[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:01.60,Default,,0000,0000,0000,,CAI GUO-QIANG in
Dialogue: 0,0:00:02.59,0:00:04.19,Default,,0000,0000,0000,,In the twenty-first century
Dialogue: 0,0:00:11.40,0:00:13.92,Default,,0000,0000,0000,,My work is sometimes like the poppy flower
Dialogue: 0,0:00:16.02,0:00:18.24,Default,,0000,0000,0000,,It has this almost romantic side
Dialogue: 0,0:00:19.00,0:00:21.56,Default,,0000,0000,0000,,But yet, it also represents a poison
Dialogue: 0,0:00:23.01,0:00:23.96,Default,,0000,0000,0000,,Gun powder
Dialogue: 0,0:00:25.44,0:00:27.06,Default,,0000,0000,0000,,From its very essence, you can see
Dialogue: 0,0:00:27.06,0:00:30.33,Default,,0000,0000,0000,,so much of the power of the universe\Nhow we came to be.
Dialogue: 0,0:00:31.06,0:00:34.09,Default,,0000,0000,0000,,You can express these grand ideas\Nabout the cosmos
Dialogue: 0,0:00:34.47,0:00:36.12,Default,,0000,0000,0000,,Very epic and heroic,
Dialogue: 0,0:00:36.48,0:00:39.40,Default,,0000,0000,0000,,but at the same time\Nit's used for such destruction.
Dialogue: 0,0:00:53.43,0:00:57.02,Default,,0000,0000,0000,,Gun powder possesses a physical danger\Nfor anyone who is near it.
Dialogue: 0,0:00:58.15,0:01:00.52,Default,,0000,0000,0000,,But with time,\Nyou get to know the material.
Dialogue: 0,0:01:02.78,0:01:05.47,Default,,0000,0000,0000,,First you have to accept\Nthat it's uncontrollable.
Dialogue: 0,0:01:06.30,0:01:07.66,Default,,0000,0000,0000,,And then, work with it.
Dialogue: 0,0:01:09.30,0:01:11.35,Default,,0000,0000,0000,,I've worked with the material so long,
Dialogue: 0,0:01:11.57,0:01:13.100,Default,,0000,0000,0000,,that I've gained an understanding\Nof how it works
Dialogue: 0,0:01:16.22,0:01:19.11,Default,,0000,0000,0000,,My way of doing it\Nis just to flow with the material.
Dialogue: 0,0:01:20.32,0:01:22.56,Default,,0000,0000,0000,,To let it take me where it wants me to go.
Dialogue: 0,0:01:28.41,0:01:31.77,Default,,0000,0000,0000,,So I continuously want it to\Ngive me problems.
Dialogue: 0,0:01:32.29,0:01:34.88,Default,,0000,0000,0000,,Give me obstacles to overcome.
Dialogue: 0,0:01:38.12,0:01:42.12,Default,,0000,0000,0000,,This whole process of making drawing\Nis very much like lovemaking.
Dialogue: 0,0:01:44.19,0:01:46.65,Default,,0000,0000,0000,,From the very beginning of\Nlaying down the paper,
Dialogue: 0,0:01:47.35,0:01:49.75,Default,,0000,0000,0000,,it's like laying down\Nthe sheets on the bed.
Dialogue: 0,0:01:59.09,0:02:00.93,Default,,0000,0000,0000,,And it's a very long process.
Dialogue: 0,0:02:01.54,0:02:03.85,Default,,0000,0000,0000,,Always working towards a final goal.
Dialogue: 0,0:02:09.46,0:02:13.23,Default,,0000,0000,0000,,And all the time there's this feeling\Nthat you just want it to explode.
Dialogue: 0,0:02:13.97,0:02:14.97,Default,,0000,0000,0000,,to finish.
Dialogue: 0,0:02:18.75,0:02:20.79,Default,,0000,0000,0000,,But you're afraid\Nthat maybe it's too early,
Dialogue: 0,0:02:20.81,0:02:22.39,Default,,0000,0000,0000,,maybe it's not the best time yet,
Dialogue: 0,0:02:22.39,0:02:24.55,Default,,0000,0000,0000,,maybe you need to work on it\Na little more.
Dialogue: 0,0:03:18.37,0:03:21.28,Default,,0000,0000,0000,,And then afterwards,\Nyou either have great satisfaction
Dialogue: 0,0:03:21.32,0:03:24.84,Default,,0000,0000,0000,,or you have disappointment as to\Nyour entire performance.
Dialogue: 0,0:03:28.26,0:03:32.26,Default,,0000,0000,0000,,You can talk all day about the ancient\Nphilosophies and modern philosophies
Dialogue: 0,0:03:32.35,0:03:38.10,Default,,0000,0000,0000,,art history, criticism, theory,\Nsubject matter, historical context,
Dialogue: 0,0:03:38.40,0:03:42.83,Default,,0000,0000,0000,,contemporary, post-modernism, form,\Nrepresentation.
Dialogue: 0,0:03:43.38,0:03:45.30,Default,,0000,0000,0000,,All these things can be discussed
Dialogue: 0,0:03:45.74,0:03:47.03,Default,,0000,0000,0000,,but in the end,
Dialogue: 0,0:03:47.23,0:03:50.88,Default,,0000,0000,0000,,it's really this on sight performance,\Nso to speak,
Dialogue: 0,0:03:51.46,0:03:52.86,Default,,0000,0000,0000,,that really makes a work.
Dialogue: 0,0:04:37.01,0:04:40.15,Default,,0000,0000,0000,,What I'm using here is a sort of a \Nfold out sketchbook
Dialogue: 0,0:04:40.64,0:04:43.16,Default,,0000,0000,0000,,It's not so much a scrawl,\Nbut traditionally it's
Dialogue: 0,0:04:43.16,0:04:46.07,Default,,0000,0000,0000,,always been used for people\Nto record their thoughts.
Dialogue: 0,0:04:46.38,0:04:49.30,Default,,0000,0000,0000,,Almost as in a journal, \Nor a diary format.
Dialogue: 0,0:04:56.71,0:04:57.43,Default,,0000,0000,0000,,In Chinese,
Dialogue: 0,0:04:57.74,0:04:59.74,Default,,0000,0000,0000,,we actually say: \N''Reading a painting''
Dialogue: 0,0:05:00.27,0:05:01.47,Default,,0000,0000,0000,,Reading a picture
Dialogue: 0,0:05:01.96,0:05:05.62,Default,,0000,0000,0000,,Because it's actually page by page,\Nsection by section
Dialogue: 0,0:05:05.85,0:05:07.12,Default,,0000,0000,0000,,That you're reading this.
Dialogue: 0,0:05:07.32,0:05:08.44,Default,,0000,0000,0000,,Not just looking at it.
Dialogue: 0,0:05:11.06,0:05:15.06,Default,,0000,0000,0000,,These 'folder books' are very similar in \Nthis aspect to the scrawls.
Dialogue: 0,0:05:15.59,0:05:18.93,Default,,0000,0000,0000,,The longhand scrawls are very traditional,\Nin Chinese painting.
Dialogue: 0,0:05:23.68,0:05:26.92,Default,,0000,0000,0000,,Here I like to show you what my father has\Npainted on silk.
Dialogue: 0,0:05:27.26,0:05:28.80,Default,,0000,0000,0000,,A very long scrawl.
Dialogue: 0,0:05:30.39,0:05:34.16,Default,,0000,0000,0000,,Sometimes I see my explosion projects \Nalmost like these scrawls.
Dialogue: 0,0:05:36.07,0:05:36.91,Default,,0000,0000,0000,,Ones you open it,
Dialogue: 0,0:05:37.18,0:05:40.19,Default,,0000,0000,0000,,it opens up the universe, in that it \Nseems boundless.
Dialogue: 0,0:05:41.56,0:05:45.78,Default,,0000,0000,0000,,As the explosion project unfolds,\Nit's like opening up the scrawl.
Dialogue: 0,0:05:46.32,0:05:47.70,Default,,0000,0000,0000,,But then it disappears.
Dialogue: 0,0:05:48.53,0:05:51.62,Default,,0000,0000,0000,,And yet, it's pregnant with all kinds \Nof possibilities.
Dialogue: 0,0:05:54.75,0:05:59.20,Default,,0000,0000,0000,,What really influenced me the most, \Nare these very tiny matchbox paintings
Dialogue: 0,0:05:59.45,0:06:00.86,Default,,0000,0000,0000,,that my father used to make.
Dialogue: 0,0:06:12.50,0:06:16.54,Default,,0000,0000,0000,,He would paint these small landscape \Npaintings with his ink pen.
Dialogue: 0,0:06:17.33,0:06:19.14,Default,,0000,0000,0000,,I saved some of these from that time.
Dialogue: 0,0:06:21.53,0:06:24.17,Default,,0000,0000,0000,,When I was little and I would ask what \Nhe was painting.
Dialogue: 0,0:06:24.44,0:06:26.54,Default,,0000,0000,0000,,He might point to one of them \Nand say:
Dialogue: 0,0:06:26.54,0:06:28.50,Default,,0000,0000,0000,,''Ow, this is the sea of our hometown.''
Dialogue: 0,0:06:28.92,0:06:31.47,Default,,0000,0000,0000,,But then I would go back with him to \Nour home village
Dialogue: 0,0:06:31.62,0:06:33.02,Default,,0000,0000,0000,,and it was nothing like that.
Dialogue: 0,0:06:34.02,0:06:38.55,Default,,0000,0000,0000,,From very early on I understood from\Nthese that art is not about what you say
Dialogue: 0,0:06:39.34,0:06:42.15,Default,,0000,0000,0000,,It's about these other things \Nthat you don't say.
Dialogue: 0,0:06:46.31,0:06:50.15,Default,,0000,0000,0000,,I wouldn't say that the entire exhibition \Nat MASS MoCA is
Dialogue: 0,0:06:50.15,0:06:52.33,Default,,0000,0000,0000,,like a long scrawls unfolding.
Dialogue: 0,0:06:53.80,0:06:55.20,Default,,0000,0000,0000,,It links to my past.
Dialogue: 0,0:06:55.70,0:06:57.56,Default,,0000,0000,0000,,And it's linked to my culture as well.
Dialogue: 0,0:06:59.44,0:07:01.52,Default,,0000,0000,0000,,When I first saw the exhibition space
Dialogue: 0,0:07:01.90,0:07:03.99,Default,,0000,0000,0000,,I felt that it was like a section of road
Dialogue: 0,0:07:04.40,0:07:07.72,Default,,0000,0000,0000,,A very wide road,\Nthat's been transported here.
Dialogue: 0,0:07:08.82,0:07:12.03,Default,,0000,0000,0000,,Further extending the idea of this path,\Nor journey
Dialogue: 0,0:07:12.39,0:07:15.53,Default,,0000,0000,0000,,Is very much like taking a walk\Nalong this path.
Dialogue: 0,0:07:18.96,0:07:20.29,Default,,0000,0000,0000,,In the main gallery,
Dialogue: 0,0:07:20.50,0:07:22.36,Default,,0000,0000,0000,,as the first car takes of
Dialogue: 0,0:07:22.36,0:07:25.63,Default,,0000,0000,0000,,tumbling through the air in a very \Ndreamlike fashion
Dialogue: 0,0:07:25.77,0:07:28.66,Default,,0000,0000,0000,,it lands safely back on it's four \Nwheels.
Dialogue: 0,0:07:29.71,0:07:30.81,Default,,0000,0000,0000,,Undamaged
Dialogue: 0,0:07:31.04,0:07:32.06,Default,,0000,0000,0000,,Unharmed
Dialogue: 0,0:07:35.95,0:07:40.27,Default,,0000,0000,0000,,Is it just the repetition, it goes\Nright back to the very first car again.
Dialogue: 0,0:07:44.27,0:07:48.27,Default,,0000,0000,0000,,The video in Times Square \Nalso borrows the image of the car bomb.
Dialogue: 0,0:07:49.74,0:07:53.21,Default,,0000,0000,0000,,This continues cycle suggest that \Nsomething might or
Dialogue: 0,0:07:53.21,0:07:54.47,Default,,0000,0000,0000,,might not have happened.
Dialogue: 0,0:07:54.88,0:07:57.44,Default,,0000,0000,0000,,This illusion that we're seeing in front\Nof us
Dialogue: 0,0:08:00.11,0:08:01.74,Default,,0000,0000,0000,,Ever since September 11th
Dialogue: 0,0:08:02.18,0:08:04.97,Default,,0000,0000,0000,,The idea of terrorism is ever so present.
Dialogue: 0,0:08:05.60,0:08:07.18,Default,,0000,0000,0000,,Always on our minds
Dialogue: 0,0:08:07.74,0:08:08.44,Default,,0000,0000,0000,,This work
Dialogue: 0,0:08:08.44,0:08:12.56,Default,,0000,0000,0000,,obviously has some direct reference \Nto these conditions that we live in now.
Dialogue: 0,0:08:18.45,0:08:20.08,Default,,0000,0000,0000,,Looking at the work that I've done
Dialogue: 0,0:08:20.72,0:08:24.20,Default,,0000,0000,0000,,I noticed that things are sticking out of\Nor into objects a lot.
Dialogue: 0,0:08:25.35,0:08:28.17,Default,,0000,0000,0000,,I think this has to do with my \Ninterest in explosion.
Dialogue: 0,0:08:29.84,0:08:32.80,Default,,0000,0000,0000,,But it also has to do with the \Naesthetics of pain.
Dialogue: 0,0:08:38.19,0:08:41.88,Default,,0000,0000,0000,,There is a very visual response that \Nthe audience has to the work.
Dialogue: 0,0:08:42.97,0:08:45.22,Default,,0000,0000,0000,,They feel pain when they see the tigers
Dialogue: 0,0:08:46.14,0:08:48.24,Default,,0000,0000,0000,,The tigers are realistically made
Dialogue: 0,0:08:48.69,0:08:50.18,Default,,0000,0000,0000,,But they are completely fake.
Dialogue: 0,0:08:51.48,0:08:53.91,Default,,0000,0000,0000,,It's a stage setting that you're \Nentering into
Dialogue: 0,0:08:55.03,0:08:58.52,Default,,0000,0000,0000,,It's through visual impact that you \Ntransmit these ideas
Dialogue: 0,0:08:58.93,0:09:01.70,Default,,0000,0000,0000,,And it's through visual impact that \Nthis pain is felt.
Dialogue: 0,0:09:02.60,0:09:06.38,Default,,0000,0000,0000,,You can actually elicit a very direct \Nresponse from the audience
Dialogue: 0,0:09:06.57,0:09:08.37,Default,,0000,0000,0000,,A very strong response.
Dialogue: 0,0:09:17.38,0:09:19.71,Default,,0000,0000,0000,,This installation in Washington D.C.
Dialogue: 0,0:09:20.40,0:09:23.33,Default,,0000,0000,0000,,The sunken boat with the broken \Nceramic pieces
Dialogue: 0,0:09:23.56,0:09:26.87,Default,,0000,0000,0000,,Shows the power of destruction,\Nthe beauty of destruction.
Dialogue: 0,0:09:28.30,0:09:30.10,Default,,0000,0000,0000,,The aesthetic of decay.
Dialogue: 0,0:09:31.57,0:09:32.78,Default,,0000,0000,0000,,And in this way,
Dialogue: 0,0:09:32.78,0:09:35.63,Default,,0000,0000,0000,,I feel that this work is quite close \Nto some of the things
Dialogue: 0,0:09:35.63,0:09:38.92,Default,,0000,0000,0000,,that I'm discussing in the pieces at \NMASS MoCA as well.
Dialogue: 0,0:09:41.79,0:09:45.52,Default,,0000,0000,0000,,A number of years ago I went to a \Nfactory in Delhua for a visit
Dialogue: 0,0:09:45.93,0:09:49.32,Default,,0000,0000,0000,,And I saw all of these statues that \Nlooked perfectly fine
Dialogue: 0,0:09:49.88,0:09:51.10,Default,,0000,0000,0000,,But they were rejects.
Dialogue: 0,0:10:01.74,0:10:05.74,Default,,0000,0000,0000,,Because of their imperfections, they're\Nno longer considered diodes.
Dialogue: 0,0:10:09.16,0:10:11.38,Default,,0000,0000,0000,,You know, I thought it was very strange
Dialogue: 0,0:10:11.38,0:10:15.14,Default,,0000,0000,0000,,without these imperfections,\Nthese were figures that people worshiped.
Dialogue: 0,0:10:16.37,0:10:20.37,Default,,0000,0000,0000,,They were send to thousands of homes,\Nincluding my own home.
Dialogue: 0,0:10:22.09,0:10:23.86,Default,,0000,0000,0000,,It seemed to arbitrary.
Dialogue: 0,0:10:25.20,0:10:27.42,Default,,0000,0000,0000,,Here, I see them as artwork
Dialogue: 0,0:10:28.02,0:10:30.91,Default,,0000,0000,0000,,They don't hold so much of a diodes power
Dialogue: 0,0:10:31.36,0:10:34.40,Default,,0000,0000,0000,,But if I take one from here and put it in\Nthe studio
Dialogue: 0,0:10:34.40,0:10:36.92,Default,,0000,0000,0000,,I think my emotions will shift very \Nnaturally.
Dialogue: 0,0:10:41.67,0:10:45.26,Default,,0000,0000,0000,,This very fine line defines the nature \Nof an object.
Dialogue: 0,0:11:07.46,0:11:09.34,Default,,0000,0000,0000,,I really like to hang this up
Dialogue: 0,0:11:09.58,0:11:10.92,Default,,0000,0000,0000,,It defies gravity
Dialogue: 0,0:11:11.06,0:11:13.80,Default,,0000,0000,0000,,Because I think I don't like the \Nheaviness of things.
Dialogue: 0,0:11:16.17,0:11:20.27,Default,,0000,0000,0000,,The piece in São Paulo is obviously\Na plane made out of a vine.
Dialogue: 0,0:11:24.98,0:11:28.83,Default,,0000,0000,0000,,We have these sharp objects confiscated \Nfrom the São Paulo airport
Dialogue: 0,0:11:28.83,0:11:30.04,Default,,0000,0000,0000,,stuck all over it.
Dialogue: 0,0:11:30.42,0:11:33.18,Default,,0000,0000,0000,,Again it looks like it's infected with \Nall this pain.
Dialogue: 0,0:11:34.23,0:11:37.83,Default,,0000,0000,0000,,I travel all the time and I'm always \Nflying in and out of airports
Dialogue: 0,0:11:38.43,0:11:41.87,Default,,0000,0000,0000,,There are times when you just kind of \Nhave to stop yourself and think..
Dialogue: 0,0:11:41.87,0:11:43.40,Default,,0000,0000,0000,,Do I have weapons in my pockets?
Dialogue: 0,0:11:43.49,0:11:44.20,Default,,0000,0000,0000,,You know
Dialogue: 0,0:11:44.20,0:11:46.98,Default,,0000,0000,0000,,Even nail clippers,\NI have a few confiscated.
Dialogue: 0,0:11:48.01,0:11:51.06,Default,,0000,0000,0000,,So for this piece,\Nwe used all local materials.
Dialogue: 0,0:11:51.35,0:11:53.79,Default,,0000,0000,0000,,And we borrowed all the pieces \Nfrom the airport.
Dialogue: 0,0:11:55.35,0:12:00.00,Default,,0000,0000,0000,,Behind all this is a very earnest and \Nfrank look at our society today.
Dialogue: 0,0:12:01.36,0:12:04.43,Default,,0000,0000,0000,,And a cultural political issues \Nthat we have to deal with.
Dialogue: 0,0:12:06.61,0:12:09.37,Default,,0000,0000,0000,,It really is an honest reflection \Nof our world today.
Dialogue: 0,0:12:17.91,0:12:21.14,Default,,0000,0000,0000,,It's easy for us to depict things of \Nthis physical world.
Dialogue: 0,0:12:21.45,0:12:24.50,Default,,0000,0000,0000,,But it's very difficult to depict things\Nthat are not seen,
Dialogue: 0,0:12:24.50,0:12:26.71,Default,,0000,0000,0000,,but that have a profound effect on us.
Dialogue: 0,0:12:27.96,0:12:31.68,Default,,0000,0000,0000,,And that's something that I'm \Ncontinuously exploring and trying to form.
Dialogue: 0,0:12:34.00,0:12:37.08,Default,,0000,0000,0000,,I take a lot from the ancient Chinese \Nphilosophies.
Dialogue: 0,0:12:39.71,0:12:42.98,Default,,0000,0000,0000,,These are very much infused in the\Nart making process.
Dialogue: 0,0:12:45.00,0:12:47.45,Default,,0000,0000,0000,,Maybe everything does not have \Nto be resolved.
Dialogue: 0,0:12:48.62,0:12:52.28,Default,,0000,0000,0000,,Sometimes you can allow uncertainties\Nto exist.
Dialogue: 0,0:12:54.43,0:12:56.78,Default,,0000,0000,0000,,The ever changing, never constant
Dialogue: 0,0:12:57.26,0:13:00.11,Default,,0000,0000,0000,,These are the kinds of ideas to \Nunderstand the world.
Dialogue: 0,0:13:21.95,0:13:25.46,Default,,0000,0000,0000,,To learn more about Art:21,\Nart in the twenty first century
Dialogue: 0,0:13:25.84,0:13:27.93,Default,,0000,0000,0000,,and to download the free\Neducators guide
Dialogue: 0,0:13:28.30,0:13:31.91,Default,,0000,0000,0000,,Please visit PBS online \Nat PBS.org
Dialogue: 0,0:13:35.00,0:13:39.47,Default,,0000,0000,0000,,Art:21, art in the twenty first century\Nis available on video cassette
Dialogue: 0,0:13:39.72,0:13:41.94,Default,,0000,0000,0000,,or with additional features on DVD
Dialogue: 0,0:13:44.44,0:13:47.01,Default,,0000,0000,0000,,The companion book to the programe\Nis also available
Dialogue: 0,0:13:47.01,0:13:52.21,Default,,0000,0000,0000,,To order, call PBS homevideo\Nat 1-800-PLAY-PBS