google-site-verification=sgg4im-5wonM1zfm_goeI6NJJLWuu6Mt1VgnpC3mSr0 Conceptual Art Network: 2015
Conceptual Art Network

Conceptual-ism, Performance Art, Alter-ism, Mimetism, Dada, Fluxus, ItBe, Texts, Ideas, Music, Rants, New Media, and Humanities Revolutionary Thinkers. Those who Questioning Anything and Changing Everything.

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Monday, October 19, 2015

chasealias, the most dangerous artist in america :: alter art(alter-ism)


chasealias, the most dangerous artist in... by David_Pollack

See The Original Alter Art Work before UMG group decided to try and claim it was prohibited. The complete Irony of the whole thing. Jay-Z was Covering "Forever Young" a Song about Carrying on an Idea. As If UMG isn't out of touch with the Art and their Artists? They really should get a clue. Thank goodness for Daily Motion for having the sense to realize the reality of the situation.

Saturday, October 17, 2015

Sentences on Alter Art (alter-ism) : : Chasealias


Alter Art (alter-ism) :: Chasealias 

An Emergence Theory in Conceptualism, Performance Art, Fine Art, Music, Poetry, Writing, Culture, Philosophy and Systems Theory.



Every Person is Unique.


Within our differences and individuality we are the same as all other humans.


Creating the fabric that is Humanity,


this is  "Emergence" from a basic understanding of systems theory.


The More Complex And Chaotic the System,  The Simpler the Logic it creates.



The oneness, the pattern of import, the value which is in each of us.



An understanding clarifies while embracing our uniqueness, our flaws and our individuality.



This is crucial for all of us in order to reach a 'Singularity' and ultimately Evolve as a species.

-Chasealias DS Pollack

Alter Artist/Performance Artist
@chasealias

http://Chasealias.com
http://conceptualartnetwork.org
http://00iami00.com
http://tim.theideamachines.net
http://alterism.00iami00.com
http://hitchhi.com
http://autonomictour.00iami00.com
http://theorizeart.com

#art, #alterart, #alterism, #performanceart, #netart, #conceptualart, #00iami00, #chasealias, #dspollack, #thisisart, #iamart

Tuesday, October 6, 2015

Alter Art (alter-ism) : : An Emergence Theory in Conceptual/ Performance Art Established by DS Pollack 2002

Alterism

Alter Art (alter-ism)  : :  An Emergence Theory in Conceptual/ Performance Art, Philosophy, Science and Systems Theory utilizes online avatars(alters) to question the reality of identity.






Screenshot 2015-10-05 at 12.52.36.png

Simultaneously creating a cultural Mise en Scene. The Use of Social Media, Immersion/Gonzo Journalism, Method Acting Characterization and Mimetic Style Self Imagery subtly allowed the Alterist with their numerous pseudonyms and characters to infiltrate the 'Zeitgeist'.





Catapulting their Concepts, Artworks, Philosophies and the Alter Art Movement itself mainstream of our cultural lexicon.

Complexity Simplified: The Emergent System

Complexity Simplified: The Emergent System: The concept of emergence seems to be cropping up everywhere one turns these days. The term is used to describe not only new events in organi...

While the Concept of Emergence has Been Around for Years
It May be the Key to an Understanding of Humanity

Emergence to Singularity

DS Pollack
Chasealias.com

The Emergent System

The concept of emergence seems to be cropping up everywhere one turns these days. The term is used to describe not only new events in organized religion, as described inthe book I reviewed last week, but many other examples of otherwise unexplained behavior in the social sciences, such as dynamics in financial markets.

Emergent properties are collective properties, which means they are properties of collections, not properties of individual parts. The cause can often be traced back to the 
interactions between the parts of which a system is made.

Often the nature of those interactions is more important than the identity of the parts. Thus, flocking behaviors are observed in systems composed of insects, birds or even people, as seen in the accompanying 
photo. This concept has found a use in the computer science world where swarm intelligence, a type of artificial intelligence, is used to control flocks, or swarms, of robots.

The term "emergence" has been around for awhile and can be traced back to systems theory. Systems theory has also been around for awhile, going back to the 1950s, but it was not until 1972 when Philip Anderson wrote an article in Science entitled "More is Different,"that scientists really began to grapple with the fact that systems are different than the isolated parts which collectively make up the system.

In this seminal article, Anderson wrote:

"The ability to reduce everything to simple fundamental laws does not imply the ability to start from those laws and reconstruct the universe...At each level of complexity entirely new properties appear. Psychology is not applied biology, nor is biology applied chemistry. We can now see that the whole becomes not merely more, but very different from the sum of its parts."

This idea that the whole is more from the sum of its parts is one of the main reasons that the emergence concept has been so compelling. When a new quality, or new behaviors, emerge from a simpler system we scientists long for a theory or explanation.

So far, our understanding of emergent behavior is only partial. We understand that the interactions between the parts of the system is a key feature of the mechanism that leads to emergence. We also understand that the behavior of the system as a whole can 
feed back on the parts which make it up, changing the behaviors of those parts.

It is this last aspect of emergence that makes it seem more than a little scary to those who first hear about it. If we are the parts and the system is society, the idea of the "system" imposing its will on us can be quite frightening.
 Just what is this "system" that is imposing its behavior on us? And is it something that I, as an individual, have any choice about?


This topic is a deep and intricate one and I will have much more to say about the science of emergence in future posts - stay tuned!

Saturday, August 22, 2015

Sunday, August 9, 2015

Autonomic Tour: 这是你的错美国 :: This is your Fault America



The Juggernaut has Spoken.  The Giant has Awoken from a Deep Sleep.



No Longer Do Artist Enjoy the Freedoms and Liberties Once Promised.



In the Tale of David and Goliath the Odds Seemed to Favor the Giant\



Everyone Knows How That Turned Out.......





chasealias' david v goliath



on.autonomic.tour.rad.io



#这是你的错美国, #alterart, #otherism, #DavidVGoliath, #NetNeutralityNow



Autonomic Tour: 这是你的错美国 :: This is your Fault America: The Juggernaut has Spoken.  The Giant has Awoken from a Deep Sleep. No Longer Do Artist Enjoy the Freedoms and Liberties Once Promise...

Autonomic Tour: 这是你的错美国 :: This is your Fault America





The Juggernaut has Spoken.  The Giant has Awoken from a Deep Sleep.



No Longer Do Artist Enjoy the Freedoms and Liberties Once Promised.



In the Tale of David and Goliath the Odds Seemed to Favor the Giant\



Everyone Knows How That Turned Out.......





chasealias' david v goliath



on.autonomic.tour.rad.io



#这是你的错美国, #alterart, #otherism, #DavidVGoliath, #NetNeutralityNow

Autonomic Tour: 这是你的错美国 :: This is your Fault America: The Juggernaut has Spoken.  The Giant has Awoken from a Deep Sleep. No Longer Do Artist Enjoy the Freedoms and Liberties Once Promise...

Raciality :: onetwentyeight gallery nyc




Raciality August 14 - September 12, 2015 Opening Reception: Friday, August 14th, 6-8 with a Panel Discussion* commencing at 6:30 pm Gallery Hours: Wednesday - Saturday 1-7 pm and Sunday 1-5 pm onetwentyeight​is excited to present Raciality​. What is the racial reality of life today? It does seem to be a different experience if you’re black rather than white in this country. It does seem this way. But we are just one race - The Human Race. We speak as if we are all different races - black, white, red, yellow, brown. Yet, these are mostly social constructs, artificial creations that keep us divided. What if we were among a race of alien beings(“uchujin”)? What is some day we find ourselves in touch with beings from different universes and different realities? How would we explain ourselves? First, we would identify as human, no? Regardless of the color of our skin. And the reason it is so hard for many to do that today? Raciality. Todd Ayoung - Orin Buck - Christopher Craig - Cheryl Edwards - David Fenn David Higginbotham & Aya Kawano - David Hammons - Gerald Jackson Helmut Krackie - Ayakoh F. Leonart - Jennifer Mack - Al Mack - Ptah Miller Kazuko Miyamoto - NeNe - Miguelangel Ruiz - Sandy Strauss - K. Saito - Glen Sacks Gordon Sasaki - Angela Valeria - Ricard Woo - Susan Yung - Bobby Watlington *Panelists will include Yarrow Dunham, Professor - Department of Psychology, Yale, CT, Cheryl Edwards, Artist, Washington D.C., David Higginbotham, Artist, NYC, and Robert Lee, Exec. Director/Curator, Asian American Arts Centre, NYC.

onetwentyeight
128 Rivington Street, New York, NY 10002

Monday, July 20, 2015

Studio 26 seeks Curatorial/Programming Intern

Studio 26 Logo

Studio 26 Gallery at 179 E 3rd St. (Between avenue A and B, Manhattan, New York has  internship positions available.

Studio 26 seeks Curatorial/Programming Interns to work with us on our upcoming season, which runs from January 2015 to December 2015.

Interns will work closely with owner, gallery directors, outside curators, performers, artists and be given tasks related to current and upcoming gallery exhibitions and art fairs, and structured projects that are determined by each candidate's interest and experience.

This year we are presenting group and solo exhibitions and performances by our co-op members, domestic and International visiting artists, performance session artists, poetry session artists, music session artists and 2D and 3D artists at our art fairs and exhibitions in Europe, New York City, Miami and China. Interns will also help us prepare for other exhibitions through 2015 and 2016.

Responsibilities include, but are not limited to: maintaining an active presence on social media outlets; communicating with artists, researching and compiling supplemental materials for exhibitions and special events, formatting information for the website, exploring opportunities for collaboration, seeking appropriate collectors, assisting with publicity and coordination of events, overseeing the gallery during exhibitions, and answering questions and providing the public with information. Interns will assist in the execution and publication of the exhibition post-cards, booklets, writing press releases and helping with installations.

Interns will have an opportunity to have a hands-on experience with making exhibitions, from the initial concept stage to its final execution in the gallery and at art fairs. There is much potential for self-generated and self-directed tasks, such as conducting brief interviews with participating artists to be posted to our website blog and a curating a pop-up exhibition that is organized and curated by the interns.

An ideal candidate is energetic and self-directed, with a background in the visual or performing arts or art history, as well as experience doing research and interacting with an enthusiastic, art-savvy public. Taking initiative on projects and tasks is highly desired, with the ability to work independently and in a group setting.

Studio 26 was founded as an art collective that provides opportunities for national and international artists to exhibit in the storefront Manhattan gallery setting as well as at national and international art fairs. Studio 26 is also a platform for performance artists, poets and musicians to create an audience and present new experimental work.

Application Instructions:

• Recommended two to three days a week on Wednesday through Sunday, 1pm-6pm; highly encouraged to attend and assist with events beyond these times.

• Adobe Creative Suite, and Microsoft Office preferred.

• Passport for international travels.

• This is an unpaid internship and we encourage interns to apply this experience towards college credits and acquiring knowledge and experience in the international and domestic art markets.

• Other internship benefits are detailed during interviews.

Please email cover letter and resume with subject heading "Internship" to info@studio26nyc.org



Sunday, June 28, 2015

chasealias institute: (Re)Ligion, Part One : Why? by DS Pollack

chasealias institute: (Re)Ligion, Part One : Why? by DS Pollack



(Re)Ligion, Part One : Why? by DS Pollack

#QuestionAnything #ChangeEverything
(Re)Ligion
DS Pollack
 Part One  :  Why?
I have never been one
For organized western monotheism


That, I believe to be personal

Not fodder for social memes
I'm not ignorant towards Theology
Moral systems tentatively designed
Creating reasoning for logicality.

I feel a deep and true appreciation For spirituality and devotion However,
as a creative being always must question everything
As a shy baby, before I could cry
My very first word was, Why?

0
I
Criticism is the Father of Revolution.
0
#QuestionAnything, #ChangeEverything
I
I

Thursday, June 18, 2015

In Common : DS Pollack on Self and the Commonalities of All : CAN, Ltd.

What do Ai Weiwei, RuPaul and the Dalai Lama have in common?  


What a strange question right?   By the end of this short article maybe it will make some sense to you. It seemed interesting enough to me to write.

If you can' love yourself how the hell ya gonna love anyone else?  Can I get an Amen up in here!                -@rupaul



Hello,

I began to think about how to introduce myself today. One normal greeting might be, Hello my name is...but there is exactly where i drew a blank. You see. I have so many names that I go by and that I'm know by. So many monikers, screen names, nicknames, legal names, avatars and stage names that "I" can't even keep track of them. We all do actually Most Famously I go by Chase Alias, Holden Vance III or even Cubby but in reality those alters aren't "who I am". My given name is David Stuart Pollack, Conceptual Artist, and Human Being. Those other people are just Characters. People I've created in order to express myself in some way. They are like the paint brushes in my strange form of conceptual Art which I cal Immersion Art.
All love is self-love. All interpretation is self-interpretation. The value of "interpretation" is that through it, one might expose reality, or explain oneself. –@aiww
By turning the camera on myself, and selecting the photographic Genre of self-portraiture, I am attempting to create a canon of works consisting of probing, surprising, and thoughtful images. The majority of my photographs seem to be pictures of myself, however, these photographs are most definitely not self-portraits. Combining Method Acting and Conceptual Photography reinterpreting two art forms to create a brand new art, which I call Immersion Art or Alterism, a style of online performance art.





The purpose of spirituality Is self discipline. Rather than criticizing others we should learn to criticize ourselves.  -@Dalailama



DS Pollack
Retweetcritique@gmail.com
@dstuartpollack
@chasealias 

Tuesday, June 9, 2015

The Viable Bi-Product : B Holden Vance for Retweetcritique.com





The Viable Bi-product

"If Necessity is the Mother of Invention, Criticism is the Father of Revolution." -RetweetCritique.com

DS Pollack uses his unique skill sets and training in Performance Art Method Acting and Immersion Journalism to create challenges and situations for the service industry to invoke reactions. Pollack creates this work as a memory of his art, the Performance. He writes travel and hotel reviews in and out of character as a new high art form and the marketing strategy for the travel apps becomes the viable bi-product.

B. Holden Vance III
Retweet Critique
retweetcritique@gmail.com
beingholden@gmail.com
+1(914)733-5284

Monday, March 16, 2015

DS Pollack, Selecting Locations for Chase Alias' Autonomic Tour


CHASE ALIAS


Chromebooks of the Autonomic Tour,  2002 - 2015

New Conceptual Art Series


Series
13 Years Immersed
G-mail  Usernames and Passwords
Each One Unlocks a Complete Social Network
Allowing the Collector(s) to Be my Characters
by DS Pollack


Taoist Meditation, 2012 New Media by Chase Alias

Gagosian Gallery


Tagline
Founded by Larry Gagosian, the gallery has dedicated itself to organizing important exhibitions of contemporary and modern art.
Introduction
Attuned to the dynamics of today’s world, Gagosian Gallery has evolved into a global network, currently maintaining fourteen distinct exhibition spaces in eight cities.

Friday, March 6, 2015

INDIGO Recording : Video Interview : 地 点:酒仙桥颐堤港 : Rongrong and Ai Weiwei : 对 话 者:艾未未, 刘安平

Ai Weiwei

Shared publicly  -  Jun 15, 2014
 
Time: May 27, 2014 Location: Chaoyang District jiuxianqiao INDIGO recording: video interview interlocutor: Rongrong Ai Weiwei 

 
时    间:2014年5月25日
地    点:酒仙桥颐堤港
记录方式:视频采访
对 话 者:艾未未
          刘安平

艾未未:介绍一下你是谁,你的情况。
刘安平:今天你打电话问我,我不是也说的很清楚了嘛,那电话你录了没有?

艾未未:说啊。
刘安平:我是谁?我……这个问题,这不是审判了吗?

艾未未:问你,介绍一下嘛。
刘安平:这个我不想介绍,我凭什么说我是谁呢,是不是?完全没有原因你就问我是谁。像你今天给我打了个电话,问“你是谁”,我应该先问你是谁,你才能问我是谁,是不是?所以没有原因,这个身份是不能回答的。

艾未未:我昨天还不知道你是参加这个展览的。
刘安平:哦 你还不知道是吧?

艾未未:后来我看名单里有你,哦……原来安平也是有参加的。谈一下对汉斯的印象。
刘安平:嗯,已经过去很长时间了,反正我觉得我实际上没有什么特别的印象,所以就是说我参加这个展览,他们把以前的东西翻出来,然后有一个作品,这个作品你也知道,就是蛋,我给汉斯送过鸡蛋,那个作品其实一直有很多人想知道但是没见过,然后我主要是围绕这个蛋写了一篇文章,这就是我主要在这个展览上做的,其他他们有什么,他们展什么我也不知道。作为这个蛋来说,如果是跟汉斯的印象的话 我也写了一个小文章跟这个展览有关系,叫《与汉斯分享13公斤鸡蛋》,这就是我知道的比较准确的印象。

艾未未:你对汉斯的印象是什么?
刘安平:你是说他这个人是吧?说实话我有点忘了。

艾未未:啊?
刘安平:有点忘了,嗯。

艾未未:你这次回来就是参加这个展览的吧?
刘安平:对,是这样,是他们给我买的机票然后我回来的。

艾未未:是谁跟你联系的呢?
刘安平:就是那个玛丽安娜,就是那个荷兰人。

艾未未:玛丽安娜是个什么人?
刘安平:你不认识吗?她是策划人啊,我想是这样的,就是做这个展览的策划人。

艾未未:这个展览的目的是什么?
刘安平:这个不是我该想的事情吧?

艾未未:参加这个展览一定要有想法。
刘安平:我主要是达到我的目的。

艾未未:你的目的是什么?
刘安平:我的目的就是刚我跟你说的蛋的事情。关于腐败艺术,主要是这个。

艾未未:你能再说一点吗?
刘安平:我写了一个文章在墙上贴着呢,题目叫做《艺术作为风格和它作为腐败的社会意义》。


艾未未:主要观点是什么?
刘安平:主要观点就是,艺术因为它的社会意义本身的异化性,使艺术作品变成了社会意义的替代品。然后这个艺术作品是一个赝品,所以我现在写这个文章,这个材料是要比一个艺术作品是更好的材料,大概的观点是这样的。

艾未未:刚才给你打电话的时候你就谈到,今天晚上你们要答谢策展人,是你发起的吗?
刘安平:这个谈不上是我发起的。

艾未未:是怎么一回事能介绍一下吗?
刘安平:这个就别录了吧?

艾未未:这有什么关系呢?
刘安平:这个我觉得录了就没意思了。

艾未未:怎么就没意思了呢,这就是我,你对面的就是我。
刘安平:唉,你就是这样,经常有些私人化的东西公开了啊。

艾未未:私人事你可以不说嘛,有些话你可以不说嘛。
刘安平:这个不是我想把有些东西搞得很隐蔽,不是这样的一个意思,我不太想说这个,我可以跟你说,但我不想对着这个说。

艾未未:你对我说就是对镜头说。
刘安平:那不是不是,我昨天我也跟你说了,我说我不相信这种东西,你记住没有?

艾未未:咱们不要说昨天了,也不要把这个事情扩大化,我问你简单的问题你能回答就回答,不能回答就不回答。
刘安平:你现在弄这么个家伙……好……机器架在这里,这到底是个什么事嘛?

艾未未:我在做一段记录,因为这个事情跟我有很大的关系。我就说我吧,你知道这个展览我是参加者吗?
刘安平:我知道,因为我看他们以前的一个预告。预告里面有你的名字,因为我在柏林的时候看过他们这个展览是怎么预告的,那个里面有你的名字,后来来了以后我就再也没看过,你知道吧?后来看到没有你了,可能是他们后来中间变了,反正我在柏林来之前,一个星期之前,还是有你的名字的,你是在第一个名字。

艾未未:你什么时候发现变了?
刘安平:我是昨天他给我看手机上的那个我才知道变了。


艾未未:谁给你看的?
刘安平:就是这个叫崔灿灿给我看的,他把手机扒拉出来看那个press那个东西我才知道的。

艾未未:你怎么看待这个事情?
刘安平:因为这个事情,我自己本来想象它应当是一个虽然是以汉斯,一些跟他有关系的人和事,我想的比较简单,我也不知道他们是怎么策展或是怎么做,我觉得就像一个一般的展览,但是当我在开幕的时候,我知道你把这个作品拿走的时候,我的反应就是说你跟汉斯的程度跟别的艺术家区别很大,因为你跟汉斯在我走了以后我觉得你跟汉斯有很多实际的合作,你当过CAAW的总监,而且我也知道那个房子是你盖的。这个时候如果要说到不是单纯的艺术的话,如果作为一段历史的话,我觉得就是你应当跟我们有一个区别,这是我的看法。

艾未未:你说的是你对史实的一个认识,你对把我名字去掉这个事情怎么看?
刘安平:……

艾未未:这样说吧,为纪念汉斯的展览,一段历史史实 但同时在改变这个事情,这种做法你怎么看?
刘安平:这种做法我是站在你的立场上的。

艾未未:我的什么立场?
刘安平:因为你发过那样一个东西,我看过,我觉得就是说他们这样做是不应该的。

艾未未:他们这样做是对汉斯的一种尊敬吗?还是为了他们个人的某种利益?
刘安平:对汉斯的尊重?我从来就没有想过他们谁做一个展览是为了对什么人的尊重,因为我对展览本身的这个事情我是从来就没想过,现在是因为有你这个事情以后,然后可能就是说因为你的行动提醒了人,它不是一个单纯的展览,可能是这样的。

艾未未:你作为一个中国人经过了很多,比如六四,六四之后你进去了,当然这是他们跟你开了一个玩笑对不对?但是你对中国人到今天,25年以后,仍然不能正面去面对这个史实,那么在生活中的每一件事,包括你参与这个展览,同样又将某一些史实改变,这到底是一个什么样的事,你作为一个在国外待了这么久的人?你知道德国人是怎么对待历史的吗,这个痛苦是很大的,德国人是怎么面对的,当然了,这里是有很多挣扎的,我希望听一下你的意见。
刘安平:我想用我自己的语言来说,因为实际上我自己也面临着同样的问题,跟历史有关系,主要是跟现在有关系,跟现在有关系就比如说用一个共同体来追问艺术到底是什么或者到底什么是艺术,那就是艺术它跟真实的关系究竟是一个什么关系?如果它跟真实不是一个必然的联系的话,那么艺术是不是需要受到一种限制,艺术需要一个界定,我有发言我也问了这个问题 艺术的界定点在什么地方?它的位置到底是什么?这是我有书面发言的这么一个东西。

艾未未:这个事件既然已经发生了,这不是你的意图也不是我的意图,但在我们都在这个事件当中。
刘安平:这个事情我跟你说,我写的那个文章可以给你看,也是我在这个展览上我做的一个发言,就是我说的最后一句话,因为我自己觉得,我觉得不是因为这个展览,我觉得是所有的公开的跟艺术有关的都有这样的问题,所以我才提示出了这样的一个问题。

艾未未:咱们还是具体回到这个展览吧,因为我还没看,好吧?
刘安平:我说的也是这个展览,就是在这个展览上的发言。

艾未未:这个展览是怎么回事你能说说吗,你觉得它是怎么回事。可以说至少艾未未算你认识的一个人,也交往过一段时间,他的情况你也比较了解,在艺术家里你应该是比较了解的,因为你是上推特的,所有的艺术家都不上的,咱们也有着一些共同的国外的一些经历,那么你怎么看待这个事件?
刘安平:呃……因为这里面是这样的啊,因为我基本上不在北京生活,所以我很少想他这个机构到底是怎么回事,又是外国人又是中国人,又是怎么怎么样,我也不想知道这些事情。就是策划人按照我的想象,我觉得这个策划人可能不是要把你的名字去掉的,她肯定不是做这样事的人,我是这么判断的。

艾未未:那是一个无形的手咯?
刘安平:那当然不是一个无形的手了,那肯定是一个有形的手,那就是跟整个尤伦斯它的这个结构有关系的一个东西。策划人是他们请的,我觉得是这样的,那么策划人到底知不知道这个事情我也不知道,我也没问过我也不知道,后来没有你的名字了我不知道有多少人知道,因为我在展览之前我也没看他们把名字去掉这个事,我是在一个多星期之前,我在柏林看他们展览预告的时候,那个时候你的名字在上面。

艾未未:现在你知道了?
刘安平:现在我知道了,我是昨天才知道。

艾未未:先从昨天你知道以后,你觉得作为一个艺术家,当他认识到一个和他同样权利和原则的艺术家,或者是同人,遇到这样事情的时候,你有什么样一个方案?
刘安平:嗯……未未我觉得是这样的,不仅仅是一种态度,就是在它这种事发生的时候你可以做什么,是这样一个问题。

艾未未:对我想知道是你觉得你可以做什么?
刘安平:我不知道。

艾未未:你会撤出这个展览吗?
刘安平:撤出这个展览就是说我要撤出这个展览,这有个什么样的形式呢?是一个什么样的形式呢?

艾未未:对于我来说艺术家比较简单,在这个展览中将自己所属的部分脱离出展览的这个框架,这叫撤出这个展览。
刘安平:什么意思?你再说一下

艾未未:将艺术家所属的部分脱离这个展览所设计的一个框架,这叫撤出这个展览。
刘安平:那我同意。

艾未未:你愿意这样做吗?
刘安平:愿意。但我不愿意就是说,像他们说的展览做的也比较好,这个也是我的观点,就是比如说单独甩开所谓的机构、结构,我们看这些,我觉得算是一个比较好的一个展览,我觉得是这样的。所以我就是说看在一个什么形式下,因为我觉得作为一个艺术家为了这个展览做出了努力和工作,我觉得就比如策展人也做了努力和工作。

艾未未:撤出一个展览的同时是展览的一部分,也是做了一个工作,也是作为历史事件的一部分,这个你不要忘记。人是无法真正撤出一个展览的。
刘安平:我再比如说在展览这样一个形势下

艾未未:因为我一直认为你是一个在观念上比较激进的一个人。
刘安平:我是开放的。

艾未未:我现在简单问你这个问题,你会撤出这个展览吗?
刘安平:我说的是在什么形势下,我还得说这个,因为这不是完全一个涉及到观念的问题,还涉及到一些跟你有关的人喜欢艺术的人,他们的工作,这是我的观点。

艾未未:谁的工作,你喜欢的谁?
刘安平:别的有一些的艺术家。

艾未未:我属不属于你喜欢的人?
刘安平:你当然是我很喜欢的人。

艾未未:如果我说安平“我希望你撤出这个展台,你表示对我的支持”,你会怎么反应?
刘安平:我同意啊。

艾未未:谢谢,没什么要说的啦。
还有颜磊今天说到他可能误会你要答谢这个事了,他觉得这个事很恶心,有人代表他,为什么要答谢这个人,还有答谢尤伦斯什么的,他对这个事情很有看法。
刘安平:没有尤伦斯啊,哪有尤伦斯啊?

艾未未:反正颜磊对这个事很不满意。你一来的时候是不是说要答谢来着?
刘安平:不是什么答谢 ,就是昨天我去张离那……你现在别录了,这种鸡毛蒜皮的事……

艾未未:张离刚才还在这呢,没有说要答谢。刚才张离还在这,刚做的采访。
刘安平:对你现在不要录了好不好,现在先别录这个。

艾未未:这有啥关系?
刘安平:有些我不想对着这个说。

艾未未:你说吧
刘安平:您先关了吧 好吧?

艾未未:那你别说这段了吧,你不说这段我们就不录了。
刘安平:嗯嗯嗯嗯。

艾未未:那你今天晚会在什么地方?
刘安平:尤伦斯啊,晚会啊?

艾未未:尤伦斯的什么地方呢?
刘安平:就他们餐厅啊。

艾未未:大概都有什么人?刚才对不起,我在电话里装国安问过你这个话,你一个人名也没说出来。
刘安平:我为什么说啊,国安怎么了?未未,这个我跟你说……我是……

艾未未:难道说这个是秘密聚会吗?
刘安平:不是,完全不是秘密聚会。我跟你说啊,是昨天少若跟我去张离的那个地方,去的时候少若说他在北京跟这些人的关系不好,唉,也不是不好就是说不协调,就是在我饭店房间随便说起来,就是让张离安排,把玛丽安娜叫上,再找一些还没走的艺术家,因为有好多艺术家马上要走了嘛,就像徐坦、丁乙昨天就已经走了,我跟张离就说了,张离就说咱们叫谁?我就说以前的一些朋友,不经常见面的一些朋友。

艾未未:哪些人呢?
刘安平:我跟你说啊,我一个一个跟你说啊,赵半狄、林一林、王兴伟、还有颜磊,徐坦、丁乙他们已经都走了,我今天碰见的徐坦,他从饭店走了。

艾未未:那你们没有通知颜磊?颜磊说他们有什么权利代表我来答谢。
刘安平:那通知都不是我通知的,那我怎么知道是他们没有通知到颜磊呢,我跟张离还说了一句,颜磊嘛,颜磊是我们朋友,不是因为是这个参展的艺术家的。

艾未未:那我不是你的朋友吗?
刘安平:你是我的朋友。

艾未未:那昨天咱们见面为什么不跟我说“未未咱们来答谢一下”?
刘安平:你也知道这个事情是这样的吗?这不是答谢,这是张离写的,我也觉得很奇怪,本来是一个很简单的吃饭的一个事情,后来变成一个答谢宴会了。

艾未未:因为我刚才跟你打电话的时候你也说的是答谢两个字
刘安平:我没说答谢啊

艾未未:有录音的
刘安平:行,那就算答谢了吧,因为那个时候你不是说你是以艾未未的名义嘛,你是以国安的名义。

艾未未:那你跟国安说这是答谢。
刘安平:我自己都忘了说的什么了,你老是用这种方法搅来搅去,用这种办法,装的什么老赵这种东西,说张科长退休了 哈哈哈……

艾未未:那谢谢了,谢谢
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Ai Weiwei: Rongrong to talk about, how you are being invited to participate in this exhibition?
Rongrong: She came to the Three Shadows I said this a couple of times looking for something, but I have not been on. The assistant then made a phone call to me, I said I took a lot of photos of Hans. She said it was to see, because I have not been on, she was very anxious. After I came back from Zhang also involved in this thing, I said I could come back to find out the place, then I took a few pictures to put to her. See, she said, you can choose a bar, is such a thing.

Ai Weiwei: Oh, that on Poster photo is yours?
Rongrong: No, Poster goes not.

Ai Weiwei: Who is it?
Rongrong: I do not know.

Ai Weiwei: Whose picture it?
Rongrong: Poster goes I do not know who to shoot. I was late friends, last month, they are almost ...... she has been waiting for this thing can not be found, I come back when it is put out, they just laid down. Poster that I do not know who shot.

Ai Weiwei: mainly East Village that time?
Rongrong: right right. 93 years, 94 years. Hans was in contact with us, not many foreigners in Beijing. On some occasions, there is contact, there is a Hans, one is Karen, on the two men. Hans was here two or three times the East Village, I have you and Hans in the East Village chat photo yet.

Ai Weiwei: Really? Can I see it?
Rongrong: right. Can. Zhang Huan is done in the yard, "65 kg", the two of you in the chat, big summer ......

Ai Weiwei: also with a straw hat.
Rongrong: right right right.

Ai Weiwei: What is your impression of him? This man, in simple terms.
Rongrong: I think he was particularly amiable, and I think he ......

Ai Weiwei: you kiss it?
Rongrong: Ha ha ha, not pro, how pro-ah, ha ha ha ...... I think he was particularly slow.

Ai Weiwei: nice not amiable?
Rongrong: affable, amiable, ah ha ha. How should I say, he was very slowly, very cute. But the most important thing is that he will communicate with you, to see things, to see the photos. At that time, he also did several photography exhibitions, I also know that he has done one Zhang children, as well as Han Lei's exhibition, then I think how he likes photography, so I gave him seen my picture.

Ai Weiwei: he was not interested in your photos?
Rongrong: He was very interested. I took the picture, and give you a look, the picture I gave him, he said, can not show in Beijing, Guangzhou or Shanghai might. He said Beijing could not show too how ...... I'll give you a look at the picture. Now they pick this photo exhibition, this is my 94 years in his apartment inside, which is followed by Ding Yi's paintings, in his apartment where he was watching my album. He said that Beijing will not show, think of ways in Guangzhou or Shanghai, but has not been realized, is such a case.

Ai Weiwei: The how is your impression of this exhibition?
Rongrong: I think at this time to do this exhibition quite meaningless. Hans ten years because we just leave it, very fast, in 2002, when he left. When he left, the various aspects of business, galleries Yeah, at that time 798 are not. Because he was very early in the pasture land, a lot of people now are still asking "pasture land is more than 798 night bar." I said, "No, not yet 798 pastures in the shadow of the time, pasture land has been the independent art space." I think the exhibition can see a lot of people, a lot of people have gone more than a decade, and then to see that day. This exhibition is an opportunity to have a lot of artists with Hans Well exchanges. You tell him to do the first one in Longzhaoshu space is 98 years now, in Longzhaoshu file repository that is, that have done a lot of activity, and perhaps years, I have been to every exhibition go was in Beijing, there is no such space bar. I feel quite good fun.

Ai Weiwei: Do you think he was the late 1990s, the development of Chinese art has played what role it?
Rongrong: I think it is at that time, is very important. Like us, including the East Village artists, as well as some other artists, artists in the field, at that time did not have the gallery curator. But before Hans called New Amsterdam art before consulting company into a file repository, he played a bridge, I think is very important. How do you say? For the outside world to understand Chinese art, or independent artists, from Hans folk here can understand what kind of person, maybe he will play a very important bridge.

Ai Weiwei: Do you know him this exhibition inside his letters media without my name, and I did not in CAAW Frank's name, how do you see this problem?
Rongrong: I think this is the most important mistake it. Until I opened that day, I was in the opening scene when I know you have so many pieces of work, there are probably at least three works, is not it?

Ai Weiwei: I did not watch.
Rongrong: Opening looked inside I went inside, there are three works, I also took two, and only did not shoot the piano. Violin, and windbreaker. I saw ...... right! The first time I see this press release, without your name, nor my name. My name is not, but I have no name does not matter, it may also have my problems, because they know I'm late to get one picture to put out. But I feel for you, I think they are a very important mistake. Because the file repository CAAW, are you including Frank work together, it is impossible to erase, and everyone knows this. But in this exhibition inside, the press release did not appear in your name, I do not know if they UCCA which is a kind of consideration, this I do not know.

Ai Weiwei: Do you think they remove the "Ai Weiwei" The name is a meaningful act, or is it a technical omission?
Rongrong: I think there might be avoided or what I really do not know why. Weiwei, I do not know if the curators had to communicate with you?

Ai Weiwei: They did not communicate with me, told me I will be so surprised to exchange it. I do not know the day of the opening ceremony, did not invite me. Jing Jing I see a design exhibition, Hans saw this ad. I say coincidence. Go only to see so many artists, Ding Yi Yeah, Wang Xingwei Yeah, this time I realized that the original exhibition. But I think they did not notice me to participate in the exhibition. I also did not get upset, I suddenly feel a little, and then I left. I did not see the exhibition, because I want to, and I feel watching this show somewhat difficult to accept. After I got out I saw this public 崔灿灿 to the press release, I found that really is not my name, but there is no Frank's name. This time I told Philip called and said that I would withdraw this exhibition is such a thing, it is how you look to me to withdraw?
Rongrong: I think as an artist, if I have this situation just like you. I think as an artist, at least he should respect the artist, this is certainly no doubt. This is a way that you choose, and I am also very respected. Withdrawal is your stance Well, this is what I imagine to. I was very happy that day, because you have to participate in the opening ceremony, but I also saw the press release, which does not have your name, nor my name. Because of Cho's documentary, Cho did not name, because the documentary is shot Cho Well, hey, did not his name, then I think it is their mistake. But mistakes, I think everyone ...... especially if you're such a situation, there is a file repository with Frank, Hans such and such a big exhibition, really ...... I think your attitude is very clear now, doing nothing, and

Ai Weiwei: I am very familiar with the course, and you have two years, many of the artists here are very familiar with me, because I gave them done exhibitions, including Shanghai exhibition that I did give them a comment. But this happens, other artists did not sound, no sound to indicate support or opposition. Do you think that the art inside the circle is normal?
Rongrong: ha ha ha ......, right, had this circle on the inside is very normal. Actually, this circle is not normal, I think, so it now looks are normal, and perhaps this is the status quo right now.

Ai Weiwei: What is the status quo?
Rongrong: that there may be no position, or what might be otherwise would have. Everyone is not the same.

Ai Weiwei: Do you think everyone the same way you can not, you can not have the position, there is no point of you, do art?
Rongrong: I do not know, I do not know.

Ai Weiwei: I ask you, I ask of you.
Rongrong: For example, I own it, that I may have the attitude of my own way of handling it. I do not participate in the work I do not care to participate, which is able to attend to participate, it does not matter if unable to attend. Like Hans, I have to shoot more and better works, they did not ask again, I think it does not matter, is this.

Ai Weiwei: Now say to me, you know such a person, he called Ai Weiwei, he and you are not the same, he does not you the smart, he has called, he felt so tightly his name, put his works, this is totally unacceptable. Because this is not just related to him, which involves disrespect for the dead. Because this change a piece of history, but it reflects a practice of self-censorship of the Chinese people in a very strong rule of political pressure to do, so he proposed to withdraw from the exhibition, you think he's too much of this behavior is it?
Rongrong: I think, but points can fully understand. I think, however minute, completely understandable.

Ai Weiwei: you will support him this act?
Rongrong: I support it. I think this behavior you ...... your attitude and I completely understand, agree.

Ai Weiwei: You will use an action to support? You will express it? You will say on the public platform, hey, I support Ai Weiwei on this issue or that I do not support him, like Wang Xingwei said he did not support me, then you are willing to do an express it?
Rongrong: There are many ways to support. But I think the way you deal with this, I fully support, such as the media, I also fully support, I can also say that the verbal support. But I do not know what kind of support needs.

Ai Weiwei: that is how you think you can kind of support or not support, I'm not necessarily talking about support. How you express your joy or anger thing, or do not care, this is your choice.
Rongrong: first this thing, if it were me, I would rage. For example, as a participating artist, has not been notified at the opening ceremony, and then works there, of course, my work was that they did not respect. Of course, I'm not like you, you have so many things, so many important works, as well as with Frank, Hans so close together that long. Such a situation would certainly not the same. But I still have time and Hans distance, but such a relationship.

Ai Weiwei: For example, you would be willing to express your support for one of mine?
Rongrong: I now support, I now express this support. I think you have this behavior is very position.

Ai Weiwei: Let's say you are willing to in a public occasion, not for me to say that you support, but in the case of a public or tell the gallery - because you are participating artists to express you on this matter attitude it?
Rongrong: Yes you can. My attitude is said today, tomorrow, said in other places is still the same.

Ai Weiwei: I think there is a problem, what else these other problems ah.
Rongrong: Yeah, ha ha.

Ai Weiwei: Cho did was a video about Hans is it?
Rongrong: right. He is the record of the entire memorial service. Finally, it is the entire memorial hall, all of them appeared there, shaking hands like that, you are standing there inside. The things I have asked Zhang to leave, I said, "This should be Zhang Liang shot," he said, "Yes", but did not name him, I do not know why.

Ai Weiwei: Zhang from how to answer?
Rongrong: He said they could not yet get that done when opening, like this, it seems that not enough people busy or something.

Ai Weiwei: Do you think such a reliable reason? You have this situation? You also do art space man, you think this is an excuse or a real situation?
Rongrong: I do not know, but, I think, first of all ......

Ai Weiwei: Would you like this? An artist with a very important work, but without his name, when you say no busy over the opening, you will like this?
Rongrong: In China everything is possible, I can understand. But I think ......

Ai Weiwei: Why China what could?
Rongrong: Because China always catch Well, a lot of things are driven out. There are not enough places his professional Well, not enough staff or something. But indeed this is the case. But I think you miss, I miss, miss Cho, I think it may be not the same. That is, as an organizer, I think they do not know how to explain. I do not know.

Ai Weiwei: Wang Xingwei you read the letters?
Rongrong: have not seen.

Ai Weiwei: Him just mentioned, because I said I did not name. He said that there is nothing strange, Rongrong's name is useless, Cho's name is also useless. How it mean to say that you do not want to raise any objection to say removed works, and why I do it?
Rongrong: First, I think this is not the same. Especially since the CAAW CAAW you, Hans, Frank was doing up cooperation. Of course, your design, moved to pasture land. I'm not the kind of cooperation with Cho relationship, first of all, I think this is not the same, we are different, there is a distance. You are the participants, you are but the entire space, including the sound of this file inside the warehouse in Chinese contemporary art is not the same issue. Our personal ...... anyway I do not think the same.

Ai Weiwei: how do you view the current status quo of Chinese contemporary art?
Rongrong: Well, now sell for money Well, what is the status quo? Chinese contemporary art, I think we all want to think that is the fiscal point of it, I feel like that time is not the same, really do not like a lot of people from no to yes, the market is more convenient, as well as business, and now I have this creative Goods that may be it. I think a lot of things do not see any kind. Not as good as that time is their work, all its aspects.

Ai Weiwei: Some artist Ai Weiwei criticism, that he works too political, but attracted much Western media attention. How do you see this problem?
Rongrong: I think China up to now there is no such artists like you. First of all I have to say I'm not saying you nice things, but I did not not know how you came to be, from your back to Beijing from New York that day, including us in the East Village that time, this is a very long period of time in the end you are in the world, I do not think is a sudden jump to that position, and I think this is it your position and attitude. Because a lot of people see the appearance of the surface of it, but so many years, we are still some intermittent contact, but I always knew you were doing something.

Ai Weiwei: how do you see the Ullens Center?
Rongrong: Ullens Center is indeed very important, in 2007. It is the time to start is to have a foundation, but no one center, and later, when this space was also some good international exhibitions, because in addition to the official Chinese galleries, he still has some professional systems, including established a number of so-called international standards. But then we all know his stuff are selling well, there would be change, saying its initial respect, a lot of things to the last it is his aim to make this work thrown into the market to go, in fact I think that it is clear, that's nothing. I have a lot of things that he, too, like it, and finally no way, and that is to sell it to throw it. The market is another situation.

Ai Weiwei: Do you have any questions for me? For example, you ask, why are you so Ai Weiwei love trouble you? Why are you so love to manufacture this kind of trouble you?
Rongrong: from a participant, I would think about it a bit mean. As it turned out another event, but also to make this exhibition has become more meaningful. The things he is not so simple, this exhibition to commemorate Hans, may give some people problems, from another point of view, I think it was funny, interesting, but it is so true. Nor is no reason to take downtown, which is in line with this makes sense.
Ai Weiwei: 
Thanks Rongrong.

Comments:

Ben Hauck
Jun 16, 2014
+
1
0
1
 
 
I appreciate english text.
chris alexandra
Jun 27, 2014
 
Reply
 
yeah,I want a cone
Ben Hauck
Jun 28, 2014
 
 
Now I use the g+-translation. Sry didn't see it before.
Jessen Lim
Jul 23, 2014
 
 
Talk so much, Hao Fan.
Show original text
Jason Liu
Aug 18, 2014
 
 
INDIGO today saw you, I thought it was wrong, I ask you, where is the store it?
Show original text
Killmeagain Lee
Oct 1, 2014
 
 
You're a fun-fat
Show original text
Harrison Zhang
Feb 3, 2015
 
 
you sound very arrogant and kind of rude.
I wonder why you felt such entitlement to talk the way you did?