Ai Weiwei on documenting the ‘greatest global… | Little White Lies

First Person

Ai Wei­wei on doc­u­ment­ing the great­est glob­al cri­sis since World War Two’

08 Dec 2017

Words by Stefan Pape

Circular black and white eye icon with radiating lines.
Circular black and white eye icon with radiating lines.
The artist and activist opens up about the pro­found expe­ri­ence of mak­ing his new film Human Flow.

Hav­ing estab­lished him­self as one of the world’s most revered and con­tro­ver­sial artists, Ai Wei­wei has now trans­port­ed his tal­ents to the film world for Human Flow, a mov­ing and pro­found take on the ongo­ing glob­al refugee cri­sis. This affect­ing doc­u­men­tary sees Ai move between camps around the world, study­ing the human con­di­tion along the way – and the results, unsur­pris­ing­ly, are not pret­ty. We had the plea­sure of sit­ting down with him to dis­cuss why he feels com­pas­sion is sore­ly lack­ing in mod­ern society.

This cri­sis is maybe the biggest chal­lenge we’ve faced since World War Two. It’s a chal­lenge to our notion of free­dom and democ­ra­cy. Both sides are not very well pre­pared, the intel­lec­tu­al argu­ment is still not there. These dou­ble stan­dards have been there for very long time, and even­tu­al­ly it comes to haunt us. It starts to ques­tion the essen­tial mean­ing of our existence.

Chi­na has always lib­er­at­ed itself from the prob­lems that hap­pen out­side of Chi­na. A prob­lem hap­pens in the West and Chi­na sees itself in a bet­ter sit­u­a­tion, that’s how they think. We hate ISIS because they hurt life, but these peo­ple are also being forced out of their homes by ISIS. They aren’t will­ing­ly leav­ing their homes, their lan­guage, their habits behind – they take a life-risk­ing jour­ney to give up every­thing. And yet peo­ple still do not trust them. They’re vul­ner­a­ble but they still have hope for the human con­di­tion and have a trust in the West, that it can pro­vide them some understanding.

With this film I was nev­er eager to have it as an exhi­bi­tion, because even though my shows always break records, it’s still in the art cir­cle. This kind of top­ic needs to face the real pub­lic – immi­grants, old peo­ple and young peo­ple who want to know the world. I’m an artist, but in my dai­ly life I’m pas­sion­ate and want to get involved in awk­ward sit­u­a­tions, some­thing unfa­mil­iar that could put me in dan­ger. The media have become extreme­ly exon­er­at­ing about the tragedy, leav­ing no space for peo­ple to think and react and come to a more ratio­nal way to exam­ine human­i­ty. We want­ed to make a dif­fer­ent film which has a larg­er per­spec­tive that cov­ers the total con­di­tion of human­i­ty today.

While mak­ing this film I met young peo­ple from Den­mark, the US, Eng­land – vol­un­teers want­i­ng to give peo­ple a cup of warm tea, chang­ing their socks. And then you see peo­ple beat­ing refugees in a per­son­al way, try­ing to destroy their boat. So many lives have been lost on the shore. The media does not always talk about it, because they see cer­tain people’s lives as num­bers. There’s some­thing very deeply wrong with our soci­ety in that sense.

These refugee camps are worse than pris­ons. In prison you can do labour, but these peo­ple are invis­i­ble. They have no iden­ti­ty, they have the same sto­ry, they have the same past, and they near­ly all have the same future. My father was exiled and I spent many years with him in a camp and we had to leave our home. Lat­er I escaped Chi­na to go to the Unit­ed States and now I’ve escaped again, to go to Ger­many. From the begin­ning of my life I felt no sense of home. Now I feel like a glob­al cit­i­zen, like I’m homeless.”

Human Flow is released 8 Decem­ber. Read our review.

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