{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Chinese painter absent from opening of new exhibition' data-url='/boclips/videos/5c54bfd5d8eafeecae14621c' data-video-url='/boclips/videos/5c54bfd5d8eafeecae14621c' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nChinese painter absent from opening of new exhibition\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eA major exhibition by Chinese artist Ai Weiwei has opened in the German capital Berlin.Billed by the organisers as Ai's largest to date, the exhibition draws heavily on the artist's troubles with the authorities in his homeland.Golden...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eA major exhibition by Chinese artist Ai Weiwei has opened in the German capital Berlin.\u003cbr/\u003eBilled by the organisers as Ai's largest to date, the exhibition draws heavily on the artist's troubles with the authorities in his homeland.\u003cbr/\u003eGolden animals, historic vases covered in car paint and porcelain crabs greet the visitors to the exhibition by Chinese artist Ai Weiwei in Berlin.\u003cbr/\u003eThe exhibition, called 'Evidence', is billed as the artist's biggest to date and covers some 3000-square meters and 18-rooms of the Martin Gropius Bau museum in the centre of the German capital.\u003cbr/\u003eMuch of the show is overtly political, reflecting on issues such as surveillance and environmental problems.\u003cbr/\u003eThe dissident artist also draws heavily on his troubles with the Chinese authorities. \u003cbr/\u003eGereon Sievernich is the curator if the exhibition and also the director of the Martin Gropius Bau.\u003cbr/\u003eHe explains how Weiwei uses codes in his art to make a political point:\u003cbr/\u003e\"Ai Weiwei is an artist so he speaks an artistic language, we call it conceptual art,\" he says.\u003cbr/\u003e\"But in a second sense, if you look at some pieces of his art you will find a message, which you have to decode, to decipher. And of course it is very political because he is speaking about what is going in on China, he is speaking about what happened to him personally and he is also speaking about what are the relations between China and the West.\"\u003cbr/\u003eThe imposing auditorium of the museum has been filled by over 6000 antique chairs, collected throughout Northern China and brought to Berlin for the exhibition.\u003cbr/\u003eThe stools are from the Ming (1368-1644) and Qing (1644-1911) dynasties and according to the description provided by Ai they are a \"basic staple in many Chinese households.\"\u003cbr/\u003eIn the circle of Animals installation Ai has reinterpreted 12 animal heads made out of bronze representing the Chinese zodiac.\u003cbr/\u003eThe original 12 heads were designed by European Jesuits and stood in gardens of Yuanming Yuan before the palace was raided by French and British troops in 1860.\u003cbr/\u003eIn the installation \"Han Dynasty Vases with Auto Paint\" Ai has covered eight vases from the Han dynasty (202 BC - 220 AC) with modern car paint used by luxury brands such as BMW and Mercedes Benz.\u003cbr/\u003eThe ancient vases look new, smooth and shiny, but under the thin layer of paint remains the original historical artifacts.\u003cbr/\u003eAi was not present at the opening of the exhibition, he claims to be unable to leave China because the authorities have confiscated his passport.\u003cbr/\u003eSievernich, who visited Ai several times in Beijing, said that all the work had to be one by his team and with the help of the Internet.\u003cbr/\u003e\"He can not leave China, he has no passport, the government does not give him his passport back, so all the work done here has been done from his studio. He has a team of 20 people and it was a perfect collaboration. And of course we used Internet and all these tools we have nowadays and it was fantastic to cooperate with him,\" he says.\u003cbr/\u003eAi is one of the world's most famous artists, celebrated abroad with exhibitions from Tokyo to London and known for his striking �Bird's Nest� stadium at the 2008 Beijing Olympics. \u003cbr/\u003eBut he has irked authorities at home by using his art and online profile to draw attention to injustices in China and to push for greater transparency.\u003cbr/\u003eAi's own story is ever-present in this show. \u003cbr/\u003eOver the years, he has been alternately encouraged, tolerated and harassed by officialdom.\u003cbr/\u003eIn 1995 he took a photo of himself giving the Tiananmen Square in central Beijing the finger, an obscene gesture he has reproduced around the world in the photo series \"Study of Perspective\"\u003cbr/\u003eAfter the 2008 earthquake in the Chinese province Sichuan he made a number of installations that were highly critical of the governments response to the disaster.\u003cbr/\u003eIn Forge Bed\" metal that was found in collapsed schools were used to create harrowing sculptures and in Rebar in Marble\" the metal was recreated in marble\u003cbr/\u003eIn early 2011, a studio he had built in Shanghai was abruptly demolished; Ai used concrete and brick rubble from the site to create the work \"Souvenir from Shanghai.\"\u003cbr/\u003eIn April 2011, Ai was arrested and held for 81 days during a wider crackdown on dissent that coincided with the Arab Spring uprisings.\u003cbr/\u003eOn his release, it was announced that he had confessed to tax evasion and been slapped with a $2.4 million bill.\u003cbr/\u003eThe Berlin show includes \"81,\" a replica of the cell with a tiny window and naked light bulb where he was held.\u003cbr/\u003eAccording to Sievernich, Ai is upset about not being able to attend the exhibition and other events around the world.\u003cbr/\u003e\"Of course he is very sad that he can not go to the opening of his own exhibition. It will happen again in New York because there is going to open another exhibition at the Brooklyn Museum and I guess he will not be able to go there either,\" he says.\u003cbr/\u003eAi also explores China's relations with the West and others; in \"Diaoyu Islands,\" one of many new works, he models in marble a string of islands also claimed by Japan, which calls them Senkaku.\u003cbr/\u003eThe show runs through July 7.\u003cbr/\u003eBerlin - 2 April 2014\u003cbr/\u003e1. Wide of \"Circle of Animals\" (2011)\u003cbr/\u003e2. Pull focus of golden snake head in \"Circle of Animals\" (2011)\u003cbr/\u003e3. Mid of animals in \"Circle of Animals\" (2011)\u003cbr/\u003e4. Close of goat in \"Circle of Animals\" (2011)\u003cbr/\u003e5. Woman taking photo of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e6. Mid of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e7. Pan of \"Forge Bed\" (2008-2012)\u003cbr/\u003e8. Wide of pile of porcelain crabs in \"He Xie\" (2011)\u003cbr/\u003e9. Close of \"of porcelain crabs in \"He Xie\" (2011)\u003cbr/\u003eBerlin - 2 April 2014\u003cbr/\u003e10. Exhibition curator Gereon Sievernich speaking to journalist\u003cbr/\u003e11. SOUNDBITE (English), Gereon Sievernich, Exhibition curator\u003cbr/\u003e\"Ai Weiwei is an artist so he speaks an artistic language, we call it conceptual art. But in a second sense, if you look at some pieces of his art you will find a message, which you have to decode, to decipher. And of course it is very political because he is speaking about what is going in on China, he is speaking about what happened to him personally and he is also speaking about what are the relations between China and the West.\"\u003cbr/\u003e12. Close of \"Stools\" (2013)\u003cbr/\u003e13. Wide of \"Stools\" (2013)\u003cbr/\u003e14. Mid of \"Stools\" (2013)\u003cbr/\u003e15. Close of \"Stools\" (2013)\u003cbr/\u003e16. Wide of \"Stools\" (2013)\u003cbr/\u003e17. Various close of \"Stools\" (2013)\u003cbr/\u003e18. Man taking photo of \"Circle of Animals\" (2011)\u003cbr/\u003e19. Zoom in on golden monkey in \"Circle of Animals\" (2011)\u003cbr/\u003e20. Close of golden snake in \"Circle of Animals\" (2011)\u003cbr/\u003e21. Mid of \"Circle of Animals\" (2011)\u003cbr/\u003e22. Wide of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e23. Mid of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e24. Close pull focus of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e25. Close of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e26. Mid of \"Han Dynasty Vases with Auto Paint\" (2013)\u003cbr/\u003e27. SOUNDBITE (English), Gereon Sievernich, Exhibition curator\u003cbr/\u003e\"He can not leave China, he has no passport, the government does not give him his passport back, so all the work done here has been done from his studio. He has a team of 20 people and it was a perfect collaboration. And of course we used Internet and all these tools we have nowadays and it was fantastic to cooperate with him.\"\u003cbr/\u003eBeijing, China - 22 May 2013\u003cbr/\u003e28. Wide of artist sat in front of computer\u003cbr/\u003e29. Close of Ai sending tweet reading (English): \"I released my single and video Dumbass\"\u003cbr/\u003e30. Close of Ai\u003cbr/\u003e31. Mid of Ai in front of computer\u003cbr/\u003e32. Close of his hands on mouse and keyboard\u003cbr/\u003e33. Close of screen and mouse clicking on \"Post\" button\u003cbr/\u003eBerlin - 2 April 2014\u003cbr/\u003e34. Wide of people looking at \"Study of Perspective\" photo series (1995-2011)\u003cbr/\u003e35. Close of Ai showing his middle finger to Tiananmen Square in an obscene gesture \"Study of Perspective\" photo series (1995-2011)\u003cbr/\u003e36. Close of Ai showing his middle finger to White House in an obscene gesture  \"Study of Perspective\" photo series (1995-2011)\u003cbr/\u003e37. Close of Ai showing his middle finger to German Parliament Building in an obscene gesture  \"Study of Perspective\" photo series (1995-2011)\u003cbr/\u003e38. Pan of \"Rebar in Marble\" (2012)\u003cbr/\u003e39. Wide of \"Rebar in Marble\" (2012)\u003cbr/\u003e40. Various close of \"Rebar in Marble\" (2012)\u003cbr/\u003e41. Wide of \"Forge Bed\" (2008-2012)\u003cbr/\u003e42. Various close of \"Forge Bed\" (2008-2012)\u003cbr/\u003e43. Pull focus of \"Forge Bed\" (2008-2012)\u003cbr/\u003e44. Wide of \"Souvenir from Shanghai\" (2012)\u003cbr/\u003e45. Pan of  \"Souvenir from Shanghai\" (2012)\u003cbr/\u003e46. Close of \"Souvenir from Shanghai\" (2012)\u003cbr/\u003e47. People entering \"81\", a replica of the cell Ai was held in for 81 days (2012)\u003cbr/\u003e48. Pan of interior of \"81\"\u003cbr/\u003e49. Wide of toilet area of \"81\"\u003cbr/\u003e50. Close of screen showing life feed from security cameras mounted in \"81\"\u003cbr/\u003e51. SOUNDBITE (English), Gereon Sievernich, Exhibition curator\u003cbr/\u003e\"Of course he is very sad that he can not go to the opening of his own exhibition. It will happen again in New York because there is going to open another exhibition at the Brooklyn Museum and I guess he will not be able to go there either.\"\u003cbr/\u003e52. Wide of \"Diaoyu Islands\" (2013). Please note - this is the name of the artwork. The disputed islands are called Senkaku by Japan\u003cbr/\u003e53. Pan of Diaoyu Islands\" (2013).\u003cbr/\u003e54. Mid of Diaoyu Islands\" (2013).\u003cbr/\u003e55. Close of Diaoyu Islands\" (2013).\u003cbr/\u003e56. Exterior of Martin Grupious Bau\u003cbr/\u003e57. 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