{"id":57937,"date":"2017-10-11T18:15:48","date_gmt":"2017-10-11T16:15:48","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=57937"},"modified":"2017-10-11T18:15:48","modified_gmt":"2017-10-11T16:15:48","slug":"ai-weiwei-human-flow-documentary-refugee-crisis","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/ai-weiwei-human-flow-documentary-refugee-crisis\/","title":{"rendered":"Ai Weiwei's Ego hilft \"Human Flow\", seinem Dokumentarfilm \u00fcber die Fl\u00fcchtlingskrise, eher, als dass es ihn behindert"},"content":{"rendered":"

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\nWhatever opinion you hold about Ai Weiwei, there\u2019s no denying the art world superstar\u2019s ability to make impassioned political statements in a succinct, attention-grabbing style. Take his recreation of the harrowing photo<\/a> of drowned Syrian toddler Alan Kurdi, perhaps the most horribly iconic image to have emerged from the international migrant crisis. The sight of the artist playing dead on a Lesbos beach neatly encapsulates both the senselessness and absurdity of the broader situation, whilst also raising provocative questions about how we attach relative value to human life.
\nBut as with much of Ai Weiwei\u2019s work, the Lesbos stunt proved wildly divisive, with critics accusing him of crass narcissism. In recent years, China\u2019s most famous dissident seems to have been revelling in his celebrity status, frequently placing himself at the centre of his art. Even his most widely celebrated pieces of late tend to be blunt and reactionary rather than measured and probing. Thus, eyebrows in some quarters were raised when it was announced that Ai\u2019s next refugee project would take the form of a globe-hopping, 140-minute documentary. Would the restless provocateur really have the patience for long-form narrative filmmaking? And is such an overwhelmingly complex geopolitical issue really a suitable topic for a debut feature?<\/p>\n