Maybe [success] is because I'm in China and I'm more open. Maybe it's my independent behavior, or because I participated in certain projects. I have no idea.
When I first got into the first-year study after the Cultural Revolution, got into the same school with this group, I wasn't conscious of the so-called "Fifth Generation." I didn't like that kind of study condition because there's no real, true education there.
Widespread state control over art and culture has left no room for freedom of expression in the country. For more than 60 years, anyone with a dissenting opinion has been suppressed. Chinese art is merely a product: it avoids any meaningful engagement. There is no larger context. Its only purpose is to charm viewers with its ambiguity.
I see the Beijing National Stadium as an architectural project. I accepted Herzog and De Meuron's invitation to collaborate on the design, and our proposal won the competition. From beginning to end, I stayed with the project. I am committed to fostering relationships between a city and its architecture.
I'm not a writer, but today I think you have to be everything. As an artist you have an obligation to let people know what is on your mind and why you're doing this.
Now I've come to such a mixed culture: America, Europe, South America, Africa. And the politics are changing everywhere all the time and becoming even more unpredictable. There's no such thing as "fixed" culture. China is also becoming more global. Its problems are becoming international problems, becoming German problems, becoming American problems. Nothing is clear-cut. Perhaps I'll find my way - or get totally lost.
I also have to speak out for people around me who are afraid, who think it is not worth it or who have totally given up hope. So I want to set an example: you can do it and this is OK, to speak out.
My musician friends are banned from playing concerts in China because they share the same views as I do. My name cannot appear on the web, because my opinion is different from the Party.