by Susan Leem, associate producer
For many Chinese, Korean, and Vietnamese, the moon festival or mid-autumn harvest festival falls on the fifteenth day of the eighth lunar month. That is, today, September 12th, 2011.
Legend says the wife of a great archer flew to the moon after drinking a powerful elixir that was meant for him as a reward for shooting down extra suns that were scorching the earth. It’s a time to join with family to share a traditional moon cake, a bean paste-filled sister to the American fruit cake meant for giving rather than actually eating. Families also gather to watch the scheduled full moon. The Hong Kong Observatory has even made a chart of recommended viewing times.
A harvest moon. (photo: beaumontpete/ Flickr, CC BY-NC-SA 2.0)Comments
by Trent Gilliss, senior editor
Ai Weiwei holds porcelain seeds from his Unilever installation titled “Sunflower Seeds.” (photo: Peter Macdiarmid/Getty Images)
Chinese artist Ai Weiwei’s latest installation at the Tate Modern is an incredible feat: one hundred million hand-painted pieces of porcelain that resemble the shells of sunflower seeds. One finds oneself moved to understand its meaning, to grasp its scale, to contemplate the immense amount of energy and ability of so many artisans to produce something this massive — and oh-so delicate — all so that can be walked on, laid on, picked up, thrown, raked, or what have you in the midst of the minimal gray landscape of Turbine Hall.
Nothing appears to be what it seems. And, for Weiwei, the meaning goes much deeper: “From a very young age I started to sense that an individual has to set an example in society. Your own acts and behavior tell the world who you are and at the same time what kind of society you think it should be.”
Where Anton Gormley’s massive humanoid sculptures somehow aid your eye on focusing on the environment in which they’re set, nature strangely becomes the focus. Here, I can only imagine, these objets d’art, these precious works of individual hands, become the focal point as you crush them beneath your heels. The sonorous echoes of this footfall is a social and political act in itself — probably one each observer doesn’t fully appreciate until you walk out to the River Thames and trample silently on concrete and manicured turf.
The Guardian has put together this insightful short video of Ai Weiwei discussing the humanity that drives his social and political stances on his art, the creative thinking coming out of China, and the way way technology enabled him to amplify his voice and “to speak for generations who don’t have a chance to speak out”:Comments
Shubha Bala, associate producer
Being new on the staff, I love hearing older programs that are new to me. Preparing for the Mayfair Yang show this week, Krista mentioned a past conversation with author Anchee Min, whose name came up again the next day when we received a copy of her latest book, Pearl of China.
"I was awarded by the school and the principal and the entire district, the neighborhood, with red color, the certificate of Mao’s Good Child. And I was so proud. I was the child, the best child in the neighborhood, and yet my mother refused to put that certificate on the wall. She was not happy and told me she wants to disown me. And I was very confused. But she said something. She said, ‘Your father and I are teachers. Imagine if our student come up and denounce us, how I feel?’ She instill this common sense in me that conflict with my vanity and my devotion to Mao’s words."
She also reflects on embracing her identity as an adult:
"I feel that I am more Chinese in America than I could feel if I was in China. You know, the moment I step on my motherland in China, my guard will be up. I talk differently, behave differently."
Her conversation touches on the Buddhist traditions of her grandparents, her mother hiding her Christianity even to her own daughter, and on the weight of choice in her life:
"…when I learned that my brother and my sister were rejected by American visas, and the American Consulate says that the only chance that they can come to America is to study is to have me go back, to exchange, which means I would go back to China for good, and I was not able to quit, you know, what I had achieved here. And that was a very selfish act. And after I made that decision, then I talked to my father. I said, ‘I couldn’t live with it.’ So I told my father that I want to come and to let my sister have the chance. And my father says, ‘No way, because you come home that doesn’t mean that they will get the visa, and that you will lose your visa for good. And my biggest fear is if China were to ever have a conflict with America, you will be the first person to be denounced as American spy.’ So, I ended up staying here."Comments