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Le Puy-Sainte-Réparade, Château La Coste
Vernissage de l'exposition " Mountains and Seas" Ai Weiwei (8 avril/17 juin 2017)
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Ai Wei Wei Never Sorry on PBS starting Feb 25 (check local listings)
www.pbs.org/independentlens/ai-weiwei/
aiweiweineversorry.com (DVD, online)
Indianapolis Museum of Art April 5-July 21, 2013
www.imamuseum.org/exhibition/ai-weiwei-according-what
Aug 17 - Oct. 27, 2013 art gallery of Ontario
Follow @aiww
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Ai Wei Wei Never Sorry on PBS starting Feb 25 (check local listings)
www.pbs.org/independentlens/ai-weiwei/
aiweiweineversorry.com (DVD, online)
Indianapolis Museum of Art April 5-July 21, 2013
www.imamuseum.org/exhibition/ai-weiwei-according-what
Aug 17 - Oct. 27, 2013 art gallery of Ontario
Follow @aiww
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Ai Wei Wei Never Sorry on PBS starting Feb 25 (check local listings)
www.pbs.org/independentlens/ai-weiwei/
aiweiweineversorry.com (DVD, online)
Indianapolis Museum of Art April 5-July 21, 2013
www.imamuseum.org/exhibition/ai-weiwei-according-what
Aug 17 - Oct. 27, 2013 art gallery of Ontario
Follow @aiww
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Ai Wei Wei Never Sorry on PBS starting Feb 25 (check local listings)
www.pbs.org/independentlens/ai-weiwei/
aiweiweineversorry.com (DVD, online)
Indianapolis Museum of Art April 5-July 21, 2013
www.imamuseum.org/exhibition/ai-weiwei-according-what
Aug 17 - Oct. 27, 2013 art gallery of Ontario
Follow @aiww
Ai Weiwei
Circle Fence, 2017
Powder coated mild steel, polypropylene netting
Courtesy of the artist
Photo: Timothy Schenck, Courtesy Public Art Fund, NY
On view as part of the citywide exhibition Good Fences Make Good Neighbors, presented by Public Art Fund October 12, 2017-February 11, 2018
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Ai Wei Wei Never Sorry on PBS starting Feb 25 (check local listings)
www.pbs.org/independentlens/ai-weiwei/
aiweiweineversorry.com (DVD, online)
Indianapolis Museum of Art April 5-July 21, 2013
www.imamuseum.org/exhibition/ai-weiwei-according-what
Aug 17 - Oct. 27, 2013 art gallery of Ontario
Follow @aiww
21erHaus: Ai Weiwei - translocation – transformation (14.7. - 20.11.2016, Pressekonferenz) aiww.21erhaus.at | Foto: eSeL.at
"Final adjustment on our #freeaiweiwei banner in preparation for tomorrow night's PV t.co/OyS0iFg"
Le Puy-Sainte-Réparade, Château La Coste
Vernissage de l'exposition " Mountains and Seas" Ai Weiwei (8 avril/17 juin 2017)
Le Puy-Sainte-Réparade, Château La Coste
Vernissage de l'exposition " Mountains and Seas" Ai Weiwei (8 avril/17 juin 2017)
Le Puy-Sainte-Réparade, Château La Coste
Vernissage de l'exposition " Mountains and Seas" Ai Weiwei (8 avril/17 juin 2017)
Circle of Animals / Zodiac Heads is the centerpiece of a global, multi-year touring exhibition that will be presented in the United States, Europe, and Asia. The set of twelve zodiac heads was recently on display at the São Paolo Biennale in Brazil (September – December 2010). The official world tour for Circle of Animals / Zodiac Heads by Ai Weiwei will launch in New York City at the historic Pulitzer Fountain at Grand Army Plaza near Central Park and the Plaza Hotel. The heads will be on display there from May through July 2011, with additional international and domestic venues to follow.
Designed in the 18th century by two European Jesuits serving in the court of the Qing dynasty Emperor Qianlong, the twelve zodiac animal heads originally functioned as a water clock-fountain, which was sited in the magnificent European-style gardens of the Yuanming Yuan. In 1860, the Yuanming Yuan was ransacked by French and British troops, and the heads were pillaged. In re-interpreting these objects on an oversized scale, Ai Weiwei focuses attention on questions of looting and repatriation, while extending his ongoing exploration of the “fake” and the copy in relation to the original.