, which has just been installed at Blenheim Palace confronts the international migrant crisis and lots of your previous work has centred on identity, displacement and inequality. Why are you so passionate about these issues?It’s like the Yin and Yang: there are the fortunate ones, and the not so fortunate. I have had a lot of unfortunate experiences, I grew up with my father in exile for 20 years, so I know what it’s like.
[For me] it’s become a responsibility. It’s not mercy or some kind of compassion, it’s become, ‘do you really think you’re a good person’ or ‘do you really not care at all?’ It’s a challenge. As an artist, I cannot avoid a conscience, so I ask myself the same question. I make films, and exhibitions to introduce the institutions to the so-called liberal world, to say ‘we’re responsible’ and ‘we’re not as free as we think’.
So I got all these not-very-beautiful images. What I remember most vividly are several locations; one is the US border with Mexico. You can see one side is so rich and plentiful, and the other side is so desperate, you always question ‘why is it like that?’. And also in Israel on the West Bank, people have to go through these jail-like fences. They’re very narrow and very long. The Palestinian people have to get jobs, and they have to wait in there for hours.
Ai weiwei is lame and the Chinese gov is right. Mf makes a bunch of factory workers do “his” art installation sunflower seeds and then has the audacity to criticize the exploitation in China.
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