The world as a readymade: a conversation with Ai Weiwei

• Autor(a) principal: Mendes, Ana Cristina
• Data de Publicação: 2022
• Outros Autores: Ai Weiwei
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/52388
• topic: Ai Weiwei, 1957-; Postcolonial studies; Cultural studies; Visual culture; Anthropocene; Activist art; Documentary cinema; Chinese contemporary art; Transnational cinema

Ai Weiwei positions himself first and foremost as a thinker, driven by curiosity and even selfishness, and not shying away from ridicule. Through immersion and direct response to different, unfamiliar conditions, he aims to defamiliarize pre-set thinking, not letting himself be trapped by rationality and led by simplified, predetermined conclusions about the world. Despite the self-proclaimed selfishness at their core, Ai’s artistic acts become selfless through resonance, inviting the viewer into his thought experiments with the world, which he engages with as if the world were a readymade. This conversation departed from the transnational film Tree (2021), where Ai meticulously documents the work of Brazilian and Chinese artisans in creating his 32-metre iron sculpture Pequi Tree (2018–2020). We began with political curiosity as a creative driver for the artist, the influence of Duchamp and Warhol, and the choice of the audiovisual medium to reflect reality. The conversation branched out to consider aesthetics, tying the issue of aestheticization to Ai’s role as a public intellectual, from an earlier refusal of aesthetics or ‘beautification’ in the interest of unmediated transparency to the realization that new aesthetics are needed for new publics.