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Two works in the Ai WeiWei exhibit at the Hirshhorn Museum in Wash. DC
The triptych is of Ai dropping a Han Dynasty Urn
Han Dynasty vases dipped in industrial paints
The reframing of cultural tradition and viewing its restructuring through new eyes is what he depicts in a nutshell. The exhibit is fun to view as well as thought provoking! Cameras are even allowed, just no flash!
www.complex.com/art-design/2012/10/interview-curator-mami...
'Rapture', a major exhibition by Ai Weiwei
Forever Bicycles (2021)
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.
"Circle of Animals / Zodiac Heads" (Círculo de Animais / Cabeças do Zodíaco), 2020
'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.
Made in China [SOLD]
Ai WeiWei
AcrylicPunk on Canvas
80 x 60 cm
2016/18 by York
please visit my Artpage: www.art-of-york.berlin
Ai Weiwei (b. 1957) - Two figures (2018). Plaster, mattress beans. Temporary exhibition at Fundação Serralves, Porto courtesy of the artist's studio.
21erHaus: Ai Weiwei - translocation – transformation (14.7. - 20.11.2016, Pressekonferenz) aiww.21erhaus.at | Foto: eSeL.at
"In the Industrial Precinct of Cockatoo Island, Ai’s Law of the Journey, 2017, creates an imposing statement. Featuring a 60-metre-long boat crowded with hundreds of anonymous refugee figures, the work brings the monumental scale of the humanitarian crisis sharply into focus. The inflatable boat and figures are made from black rubber and fabricated in a Chinese factory that also manufactures the precarious vessels used by thousands of refugees attempting to cross the Mediterranean Sea."
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The opening of Ai Weiwei’s (b. 1957 in Beijing, China) new installation, produced specifically for Kunsthal Charlottenborg and Copenhagen, will take place on United Nations International Refugee Day (June 20 2017). Named Soleil Levant, the installation barricades the windows of Kunsthal Charlottenborg with more than 3500 salvaged life jackets collected from refugees arriving at the Greek Island of Lesbos.
Focus on the humanitarian crisis
With this installation, Ai Weiwei hopes to bring focus to the refugee crisis currently taking place across Europe. According to UNHCR, 1,377,349 individuals arrived in Europe via sea in 2015 and 2016. In the same period, over 8000 individuals have died or disappeared attempting this journey. It is the wide-spread humanitarian crisis, which Ai Weiwei aims to bring focus on.
The name of the work stems from Claude Monet’s painting Impression, Soleil Levant from 1872, which depicts the harbour in Le Havre at the end of the 1870-71 Franco-Prussian war. Whereas Monet’s landscape painting captures the political and social reality of its time with its cranes, steamboats and industrialisation, Ai Weiwei’s Soleil Levant draws attention to the political and social reality of today through refugee lifejackets.
World-renowned artist and activist
Ai Weiwei is one of the most respected living artists in the world today. His work – across sculpture, architecture, installations, music, photography and film – always challenge and encourage critical debate. He has previously exhibited at ARoS, Louisiana and Arken in Denmark, where his works are also part of the museums’ permanent collections.
In 2011, Ai Weiwei was detained in China for 81 days without charges and had his passport confiscated. He did not get his passport back from the government until 2015. Since relocating to Berlin following the return of his passport, many of the artist’s latest works focus on the refugee crisis of present-day Europe.
The installation Soleil Levant for Kunsthal Charlottenborg officially opens on United Nations World Refugee Day, (June 20) and will be on view at the facade of Kunsthal Charlottenborg until the October 1 2017. The project is curated by Luise Faurschou from ART 2030 and Michael Thouber from Kunsthal Charlottenborg.
ART 2030 connects art and the UN Global Goals
ART 2030 unites art as the key to open people’s hearts, minds and imagination for the world we want by 2030. ART 2030 is a movement of visionary artists and influencers in the art world, who are determined to reinstate the role for art in a bigger world context and make their contributions visible for sustainable Development.
The project is supported by The Obel Family Fund, Platform A/S and The Danish Arts Foundation.
Hashtag for social media: #awwcharlottenborg #aiweiwei #artforglobalgoals #ART2030
Inauguration and commemoration of World Refugee Day 2017
Ai Weiwei’s installation was officially inaugurated on World Refugee Day, June 20 2017, and in connection with the inauguration we held an event with talks, food and music commemorating World Refugee Day. Read more about the event and see photos from it HERE. See also our video of the talks given by among others former head UN’s general assembly Mogens Lykketoft, Secretary General for relief organization Red Barnet Jonas Lindholm, spokesperson for UNHCR in Denmark Elisabeth Arnsdorf Haslund, and Syrian refugee Rafat Al-hamoud, who has founded House of Humanity: Video of talks (Vimeo).
source: kunsthalcharlottenborg.dk/en/exhibitions/ai-weiwei-soleil...
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.
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.
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.
Background left: Study in Perspective (2022) / Foreground: Still Life - Stone collection 4000 Stone Age stone tools
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.
'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.
21erHaus: Ai Weiwei - translocation – transformation (14.7. - 20.11.2016, Pressekonferenz) aiww.21erhaus.at | Foto: eSeL.at
"Odyssey Tile" (Azulejo Odisseia), 2021
'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.