Ai Weiwei:
Never Sorry follows an artist’s political and ideological struggles with today’s
omnipotent Chinese government. Weiwei navigates these battles through his
installation art and photography works that combine ideas of individualism and
the collective memory. The artist issues a call for transparency in government
and freedom of the human spirit. The film captures the major projects
undertaken by Weiwei at his studio in Beijing, FAKE Design. There is a slight
echo of Warhol’s 1960’s art factory as other artists come and participate in
the creative process. Directed by Alison Klayman, the documentary presents both
an exciting and momentous message. She uses stimulating footage of the artist
at work, and the camera captures art being created as well as the ideology
behind the pieces.
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| Backpack Installation in Munich |
It
is the documentarian’s job to draw out the story from the subject matter.
Klayman does just that with her probing questions and captivating constructed
narrative. By following Weiwei’s 2009 Munich exhibition, ‘So Sorry,’ we see to
the heart of his mission as he addresses the Sichuan earthquakes. He asks for
transparency in government after the deaths of roughly 5,000 students due to
poorly built school buildings that crumbled during the earthquake. The Chinese
government refused to acknowledge, address or mourn these student deaths.
Weiwei’s backpack installation dwarfs the audience – the camera pans across
rows and rows of backpacks arranged on an exterior wall to visually portray a
message.
The
film then moves on to Weiwei’s documentary project that addresses the unjust
jailing of Liu Xiaobo, a political philosopher and friend to the civil rights
movement. Klayman follows the making of
Weiwei’s documentary, choosing to screen powerful segments of the actual
documentary project. The shaky camera tumbles about dark rooms as police knock
at the door and physically assault Weiwei. The climax of the film occurs when
Weiwei and his crew are detained at a hotel by police and unable to testify at
Xiaobo hearing. Weiwei, as a political artist, addresses restrictive government
control and challenges authority through his art.
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| Sunflower Seeds at Tate |
Weiwei’s
“Sunflower Seeds” installation project at the Tate Museum in London
impressively communicates his thoughts on individualism and the collective. The
exhibit includes over 8 million porcelain sunflower seeds hand painted by
Chinese artisan workers. Museum visitors walk on the field of seeds marveling
at the vastness; they crunch beneath their feet. A poignant frame captures
Weiwei and his young son while the voiceover addresses the importance of
rights being passed on to the next generation. The camera finds Weiwei in low
angle, depicting the massive influence and power he has on the movement. He
communicates his hope for democracy and individualism for China through the sunflower
seeds; many making up a larger whole.
Weiwei
reacts to the political injustices that he experiences through his art. The
camera tightly frames his face in extreme close-ups as we get to know his
easy-going personality and coy sense of humor. His studio home holds at least
ten cats, one of which can open doors. While the film takes a hard-hitting look
at socialist government policy and intolerance, it does not forget its humor.
Klayman blends the right amount of ideology and activism onscreen to portray
Weiwei’s stoic and calm qualities that he maintains throughout his profound
statements on personal freedoms and indelible rights.
