New York was not a romantic city at [80th]. Nobody knows who you are and you don't have to care about anybody else. It's a very cold city, I should say.
I don't think it's worth discussing new directions in the context of Chinese art - there were no old directions, either. Chinese art has never had any clear orientation.
The [China] government has improved in the last years. Of course, the structure is still the same; there's still a one-party system and strong censorship.
Recently I danced in a video spoof of the song 'Gangnam Style,' and it was quickly banned across multiple Chinese online video platforms. But the story still traveled all over the world, carried in hundreds of international media reports.
China seems unpredictable because it has a distinct culture and social system. It is still a mystery to other parts of the world, even though the veil of China has been lifted many times as a result of globalization.
A nation like China has become one of the biggest production fields for exporting cheap labor, which also re-questions our history and past, re-questions human desire, and the human illusions of the past.
Stupidity can win for a moment, but it can never really succeed because the nature of humans is to seek freedom. Rulers can delay that freedom, but they cannot stop it.
For artists and intellectuals today, what is most needed is to be clear about social responsibility, because that is what most people automatically give up. Just to protect yourself as an individual is very political. You don't have to march on Tiananmen, but you do have to be clear-minded, to find your own means of expression.
My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall.