What set in motion the translocation of the Palace Museum collection before, during, and after WWII? Part of a nationwide debate, an essay by Lu Xun on the eve of the collection’s departure raises larger political questions.
Author: Mingyuan Hu
It takes a heart of stone to not be shaken by The Rest, Ai Weiwei’s second documentary about the ongoing refugee crisis. Premiered at the Copenhagen International Documentary Festival on 22 March 2019, this sobering cri-de-coeur received a standing ovation twice. We are here entrusted with a humbling dialogue with individuals we call refugees. As their own words and visages, silences and tears strike home their ordeal, salient is the cruelty – and absurdity – of not the war they escaped, but the inhumanity thrown in their face.
‘I consider myself a researcher. I probably am not a collector by nature’, says Uli Sigg, former Swiss Ambassador to China who has assembled the world’s largest collection of experimental art from the Sinophone spheres. In the form of an exhibition, part of this collection travelled from the Kunstmuseum Bern and the Zentrum Paul Klee to Vienna. It is housed at the MAK (Austrian Museum of Applied Arts / Contemporary Art) until 26 May 2019.