1月19日至29日，美国圣丹斯电影节在犹他州帕克城举行。导演爱莉森·克莱曼（Alison Klayman）拍摄的纪录片《艾未未：从未抱歉》于上周日首映。艾未未这位中国知名艺术家和社会活动家已经获得国际社会的越来越多的关注，他的艺术作品也展示出他的政治挑衅，在公共事件中，他与中国当局的冲突也日益增多。
该纪录片在镜头中捕捉到围绕在艾未未身边的人，很多人性化的瞬间和生活细节：艾未未的母亲在他被捕后，担忧他的安全而流下泪水；艾未未与他的儿子在一起嬉戏，他曾完成的艺术项目，比如艾未未在四川地震后对遇难学生的调查等，而这些项目早已超越艺术本身。
"艾未未被捕成为中国言论自由和其他运动的着力点"
2011年4月3日，艾未未被北京警方带走，经过81天的秘密羁押后放回家中，在他失踪期间，引发国际社会强烈抗议。国际人权组织大赦国际认为，艾未未的遭遇是中国当局对持不同政见者的艺术家打压的典型案例。
2011年10月13日，国际著名艺术期刊、英国的《艺术观察》发布了本年度全球100位最有影响力的艺术人物名单，艾未未名列榜首。该杂志当时所做的采访是在他被秘密抓捕之前，而不是他被释放之后。在他释放后的很长一段时间，这位艺术家变得非常谨慎，因为中国当局在释放他时，要求他不得"离开北京"和"接受媒体采访。"
2011年11月，中国当局以"偷逃税款"罪名对他进行打压，北京地税对他开出一张1520万人民币的税单，其后，来自世界各地的网友发起"艾债行动"，在不到10天给他借款近900万元。
纪录片首映后，导演克莱曼站立在鼓掌的观众中说："这位身材魁梧的大胡子艺术家很想参加圣丹斯电影节，但是他知道邀请他将带来太多的麻烦"。
克莱曼也表示，片中记录了艾未未走入公共空间和参与公共事件的几年历程，但艾未未被秘密羁押，已经成为中国的言论自由和其他运动的着力点。
艾未未：我是一个永恒的乐观主义者
这部纪录片还讲述了艾未未的童年时代、他的家庭、他青年时代在纽约生活的经历及他批评中国政府的原因，他是慈爱的父亲、坚忍的儿子，也是一个不肯将艺术和行动与公共事件分离的艺术家。而这些也在他的很多艺术作品显现出来。
这位曾在2008年参与北京奥运主体育场"鸟巢"设计的艺术家曾说："如果你不采取行动，危险会越来越强。"《从未抱歉》也展示了他在四川地震后，指向豆腐渣工程校舍，他曾收集和发布了5000多名在地震中死亡的学生名单。他也曾因此遭受四川成都警方击打头部。
艾未未的母亲高瑛在纪录中讲述在艾未未被捕后，担心以后再也无法见到他，因此常常以泪洗面："每天晚上我无法入睡。"
艾未未在片中平静的说："我们将承爱我们所能承受的一切"，他也自称是"一个永恒的乐观主义者。"
"不知道艾未未的连续剧还会怎样演下去"
艾未未的母亲高瑛向德国之声表示，艾未未目前心态很好，每天坚持锻炼身体，并且在网上和网友们互动："他说那是他的权利，如果他不发言的话，他说他就变成行尸走肉了。"
但对于中国当局对艾未未的打压，这位母亲依然表现出了无尽的担忧："谁知道会怎么样，因为这个电视连续剧到现在也不知道怎么往下演，怎么走，搞不清楚了。当灾难降临在儿子头上的时候，作为母亲，应该挺身而出，应该付出。"
据悉,该纪录片也将参加今年的柏林电影节.
作者：吴雨
http://www.dw-world.de/dw/article/0,,15684504,00.html
责编：李鱼
附:《艾未未文集》音频版将从1月23日起在德国之声“禁书选读”项目中播出，敬请下载收听：http://www.dw-world.de/dw/article/0,,15647595,00.html
25/01/2012
23/01/2012
路透社：艾未未的另一面展现在圣丹斯国际电影节
Another Side of Ai Weiwei Shown in Sundance Film
By REUTERS
Published: January 22, 2012 at 9:53 PM ET
PARK CITY, Utah (Reuters) - A new documentary film offers a glimpse into the life of Chinese artist and dissident Ai Weiwei, conveying a creative, brave, yet humble man who has become more cautious following his 81-day government detention in 2011.
"Ai Weiwei: Never Sorry," which premiered at the Sundance film festival on Sunday, features interviews China's leading artists and activists and people who surround Ai in is life.
It includes footage that humanizes the man, showing suprising tears from his mother worried about his safety, the artist playing with his young son, and highlights from his projects such as a poor response to the 2008 Sichuan earthquake.
Ai, who was named the world's most powerful artist by U.K-based ArtReview magazine in October since his release, appears in interviews only before his detention, but not after his release.
The 54-year-old bearded, burly Chinese artist wanted to attend the Sundance screening "but felt it was just going to invite too much trouble," the film's director Alison Klayman told the audience after a standing ovation in Park City, Utah, where the festival takes place.
Ai became a symbol for China's crackdown on artists and dissidents when his disappearance and secret detention after battling Chinese authorities sparked an international outcry.
Last November he paid a bond of 8.4 million yuan (then $1.3 million) on a tax evasion charge, which he denies, while his supporters continued to raise the full, combined bill of 15 million yuan (then $2.4 million.)
Klayman spent several years chronicling his rise to prominence and told the audience she believed the detention of the artist, which became a rallying point for China's free speech and other movements, had changed him.
"There was absolutely a change. I really think about it as: there was the time before the detention and there was the time after," she said. "The big thing is that he is constantly changing, he always has been, so I don't know where it is going to end up."
INSIGHT INTO AI
The film offers audiences some insight into Ai's childhood, family, formative time spent living for years in New York and his reasons for often criticizing China's government, which is expressed in many of his contemporary works.
"If you don't act, the danger becomes stronger," says Ai, who had a hand in designing the Bird's Nest stadium at the 2008 Beijing Olympics and has had installations at some of the world's major museums including London's Tate Modern Gallery.
"Never Sorry" shows his efforts gathering and listing more than 5,000 names of students who died in the Sichuan earthquake, pointing to shoddy school construction and claiming that he was punched in the head by police in Sichuan's capital Chengdu.
But it also offers glimpses of a loving father and stoic son rarely publicly separated from his art and activism.
"Every night I can't sleep," his mother, Gao Ying, says to him in the film before breaking down in tears because she is worried she will not see him again.
"We'll endure what we can," he answers calmly, before later calling himself "an eternal optimist."
Klayman, who doubted there would be a public screening of the film in China, told the audience it was clear that being a father had altered Ai's life, too, along with detention.
He seems more careful, she said, when talking about footage in the documentary showing that upon his release, Ai uncharacteristically speaks little to reporters.
"He does have to be a lot more cautious. If this was a year ago he would be here," said Klayman.
(Reporting By Christine Kearney; Editing by Bob Tourtellotte)
http://www.nytimes.com/reuters/2012/01/22/arts/22reuters-sundance-aiweiwei.html
By REUTERS
Published: January 22, 2012 at 9:53 PM ET
（导演Alison Klayman）
（电影海报）
PARK CITY, Utah (Reuters) - A new documentary film offers a glimpse into the life of Chinese artist and dissident Ai Weiwei, conveying a creative, brave, yet humble man who has become more cautious following his 81-day government detention in 2011.
"Ai Weiwei: Never Sorry," which premiered at the Sundance film festival on Sunday, features interviews China's leading artists and activists and people who surround Ai in is life.
It includes footage that humanizes the man, showing suprising tears from his mother worried about his safety, the artist playing with his young son, and highlights from his projects such as a poor response to the 2008 Sichuan earthquake.
Ai, who was named the world's most powerful artist by U.K-based ArtReview magazine in October since his release, appears in interviews only before his detention, but not after his release.
The 54-year-old bearded, burly Chinese artist wanted to attend the Sundance screening "but felt it was just going to invite too much trouble," the film's director Alison Klayman told the audience after a standing ovation in Park City, Utah, where the festival takes place.
Ai became a symbol for China's crackdown on artists and dissidents when his disappearance and secret detention after battling Chinese authorities sparked an international outcry.
Last November he paid a bond of 8.4 million yuan (then $1.3 million) on a tax evasion charge, which he denies, while his supporters continued to raise the full, combined bill of 15 million yuan (then $2.4 million.)
Klayman spent several years chronicling his rise to prominence and told the audience she believed the detention of the artist, which became a rallying point for China's free speech and other movements, had changed him.
"There was absolutely a change. I really think about it as: there was the time before the detention and there was the time after," she said. "The big thing is that he is constantly changing, he always has been, so I don't know where it is going to end up."
INSIGHT INTO AI
The film offers audiences some insight into Ai's childhood, family, formative time spent living for years in New York and his reasons for often criticizing China's government, which is expressed in many of his contemporary works.
"If you don't act, the danger becomes stronger," says Ai, who had a hand in designing the Bird's Nest stadium at the 2008 Beijing Olympics and has had installations at some of the world's major museums including London's Tate Modern Gallery.
"Never Sorry" shows his efforts gathering and listing more than 5,000 names of students who died in the Sichuan earthquake, pointing to shoddy school construction and claiming that he was punched in the head by police in Sichuan's capital Chengdu.
But it also offers glimpses of a loving father and stoic son rarely publicly separated from his art and activism.
"Every night I can't sleep," his mother, Gao Ying, says to him in the film before breaking down in tears because she is worried she will not see him again.
"We'll endure what we can," he answers calmly, before later calling himself "an eternal optimist."
Klayman, who doubted there would be a public screening of the film in China, told the audience it was clear that being a father had altered Ai's life, too, along with detention.
He seems more careful, she said, when talking about footage in the documentary showing that upon his release, Ai uncharacteristically speaks little to reporters.
"He does have to be a lot more cautious. If this was a year ago he would be here," said Klayman.
(Reporting By Christine Kearney; Editing by Bob Tourtellotte)
http://www.nytimes.com/reuters/2012/01/22/arts/22reuters-sundance-aiweiwei.html
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