未有一天跟我说，给你一个笔
记本，好吗？我顺口答，好啊。但三天之后，我就收到了一台笔记本。现在我东奔西走，用于联络工作的，就是他支持的这台笔记本。
再后来，就是去他的工作室。第一次去见他时，有我和金葛，金葛的女朋友。第一次在工作室见到葵瓜籽。“啊，他这么好玩，他是做这个的吗？”他的脑袋太管用了。他带给大家惊奇。当时我们认为，能认识这么大的艺术家，并见到他，或者能跟他做朋友，就很不错了。
五毛说我跟艾未未单独相处，发出异样的声音。那是淫秽的放屁！无耻到极点！我们一直在草场地的葡萄下聊天，然后赵赵来了就采访我。我根本没有机会跟他单
独在一起。他的笑，深深印在我脑子里，这个男人好聪明啊，小心他把你的自尊与小心眼，扔得满地都是。做女人还是少在他眼前玩花招。
我看了他的记录片，《老妈蹄花》《美好生活》《一个孤僻的人》特别是一个孤僻的人，是讲杨佳的。从这些记录片里，我发现一个勇敢而执著的艾未未，他不允许任何人践踏普通人的尊严。任何人这样做了，他都敢挑战他！
是他的勇敢，他的坚持，还有他的固执。让我也变得坚强，更有信心去坚持自己的路。而且，在坚持的时候，不觉得孤独。因为身边有很多人。在强权面前，艾是凶猛的。但在孩子面前，他又是仁慈包容的。
他其实在教会孩子们许多难能可贵的品质。勇敢，独立，创造性，自由，包容。特别是勇敢！发出声音，表达自己的感受。一个中年老男人，居然在带领九零后，认识什么是年轻。年轻正是那样热情，傲骄，一发冲天。年轻也需要快乐，需要爱情。
从艾神到艾婶，你们可记得，每天在推特上，你们与他共渡了多少快乐的时光？从冯正虎，杨佳，到钱云会，还有上海大火，还有马陆红房子。与艾神在一起的日
子，每天都是充实有意义的。每一天都离不开对民间的关注，少不了，为弱者的呐喊。这些与五毛欲强加给他的污名，严重不符！
五毛可以睁着眼睛说瞎话，但我们所有人的心，又怎么会不记得？你们记得吗？这一年来，艾神在做什么？我们在做什么？我们应该是坦荡的，勇敢的啊！ 就像艾大一样，永不退缩地直面一切不公与暴力！他为什么被抓进去，他为了谁被抓进去，我们心里能不清楚吗？
我用我的良知，用我的生命担保，艾是一个有良知的艺术家，是一个勇敢智慧的男人，是一个性情爽直，值得交的好朋友，是一个温和仁慈的网友，不管任何人如
何陷害他，试图整垮他，我都永远站在他身边支持他。我在此也呼吁大家，不要同五毛争辩，对骂，我们要对得起我们高贵的心！
不要把我们当SB，推上那些五毛，就是政府安排进来的，就是国保国安的人。一定要说破吗？一定要说破吗？中国政府做的无耻下流的事情，想赖给谁呢？ 谁不清楚，谁不明白？
谁是SB呢？在中国，还有谁有本事把几十人弄失踪呢？还有谁，还有谁？在政府眼皮子底下，还有谁？ 把我们当三岁小孩子吗？ 我的娘～
永远保持我们的道德优越感，保持我们的勇敢，纯真，永远不畏强权的良好品质。坚持公平，正义的是非观，用所有力量，捍卫良知！不要担心失败，不要担心被删除，在无耻者面前，虽败犹荣。
有很多人失去了自由，有很多人失踪了。包括艾未未，文涛，江律师，还有滕彪，他们的亲人，都在焦急等待。可到底发生了什么事，情况如何，谁也不知道。 ———— 2011年，中国
zhangjialong
贾正经
by a_bing
今天在校内看到去年一起见他的那两位台大MM写给艾老师的诗：一个勇敢的人 真实感人肺腑 RT @rz1999: 想起老艾说起去台湾大学代课时，在回国的机场，学生们集体出现在机场送机的事。这些，温情的想流泪。#aiww #love
duyanpili
独眼霹雳
RT @rz1999: 路青说她是个出世的人。未未出事后，她收到了美国一所大学校长的来信，里面有每个学生的签名支持，附留言“你不是一个人”。想起老艾说起去台湾大学代课时，在回国的机场，学生们集体出现在机场送机的事。这些，温情的想流泪。#aiww #love
艾未未案即将揭开盖子? 案情公正性成疑家人反驳
2011-06-01
北京艺术家艾未未被带走调查近两个月后，网上出现消息表示此案即将水落石出，艾未未主要罪名是涉嫌偷税漏税，金额接近2000万元人民币，家人对此提出反驳。维权律师刘晓原认为案子处理已经严重违背了程序公正。
星期三，海外的多维新闻网中出现一条消息，立即引起中文推特圈网友的关注。消息说，艾未未案将很快水落石出，文章引述一名北京消息人士的讲话称，艾未未案将在近日有官方结果，其主要罪名是涉嫌偷税漏税，金额接近2000万元人民币，他也已经对存在的经济问题予以认罪。
本
台记者星期三首先就此致电艾未未姐姐高阁，她表示：“要说发课公司偷税两千万那是天大的笑话，绝对不可能，如果编造的话可以编造一个亿，我相信很多人看到
这个消息都会有自己的想法，所以说找发课公司2000万很勉强，如果说要找点政治的东西，往回找一找，他把涉嫌犯罪分子已经设为罪犯，而且通过党的媒体去
抹黑，已经是完全不顾法了，这都是涉嫌诽谤。”
很多网友认为，偷税漏税不是中国政府带走艾未未
“调查”的真正原因，因为在中国，偷漏税现象十分普遍，艾未未长期以来关注中国底层人民维权以及努力查找各种事件真相恐怕才是真正惹恼当局的原因。网友王
冰说，这是当局的舆论准备，用经济罪名惩罚异议人士。多年来一直是如此，如果多数艺术家都是如此，惩罚艾未未一个人就是政治迫害。
香港开
放杂志总编辑金钟认为：“多维当然是亲中的，只不过它是海外的，不是直接的，像文汇大公，跟香港的《镜报》这些还是有区别。既然跟中方有关，只要中方放出
消息，当然有可能，这是它的利用价值，反正这种消息不会用新华社来发，因为新华社来发别人不信，所以就用海外的，色彩比较中间的这种媒体来发。”
流亡美国的诗人贝岭发起了1001把空椅子等待艾未未活动，他呼吁各界人士在6月4日下午4点半到6点半在台湾自由广场声援艾未未。
艾
未未的好友，北京维权律师刘晓原在连续发表两篇文章，抗议当局带走艾未未后，再次发表文章反对当局对艾不合法规的“监视居住”，他说：按照法律等相关规
定，犯罪嫌疑人、被告人在办案机关所在地的市、县范围内，如有自己的固定住所，监视居住就必须在其住所执行。如没有固定住所，则在指定居所执行。对侦查机
关来说，采取监视居住强制措施，既可以争取到更长的侦查期限，也不用担心犯罪嫌疑人逃避侦查。以监视居住手段来获取口供，不需要高深的讯问技巧，不需要高
超的技侦手段，也不需要太多的办案经费。刘晓原表示，采取监视居住强制措施做法严重违背了案件公正，这种案件，特别是刑事案件，不仅要追求实体公正，更要
追求程序公正，如果程序不公正，即便实体正确都是有违诉讼法的规定。刘晓原表示，如果继续保留监视居住强制措施，变相羁押的问题只会愈演愈烈。
艾未未被抓后虽然获得国际高度声援，但中国政府对此消息的发布却严加控制。然而，大陆最大门户网站腾讯网被指暗中支持艾未未及六四。
星期一，中国腾讯网讲解QQ浏览器的功能时出现#aiww# （aiww为艾未未名字英文简写）、64等字样，但随后被更改为love和99。aiww字样是在浏览器介绍拖拽功能时出现的，腾讯网也一度故障瘫痪近一小时。
以上是自由亚洲电台驻香港特约记者心语的采访报导。
liu_xiaoyuan
刘晓原律师
据我所知，由艾未未妻子路青担任法定代表人的“发课”公司，至今还没有收到北京市地方税务局对公司是否存在逃税行为作出的结论。一个企业是有逃税行为，必须要由税务机关作出认定。如存在逃税问题，只要补缴税款并接受处罚，则不再追究刑事责任。
独眼霹雳
今天开幕的2011草场地摄影节。原定的艾未未作品现在是一面空墙。观众与牌子合影。#aiw http://flic.kr/p/9PkeA9
[此贴子已经被作者于2011/6/1 22:21:38编辑过]
威尼斯雙年展 呼籲釋放艾未未
2011-06-01 【中央社】
威尼斯藝術雙年展今天舉辦開幕儀式國際記者會，雙年展主席巴拉塔（Paolo Baratta）在會中公開呼籲中國政府釋放維權藝術家艾未未，全場響起如雷掌聲。
巴拉塔表示，他已寫一封正式信函給中國駐義大利大使館，希望中國政府釋放艾未未。會後，義大利媒體詢問中國大使館是否已給予答覆，巴拉塔說，尚未收到任何回音，但他期待的不是口頭答覆，而是釋放艾未未的具體行動。
艾未未是中國知名藝術家，他今年四月因參與撻伐政府的「茉莉花革命」而遭到拘禁，迄今已兩個月。此事件引發國際藝術家群起抗議，如今全世界最具指標性的威尼斯藝術雙年展，也加入了聲援行列。
巴拉塔致詞時表示，他很感謝許多國家踴躍參與雙年展，尤其是一些正遭遇天災、戰亂等災難的國家，像海地、埃及、智利等。
他話鋒一轉表示，在眾多「國家展館」中也有中國展館，他很感謝中國藝術家長期為雙年展帶來非常豐富的創作，因此他特地寫了一封信給中國駐義大利大使館，表達在此時此刻，全世界藝術家齊聚一堂的盛會中，他渴望能聽到中國政府宣布釋放艾未未的好消息。
威尼斯藝術雙年展每兩年舉辦一次，今年是第54屆，有高達89國參加，其中今年首次參加的有安道爾、孟加拉、海地、沙烏地阿拉伯，另有缺席超過15年的幾個國家重新露臉，例如印度、剛果、伊拉克、辛巴威、南非、哥斯大黎加、古巴等。
今年藝術雙年展大會主題訂為「啟蒙」（Illuminations），多國藝術家不約而同表達了對當代政治的嘲諷，以及對環境汙染與過度科技化的反思，訴求返璞歸真和尊重人權，台灣館今年也以「聽見，以及那些未被聽見的」為題，傳遞社會弱勢團體的聲音。
http://loveaiww.b logspot.com/ (复制到地址栏时，请把b和l之间的空格去掉）
中国第三届偶发艺术节因为有艾未未的摄影作品参展而被当局叫停，主办人也被公安叫去问话。参展作家表示，展览临近“六四”，时机敏感，也是展览被迫取消的重要原因。
偶
发艺术节主要表现行为艺术，分摄影、表演和音乐等单元组成，是一种现代艺术展览。第三届偶发艺术节6月1号下午3点首先在北京草场地举行，计划2号下午在
北京黑桥艺术区举行室外展览。可开展不到三个小时，负责人就被叫到朝阳区派出所问话。黑桥展区负责人张峰对美国之音说，展览只好取消。
他说：“费晓胜，还有林兵、王军，被朝阳区带走问话，然后今天我也去了宋庄派出所，也是询问。本来今天下午在黑桥艺术区也有偶发艺术节的其他活动，但是因为我们这几个人都在派出所里询问，展览就被迫取消了。”
*AWW挂钩*
本届偶发艺术节共有20位艺术家参展，除艾未未外，还有因表演“埋藏茉莉花”而被刑拘的艺术家黄香，以及用形体艺术声援艾未未而被拘留的文皆和王军。文皆对美国之音说，考虑到艾未未依然被监视居住，主办方特别为艾的作品预留出象征性的空白。
他说：“他一个空白，只有一个挂钩，下面有个小的标签。因为每位艺术家的作品有个展位， 右小角有个标签，显示谁的作品，哪个年代，作品名称。艾未未就只有一个小的标签，作品没有，有一个小挂钩。”
此外，经网络传送的艺术节海报也免去了艾未未的中文名字，用AWW代替。文皆说，这样做是为了躲避网络审查。
他说：“你写艾未未是绝对发不出去的，即使他们写AWW都可能发不出去。我们的海报是通过论坛、微博或者QQ群去传的。为了保证展览能够传播出去，才有用AWW来代替艾未未的想法。”
果不其然，很多被转贴的网络海报都被当局删除。
*“和谐”艺术*
前两届偶发艺术节也是在6月2号举行。主办人王军说，由于临近“六四”，时机敏感，当局要求每一位负责人在文件上签字，保证活动的安全，今年也不例外。文皆分析，偶发艺术节的敏感性显然增强，保证书上签字，已经不能让当局放心了。
他说：“行为艺术节之前在宋庄偶发艺术节还有一个自发艺术节上，很多艺术家都被抓，甚至被劳教。所以，行为艺术家在北京已经变得很敏感，再加上艾未未，这次偶发艺术节就变得非常敏感，很容易被‘和谐’掉。”
至美国之音截稿时，偶发艺术节主办人费晓胜、林兵和张峰已经结束问话，从派出所回到家中，王军依然没有回家。
记者: 容易 | 洛杉矶
美国视觉艺术家协会在美国东西两岸的纽约和洛杉矶，同步举行纪念六四天安门民运22周年，同时也颁发言论自由奖表彰替汶川地震灾民请命的艺术家艾未未，以及结石宝宝之家发起人赵连海。
美国视觉艺术家协会以及国际特赦组织、美国民权联盟( ACLU )、香港论坛、基督教会以及支持中国民运人士等近百人，29日晚间在美国西岸的洛杉矶，发起纪念六四22周年纪念会。参加者点起蜡烛追悼六四的受难者。
艺术家奥图曼( Ross Altman ) 自弹自唱纪念六四的歌曲。歌词说：你可看见民主女神站立在毛像前？你可听见学生们喊着要自由？你可看见社论宣布戒严？你可看见坦克车向广场推进？…….
中国1989年把天安门学运定性为反革命暴乱，几年后改称为政治风波，并否认天安门广场上死过人。
*八九学运 永志不忘*
美国视觉艺术家协会会长刘雅雅说：＂这么多年了为甚么我们不能忘记 ？因为我们看到八九年学生对国家的希望，跟我们住在外国的人一样，就是希望可以自由的讲话，希望我们自己的权利有保障。＂
美
国视觉艺术家协会向《零八宪章》和《六四真相》英文翻译者美国学者林培瑞 ( Perry Link
)颁发天安门精神奖。林培瑞1989年曾帮助科学家方励之进入北京美国大使馆避难，目前正在替哈佛大学编译诺贝尔和平奖得主刘晓波的诗文集。林培瑞对中国
民主的未来表示乐观：
“六四本身是一回事，但六四代表的意义，反腐败、民主的理念，对中国的将来会是很大的很好的一面。＂
林培瑞引用刘晓波'以社会变革改变政权'的说法指出：“中国老百姓日益增加他对维权的概念， 加上网络的作用，慢慢的，老百姓自己说话发表看法做自己的事情甚至于骂政府的空间，越来越大，以社会变革改变政权，这个我觉得是有希望的。＂
*声援艾未未和赵连海*
纪念会上也颁发'言论自由奖'给仍在中国狱中的艺术家艾未未，以及最近保释回家的维权人士赵连海，呼吁中国政府立即释放艾未未，并改判赵连海无罪。
中国官方媒体今年四月批评艾未未诋毁国家、污蔑民族，但后来又说他是经济犯罪。艾未未曾在影片中说，他因为鼓励年轻人通过互联网新科技发掘事实真相而遭到博客被封行动受监控。
赵连海的儿子是毒奶受害者，他为毒奶受害者进行维权活动后，被以破坏社会秩序罪判刑两年半，不久前保释回家。他几天前到中国乳制品工业协会请愿，再度被拘留十小时。赵连海声称受到公安恐吓，阻止他继续为受害者维权。
[此贴子已经被作者于2011/6/3 14:37:17编辑过]
中国版“茉莉花”革命完败 美国企业研究所剖析原因
2011-06-01
重点摘要： . 尽管中国短期内不大可能出现阿拉伯式的抗议，但这二者在一些底层的结构上却存在着令人惊讶的类似之处。
. 虽然中国每年都会发生成千上万起的群体性事件，这场新的运动却让中共胆寒，因为它来自一个能量强大的源头，即：因为缺乏机会和政治自由而被阻碍的核心中产阶级。
. 中国必须解决这些不满，否则其政权将面临致命的危险。
正文
4
月3日，中国的艺术家艾未未从北京机场消失。艾未未因为设计了如2008奥林匹克“鸟巢”体育馆这样的标志性建筑而闻名，他也是一位推动中国言论自由和对
台上的中国共产党发出激烈批评的着名活动人士。当局后来确认他是因模糊不明的“经济问题”而被拘押。多数的观察者怀疑逮捕他是为了压制人权活动，而艾未未
不是唯一一个“被失踪”的抗议者。身为异议人士在中国举步维艰，这个国家因为肆无忌惮地运用其政治和司法权力而名声在外。在过去的几个星期——当世界的注
意力集中在别处的时候——中国政府发起了一场前所未有的镇压。但是镇压的背后逻辑却相当令人不解。
镇压的起源很简单。在2月初，就在埃及的穆巴拉克政权进入戏剧化的垂死挣扎的时期，开罗解放广场的照片在全球传播。其中有一幅照片，一名年轻人所举的标语上写着：“埃及人民要求总统穆巴拉克下台。”这并没有什么非同寻常——只不过文字是用中文写的。
在
埃及的阿拉伯文中，中文就象是天书一样，因此这则标语有一部分也是讽刺穆巴拉克对于其人民的呼声无动于衷。但是这幅标语被直接摄入了电视镜头，埃及的年轻
的民主革命者们清楚地看到了他们的行动所具有的蔓延可能。许多人猜测，象中国这样一个强大的专制政体可能是“茉莉花革命”的下一站。【1】（艾未未在2月
11日的推特上写道：“今天，我们都是埃及人。一个维持了30年，貌似和谐稳定的军事政权的坍塌，只需要18天，60多年的玩意儿，需要个把月呢。”）
很快，在好几个中文网站上就出现了匿名的呼吁，希望在几十个中国的大型城市举行一系列抗议。这些“散步”（因为所有的“抗议”活动必须预先通过当局的审批——而且极少获批，散步是对“示威”说法的一种中式变种。）本来是声讨党没能为人民提供足够的福利和自由的最初步骤。
在
第一次预定的周日散步中，在北京有几百人聚集在了京城最繁华街道的一家麦当劳的门口。但是多数只是好奇的旁观者和想要抢新闻的记者。除了美国驻华大使洪博
培的出现让人意外，这场“散步”对中国内外来说，要吸引人们的注意力都勉为其难。【2】真正在抗议的不超过几十人。在上海现身的人则更少，而在其他的城市
就根本没有人出现。基于网络的组织者鼓励持续地进行散步，每个周日都去，积少成多。但是一周接一周过去了，没有人来。到三月的时候，很显然这场“革命”是
一场可怜的失败。
在媒体的注意力转移到利比亚和日本地震上之前，评论家们已经认可了一种干巴巴的、简单化的论调，来解释中国为什么缺乏革命
的热情：“中国不是埃及。”【3】其逻辑就是，在阿拉伯世界政权就是问题所在，而中国政府已经主导了前所未有的经济和社会变革，这给中国人民带来了巨大的
利益。数千万人从深刻的贫困中摆脱出来。在这样的背景下，为什么中国人民会要推翻——甚至只是质疑——政权呢？
北京压制抗议者——为什么？
中共一开始想要完全忽略这一事件，最终它在权衡之后，还是在《人民日报》上发表了社论，称中国“绝对不是”中东：“【中国从】一个积贫积弱的国家成为经济总量世界第二的大国，全世界都刮目相看。这一切，是哪个政党领导的？是中国共产党。”【4】
但是，仅仅停留在表面的结论不能涵盖整件事的复杂内涵。其实，整件事最令人意外的不是为什么人们的参与程度这么低，而是北京的迅速和夸张的反应。
在
开罗的起义进行得如火如荼的时候，中国的互联网用户就发现所有的“埃及”相关信息被屏蔽或删除了。潜在的“散步者”们发现了数百名身着制服的警察和便衣警
察，他们的数量（还有他们的设备）每周都在增加。在多数的抗议地点设置了路障。在北京，在学生们占多数的地区，地铁服务也被停止，以防止任何人前往其他地
点。有影响力的人权和民主活动人士被拘押；根据一家宣扬人权的组织计算，政府已经逮捕了约30人，另有差不多的人“被失踪”，还有超过200人被“软禁”
【5】。正象在埃及等其他地方，记者们受到了骚扰，有些被殴或拘押【6】。 对于外国专家和媒体来说，这样戏剧化的反应无论是从中共的公开声明中，还是从传统常识来看都显得奇怪。如果中国“绝对不像”埃及，为什么整个安全机构都为这样刚刚萌芽的，看起来微不足道的运动而大动干戈？ 天
安门后遗症
有证据表明，北京的偏执狂式的行为可以从三个层面上解释。首先是中国对于国内稳定的处理方式：它以它一以贯之的方式来应对。所有的示威都被视作是1989
年天安门示威和后来的镇压的折射。最近的事件暗示党在那段动荡的日子里曾差点崩溃。从那以后，对待所有群众运动和未经认可的政治想法的经典反应都是镇压
——迅速且坚决地镇压。
阿拉伯人民的起义，特别是埃及的反抗在许多地方都和中国1989年的示威有着令人不安的相似之处：针对无动于衷的政府而举行的大规模示威；拥挤的人群在国家广场前搭帐篷露营，针对腐败和统治者而高呼的口号。 在
后天安门时代，中国的国安机构就已经变得非常复杂，并在镇压如茉莉花抗议这样的未经允许的异议行动方面颇为高效。这部分要归功于国安部门获得的天量投资
上；根据中国的财政预测，在这部分所花的费用超过了军费【7】。但是其高效还因为政府有大量的机会进行实践。中国每年都有超过9万起群体性骚动；2008
年的西藏和2009年的新疆穆斯林暴动在严重性上尤其引人注目。也是这些锻炼让国安在限制记者接触“敏感”区域和有选择地关闭互联网及移动电话服务方面走
在[世界]前列。
虽然在今年的中东革命中，媒体与互联网在时机选择和扩散方面都起到了关键性的作用，在中国这两者都没能获得同样的影响。象
半岛电视台那样的阿拉伯地区卫星网络，根本无法抗衡北京管理的中共宣传垄断。在过去的几个星期里，外国媒体圈中人发现他们对中国的接触被切断了（尤其是在
北京）。当然还有中国闻名于世的互联网审查系统——在这里西方的社交网站（如脸书和推特）都被屏蔽了，很多其他的站点受到严格限制。对“茉莉花”的搜索结
果也被屏蔽。（一些中国的网民发现在一则被禁播的视频中，胡锦涛唱起了一首爱国的很受欢迎的民歌，歌名就是“茉莉花”【8】。）据报道，象Gmail这样
的受欢迎的email服务受到了防火长城的干扰。总体上来说，这些行为看起来不像是短暂的限制，而是对于信息控制的更为收紧的做法。一个特别令人吃惊的例
子是，中国最富盛名的大学宣布他们将对“有激进思想”的学生进行“会商”【9】。
更深层的困境 审查和压制媒体造成了信息匮乏，武力展示让那些可能的抗议参与人避而远之。但是这又有什么关系呢？如果不管不问，这场运动会扩散吗？政府的反应清楚地表明中共担心会是这样。这就引出了对强力镇压的第二种推理：中国面临的问题比当局公开承认的要大得多。
考虑一下示威者建议提出的口号：“我们要吃饭、我们要工作、我们要住房！”和“我们要公平、我们要正义！”这些要求机会和法治的呼吁既不极端，也没有颠覆性。但是，这些却和埃及、突尼斯、利比亚和其他地方对变革的呼唤非常接近。
这
些问题反应了中国的什么情况？一些是短期的。上涨的食品价格因为北方持续的旱情而恶化，这仅仅是高涨的通货膨胀的一个指标。通胀侵蚀了中国普通老百姓这些
年来所增加的经济收入【10】。中国沿海的房屋价格飙升，远超过了收入增长的幅度（在2005年-2009年期间翻了三番还多【11】。）房地产“泡沫”
尤其让男青年们烦恼，因为能找到一个好媳妇的由来已久的前提是要有一套房子。 中国的体制上的结构弱点也是一大挑战。外国报道常常把这个国家
描绘成名副其实的繁荣之国，有着大量的工作机会，收入也很高。但是这种传统想法只在很少一部分人口身上有效。中国每年毕业的600万大学生中的大部分都要
费尽心思才能找到工作，因为他们受训可以从事的白领服务业规模太小，无法接纳所有的毕业生。过剩的劳动力也就影响了他们的潜在收入；在过去的十年中，这群
人的收入基本保持未变。奇特的对比是，没有经验的农民工在同期内的收入却翻番了【12】。
从内陆的农村转移到繁荣的沿海城市的动力是强劲
的。尽管政府频繁干预，农村居民的收入只是城市居民的1/3多一些。但是户口制度限制了农村居民合法地向东部迁徙，因为他们必须获得合法的许可才能得到必
要的入学、住房和其他重要的[城市公共]服务。即使这样，还是不断地有人愿意承担这种风险。政府最新的统计是，这种“流动”人口现在已经达到了2.2亿。
这一统计数据既反映了社会不稳定的风险，也反映了中国人口中严重的不平等。 在一个不均衡的社会中必有人占据顶层——中国的情况是，没有人比
党员们更适合成为顶层人物了。毕竟是他们控制了几乎所有的中国国有企业，在拉动中国9%的GDP年增长率中，国企是一个重要因素。（新出现的创业型的中产
阶级的利润则不丰厚。）但是要说既能加强权力，又削弱其合法性的利器，没有比腐败更强大的了。腐败对中国政治来说可谓司空见惯；传统的关系总是由丰厚的贿
赂和回扣作为润滑剂。公然的盗用及挪用公共资金等行为耗费了大量的经济资源；学者裴敏欣估计中国至少有3%的GDP被用于此【13】。（为了便于理解，这
个数字相当于越南和孟加拉的经济总量相加。）中国的许多公共抗议和不满可以追溯到政府官员滥用权力，特别是与房地产相关的案例上。
对政权的
新威胁
腐败、分配不均、失业和通胀都可能给中国埋下动乱的种子，但是仅仅如此还不足以完全解释北京对茉莉花的恐惧。第三大原因更能说明问题：这种抗议运动是从根
本上不同往常的。历史上来说，中国最为经常的威胁是来自于周边，和蒙古、满族、俄罗斯在中亚边境上的交战都是例证。这种趋势一致持续到如今新疆的穆斯林骚
乱、西藏暴动，（在许多中国人的眼中）这都是由外国媒体鼓吹的煽动引起的。 阿拉伯之春和这些都不同因为它完全是一种内部的现象：公民中对于政府的运作和代表性的不满。中共那套中国经济的发展会保护自己的论调被埃及发生的一切否定了——毕竟埃及的生活水准在过去几年中显着提升了。但埃及人民认为这太晚了，也是不够的。
党
从来还没有处理过来自于核心族群，占90%人口的汉族对其统治的挑战。毕竟上一次发生的时候是在1949年——血腥的、历时20年的内战的高潮。与之对
比，天安门事件则是一个很小规模的事件，主要由身为党员们的孩子们的精英学生所主导。阿拉伯之春很大程度上是由两种人推动，一是受挫的经过教育的年轻人
（中国也有不少）；二是因为缺乏自主权力而感到沮丧的中产阶级。（正是中共竭力想拉拢的群体）在将近30年中，中共和中国人民之间的社会契约相当简单：
“让我们掌握政治权力，我们可以让你们富起来。”这一政权是否真的为了遵守承诺而提升了所有人的生活水准？它是否能保持这种增长速度？如果不能，它所依赖
的支持者们可能会认为它没做的事太多了——而时机也已经错过。
而且，对中国政治来说，这也是一个敏感时刻。胡锦涛这一代领导人在明年将下
台，白热化的权力斗争在2012年的人大会之前已经上演【14】。过去的经验证明中国的领导层需要努力在社会动荡的时期保持步调一致，如1989年的天安
门抗议和1966-76年的文革当中表明的那样。主要的派别都觉得地位不稳，而努力想发挥影响；在过去的几个月中这个政权的行为说明它有相当程度的不安全
感，而且也不愿修复局面。
结论
最终，中国必须学到导致苏联解体的教训：在处理当前非常困难的问题时，一味地拖
延最终只会出现不可想象的结果。事实上，可供中国解决“骚乱苗头”的窗口期正在很快关闭，因为若干长期的趋势都不利于这种解决。从人口学上来说，中国的工
作适龄人口在三年后就会达到峰值，然后就会下降，这会严重影响到中国最大的竞争优势（便宜、充足的劳动力）并减缓经济增长。中国不断减少的在职年轻人将被
迫照顾越来越多的老龄父母和祖父母；从现在到2030年，超过65岁的人群数量会翻番【15】。而脆弱的社会保障体系意味着中国能提供的退休金或健康保险
寥寥无几。当中国不断消耗自然资源、污染河流和空气的时候，环境问题也会大量出现。收入不均和腐败也不会自己消失——如果置之不理的话，它们会继续扩散到
不可控制的程度。
这并不是说中国的未来已是命定的悲观结局。几十年来，中国的确挫败了许多崩溃论者们提出的预言。中国在抵御由茉莉花革命提
出的挑战方面是成功的——至少从短期来看是如此。但是未来数年内严重的、正在逼近的问题意味着中国的统治者必须立刻行动，应对中国人民面临的问题。否则，
即使是无穷无尽的安保资源也不足以延缓这个政权所面临的严重挑战。
来源：美国企业研究所，http://www.aei.org/outlook/101046 作者：Dale Swartz 联系电邮：[email protected] 译者：匿名 校对：南山
記者鐘聖雄 / 台北報導
今天是六四天安門事變22週年，港台學生選在台北自由廣場前發起「悼念六四」晚會，中國流亡詩人貝嶺也在現場以1001把紅色空椅排出「艾未未」的名字，呼籲中國政府儘速釋放這位長期推動人權運動的藝術家。貝嶺表示，中國在近半年來加強箝制言論自由，不但強制逮捕諾貝爾和平獎劉曉波，就連藝術家艾未未也被以「涉及經濟犯罪」罪名逮捕，「中國正面臨人權最黑暗的時刻」，他說。
曾多次被中共逮捕入獄的六四學運領袖王丹則表示，雖然晚近有許多中國年輕人表示，沒有必要一再提起六四，應該著眼現在與未來，但今天聚集在現場，共同籌畫悼念六四晚會的學生中，大概有三成來自對岸，證明還是有許多中國年輕人沒有忘掉六四，也希望六四民主運動能獲得平反。「六四的事情一天沒有得到平反，我們就不能拋棄它」，王丹強調。
誰是艾未未？誰怕艾未未？
今年4月3日，中國藝術家艾未未應台北市立美術館邀請，從北京搭機經香港往台北籌畫個人藝術展途中，於北京首都機場被中國政府逮捕。此後，世界各地如紐約、舊金山、倫敦、布魯塞爾、多倫多、柏林、馬賽、香港等城市，陸續以各種藝術、抗爭活動聲援艾未未，希望中國當局儘速釋放艾未未。時至今日，艾未未仍被中國政府監禁中，如同去年底甫獲得諾貝爾和平獎的劉曉波一樣。
艾未未在被逮捕前（2009年8月）曾在Twitter上寫道：「有一個人不自由，我就不自由。有一個人受凌辱，我就受凌辱。有一個人受傷害，我就受傷害。聽明白了嗎？」在今日的活動中，艾未未的多年好友，也是長年流亡海外的中國詩人貝嶺則引用艾未未的文字表示：「艾未未失去了自由，台北就不自由；艾未未正在受凌辱；台北就受凌辱；艾未未正在受傷害，台北就受傷害。無論他在哪裡，台北都將與他一起。讓艾未未自由！聽明白了嗎？」
1989年，中國學生運動方興未艾，當時艾未未與貝嶺都在紐約以各種形式聲援學運。1993年艾未未返回中國後，除持續以攝影、電影、策展、文化評論等藝術形式聲援人權、民主議題，也曾在2008年汶川地震後，親自到災區調查遇難學生狀況，並質疑豆腐渣工程問題。艾未未返回中國期間，曾被不明人士毆打導致顱內出血，位於上海的工作室也在2010年時，被中國政府以「違章建築」之名強制拆除。
2003年，艾未未擔任北京鳥巢體育館的設計顧問，但在2008年北京奧運開幕時，艾未未卻拒絕進入鳥巢參與開幕式，因為他說中國仍是一個極權專制國家，並「竊走了民眾的歡樂和笑容」。
為艾未未平反 為六四平反
2007年，艾未未參加德國卡塞爾文獻展，將1001名初次進入「自由世界」的中國人，與1001張中國明、清太師椅帶到德國參展，並將此作品命名為《童話》，引起國際矚目。
貝嶺坦言，他之所以想用1001把空椅子排出艾未未的名字，就是受到《童話》的啟發，也是想向艾未未致敬。他在今天下午6點4分時，將最後一張空椅子放進他的地景裝置中，完成艾未未的名字，也象徵要持續為「六四」平反的意圖。
[此贴子已经被作者于2011/6/4 22:59:23编辑过]
What the Montreal Museum can do for Ai Weiwei
The MMFA show of the terracotta army creates a vital platform to
publicise the plight of the artist detained by China's authorities
Hari Kunzru
Friday 3 June 2011 18.00 BST
The detention of Chinese artist Ai Weiwei is highlighted by artists and
activists urging his release by Chinese authorities, in a vigil outside
the China liaison office in Hong Kong, April 2011. Photograph: Tyrone
Siu/Reuters
It is now 61 days since the artist Ai Weiwei was taken into detention by
the Chinese authorities. Since then, protests in his support have been
held around the world, and figures such as Hillary Clinton and Angela
Merkel have called for his release. Ai's image was projected onto the
wall of the Chinese consulate in New York. Hong Kong has been plastered
in stickers.
In Beijing, artists Lin Bing and Fei Xiaosheng were detained for having
the temerity to include a blank wall, "attributed" to the absent Ai, as
part of a group show. Though most of these gestures will have little
visibility and less effect in China, international museums and galleries
are, at least, being forced (somewhat reluctantly) to think about their
relationship to wider political contexts.
An interesting case is that of the Montreal Montreal Museum of Fine Arts
(MMFA). Since February, long before Ai's detention, the MMFA has been
host to "The Warrior Emperor and China's Terracotta Army", an exhibition
of archaeological treasures from the mausoleum of the Qin monarch Shi
Huangdi, who united China as "first emperor", from 221-210 BCE. Like the
Milwaukee Art Museum, which is about to open a major summer season of
Chinese art, the MMFA has become a target for supporters of Ai, who feel
that it should be using its show as a platform to draw attention to the
artist's plight, and the wider human rights situation in the People's
Republic of China.
The MMFA has made no public statement, and held no events relating to Ai
Weiwei, though the signature of its director and chief curator,
Nathalie Blondil, appears alongside those of many other prominent museum
directors on a petition organised by the Guggenheim museum, demanding
Ai's release. Questioned by the blog Artists Speak Out, Sabrina
Merceron, head of public relations at the MMFA, was quoted as saying:
"We don't do any politics, we just support art as this is the mission of
a museum. It's very important that you make the distinction as one can
perfectly cohabitate [sic] with the other."
Whether Merceron sincerely believes this, or is just making a mildly
incoherent attempt to deflect unwelcome attention, she happens to be
wrong. By hosting the terracotta army, the MMFA is "doing politics", of a
kind that is acutely relevant to the case of Ai Weiwei. Since 2007,
when the British Museum opened a blockbuster exhibition of artefacts
from the first emperor's mausoleum (drawing more visitors than any
exhibition since the Tutankhamun show in 1972), the terracotta warriors
have been on almost continuous display in museums around the world.
Along with the 2008 Olympics and this year's Shanghai Expo, the warriors
are an integral part of the PRC's cultural outreach programme, doing
the work that pandas used to in the 1970s, when images of cute
black-and-white creatures frolicking in the zoos of major world capitals
were used to offset China's forbidding international image.
The terracotta army also has a particular political meaning for the
Chinese state; it is as a projection of Chinese soft power that it is
sent out to march through the world's cultural centres. The curators of
the MMFA are, no doubt, well aware of the history of these artefacts,
but perhaps they have failed to connect the story of the first emperor
with the situation that has developed in contemporary China since their
exhibition opened.
The first emperor is, above all, a symbol of unity and harmony,
qualities prized in China, where a metaphysical notion of balance is
often explicitly related to social and political stability. His reign
ended the "warring states period" (from around 475 BCE to Qin Shi
Huangdi's ascent to the throne in 221 BCE), when seven kingdoms battled
for supremacy. As unifier of China, Shi Huangdi organised his empire
into administrative divisions, standardised weights and measures, and
constructed the first Great Wall to separate his kingdom from the
nomadic tribes to the north. He was China's first "great helmsman", a
figure of absolute authority and quasi-mystical power, who brutally
crushed all dissent. After unification, the so-called "hundred schools
of thought" were suppressed and Legalism became the official ideology of
the Qin empire.
This ruthlessly utilitarian philosophy held that the only way of
ensuring social order was absolute subservience to the state. Control of
knowledge and creativity was essential to maintaining harmony, because
the ultimate guarantor of stability was a public set of laws, and
citizens could not to be permitted to deviate from the behaviour
specified by those laws. To avoid scholars being tempted to question the
accepted theory, Shi Huangdi ordered almost all books to be burned; 460
scholars were buried alive for owning forbidden texts.
When he died (possibly poisoned by mercury, which he was swallowing as a
medicine, in the belief that it would make him immortal), a huge
mausoleum was built to house the emperor's remains. Legend has it that
700,000 men were employed in its construction, and it is said to have
contained a kind of scale model of the known world, with mercury rivers
and seas. The terracotta army was fashioned to guard Shi Huangdi in this
underworld. They are, not to put too fine a point on it, the honour
guard of an ancient totalitarian state.
The parallels between the China of the first emperor and that of the
contemporary PRC are clear enough. The terracotta army provides
historical legitimacy for the suppression of Chinese freedoms: China,
goes the argument, was unified and made great by such tactics. Anyone
who supports democracy opens the country to the perils of disharmony and
instability. The Chinese people seem, by and large, to believe that as
long as the state is bringing them prosperity, the burning of a few
books and the burying of a few scholars is a price worth paying.
It seems to me that in the final days of its (no doubt, excellent and
beautiful) show, which finishes later this month, on 26 June, the MMFA
would only help its project of bringing Chinese history and culture to
the people of Montreal by addressing the question of Ai Weiwei. He has
been buried alive, and the political order that has buried him has its
origins with the terracotta army. It is clear that Ai's detention is
damaging China and weakening its standing in the world.
Perhaps, if the Chinese authorities can be persuaded that their
crackdown on Ai and his missing associates is not a sign of strength,
but of weakness, they will find a way to release him. This, more than
moral arguments based on western notions of human rights, may, in the
end, hold the key to his freedom.
[此贴子已经被作者于2011/6/5 0:11:08编辑过]
卫报：蒙特利尔博物馆能为艾未未做些什么？（翻译）#transaiww
作者：Hari Kunzru
翻译：@kRiZcPEc
校对：@ruanji
原文：http://www.guardian.co.uk/commentisfree/cifamerica/2011/jun/03/ai-weiwei-montreal-museum
艾未未被中國當局拘押至今已經61天。由當天起，世界各地一直在舉行聲援艾未未的示威，包括希拉里克林顿和默克尔也呼籲過釋放艾未未。艾的照片給投射到在紐約的中國領事館外牆，在香港給製成貼紙貼滿整個城市。
在北京，林兵和費曉胜因為膽敢在群展中包括一面空白的墙，並“归因於”艾的缺席而被拘押。雖然這些舉動作在中國大多沒幾個人知道，影響也很有限，但國際博物館及畫廊儘管不情願，卻至少不能不想一想它們和廣義政治議題的關係。
一個有意思的例子是蒙特利爾的蒙特利爾美術博物館。自從二月起，遠在艾未未被拘留之前，該博物館就在舉辦“尚武皇帝與中國的兵馬俑(The
Warrior Emperor and China's Terracotta
Army)”展覽，展出的考古珍品來自統一中國的第一位皇帝，前221-210年在位的秦始皇的皇陵。就像即將開放中國藝術大型夏季季展的密爾沃基藝術博
物館那樣，蒙特利爾美術博物館成了艾未未支持者的目標，艾的支持者認為博物館應該把展覽作為一個平台，提請人們注意藝術家的困境，以及中國更廣泛的人權狀
況。
雖然蒙特利爾美術博物館的董事兼總館長Nathalie
Blondil和其他許多著名博物館的負責人一樣在由古根漢博物館組織的要求釋放艾的請願書上簽了名，但博物館並未作出任何公開聲明，也沒有與艾未未有關
的展覽。在被博客Artists Speak Out問到時，博物館的公共關係主管Sabrina Merceron 被引述說：
不論 Merceron是否真的這樣想，抑或只是在做一個輕度不連貫的嘗試去轉移不受歡迎的注意力，她恰恰是錯了。
蒙特利爾美術博物館舉辦兵馬俑展覽，這本身就是“有關政治的事”，和艾未未事件關係密切的“有關政治的事”。自
2007年起，在大英博物館的大型展覽展出秦始皇陵墓的文物(吸引了自1972年的圖坦卡門展覽以來最多的參觀者)之後，這些兵馬俑就一直在世界各地的博
物館巡迴展覽。2008年的奧運，今年的上海世博，和兵馬俑是中國文化推廣計劃的核心部分。這些兵馬俑取代了1970年代在世界主要國家的動物園中嬉戲的
熊貓的功能，用来抵消中國可怕的國際形象。
對中國而言，兵馬俑也有特別的政治意義；派它們走向各國的文化中心，用來展示中國的軟實力。蒙特利爾美術博物館的眾館長深知這些兵馬俑的歷史意義，這一點無可置疑；但也許，自從展覽開始以來，他們沒有了解到始皇帝的故事和中國當今局面的關係。
首先，始皇帝是統一及和諧的象徵，統一、和諧是中國重視的價值。在中國，形而上的平衡概念往往攸關社會和政治穩定。秦始皇的統治結束了七國爭強的“戰國時
期”
(約前475年起至始皇帝在前221年登極止)。身為統一中國的人，始皇帝設郡縣，統一度量衡，修建萬里長城以使中國免受北方胡人入侵。他是中國第一個
“偉大的舵手”一個擁有絕對權威和半神秘力量的人物，他殘酷鎮壓所有反對聲音。統一之後，他罢黜百家，使法家成了秦帝國的官方思想體系。這種無情的功利主
義哲學主張確保社會秩序的唯一辦法是使人絕對服從國家。控制知識和創意對維持和諧至關重要，因為穩定的最終保證是一套公開的法律，而民眾不可以有偏離這些
法律指定的行為。為免學者忍不住質疑官方理論，始皇帝下令焚毀幾乎所有的書籍，活活坑殺460名擁有禁書的書生。
當他崩逝(有可能是因為水銀中毒，因為相信水銀可以讓他長生不死而一直服用)，為安置皇帝的遺體，修築了一座大型的陵墓。據傳為了修築這陵墓，徵用了七十
萬民伕，而陵墓裡邊有一種始皇帝已知的世界模型，模型包括水銀江川河海。兵馬俑就是始皇帝在陰間的衛士。這些兵馬俑其實是一個遠古獨裁國家的儀仗隊，不要
把它們看得太過美好。
始皇帝時代的中國和當代的中華人民共和國的相似之處是顯而易見的。這些兵馬俑為鎮壓中國人的自由提供了歷史理據：中國就是憑著鎮壓自由這些做法統一和強大的。任何支持民主的人
會使國家陷入不和諧不穩定的危險。大多數中國人看來相信只要國家能帶給他們繁榮，燒掉一些書，坑殺幾個學者是一個合算的代價。
在我看來，這個將在6月26日結束的展覽—無疑是很好很美的—在展覽舉行的最後一段日子，只有處理艾未未的問題，蒙特利爾美術博物館才能讓蒙特利爾的人民
真正理解中國的歷史文化。艾未未被活埋了，下令活埋他的政令和兵馬俑同出一源。很顯然，艾未未被拘留這事正在損害中國，也在削弱它的國際地位。
假如能夠說服中國政府它們對艾未未的打壓和艾未未被失踪的同事展現的不是力量，而是軟弱，也許它們會找個方法釋放艾未未。這，不僅是基於西方的人權觀念的道德論點，也可能是艾未未獲釋的最終關鍵。
[此贴子已经被作者于2011/6/5 0:25:56编辑过]
thehill.org： 佩洛西呼吁立即释放艾未未（2011.06.03））
佩洛西呼吁立即释放艾未未 Mike Lillis， 211-06-03 报道链接：http://huaren.us/Uk6WR
美国众议院民主党周五对中国政府继续羁押中国最杰出的艺术家艾未未进行了严厉的批评。
众议院少数党领袖南希.佩洛西督促中国政府立即释放艾未未与其他著名的活动领袖、人权活动者，他们被中国政府视同为国家的威胁。
艾未未，北京2008年奥运会标志性建筑“鸟巢”的协助设计者，自4月初在北京机场被中国政府带走后一直下落不明。
佩洛西在1989天安门大屠杀的周年之际，谴责中国政府在22年之后，仍然没有从这场悲剧中吸取教训。
“今天，作为天安门的英雄不会被遗忘，中国政府现在加强了对呼吁进行民主改革的人士进行打压，”佩洛西在声明中称：“在最近的几个月中，一大批中国宗教领袖、艺术家、律师，和博客作家和工人已被消失，被骚扰、恐吓，关押或投入监狱。”
除了艾未未之外，佩洛西还呼吁“立即”、“无条件”释放诺贝尔奖得主，天安门抗议运动前领袖，最近因批评中国政府而获刑10年的刘晓波，以及被羁押超过一年的人权律师高智晟。
在中国人权问题上，佩洛西对当面批评中国政府并不陌生。旧金山议会民主党人在2008年会见达赖喇嘛，确认北京在西藏的民主运动中进行了野蛮的镇压。她还出长期批评中国政府支持缅甸政权的镇压活动。
佩洛西同时呼吁中国领导人公开更多的天安门广场运动信息。在这场运动中，共产党用军队将成千上万的民主示威者从广场清理走。不知道有多少人在这过程中死去，数周和数月之后，许多参与者则被逮捕。
佩洛西称，中国政府早就应该公布详细镇压的相关信息，停止迫害受害者家庭，并且最终允许这些家庭公开的、不受干扰地悼念遇难者。
本周六是天安门广场大屠杀周年。
附：原文
Pelosi calls for immediate release of Ai Weiwei By Mike Lillis - 06/03/11 03:30 PM ET
The top House Democrat hammered the Chinese government on Friday for the continued detention of China's most prominent artist.
House
Minority Leader Nancy Pelosi (D-Calif.) is urging the immediate release
of artist Ai Weiwei, as well as other high-profile community leaders
and human-rights advocates who've been deemed threats to the state.
Ai,
who helped design the landmark "Bird's Nest Stadium" for Beijing's 2008
Summer Olympics, has been missing since the government picked him up at
the Beijing airport in the first week of April.
Pelosi used the
anniversary of the 1989 Tiananmen Square Massacre to slam Chinese
leaders for what she says is a failure to heed that tragedy's message,
even 22 years later.
"Today, as the heroes of Tiananmen are
remembered, the Chinese government intensifies its crackdown on those
calling for democratic reform," Pelosi said in a statement. "In recent
months, an alarming number of Chinese religious leaders, artists,
lawyers, bloggers and workers have disappeared, been harassed and
intimidated, forcibly detained and imprisoned."
Aside from Ai,
Pelosi urged the "immediate" and "unconditional" release of Liu Xiaobo, a
Nobel Peace Laureate; Liu Xianbin, a former Tiananmen protester
recently imprisoned for 10 years for criticizing the government; and Gao
Zhisheng, a human-rights lawyer who has been detained for more than a
year.
Pelosi is no stranger to confronting China head on when it
comes to issues of human rights. The San Francisco Democrat thumbed
China's eye in 2008 by meeting the Dalai Lama amid Beijing’s violent
crackdown on pro-democracy protests in Tibet. She has also been critical
of China's support for the oppressive regime in Myanmar.
Pelosi
on Friday also pushed Chinese leaders to release more information about
the uprising in Tiananmen Square, where Communist Party leaders used
military force to clear tens of thousands of pro-democracy activists. An
unknown number of protesters was killed during the episode, and many
others detained in the weeks and months that followed.
"It is
long past time for the Chinese government to provide a full, public
accounting of the crackdown, stop persecution of the families, and
finally allow the families to mourn publicly without interference,"
Pelosi said.
The anniversary of the Tiananmen Square Massacre is Saturday.
译者：duyanpili
中国对阵天才阿飞 分析：共产党能否审查掉中国领衔艺术家艾未未？
作者：David Case
译者：@duyanpii
校对：@ruanji
六月三日
波士顿报道－中国的共产党总是有办法。它毕竟是有史以来最富有的政府之一，拥有比其它任何国家都多的美国国债。它不允许任何对手存在，并通过独裁统治着世界近四分之一的人口。
但是有一个人，艾未未，却使中国政府陷入困境当中。4月3日，中国政府在北京机场将艾未未逮捕，并关押到现在。
问题是，艾未未不是一个普通的囚犯。把他关起来也许比他在外面更麻烦。
作为中国艺术界领军人物，艾未未在全球都享有盛誉。他在伦敦泰特现代美术馆，以及慕尼黑的艺术之家和威尼斯双年展都举行过大型的展览。他与瑞士建筑事务所赫尔佐格和德梅隆合作设计了北京最具现代化标志性的 “鸟巢”国家体育场，是共产党的2008年奥运会举行的地点。
就像鸟巢一样，艾未未的艺术和他的个性极其迷人。他的作品客观来讲是美丽、有趣，而且很容易接触，即便是对艺术毫无兴趣的人。
他用充满活力的颜料和绘画给单调的古瓮——文物，如共产党所称谓——注入活力，吸引人们的眼睛。他用1亿颗手工绘制的葵花籽填满了泰特美术馆巨大的漩涡大厅。在艺术界，泰特的展览被评论为与中国特性如此一致——数量巨大，消费，廉价劳动力，亚洲式的整齐划一。
但是它也带来很大的乐趣：当别的艺术家把作品放在天鹅绒的绳子后面的时候，未未邀请博物馆的观众在瓷瓜子里四处走动，捡起它们，和它们一起玩——但是不要拿走它们。正如他的其它作品一样，它们可用于出售。（在展览的末了，瓜子的涂料上发现含有铅，所以最终不允许接触它们）
纽约客的欧文（Evan Osnos）曾经写过一篇优秀的文章，文章中把艾未未比作中国的安迪.沃霍尔，他的工作室是一个“有着古怪创造性的蜂巢式建筑，他的一位朋友称之为寺院和罪犯家庭的交叉点 ”。
未
未用他自己的方式上镜，这在美国记者Alison
Klayman的工作中很明显；她跟踪拍摄艾未未近两年，为了一步将要发行的纪录片《艾未未：从未抱歉》。“他是一个和蔼可亲的小鬼，一个身材魁梧的泰迪
熊玩具，有着胡志明式的胡子，当他说英语的时候带着如婴儿般的温柔口音（环球邮报6月2日对Alison Klayma 进行了采访并在网络上播出）
他同时也极具恶搞。朋友们称呼他为艺术流氓。纽约时报的艺术评论员Holland Carter 称他为“学者小丑”。虽然异议者与活动家通常被认为应当是严肃的、义愤填膺的，但是艾未未却以大不敬的方式狂欢。
纽约现代艺术博物馆拥有一系列照片——讽刺地命名为“透视学研究”——主要是艾未未在艾菲尔铁塔、白宫、蒙娜丽莎和其它文化偶像与权力面前竖起中指。
竖中指及以“fuck”这个字的形式是艾未未艺术作品的主要特征。上个月，香港的收藏家展览了一个漂亮的大理石雕塑叫“大理石手臂”，“苗条的二头肌和前臂上经过精心修剪的中指”。
未未的北京工作室名字叫“发课设计”（Fake design）。这在某种程度上象征着这个事实：一个未经过任何正规的职业训练而取得巨大成功的设计师。然而这也是一个大胆的玩笑：当用汉语读“发课”这个词时，听起来像英语一句粗口。
从艾未未出生以来，他与共产党的关系就充满争议，这是他恶搞的动力和行为的目标。
在
他小时候，他的父亲艾青，这个国家最杰出的诗人、毛泽东早期的支持者，被流放到中国最遥远的西部新疆。他的父亲多年来被迫从事清洗厕所的工作。后来党又将
这个家庭迁到戈壁滩，住在用于动物分娩的地下洞穴里。这是一种羞辱，至今仍然背负在他的儿子身上，并激励他为公正而抗争。
作为一个成年人，如欧文所言，未未似乎“天生缺乏合作的能力”。虽然他对 “鸟巢”体育馆做出贡献，但他拒绝参加奥运会奢华的开幕式，相反，他用他巨大的名声宣布这个运动会被共产党操纵，愚弄了整个世界，是个“虚假的微笑”。
近些年来，他的工作日益政治化。艾未未极力透明化，作为对共产党的审查、压迫的一种明显的反应。
在
他被捕之前，他的工作室经常挤满记者。Klayman为她的纪录片拍摄了约200个小时，包括与艾未未的家人单独在一起。他以一种危险的方式（在中国）在
网络上展示他的生活和思想，通过他的博客（现在已被关闭）和推特（基本上花去了他每天很多时间）。尽管在一个推特被官方禁止的国度用中文发推，他依然拥有
超过8万5千个跟随者。
在2008年四川大地震后，未未与中共官员的冲突加剧。正如Klayman在PBS的节目中讲述的，地震中总共死
亡7万多名中相当一部分在学校与公共建筑中人遇难，这是不成比例的。这些遇难者死于中国称之为“豆腐渣工程”中——也即主管的政府官员显然偷工减料，中饱
私囊而形成质量低劣的建筑。
地震之后，官方删除了质疑的新闻，拒绝公布遇难学生的名字。为此，艾未未召集志愿者前往灾区，并找到了超过5000名遇难学生的名字。
随着与官方关系日益紧张，艾未未反应也越恶作剧，与党做猫与老鼠的游戏，这可能成为他最勇敢的艺术。政府在他工作室的外面安装了一个大的监控器，他拍摄这些监控器并把照片发到网上，并据此创造了相仿的大理石雕塑。
在一次去四川的旅行当中，警察在凌晨3点破门进入他旅馆的房间，并打了他。他将此发布到推特上，并将事件录音发布到网上，争执的照片在欧洲画廊和新闻杂志上出现。今年1月份，官方强拆了他在上海新建的、价值百万美元的工作室，而该工作室是当初官方邀请他前往建造的。
他记录了强拆过程，并宣布这是他最有力的作品之一。Klayman对事件的录像中显示，他戴着一顶橙色的安全帽，面带微笑注视着他花两年时间建造的建筑变为废墟。每次当政府试图恐吓他的时，他总是把他们的攻击转向他们自己，并将其变为艺术，在追随者中传播。
艾未未被捕是中国政府为防止茉莉花革命的进行打压的一部分。现在的问题是，这次他是否能再次最终获胜？
将
具有如此创造力和巨大声望的公民投入监狱与国家的利益根本不符。对中国统治者而言，对他们派对场所的设计者进行打压尤为尴尬。此外，为了要提升经济价值链
上的位置，为数百万新毕业的人提供工作，中国处在一个需要创造力的时期，用来创新和发展艺术、娱乐以及其它高附加值产业部门。
通过拘留艾未未，共产党有效地遏制了他的行为。但是他们同时也使得数百万原先没有听说过艾未未的人知道了他。他被拘留后，用谷歌搜索他名字的数量飙升，羁押艾未未还激起了艺术界和艺术界之外的抗议，这些抗议活动成为了共产党的眼中钉。
与其他异议者不同的是，未未具有一种他们关不住的魅力。不管党如何对待他，他的艺术都将存在。
原文链接：http://huaren.us/tslVs
Artists show solidarity with detained Chinese artist Ai Weiwei
From PRI's The World
08 June, 2011 09:25:00
Mike Brenner shaves his head in solidarity with Chinese artist Ai Weiwei. (Photo: Mary Louise Schumacher)
Galleries in the United States are showing solidarity for
artist Ai Weiwei, who was recently arrested by Chinese authorities.
Others want to avoid the controversy.
This story was originally covered by PRI's The World. For more, listen to the audio above.
By Chuck Quirmbach
http://www.pri.org/arts-entertainment/arts/artists-show-solidarity-with-detained-chinese-artist-ai-weiwei.html
Chinese authorities continue to arrest scores of
political dissidents and activists. Among those imprisoned is a
prominent Chinese artist, Ai Weiwei, detained since April. That has
created something of a dilemma for the Milwaukee Art Museum, which is
about to open a major exhibition of Chinese art in cooperation with the
Chinese government.
Chinese authorities say Weiwei has been arrested
for tax evasion. But many see it as China's attempt to silence an artist
who frequently criticized the Chinese government.
Several museums have shown support for Weiwei in
public ways. The Tate Modern in London hung a banner outside saying
"Free Weiwei." A museum in San Diego held a 24-hour protest.
Mike Brenner, a former Milwaukee gallery owner,
would like to see the Milwaukee Art Museum make a similar gesture. Last
week, he announced he was going to shave part of his head outside the
museum to show solidarity with Weiwei.
On Shaving Day, museum security guards were waiting
for Brenner. They wanted to make sure that he wasn't even standing on a
pedestrian bridge that led to the museum.
"You can do this, but you can't do it on our property," said one of the guards to Brenner.
Brenner moved a few feet off the property and
proceeded to turn on his electric razor, and shave chunks of hair off
the top of his head. He said he did it to mimic Weiwei's hairline.
"Artists around the world need to shown
solidarity," Brenner said after the shaving. "When one of us is taken
into custody without explanation for months, it's not acceptable."
Brenner's protest came about a week before the
Milwaukee museum is slated to open a summer of Chinese art exhibitions,
including a major one featuring works from the Forbidden City.
Brenner isn't suggesting that the museum forgo the
exhibit. He just wants the museum to do more to call attention to
Weiwei's plight. But Dan Keegan, director of the Milwaukee Art Museum,
said that's not the museum's role.
"We're not about protest," Keegan said. "We feel
it's important as a convener around culture, a convener around art, to
create programs that respond to issues of the day, as well as this
3,000-year-history of Chinese art."
Keegan said the museum isn't ignoring Weiwei's
detention. Next month, it plans to hold a panel discussion about Weiwei
and artistic freedom.
Sharon Wolfe, a museum member who was visiting, said she supports the museum's approach of educating people.
"Then we can go after our representatives and say
look what's going on with this artist in China, "Wolfe said. "And maybe
they can put some pressure on the Chinese government to do something
about it."
Another museum visitor, Michelle Didier, said she
understands the Milwaukee museum may be counting on the long-planned
Chinese exhibitions to provide important revenue, but she'd like to see
the museum come out publicly in support of free expression.
"That's one of the great parts of being in
America," Didier said. "It's unfortunate that the Chinese government has
the right to do that kind of thing."
The Milwaukee museum isn't the only one facing this
issue, but it's among the first to open a major China exhibit since
Weiwei was detained. Louis Lankford, a professor at the University of
Missouri-Saint Louis who has written about museum controversies, said
the Weiwei case has put museums in a tough spot; but he added that the
case can be made for openness about Wei Wei's situation.
"It would be unwise for any art museum showing Chinese art to just
say, well, the rest of Chinese art is really good and we're going to
keep it on display," Lankford said. "It's best to address such concerns
head on."
-------------------------------------------------------------------------------
PRI's "The World" is a one-hour, weekday radio news
magazine offering a mix of news, features, interviews, and music
from around the globe. "The World" is a co-production of the BBC
World Service, PRI and WGBH Boston. More about The World.
[此贴子已经被作者于2011/6/8 22:59:30编辑过]
阿姆斯特丹街头涂鸦 Karma in Amsterdam
地点：荷兰阿姆斯特丹中国城
联合报6月7日：台北文化局长谢小韫：艺术家艾未未
爱神艾未未／之二 艺术家艾未未
【联合报╱谢小韫／文】 2011.06.07
可以没有艺术，但不能没有生活……对我来说，没有人生，只有瞬间……──艾未未
艾未未(右)家受宠的流浪猫，大剌剌地躺在桌上假寐，也成了与谈者之一。左为本文作者谢小韫。谢小韫／图片提供
他只是一位艺术家
艾未未是谁？
对我而言，他只是一位艺术家。
有人说他是社会运动者、建筑师、人道关怀者，但本质上，他仍然只是一位艺术家。他说，他不喜欢被冠上这些头衔，他只是一个人，做了一些事而已。
2009
年七月，日本东京Mori美术馆为他举办个展，我也应邀参加开幕酒会，并约他谈谈2011年底，在台北市立美术馆策办他在台湾第一次个展的可能性。他知道
我来自台湾，以腼腆的笑容及柔和的语调说：他很向往去台湾，台湾的民主政治是了不起的成就。他引导我看他的作品，并说，他在台湾的展览要有很多新的创作才
行。
那晚的开幕典礼宾客云集，把Mori美术馆的茶会大厅挤得黑压压的一片，艾未未在围绕寒暄的人群里，显得有些不自在，却始终保持腼腆的微笑，好像与现场欢乐的气氛完全无关似的。
第
二次跟他相见，是2009年年底。他应中原大学之邀，来台讲学一周，我约他来看北美馆的「蔡国强展」及未来他可能会展出的场地。他瞥见地下室的演讲厅门
口，有一个立牌写着「因艺术家临时取消档期，特此致歉」，于是促狭地照了一张相片，说：「这是很好的展出方式，说不定我的展览，也要立一张像这样的牌
子！」
这是他第一次来台湾，我招待他吃欣叶餐厅的台菜。他对乌鱼子这道菜赞不绝口，虽然乌鱼子的大量胆固醇对他的体型而言不是很适合，但他可不忌口，以「人要活在当下」为辞，笑呵呵地大口大口地享用美食。
第三次是在2010年五月，我去参观上海世博时，与北美馆展览组长顺道去北京「草场地」艾未未的家，洽谈2011年展览的规画内容。
北京在奥运后，整个城市从一位典雅的老姑娘，像做了小针美容似地，一张脸顿时时髦艳丽起来，可是脖子以下，仍是老样子。老样子有老样子的味道。
流浪猫的签名
我
们要去走访的艾未未，可不怎么喜欢不论是老样子或是新样子的北京。他认为北京非常政治，因为有巨大利益集团的所在，就有巨大的缝隙；有缝隙，就有很多藏污
纳垢的地方。可是，当权力本身已经强大到不在乎周围所发生的事情时，反而又有了巨大的自由度，各种其他的价值观就有可能在此生存。所以，这是一个矛盾的城
市，有巨大的不合理，却又洋溢着人们生存的细节与生命力。
艾未未在北京「草场地」的家可不好找，从北京市中心坐出租车去，
也得花上半小时，他家的门不像一般住家的门，反倒像个工厂的门。进得屋来是一个大花园，没什么惊世骇俗的装置，首先映入眼帘的是一片绿草地。他宠爱的猫儿
和狗儿三三两两的在草地上、桌上、椅边逡巡。一只白猫忽然跳上我们谈话的长桌，居高临下地巡视一番后，大剌剌地在他送我的纪录片封套上撒了一泡尿。他笑着
说，这只猫是流浪猫，已经得了癌症，所以这张DVD最有纪念价值，特别签了名送给我。
在我们的洽谈中，他偶尔拿起手边的相
机拍照，不经意地，想拍就拍，想用什么角度拍就用什么角度拍，也可以说，根本没有什么角度，简直不像拍照。照相机就像他手上的笔，想到什么，就写点什么，
或画点什么。很少人像他这样对待拍照这回事。他希望他的表达接近于不表达，将表达和不表达的界限抹平，就是多拍，甚至拍到失去拍的理由。
这么多拍下来的照片都发到博客上，他说，他每天上网10小时。
他说，网络是人类几千年来创造的最神奇的事物，它使人有机会从技术层面、知识层面和历史结构中解放出来。它引起的自由和民主意识、个人觉悟、个人参与和体验，让人更加自由。它是真正的革命，最终将改变这个世界的格局。
从北京出境来台时，被扣留迄今
原订第四次的见面是在2011年4月5日，为艾未未今年底在北美馆的展览做最后的磋商。他却在北京搭机出境时，被扣留迄今。
今
天，艾未未成为全球瞩目的异议人士，是因为在他的艺术创作里，融入他最心系的生存议题。就像他说，他在川震的废墟里，看到一个个埋在土堆里的学童书包，深
感震撼，启发他创作长达十几公尺到几十公尺长的「书包」作品。他的工作室调查川震遇难者名单，制作出的纪录片仅是一个个人名滑过黑暗的屏幕，以单一的视觉
表现形式，辐射出扣人心弦的张力。
艾未未说过：
「可以没有艺术，但不能没有生活，生活到过瘾的时候，都是艺术。」
「谁也不能成为历史的逆流，谁也不能阻挡人们要求自由和民主；要求个人的自由精神，这是大势所趋。」
「对我来说，没有人生，只有瞬间。」
「我们都是血肉之躯，限定的时间，限定的条件，每个人都一样的，我们都是散去的一阵风。」
艾
未未在中国政府眼里，可能不太像个以艺术创作为职志的艺术家，但在我们的眼里，他就是一位想自由创作的艺术家。艺术家的作品若触及政治、社会议题，往往不
为当局所乐见，中外皆然。艾未未对此当然亦有所了解，所以对于艺术与政治这个课题，曾经解释说：「艺术是要求自我表达的方式，一种表达的可能，在他人和其
他群体中产生某种可能和引起影响。」
也许，他的艺术对政治所造成的「可能」和「影响」，已经超越了他的想象，也超越了当局的容忍程度；但是，不论是哪一种政府，或哪一位掌权者，对政治也许可以不假辞色，但是对艺术，可否多一些包容与想象呢？毕竟，艺术家的创作初衷比政治家处心积虑的谋略，要单纯多了！
（作者曾任台北市立美术馆馆长，现任台北市文化局长）
【2011/06/07 联合报】http://huaren.us/ZIkt7
[此贴子已经被作者于2011/6/8 23:18:55编辑过]
台北當代藝術中心協會聲明 – 呼籲中國政府釋放藝術家艾未未及所有維權人士(2011.04.09)
台北當代藝術中心協會聲明 呼籲中國政府釋放藝術家艾未未及所有維權人士
針對藝術家艾未未遭到大陸官方逮捕拘留一事，本協會（台北當代藝術中心協會）鄭重呼籲中國政府應正視思想、言論自由等基本人權，並立即釋放藝術家艾未未及所有維權人士。
藝術是文明發展的重要指標，也是社會朝向多元化進展的巨大推力，任何政府都必須保障並維護藝術的創作自由。逮捕艾未未的事件不僅違反普世人權價值，更嚴重壓制中國當代藝術的創作自由與文化想像。
正值兩岸交流日益頻繁之際，文化與藝術的相互對話與合作，是創造彼此更深刻理解的重要環節。然而兩岸藝術界在追求藝術自由的目標上，都正面臨著不同的政治
困境，台灣在解嚴後的“民主政治”下，雖然藝術家與所有人擁有包括言論自由等基本政治權利，然而在官方新自由主義的文化政策下，在地的文化與藝術生產，正
受到政商體制全面排除的危機。而在中國大陸，藝術家、異議者與人民，在追求思想、言論自由等基本人權時，還必須隨時面對政治迫害的威脅。
對於經歷過長期戒嚴，感同身受過喪失基本人權保障痛苦的我們，本協會在此提出鄭重呼籲：中國政府應尊重普世人權價值，除立即釋放包括藝術家艾未未及所有維
權人士外，更應深刻理解兩岸的和平發展與文化藝術的長期交流，只有建立在民主、自由、平等的基礎上才能真正的展開，也才能為人類的文明創造新的契機。
台北當代藝術中心協會是由一群藝術家、策展人、學者與文化工作者所組成的一個非營利組織，此組織所經營的獨立藝術空間，提供藝術圈與其他文化工作者自我發表與互動的平台，為台灣當代藝術社群關心、研究、討論社會政治議題、文化政策、美學立場的公共場域。
现在是明着不要脸了
他还被关着的？什么理由呢？
现在是明着不要脸了
今天是2011年6月11日。艾未未被非法拘禁达70天，志愿者文涛被绑架70天，发课公司出纳胡明芬失踪64天，设计师刘正刚被绑架失踪63天，司机张劲松被失踪63天，家属未得到任何法律手续及关押地点等信息。
一直在关注，支持一下。
谢谢！
第一部分
第二部分
更新时间 2011年6月11日, 格林尼治标准时间06:35
三名旅美中国异议人士为声援被拘禁的艺术家艾未未和诺贝尔和平奖得主刘晓波，决定骑自行车环绕美国收集签名。
台湾中央社报道，发起这次活动的青年杨梦笔、穆文斌和李东澄希望收集1万个签名，送交联合国人权委员会，并已获得美国助理国务卿波斯纳签上首个签名。
三名旅美中国异议人士为声援被拘禁的艺术家艾未未和诺贝尔和平奖得主刘晓波，决定骑自行车环绕美国收集签名。
台湾中央社报道，发起这次活动的青年杨梦笔、穆文斌和李东澄希望收集1万个签名，送交联合国人权委员会，并已获得美国助理国务卿波斯纳签上首个签名。
三人预订在星期三（6月15日）从纽约自由女神像出发，以旧金山中国城的民主女神像为终点。
艾未未自4月3日被北京警方带走至今仍未被提出起诉；刘晓波目前仍在监狱服刑，据称其家属已有八个多月未能与刘晓波取得联系。
这次活动得到了当地流亡民运人士的支持。其中，穆文斌和李东澄都是设在美国的中国民主党全国联合总部干部。
他们把活动定名为“中国人权铁马万里行”，目的是要求大陆政府释放刘晓波与艾未未。
中央社引述穆文斌说，在刘晓波与艾未未遭到大陆政府非法拘捕之后，全世界虽然都给予高度关注，但都是短暂的，穆文斌希望能透过这次的活动，让大家能长期关注大陆人权问题，对中国大陆施压。
[此贴子已经被作者于2011/6/11 13:57:22编辑过]
艾未未09年在三影堂的展览。“艾未未：纽约1983-1993" 摄影228张图片。
https://picasaweb.google.com/xuesheng512/0919831993228
[此贴子已经被作者于2011/6/12 17:56:45编辑过]
The detention of Chinese artist Ai Weiwei and a crackdown on political dissent on the mainland is pushing Hong Kong's artists to creatively express their concerns. Video courtesy of AFP.
http://online.wsj.com/video/ai-weiwei-a-symbol-of-free-speech-in-hong-kong/D6BE4ADB-11E2-44DD-9AEE-2D4B5A66A407.html
[此贴子已经被作者于2011/6/12 18:17:19编辑过]
[此贴子已经被作者于2011/6/12 18:22:10编辑过]
telshl
羅世宏| telshl
一直提醒我的學生：要超越過去老K黨國教育的反共意識型態，應重新理解中國大陸，至少中國也是講法治的。但從去年十月八號以後，我不再確定中國還是依法而治的社會。除非立即還艾未末、冉雲飛、王荔蕻等人自由，否則我再也不相信中共正在變好，也懐疑中國有光明遠景。#aiww
[此贴子已经被作者于2011/6/14 13:01:15编辑过]
2011年6月11日，北京发课文化发展有限公司法人路青、员工家属再次联名致信公安部、北京市公安局、北京市检察院、北京市纪委及北京市政法委，呼吁公安机关尽快对文涛、胡明芬、刘正刚、张劲松等被失踪、绑架超过2个月事件进行立案侦查，给家属一个交代。信件内容：
请北京市公安机关尽快对“发课公司”4名员工、朋友被绑架、失踪事件进行立案调查
我们是北京发课文化发展有限公司的法人和员工家属，在此，我们反映近两个月来4名公司员工及朋友被绑架、失踪的情况，请公安机关立即予以立案调查：
文涛，男，37岁，发课公司法人的朋友，4月3日在公司附近被4位不明身份男子强行带走，被绑架失踪69天。
胡明芬，女，55岁，发课公司出纳。她的家人称她于4月7日离家去公司上班。4月8日无法接通她的电话，失踪64天。
刘正刚，男 ，49岁，发课公司设计师。4月9日晚上19点，他与妻子在位于海淀区住所小区内开车时，被4名着便装男子强行带走，被绑架失踪63天。
张劲松，男，43岁，发课公司司机，4月10日凌晨1点在草场地村与朋友分手后失去联系，失踪63天。
以上绑架、失踪案发后，家属、朋友十几次前往朝阳区南皋派出所、海淀区大钟寺派出所报案，但派出所拒绝出具报案回执，拒绝立案调查,迄今未有任何答复。
发课公司是以建筑设计、艺术设计为主的公司，上述员工亦是恪守岗位的普通公民，他们在中国首都被绑架或失踪已2个多月，家属非常担心他们的安全。4月15日我们给公安部、北京市公安局写信反映过上述问题，但至今未得到任何答复。在此，我们再次呼吁公检法部门承担职责，对该系列失踪绑架事件进行立案调查，尽快给家属一个交代。
发课公司法人： 路青
文涛家属： 文洪炳
刘正刚家属： 亚淑
张劲松家属： 张懋
胡明芬家属： 家属在外地，6月8日突然失去联系，暂时无法签名
2011年6月10日
通讯地址：北京市朝阳区机场辅路草场地村258号发课设计有限公司 100015
电话：010-84564194
希望之声
2011年6月16日 星期四
美国国务院就声援艾未未网站change.org于今年四月下旬疑似遭到中国骇客袭击一事，向中共当局提出质问。美国驻中国大使馆表示，目前还没有这件事的最新进展，而中共外交部也没有对美国的关切做出回应。
美国之音16号报导，美国副国务卿贝尔就艾未未网站change.org疑似被中国骇客袭击一事向中共外交部提出质问，表达关切。
中国被认为是最近几起网路攻击的源头国家。这个月稍早，谷歌公司表示，来自中国济南的骇客袭击了美国政府官员在G-MAIL的信箱。但中共否认幕后支援任何网路袭击。 中
国维权艺术家艾未未自今年四月初被公安带走后，国内外关注的声音不断，国际上的声援活动持续加温，海外网站www.change.org发起的全球连署声
援艾未未，获超过一百七十五个国家几十万人回应。但该网站自4月下旬即发出声明称，疑因受中国骇客攻击，令网站难以登录，瘫痪达数小时。该网曾向美国联邦
调查局、美国国务院寻求协助，抢修后服务仍时续时断，但连署行动并未停止。
美国“公民力量”开办者、哈佛大学法学院客席研究员杨建利等，并发起连署行动，向联合国秘书长潘基文致发公开信，要求联合国参照安理会针对利比亚的两个决议案，审视和谴责中国政府一九八九年以来的侵犯人权行为，包括今年为打击茉莉花集会，搜捕逾百名异议和维权人士。
而本来计划参与“现代英国”节活动要在北京展出作品的著名英国雕塑家阿尼诗．卡普尔也于日前宣布，取消他原定在北京举办的展览，以抗议北京政府关押以敢言著称的中国艺术家艾未未，卡普尔谴责说，中共政府关押艾未未的做法是“野蛮行径”。
英国雕塑家取消北京展览 抗议艾未未被关押
德国之声
英国著名雕塑家卡普尔(Anish Kapoor)宣布取消他原定的在北京国家博物馆举办展览的计划，以此抗议北京关押以敢言著称的中国艺术家艾未未。美国也于周二发布信件声称, 关注中国黑客攻击请愿释放艾未未的美国民主网站一事。
英国文化委员会邀请著名雕塑家卡普尔参加将在北京国家博物馆举办的文化艺术展，该展览将成为明年"现代英国节"中的一个环节。而卡普尔的发言人周二（6月14日）证实说，卡普尔因抗议中国政府关押艾未未一事已决定取消在北京的参展计划。
此前，卡普尔就于5月12日在巴黎大皇宫美术馆，将自己新完成的巨型雕塑"巨兽"（Leviathan）献给在狱中的中国同行艾未未，以此表示对他的声援。他还曾经抨击北京当局逮捕艾未未的行为是"野蛮行径"，而这也引发外界质疑他是否会在北京展出作品。 尽管卡普尔拒绝作品参展，英国文化委员会主席戴维森(Martin Davidson)仍希望继续推进在北京的文化艺术展览计划。他表示："通过文化交流，可以最好的展示艺术自由的魅力，加强中英两国人民之间的联系。"
卡普尔将自己的新作“巨兽”献给艾未未
美国谴责中国黑客攻击民主维权网站
周二（6月14日）公布的美国国务院的一封信件显示，美国政府已经开始高度关注中国黑客攻击民权网站改变网(change.org)一事。该网站曾经发起要求释放艾未未的请愿活动。
改变网是美国的一个在线艺术家网站，自今年四月开始，因发起一份由14万人联名签署的要求释放艾未未的请愿书而不断遭到黑客攻击。日前，改变网创始人表示，黑客攻击来自中国。
在一封写给康乃狄克州民主党议员迪劳若(Rosa DeLauro)的信中，美国国务院表示，其民主办公室主任贝尔（Dan
Baer）早在四月底，与中国外交部长讨论关于人权问题的时候，就已经提及该网站受黑客攻击一事。信中说："美国国务院会继续向中国施压，告知其开放网禁
的重要性。"
该请愿活动最初由美国的古根海姆（Guggenheim）博物馆发起，要求释放艾未未，并表示中国政府未能实现其培植创造力和给予自由思考空间，作为实现"软实力"和文化影响力的根本途径的承诺，人们对此感到十分失望。
享誉国际的中国艺术家艾未未于4月3日在北京国际机场准备乘机前往香港时被拘捕。事后中国当局声称，艾未未因涉嫌经济犯罪正在接受调查。长时间以来，艾未未的行动和作品直言不讳针对中国社会的负面现象，此次被捕显然是与近几个月以来中国政府镇压异见人士的浪潮有关。
中国艺术家艾未未以在英国泰特现代美术馆展出的一亿颗形态各异的陶瓷葵花籽而被人们所熟知。此外，他还参与了北京奥运会国家体育馆"鸟巢"的设计工
作。并深入调查四川大地震中因豆腐渣建筑工程致死的学生人数以及于去年11月导致58人丧生的上海重大火灾事故。而他于2009年在慕尼黑为悼念四川大地
震中遇难学生，以9000个学生背包为主题的展出更是震撼力极强，引起国际上的巨大反响。
来源：法新社 综合报道：小寒
责编：叶宣
[此贴子已经被作者于2011/6/16 22:25:49编辑过]
以下是引用 fpiaolin 的发言：
昨天晚上在推特上看到他被抓起来了，很震惊。艾大婶吧，有时候不喜欢他，因为他太能找茬了，跟谁都过不去。但是，更多的是喜欢他，喜欢他弥勒佛样的长相，喜欢他温吞吞说话的语气，喜欢他的........★ Sent from iPhone App: iReader Huaren Lite 7.19
以下是引用davidmonkey在6/17/2011 11:42:00 AM的发言：
丫就是个流氓
以下是引用 fpiaolin 的发言：
昨天晚上在推特上看到他被抓起来了，很震惊。艾大婶吧，有时候不喜欢他，因为他太能找茬了，跟谁都过不去。但是，更多的是喜欢他，喜欢他弥勒佛样的长相，喜欢他温吞吞说话的语气，喜欢他的........★ Sent from i---- Lite 7.19
Posted: 18 Jun 2011 06:32 AM PDT
中国与艾未未：英国艺术机构即将步入雷区
英国每日电讯报 6月15日 By Peter Foster World June 15th, 2011
@duyanpili 译 原文链接：http://huaren.us/IgxDs
卡普尔拒绝参加明年在中国的展览，以此抗议中国政府羁押艾未未，这对英国文化协会的“英国现在”项目是拳重击。该项目计划从2012年的4月到11月在中国的12城市展出英国艺术品。
该项目的本意是利用伦敦从中国手中接过奥运会的火炬的机会，加深两国之间跨文化的交流。艾未未被拘留必然使得组织者感到大为不便，但是我怀疑这个项目是否能够摆脱艾未未事件不断延长的阴影，他的作品今年如此壮观，照亮了伦敦泰特美术馆的漩涡大厅。
是否能轻松地找到赞助商？他们如何避免当初德国在艾未未被捆在警车上时继续“启蒙艺术展”而背负上的那种骂名？
当艾未未这位最具国际盛名的中国艺术家，在监狱里憔悴的时候——这是合理的推测，英国高级艺术、政治机构与共产党的文化沙皇过从甚密是否能感觉良好？
或许所有这些嘟囔的矛盾都无关紧要。毕竟，中国奥运会预示着基本自由的恶化，而不是如每个人所允诺的社会进步，但是全世界只顾享受着宏伟盛会，对这一尴尬的事实却视而不见——正如中国统治者所期待的那样。泰特博物馆的主管Nicholas Serota爵士，签署了古根海姆发起的释放艾未未的请愿书，据推测他将不会前往，但是其他显贵们将会参加。去年11月份，大英博物馆馆长尼尔麦格雷戈（Neil MacGregor）和时任维多利亚和艾伯特博物馆馆长的马克.琼斯爵士，作为大卫卡梅伦贸易代表团的成员来到北京，宣布举办一个关于陶瓷的巡回展览，作为“英国现在”盛会的组成部分。
现在是否继续？许多人会说不，虽然因为中国官员的过激行为而惩罚中国公众看起来不公平。至少，大英博物馆的老板尼尔.麦格雷戈应当解释，为什么他认为在目前的环境下，他的机构与中国文化机构在这个水平上进行合作是正确的。
麦格雷戈先生作为一个诚实的、坚守原则的人士而享有广泛声誉（他已经拒绝了一个骑士头衔，这我很佩服），但是自艾未未被关押以来，他还未就此公开发表过任何看法，这是很奇怪的。他与中国的联系十分广泛，并且是06年中英两国具有里程碑意义的文化交流，也是英国最大规模的兵马俑展览的中间人。麦格雷戈先生必须对公众说明继续的理由，虽然对他而言这可能很不舒服。英国文化协会首席执行官马丁戴维森说他非常希望“英国现在”的项目能够继续下去，并带来通常所说的与中国接触带来的好处。“文化交流是我们展示艺术自由表达带来好处的最好方式，并且会在中英两国人民之间建立起支持性的联系”
困难的是，这些理由都无法说服我。
不管我们喜欢与否，这9个月的文化之旅基本上可以归结为英国文化机构给中国“面子”（这是中国唯一重视的），而中国却正将“麻烦的”艺术家囚禁起来。
而且，即使我们不是有意传达出这样的信息，相信中国也会这样理解：对破坏所有国际准则行为的一种默许。这是带着正向激励的明确信号：英国总是准备走其它道路。
我希望这是不对的，因为这种政治是不可避免的。
艾未未近况：
艾未未最新的消息是没有消息。我们今天与他的姐姐高高阁通了电话。她说她们分别在6月1日和14日向税务部门询问艾未未所谓的“经济犯罪”的调查结果，但是对方说还没有任何结果。
她们也给北京公安部门写信要求告知艾的司机、设计师、会计和志愿者的下落——他们已经被警方带走超过2个月。但是没有得到任何答复。
除了等待，我们似乎无能为力。
By Peter Foste
[此贴子已经被作者于2011/6/19 3:46:17编辑过]
http://www.duping.net/XHC/show.php?bbs=11&post=1139368
作者: 韩武
中国人权铁马万里行（第一天、第二天）
自由女神像前出发，联合国大厦前抗议
6月15日，中国人权铁马万里行，车队从纽约的法拉盛出发，于16日是临晨1点钟来到了第一站新泽西州。16日著名的学者、黄兴先生的后代齐彧先生，在他的寓所热情的接待了他们，并为车队讲诉了辛亥革命的历史，让全体队员，上了一堂生动的民主革命历史课，给每个队员赠送了一本他本人撰写的《千年世家》为纪念辛亥革命的专著。于当晚11点钟，又自驾车为小分队带路，投宿于当地的MOTEL汽车旅店。
15日上午10点钟，车队汽车来到了纽约自由女神像对面的公园，宣布出发后，有很多的美国朋友，前来与车队照相，负责治安的美国警察，还让队员们在警车的前民合影留念，很热情的的同意小分队的后勤车，可在马路边暂停，直到活动结束。
下午2点车队来到了联合国大厦前，与在联合国大厦前抗议中共专制政权的、曾受中共迫害的原纽约时报驻北京的记者赵岩和流亡到美国的在中国大陆为民运和异议人士维权律师刘路，共同一起向来往的美国民众，宣讲中国人权的恶劣状况，希望联合国能向中国政府施压，尽快改善中国的人权状况。
结束了活动，临行前队长王岷接到了远在东南亚泰国的民运人士林大军的电话，他代表流亡在泰国的民运人士李志友、覃夕权，表示要同美国的“中国人权铁马万里行” 车队，同时行动，由他们三人组成泰国的“中国人权铁马万里行”小分队，17日由泰国曼谷的解放碑出发，路经柬埔寨、越南，最后回到泰国曼谷的胜利碑，进行千里行的万人签名活动。使这次中国人权铁马万里行的活动，变成了一次全球各大洲的接力活动。台湾的民运人士孔识仁先生、澳洲的陈晓先生、欧洲法国的刘伟民先生，都表示非常支持这次的活动，法国的刘伟民先生给车队捐助了500欧元。
穆文斌还接到了，现居住在旧金山湾区的64受迫害学生方政和巴蜀同盟会副会长伏虎，西雅图的金秀红女士等人，都打来表示支持的电话。
已年逾60出头的队长王岷先生，三十多年没有骑过自行车了，今天带头骑车，忍着浑身的疼痛和疲劳，坚持骑行了10几英里，起到了表率的作用。
居住在纽约的中国侨胞郑钢清先生，从当天的《世界日报》上看到了三个中国青年的“中国人权铁马万里行”，骑自行车横穿美国东西大陆的新闻后，用电话主动联系到队长王岷，同Candy Huang女士一起款带车队的晚饭，郑钢清先生给车队捐助100元美金，Candy Huang女士给车队捐助了100元美金。郑钢清先生还自驾车，为车队带路从纽约出境。从康州赶来的中国留学生崔振远和著名民主人士唐元隽先生，共同自驾车送车队到新泽西州，他们离去的时候，已经是16日临晨2点钟。
随队记者：王岷、韩武（武亚赛）
2011-06-17
为车队捐款账号：
Nevada National Bank
David Wong ,122402324:2011042
Mailing Add:8101 WFlamingo Rd,
#2111,Las Vegas NV 89122
－－－
作者: 韩武 中国人权铁马万里行（第三天） 2011-06-17 23:19:17
http://www.duping.net/XHC/show.php?bbs=11&post=1139537
17日上午10点，车队从新泽西洲Motel6旅店出发，刚上1号公路，就赶上雷阵雨，三个队员忙着避雨，汪岷队长开车给车队向下个休息点，普利斯顿大学傍边的旅店运输行李，由于行李多，要分两次搬运，副队长韩武负责看守剩余行李。
雨停时队员上路骑行，杨梦笔的自行车，车胎又被扎破了。
汪岷队长返回第二次搬运行李时，只能把杨梦笔的自行车也放到车上，到附近的沃尔玛商场又换了一辆，顺便给队员买了午餐吃的汉堡。由于车队的经济状况有限，队员们每天只能吃汉堡，喝矿泉水。但车队全体队员，没有一个叫苦叫累的。
很快雨又开始下了，在雨中的队员李东澄和穆文斌，坚持向前骑行，不愿在停下等候，而是把淋雨当成一种锻炼。骑了20英里后，穆文斌的自行车后胎也被扎破了，穆文斌只好把自行车停放到公路边的一个咖啡店的屋檐下，等后援的汪岷队长地前来，剩下李东澄一个队员冒雨向目的地，普利斯顿大学骑行。
咖啡店的老板是个亚裔的女士，看到在屋外被雨淋得湿透的中国青年，就主动开了店门把穆文斌叫进店内，问他是干什么的。穆文斌把自己骑自行车的行走的目的，告诉了这位店老板，店老板很感动，主动给他倒了一杯热咖啡，还拿来很多面包让他吃。后来雨停了，又同他照相留念，雨停了穆文斌推着自行车，走完了剩下的2英里路，来到普林斯顿大学的活动点。
在普林斯顿大学门口，全体队员会合，展开标语和印有刘晓波、艾未未、高智晟、刘贤斌、王炳章、徐万平等人的宣传牌，向来往的学生和教师及路人宣讲中国的人权状况和筹集捐款。
第一个来捐款的尽然是一个六七岁的小女孩，把一个0.25元钱的硬币，放进了捐款箱；接着一个带着一个小男孩的中年美国妇女，听到杨梦笔的介绍后，孩子给捐了1元钱，她自己又捐了2元钱；很多的大学生，都在队员身上穿的印有刘晓波、艾未未的背心上签了字。
活动从下午6点开始，8点结束，汪岷队长再一次开车去沃尔玛给穆文斌换了自行车， 18日车队的目的地是费城。
随队记者：汪岷、韩武（武亚赛）
2011-06-18 临晨1点30分
为车队捐款账号：
Nevada National Bank
David Wong ,122402324:2011042
Mailing Add:8101 WFlamingo Rd,
#2111,Las Vegas NV 89122
队员电话：
汪岷：510-333-0026
杨梦笔：213-858-3070
穆文斌：408-688-6405
[此贴子已经被作者于2011/6/19 3:52:41编辑过]
艾晓明采访艾未未：心灵的牧场
[此贴子已经被作者于2011/6/19 4:18:36编辑过]
http://vimeo.com/22588252
[此贴子已经被作者于2011/6/19 4:58:41编辑过]
以下是引用爱未来在6/19/2011 5:58:00 AM的发言：
京拘艾未未 80日「仍在调查」
2011年06月22日
昨日是内地异见艺术家艾未未被北京当局非法拘禁第 80日,当局仍未告知艾未未家人,他如何发落。一直充当艾家与当局桥梁的北京公安国保警员,昨突然登门找艾未未的妻子路青,对她表示上头仍然没有任何指示,「可能还要时间调查」。
妻要求再见面没回音
「前两天国保不接路青的电话,我们以为当局对未未态度又有甚么变化,没想到你们海外舆论一登,他们就紧张了,昨天跑去草场地,找儿媳妇(路青)解释,说是疏忽了,没带手机。」艾妈妈高瑛昨对本报指,自上月 15日儿媳妇见了一次艾未未,她们曾多次要求第二次见面,但当局一直没有回音。
「那个国保是我们和当局的唯一联系,可是也只能传个信,每次问他都是没有任何进展。」高瑛无奈说,国保称曾去税务局问查出艾未末有甚么问题,「他们真把我们当儍子,胡弄我们。谁都知道艾未未的事,根本不是甚么税务问题,查税值得这样吗?」
艾未未自 4月 3日在首都机场被当局带走后,其公司志愿者文涛、出纳胡明芬、设计师刘正刚和司机张劲松也相继被失踪,迄今不知下落,他们的家属一直未收到当局任何通知。官方喉舌曾指艾未未涉税务等经济问题被调查,但外界相信实为当局不满他近年积极介入民间维权,令当局难堪有关。
《苹果》记者
报道链接：http://huaren.us/4bMq1
德国文化部长就艾未未事件再次批评中国
法广 日期 2011年 6月 22日 作者 柏林特约记者 丹兰
中国艺术家艾未未被关押2个半月后，德国文化部长诺曼再次批评中国专制独裁。这位基民盟政治家在接受德国国际通讯社采访时表示：“对这位艺术家的关押乃是独裁的恣肆行为。它不允许持续下去。”
他说：政治要象扎针一样一直扎下去，艾未未这一话题决不能逐渐被忘却。人们必须一再呼吁中国释放艾未未。诺曼坚信“国际压力会而且将产生作用。”但他认为，仅靠外交是达不到让中国释放艾未未的目标的。
当问到德国政府是否应考虑对中国实行制裁时，这位文化部长表示：人们不应低估言论的作用。“整个相关讨论已让中国政府很不舒服。”他还说：艾未未是所有被关押艺术家的象征。“为艾未未的权利和自由奋斗就是为世界上所有遭到独裁和镇压的艺术家的自由而奋斗。”
艾未未4月3日在北京被逮捕后，德国各界发起了多场声援艾未未的活动。不久前，德国一家出版社表示，艾未未受到禁止的博客八月份将已图书形式在德国出版。书名为“别对我抱有幻想。”在博客里，艾未未追踪报道中国的发展近四年之久。话题有萨斯、毒奶粉丑闻、人体器官交易等等。
来源：http://huaren.us/R8QhO
摘要：2010年诺贝尔文学奖得主、秘鲁作家略萨于今天结束中国之行，在此期间，他在上海外国语大学及中国社科院等分别发表演讲，其中在上海外国语大学演讲时，他介绍其作品《教堂里的对话》时认为：独裁和专制的政府腐蚀了整个社会。
2011年6月12日至20日，2011年诺贝尔文学奖得主马里奥·巴尔加斯·略萨，应上海外国语大学、中国社会科学院外国文学研究所、北京塞万提斯学院、中国人民大学文学院等机构的邀请访问中国。
略萨1936年3月28日生于秘鲁阿雷基帕，是西班牙语文学的顶级代表。主要的作品《城市与狗》、《绿房子》等。2010年获诺贝尔文学奖。
略萨的作品早在上世纪70年代末就登陆中国，他在中国亦有众多的拥趸 ，在中国期间作家王安忆、王蒙、莫言、铁凝等参加了与略萨的交流活动。
中国官方媒体对略萨此行亦有报道，但未提及具体的演讲内容以及他的政治意见。
"不应只把政治留给政客"
据美联社报道，秘鲁作家略萨上周二在上海外国语大学西方语系被授予名誉教授时发表了讲话，他并没有直接提及中国，而是由他1969年的小说《教堂里的对话》谈起，他说这部作品想表现的是：独裁和专制的政府如何腐蚀了整个社会，也使政治色彩更淡的活动被迫进一步地远离政治，从而使社会更加堕落。
略萨在演讲中说："不应只把政治留给政客，因为这样的话政治就开始出错了，每一位公民都应该参与他所处时代的政治生活。正是从参与开始，才能结出最好的果实。"他也鼓励作家在以文学作品记录时代的政治。
另外，结束在上海的活动后， 6月17日略萨在北京中国社会科学院发表了题为"一个作家的证词"的演讲。他认为文学应该有社会责任。文学应该以批判的态度来关注社会，因为文学是一种行动的方式。
"民主社会没有很好的支持专制国家勇敢的人"
略萨在去年年底发表诺贝尔文学获奖词时表达了对狱中的持不同政见者、诺贝尔和平奖得主刘晓波的支持。他称刘晓波为"一名中国战士，在他的国土上赢得了民主的桂冠。"
德国之声采访了旅居瑞典的中国作家傅正明，他也是诺贝尔百年文学奖得主作品集的译者，曾翻译了略萨的诺奖文学奖获奖词并发表于香港《明报》："略萨在瑞典斯得哥尔摩的演讲词中提到，民主社会由于没有很好的支持昂山素季、刘晓波这些勇敢的人，而是迎合了专制者，因此使得政治受到威胁，以前的诺贝尔文学奖获得者大江健三郎在演讲中也提到，要尤其关怀在1989年天安门事件之后流亡的作家，但是这些演讲词在中文的版本中都没有提及。"
据傅正明介绍，在略萨中国行之前，目前旅居美国和台北的中国流亡诗人贝岭向略萨致信，信中以流亡作家的身份期待略萨到中国时能够勇敢的发出声音，向中国当局提出去探望刘晓波，或要求和中国的异议作家廖亦武见面，或是向中国政府提出释放知名艺术家艾未未和作家冉云飞等。
"作家要回避政治是不可能的"
谈及作家作品与政治的关系，傅正明认为真正伟大的作家，应该看到政治与审美的可能性："略特有一些作品是直接反映秘鲁政治的，没有涉及中国政治问题，但在他的小说中都可以看到所谓的社会主义阵营、经历了革命阵痛的国家面临的共同的专制问题， 政治尤其在专制国家，是渗透在生活中的每一个领域的，作家要回避政治是不可能的，当作家只要是真实的反映生活，就必须和当时的政治情况相关，所以政治不只是统治者、掌握权力者的政治。作家的作品不一定直接以政治为主题，但他的作品中要折射出政治的矛盾、深层原因。真正伟大的作家，无论是现实主义作家、还是理想主义的作家，都逃避不了政治，不然作品就成为空中的城堡。"
作者：吴雨
责编：李鱼
http://www.npr.org/blogs/thetwo-way/2011/06/22/137341268/ai-weiwei-released-on-bail-chinese-state-news-agency-says
艾未未巨额逃税获取保候审
http://www.sina.com.cn 2011年06月22日 23:12 财新网
【财新网】(综合媒体报道)据新华网北京6月22日报道， 北京市公安机关对艾未未涉嫌经济犯罪依法进行侦查，已查明其实际控制的北京发课文化发展有限公司存在逃避缴纳巨额税款、故意销毁会计凭证等犯罪行为。鉴于艾未未认罪态度好、患有慢性疾病等原因，且其多次主动表示愿意积极补缴税款，现依法对艾未未取保候审。(财新记者 徐明(专栏))
liu_xiaoyuan 刘晓原律师
今晚，我几乎成了艾未未的“代言人”，由于他和家里人不是关机，就是没接听电话，媒体采访的电话全打到我这里来了。#aiww
12 minutes ago
liu_xiaoyuan 刘晓原律师
正在为年检发愁之时，艾未未取保候审出来了。我不用担心年检过不了关，而不能做他律师的问题了。
16 minutes ago
liu_xiaoyuan 刘晓原律师
我在十一时发了短信给艾未未，他刚回复了我，他出来了！！！
1 hour ago
撒花撒花！！！
刘晓原的推特上也证实了这个信息. liu_xiaoyuan 刘晓原律师 今晚，我几乎成了艾未未的“代言人”，由于他和家里人不是关机，就是没接听电话，媒体采访的电话全打到我这里来了。#aiww 12 minutes ago liu_xiaoyuan 刘晓原律师 正在为年检发愁之时，艾未未取保候审出来了。我不用担心年检过不了关，而不能做他律师的问题了。 16 minutes ago liu_xiaoyuan 刘晓原律师 我在十一时发了短信给艾未未，他刚回复了我，他出来了！！！ 1 hour ago
太好了！看来实在是找不到人什么把柄了。
http://finance.sina.com.cn/roll/20110622/231210032831.shtml 艾未未巨额逃税获取保候审 http://www.sina.com.cn 2011年06月22日 23:12 财新网 【财新网】(综合媒体报道)据新华网北京6月22日报道， 北京市公安机关对艾未未涉嫌经济犯罪依法进行侦查，已查明其实际控制的北京发课文化发展有限公司存在逃避缴纳巨额税款、故意销毁会计凭证等犯罪行为。鉴于艾未未认罪态度好、患有慢性疾病等原因，且其多次主动表示愿意积极补缴税款，现依法对艾未未取保候审。(财新记者 徐明(专栏))
国宝们实在太恶心了！