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These plates are two in a series of six depicting the perils of modern migration. For these works, Ai relies on the mastery of today’s cobalt painters able to work in the style of historical blue -and-white porcelain. Ai applies their skills to a contemporary subject, connecting the present crisis to the long history of migration.
'Rapture', a major exhibition by Ai Weiwei
A Cordoaria Nacional de Lisboa, Portugal, abriu uma grande apresentação da primeira exposição em Portugal de Ai Weiwei . 'Rapture', com curadoria de Marcello Dantas, é a maior mostra do artista até hoje, e apresenta cerca de 80 obras. Incluem algumas das obras mais icónicas do artista, bem como peças originais produzidas em Portugal que exploram as técnicas artesanais tradicionais do país.
The Cordoaria Nacional in Lisbon, Portugal, has opened a major presentation of the first exhibition in Portugal by Ai Weiwei. 'Rapture', curated by Marcello Dantas, is the artist's largest show to date, and presents around 80 works. These include some of the artist's most iconic works, as well as original pieces produced in Portugal that explore the country's traditional artisanal techniques.
"Safe Passage". Installation von Ai Weiwei mit Rettungswesten und einem Schlauchboot zum Thema Flucht. Berlin 2016.
"Safe Passage". Installation from Ai Weiwei with life jackets and one rubber raft at Gendarmenmarkt. Berlin 2016.
Ai Weiwei, Sunflower Seeds, at the exposition in Museum De Pont, Tilburg, in 2012.
Sunflower Seeds, painted porcelain, two seperate works of 5000 kg each, is made up of millions of small sculpures, apparently identical, but each one actuelly individually sculpted and painted.
pienw.blogspot.com/2023/10/ai-weiwei-in-search-of-humanit...
Ai Weiwei at Supersense, Vienna
20x24 inch Polaroid
Artists Series of Alfred Weidinger and Peter Kubelka, Vienna
It’s a field of grass made of marble with a stroller in the middle, and it looks very soft and tactile. Locke said Ai took his son out for a walk one day when he noticed someone taking photos of them. Ai confronted the man who said the camera just happened to be pointed in Ai’s direction. Ai, who must be very persuasive, managed to get the memory card off the man and found many, many photos of Ai and his family on it. This work serves as another reminder of how Ai is always being watched.
Les Serpents chanteurs in "Er Xi, Air de jeux" by @aiww au @lebonmarche #LeBonMarche #AiWeiWei #AirDeJeux Serpents chanteurs [dont la] forme est semblable à celle d'un serpent.
via Instagram ift.tt/2281cnA
On April 24, 2010 Ai Weiwei (@aiww) started a Twitter campaign to commemorate students who perished in the earthquake in Sichuan on May 12, 2008.
3,444 friends from the Internet delivered voice recordings, the names of 5,205 perished were recited 12,140 times.
"Remembrance" is an audio work dedicated to the young people who lost their lives in the Sichuan earthquake.
It expresses thoughts for the passing of innocent lives and indignation for the cover-ups on truths about sub-standard architecture, which led to the large number of schools that collapsed during the earthquake.
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Ai Weiwei - According to What? @ AGO - Art Gallery of Ontario
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21erHaus: Ai Weiwei - translocation – transformation (14.7. - 20.11.2016, Pressekonferenz) aiww.21erhaus.at | Foto: eSeL.at
Ai Weiwei: Roots
2 October – 2 November 2019
www.lissongallery.com/exhibitions/ai-weiwei-roots
Ai Weiwei
A major exhibition by Ai Weiwei this autumn features a new series of monumental sculptural works in iron, cast from giant tree roots sourced in Brazil during research and production for last year’s survey exhibition, ‘Raiz’, at the Oscar Niemeyer-designed OCA Pavilion in Ibirapuera Park, São Paulo.
Ai worked with local artisans and communities across Brazil, visiting Trancoso in the east to locate roots and trunks from the endangered Pequi Vinagreiro tree, typically found in the Bahian rainforest. Elements of these rare tree roots, some of which could be over a thousand years old, were painstakingly moulded, conjoined and then cast to create striking compositions and bold forms that reflect their Brazilian heritage. While some resemble great jungle beasts or fantastical creatures, such as the three- and four-legged works Fly and Level, others including Party and Martin (all 2019) consist of shattered, exploded root forms radiating outwards from a central nexus. The titles all came as suggestions from Ai Weiwei’s young son Ai Lao, based on his personal observations or connections made when visiting these tree remains with his father, adding to the sense of surreal displacement and alien disjointedness in the exhibition. This incongruous atmosphere speaks further of the works’ depiction of the state of ‘uprootedness’, one that mirrors not only the artist’s peripatetic existence after being allowed to leave China in 2015, but also the plight of the refugees he has spent the last few years documenting, as well as the various indigenous populations that rely on the trees and forests of Brazil for their habitats and sustenance. The deforestation and concomitant purge of peoples and resources relates to previous bodies of work produced by Ai and to the current political realities of many countries, including his native China.
The material employed in making the Roots series – cast iron covered in a patina of orange rust – likewise responds to ancient cultures and man’s first tools for tree felling and woodworking, rather than to the recent, more polite art history of bronze or steel sculpture. Although originally contorted by their surrounding landscapes, these roots were not born of nature but made and crafted by human hands, using the ancient techniques of ‘lost wax’ moulding and then iron casting. These methods represent a traditional, largely bygone way of life that has been usurped and upended by industrialisation and relentless modernisation, illustrating how progress can often come at the expense of cultural and societal well-being.
Contrasting with these heavy, land-bound creatures is a number of floating figures, clouds and dream-like vignettes. Ai has been producing delicate sculptures from stretched silk over bamboo armatures for the past five years, employing a group of Chinese kite makers based in Weifang, a city in Shandong province. Purported to have been invented in China around 500 BC by a carpenter and a philosopher, the kite has held many functions throughout history from measuring distances or wind speed, to communication and military usage. Ai’s kites refer back to a mythological encyclopaedia of monsters and creatures known as Shan Hai Jing (the Classic of Mountains and Seas) that also pre-dated Christianity, which depicts fantastical hybrids of chimera, gorgons, unicorns, dragons and griffins. Alongside this bestiary, Ai has added personal and childhood symbols, as well as references back to his own works – Surveillance Camera and his one-fingered salutes, the Study of Perspective series – and those of his influences, including Marcel Duchamp and Vladimir Tatlin.
Finally, the show ends with a development of Ai’s experimentation with LEGO bricks. These new wall-based works feature politically-charged, pixelated renderings of the trajectory of a refugee boat refused docking at Lampedusa after two weeks at sea, the front page of the Mueller report into Russian interference in the 2016 US Presidential election, as well as a deconstructed symbol of the contentious protests of Tiananmen Square in 1989.
A new book, also entitled Roots – featuring contributions from nature writer Robert Macfarlane; the curator of ‘Raiz’, Marcello Dantas; the Chair of Asian Art at the Museum of Fine Arts Boston, Christina Yu Yu; Brazilian anthropologist Lilia Moritz Schwarcz among others – will be published by Distanz on the occasion of this exhibition, which is presented in collaboration with Ai’s Berlin gallery, neugerriemschneider.
Posters put up by "Platoon Cultural Development"
blog.platoon.org/home/3/viewentry/1233/BERLIN__WHERE_IS_W...
'Rapture', a major exhibition by Ai Weiwei
A Cordoaria Nacional de Lisboa, Portugal, abriu uma grande apresentação da primeira exposição em Portugal de Ai Weiwei . 'Rapture', com curadoria de Marcello Dantas, é a maior mostra do artista até hoje, e apresenta cerca de 80 obras. Incluem algumas das obras mais icónicas do artista, bem como peças originais produzidas em Portugal que exploram as técnicas artesanais tradicionais do país.
The Cordoaria Nacional in Lisbon, Portugal, has opened a major presentation of the first exhibition in Portugal by Ai Weiwei. 'Rapture', curated by Marcello Dantas, is the artist's largest show to date, and presents around 80 works. These include some of the artist's most iconic works, as well as original pieces produced in Portugal that explore the country's traditional artisanal techniques.
Weiwei-izms, edited by my cousin Larry Warsh
"Everything is Art.
Everything is politics"
Ai Weiwei is a Goy who is learning to speak his izms in Yiddish via my Yiddish Glossary for Goyim:
Yiddish Glossary for Goyim Pre-publication Edition.Great gift: www.ebay.com/itm/110983198179?ssPageName=STRK%3AMESELX%3A...
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YiddishByNoe_LATimes_10-18-92
L.A. Times "Palm Latitudes" section/L.A. Speak, P. 10:
A selection of Yiddish idioms that spice up the power language of Hollywood
By Noë Gold Illustration by Paul Corio
The LA TIMES MAGAZINE first published an excerpt from my
"Yiddish Glossary for Goyim"
or
The Power Schmoozer's Guide to Hollywood
… an underground literary sensation that was making the rounds in LA when I was the editor of a magazine called Movies USA. It consisted of a "Yiddishism," or phrase, with the pronunciation in parentheses, followed by a sentence using that phrase in the Hollywood vernacular. The LA Times used a handful of these, such as ...
schmutz (shmootz) dirt
"Hey, Arsenio, you got some schmutz on your lapel."
and this set piece from the book, which they chose to illustrate …
shlemazel (shleh-mah-zell) one who has no luck
"The definition of a shlemazel is a patron of a restaurant who has soup spilled on him..."
shlemiel (shleh-meel) one who is to be pitied; hopeless
"...and the shlemiel is the waiter who pours the soup on his customer."
see also "shmendrick" below:
"What's the difference between a Shlemazel, a Shlemiel and a Shmendrick?
A Shlemiel spills the soup.
A Shlemazel gets the soup spilled on him.
And a Shmendrick asks, "What kind of soup was it?"
shmendrick (sh'mehn-drick) just another forlorn guy
"You think this guy is a player, but I have it on good authority that he is just a bottom-feeding shmendrick."
30 pages with illustrations in perfect condition, this edition is very rare. Please don't hesitate to email if you have any inquiries regarding this item: noemedia@pacbell.net