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Rectangular Buddhist stone tablets, carved on all four sides with figures of the Buddha, monks, bodhisattvas and images of donors, were popular devotional objects commissioned by religious individuals and families. These were often present
in temple courtyards, public spaces or at major crossroads. By commissioning such objects, devotees hoped to gain spiritual benefits for themselves and their families.
Belvedere / 21erHaus: Ai Weiwei - translocation – transformation (14.7. - 20.11.2016, Pressekonferenz) aiww.21erhaus.at | Foto: eSeL.at
Painted pottery jars of this form, similar in shape to silkworm cocoons, served as mortuary objects known as mingqi or spirit vessels in early China. They were placed in tombs together with many other funerary vessels, pottery figures and
animals to serve the deceased in the afterlife. They would have been used to store and serve liquid such as ale or water. This example is noteworthy for its well-preserved decoration
of interlacing and swirling clouds painted in coloured pigment. The decoration sought to evoke the heavenly realm of the deceased.
The white Marble Cube (2010) references the history of sculpture and, in an abstract way, asserts its three-ton weight. Part of a series playing with the idea of cubic meters.
Artist | 艾未未 (b. 1957 in Beijing, China) Ai Weiwei
Title | 洗白 (1995-2000) Whitewash
中國新石器時代陶罐、工業油漆 industrial paint on Chinese Neolithic earthenware vessels
dimensions variable
Exhibitor | M+, Hong Kong
Exhibition | M+ Sigg Collection
www.mplus.org.hk/en/collection/objects/whitewash-201250/
艾未未將這些古代陶罐的表面刷成白色，覆蓋了原來的裝飾紋樣。他此舉極具概念藝術的意味，揭示出當下社會和文化中廣泛的張力關係：技術進步與文物保存，當代藝術觀念與傳統美學樣式，乃至歷史真相與個人解讀。多年以後的今日，有些白漆逐漸脫落，陶罐的紋樣再次露出，表明粉飾洗白不僅無法完全掩蓋過去，而且還會成為歷史的一部分。
Ai Weiwei dipped these ancient Chinese earthenware jars in white paint, obscuring their surface decoration. Through this conceptual act, the artist alludes to broad tensions in our society and culture today: between progress and tradition, contemporary art and time-honoured aesthetics, and historical fact and personal interpretation. In the years since the work was finished, some of the paint has peeled away, revealing the jars' original surfaces. This suggests not only that the past can never be completely whitewashed, but also that the act of whitewashing itself can become a part of history.
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在這件裝置作品中，126件白色和褐土色的陶瓶在地上分行排列，它們全都有窄窄的瓶頸和開口，瓶身近乎球體，兩側各有小手柄。褐土色的陶瓶表面呈現深棕色的對稱飾紋，這些飾紋由粗線和形狀組成。這裏的陶瓶容器可追溯至中國的新石器時代，其中四分之一的瓶子給整個漆上白色的表層，把陶土獨特的色彩、印記及礦物顏料完全遮蓋，給人簇新的感覺。1990年代，艾未未開始以中國傳統工藝品創作。他曾把漢代的陶甕摔成碎片，又曾把器皿泡進顏料中，以及在花瓶上繪上可口可樂的標誌。透過展示、改造和破壞歷史工藝品，艾未未重訂、轉化和質疑了加諸物件身上的價值，藉此批判政治和傳統。艾未未的作品種類繁多，涉及建築、寫作、裝置和電影。
In this installation, 126 large white and earth-tone jars are arranged in rows on the ground. Each jar has a narrow circular neck and opening, a nearly spherical body, and two small handles on the sides. The earth-tone jars feature dark brown symmetrical decorative patterns, which are formed by thick lines and shapes. These earthenware storage jars date to the Chinese Neolithic period. White paint was used to thoroughly coat about one quarter of the jars, removing the distinctive colour and marks of the clay and mineral pigments, giving a sense of newness. In the 1990s, Ai Weiwei began using Chinese historical artefacts in his work. He dropped a Han-dynasty urn so that it would break into pieces, dipped vessels into coloured paint, and applied the Coca-Cola logo to vases. By displaying, adapting, and destroying historical artefacts, Ai reinstates, transforms, and also questions the value placed on objects, in a criticism of both politics and tradition. Ai’s wide range of work encompasses architecture, writing, installation, and film.
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語音導覽文本 Audio Guide Transcript
艾未未：
我叫艾未未。我是一個中國人。我通常被稱作是一個藝術家。
旁白：
艾未未是當代藝術中最家喻戶曉的名字之一。《洗白》這件作品展示了眾多新石器時代的陶壺，其中大約四分之一被藝術家塗上了白色油漆，並被整齊地多行排列開來。他和我們講述這種物理性與結構感是從何而來的。
艾未未：
我是一個從小對製作就很感興趣的人，因為我生活在一個物質匱乏、所有事情[都得]自己做的時期。包括一個書架、或者是一個燒水的爐子、或者是取暖的火牆，甚至包括自己睡覺的床，都得要自己動手來做。因為我們生活在一個非常原始性的社區裡。所以我對手工製作非常熟悉，這對我來說益處很大。一直對我的藝術是有所幫助的。
那麼，和藝術的關係是說，我們如何將自己的感受，通過一種方式來傳達，那麼這個傳達實際上它的可能性是很多的。它可以純理性傳達，或者是理性、感性兼併著傳達，或者說純感性地傳達。對我來說，我比較偏重於純理性傳達，和這種分析批判性的傳達，而不是太感性的傳達。
旁白：
既然艾未未如此重視批判思考，我們便問他像《洗白》這樣的作品的靈感來自哪裡。他的答案有些出人意外。
艾未未：
我的所有作品都不是來自於一個靈感，經常有人問我：「你的靈感哪來的？」我實際上是一個沒有靈感的人，也可能我是一個假的藝術家，因為我做了這麼多作品到處展覽。但實際上我從來沒有過靈感。我的作品都是從分析學、和我自己對事物的認識，由於我的好奇心，和我希望對東西刨根問底的這麼一種狀態，而自然出現的。
我實際上都不在乎它們是不是藝術品。
這句話實際上是很重要的。因為我的一些作品在製作以後，我從來沒有希望把它賣給任何人，或者說讓任何人來收藏。更不會想到M+博物館有一天會讓它出現。這是千真萬確的。那麼我做[作品]，是我自己的一個興趣， 我願意這樣做，這個表達了我對美學的一些態度。
AI WEIWEI:
My name is Ai Weiwei. I am Chinese. I am often known as an artist.
PRESENTER:
Ai Weiwei is one of the most recognisable names in contemporary art. This piece, ‘Whitewash’, features many Neolithic storage jars–about a quarter of which the artist has painted white–arranged in neat rows. He told us where these elements of physicality, and structure, come from in his art.
AI WEIWEI:
I’ve been interested in handcrafts since I was a child, as I grew up with material hardship. This was a period of time when things could only be made with your own hands, from a bookshelf, a kettle, a fire stove on the wall, to your own bed. As we lived in such a primitive community, I became familiar with handcrafts, which I think is very beneficial. It's also helped with my art practice.
How does this relate to art? There are many ways to express our feelings, it could be hundred percent based on logic, or a combination of logical and sentimental, or it can be pure sentiment. Instead of sentimental expression, I prefer to communicate based on logic, with critical analysis.
PRESENTER:
Given this tendency towards critical thinking, we asked Ai Weiwei where the inspiration for a piece like Whitewash comes from. His answer was slightly surprising.
AI WEIWEI:
None of my works were drawn from inspiration. People often ask where I find my inspiration. In fact, I’ve never had any inspiration–perhaps I’m not a real artist, even though I’ve done so many works and exhibitions. My work comes naturally from my analytical thinking, my understanding of things; they are driven by my curiosity and my state of being, from which I intend to dig the meaning out by the roots.
In fact, I don't care whether they're art or not. This statement is apparently very important, because I would never have hoped to sell my works to anyone. Or to ask people to collect them. Neither would I have thought that they would be shown at the M+ Museum. This is true. I mean it. I make art because it’s my hobby, I like to do it, and it also shows my attitude towards aesthetics.