Bollocks?

It appears that the Turbine Hall at Tate Modern is being filled with fake sunflower seeds.

This is what the main man in the Guardian had to say about it...

I love this work. It is a world in a hundred million objects. It is also a singular statement, in a familiar, minimal form... It is audacious, subtle, unexpected but inevitable. It is a work of great simplicity and complexity. Sunflower Seeds refers to everyday life, to hunger..., to collective work, and to an enduring Chinese industry. But it is also symbolic. It joins several previous Turbine Hall commissions ... in a dialogue about the social and cultural place of art.


The meanings are as multiple and singular as its form. Ai Weiwei has taken the lesson of Duchamp's readymade and Warhol's multiples and turned them into a lesson in Chinese history and western modernisation, and the price individuals in China pay for that. Every unique seed is homogenised into a sifting mass...


... He has smashed ancient vases, taken a thousand Chinese citizens to a small town in Germany ... made works about the Chinese government's response to the Sichuan earthquake in 2008, and the social crackdowns during the year of the Olympics. Ai takes on the world through an attitude, rather than a style. With his blogs and tweets, he is a constant communicator. However absurd his works might appear to be, he understands the place of the artist, recognising that his work exists in a global world of social, cultural and economic relations. He has a sort of social engagement Duchamp lacked, or couldn't have, and that Warhol dissembled.


Ai's field of sunflower seeds is both contemplative and barbed. Generous in spirit, everyone can get it... Sunflower Seeds is contingent, oddly moving and beautiful. It is like quicksand.

... but is it just trying to get into Pseud's Corner?  If so, we must consider this as an intentional, intended piece of complete bollocks...

... and in that case, fair enough.