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Forever Bicycles alludes to the Forever brand of bicycles that flooded China streets during the artist’s childhood yet remained financially out of reach, for many. With the Canadian Museum for Human Rights and The Forks as the backdrops, the dizzying structure of steel and light and shadow becomes an infinite puzzle
There are 1254 bicycles in the structure
Artist: Ai Weiwei
Convidado: Ai Weiwei, artista e ativista chinês
Data: 08 de outubro de 2018
Local: Salão de Atos da UFRGS
Crédito das imagens: Fronteiras do Pensamento / Luiz Munhoz
Ai Weiwei: Making Sense
SPOUTS, 2015
Porcelain
This field is made up of more than 250,000 porcelain spouts from teapots and wine ewers, crafted by hand during the Song dynasty (960 - 1279 CE). If a pot was not perfect when it was made, the spout was broken off. The quantity here attests to the scale of porcelain production in China even a thousand years ago. Ai is also offering a commentary on freedom of speech, with the spouts- or mouths- having been removed.
All text above is Copyright The Design Museum © April 2023
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
Banner 64, 2017
CNC-cut Polymar truck tarp
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
Water Lilies: on the right, Ai Weiwei made a 'dark portal' that refers to the door of an underground shelter where he lived in exile with his father in the 1960s.
Ai Weiwei is one of the most significant and recognised artists working today..
This exhibition, developed in collaboration with the artist, is the first to present his work as a commentary on design and what it reveals about our changing values. Through his engagement with material culture, Ai explores the tension between past and present, hand and machine, precious and worthless, construction and destruction.
The exhibition draws on Ai's fascination with historical Chinese artefacts, placing their traditional craftsmanship in dialogue with the more recent history of demolition and urban development in China.
Opening reception of “Ai Weiwei: New York Photographs 1983-1993”, September 4, 2014.
Photos by Michael R. Barrick, Morris and Helen Belkin Art Gallery.
More information:
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
Opening reception of “Ai Weiwei: New York Photographs 1983-1993”, September 4, 2014.
Photos by Michael R. Barrick, Morris and Helen Belkin Art Gallery.
More information:
Canon Pellix with FLP 38mm f/2.8 lens and yellow filter on Ilford XP2 black-and-white C-41 chromogenic film
Through Sunday, Feb 24 at Hirshorn in Washington, DC
www.hirshhorn.si.edu/collection/ai-weiwei-according-to-what/
Aug 17 - Oct. 27, 2013 art gallery of Ontario
About the exhibition
Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
Source: Tate Modern website
Ai Weiwei
Arch, 2017
Digital print
Courtesy of Ai Weiwei Studio/ Frahm & Frahm
Photo: Nicholas Knight, Courtesy of Public Art Fund
On view as part of the citywide exhibition Good Fences Make Good Neighbors, presented by Public Art Fund October 12, 2017-February 11, 2018
Ai WeiWei's Good Fences Make Good Neighbors public art project in various locations throughout New York City. Here, there is a fence erected on top of the building at 248 Bowery.
About the exhibition
Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Poured into the interior of the Turbine Hall’s vast industrial space, the 100 million seeds form a seemingly infinite landscape.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
Source: Tate Modern website