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Ai Weiwei

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"Living in a system under the Communist ideology, an artist cannot avoid fighting for freedom of expression. You always have to be aware that art is not only a self-expression but a demonstration of human rights and dignity. To express yourself freely, a right as personal as it is, has always been difficult, given the political situation."
--
Hsieh, Catherine Yu-Shan. “Ai Weiwei: A Rebel of Poet Roots.” NY Arts, March–April 2008. http://www.nyartsmagazine.com/conversations/ai-wei-wei-a-a-a-rebel-of-poet-roots

 
Ai Weiwei

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Schinkel had asserted that architecture should be the expression of an idea, and, that insofar as it represented a transcendence of the intellectual over purely material considerations, the Gothic style was the best example of an architectural expression of ideas. Yet, as it happened over the next several generations Gothic was capable of expressing a variety of ideas, often contradictory. It could, for example, express the ultimate victory of spirit over matter, an architectural system "organically" related to nature, or the most logical and efficient use of masonry. It was both the visible expression of the Germanic soul and an ideal vehicle for Catholic worship. If similar forms could express such a variety of ideas, was it also possible that a variety of forms could express similar ideas? That meaning was not intrinsic in the forms but rather attached to them by tacit agreement and confirmed by the specific context? Although it is true that the Gothic Monument to the Wars of Liberation was in a "national" style while the Museum dedicated to universal cultural history was in a timeless "international" style, there is also the particular location of each building to consider: a suburban hilltop for the former and the center of the city with its monumental classical buildings for the latter. Schinkel approached each particular problem on its own terms, and this freedom from a self-consistent but doctrinaire method contributed to his success as a practicing architect even if it makes it difficult to reconstruct his "theory of architecture."

 
Karl Friedrich Schinkel
 

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In the sense used by Marx and Engels, the concept of ideology was intended to mean forms of social consciousness which prevent people from realising that their thinking about the world is determined by some conditions which do not depend on them and which are not themselves ingredients of consciousness. In ideological thinking, people imagine that the logic of thinking itself rules their consciousness and they are organically incapable of being aware of the social situations and of the interests which mould their mental work. This concept of ideology as false consciousness or as thinking that cannot be aware of its own sources may indeed be useful […] The defect of the concept, however, is that we never have criteria for stating that a certain theory or doctrine does not fall under the concept, even as far as natural science is concerned; nor may we ever be certain that a criticism of ideology is not itself ideological. No conceivable means are available for stating that Capital is not an ideology in this sense. Certainly, Marx maintained (not only in his famous letter to Ruge, but in The Poverty of Philosophy as well […]) that his own theoretical work was to express the real historical movement, i.e. that he was aware of the social sources of his own thinking and that he was in this sense himself free from ideology; however, there is no way of finding out beyond doubt that Marx or that anybody who conceives his own thinking as an "expression" of a certain historical process is not deluding himself about the meaning of his own self-consciousness.

 
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