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.


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

#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


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

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!

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

#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

#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.

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

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
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?

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

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


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

Tuesday, June 9, 2015

The Viable Bi-Product : B Holden Vance for

The Viable Bi-product

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

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

Monday, March 16, 2015

DS Pollack, Selecting Locations for Chase Alias' Autonomic Tour


Chromebooks of the Autonomic Tour,  2002 - 2015

New Conceptual Art 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

Founded by Larry Gagosian, the gallery has dedicated itself to organizing important exhibitions of contemporary and modern art.
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
对 话 者:艾未未




刘安平:哦 你还不知道是吧?

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: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: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。



















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……



刘安平:您先关了吧 好吧?












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……

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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.


Ben Hauck
Jun 16, 2014
I appreciate english text.
chris alexandra
Jun 27, 2014
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.
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Jason Liu
Aug 18, 2014
INDIGO today saw you, I thought it was wrong, I ask you, where is the store it?
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Killmeagain Lee
Oct 1, 2014
You're a fun-fat
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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?