ай Вэйвэй
アイ·ウェイウェイ
艾未未
آي ويوي

Snake Ceiling

source: aiweiweineversorry

Ai Weiwei is China’s most famous international artist, and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have shut down his blog, beat him up, bulldozed his newly built studio, and held him in secret detention.

AI WEIWEI: NEVER SORRY is the inside story of a dissident for the digital age who inspires global audiences and blurs the boundaries of art and politics. First-time director Alison Klayman gained unprecedented access to Ai while working as a journalist in China. Her detailed portrait provides a nuanced exploration of contemporary China and one of its most compelling public figures.
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source: wsimagazine

Galleria Continua / Le Moulin is pleased to present a solo show by Ai Weiwei. The exhibition features sculptures, installations, videos and photographs. Recent works, some previously unshown and others on display for the first time in Italy, offer viewers an opportunity to learn more about one of the most important figures in contemporary culture, emphasizing the versatility of the artist and the cornerstones of his art: deferential respect for the Chinese tradition, combined with a great ability to project himself into modernity and an unflagging social and political awareness.

A multifaceted artist and a man who is a bundle of contradictions, a great deal has been written, in every conceivable language, about the life of Ai Weiwei—from the suffering experienced by his family to his open clashes with the Chinese government and the way in which he has succeeded in redeeming his father through his work and through the pursuit of intellectual liberty. The aim of the exhibition is to focus on Ai Weiwei in all his complexity, a man for whom art is a way of life, bound up inextricably with the political and social circumstances of his time, a humanist artist with great intellectual faith in the capacity of human beings to contribute with their every gesture to the betterment of society. Ai Weiwei expresses this optimism on various fronts, ranging from art to architecture, and from literature to documentary film, social media activities and public protests. However the different fields of action all share a single and all- encompassing objective: to free individual expression from all forms of imposition in order to encourage reciprocal exchange and sharing among individuals. Ai Weiwei dwells on communication and social meanings in order to give fresh voice to a nation rendered mute by the ideology of the masses and by social utopianism, which renders thought uniform and denies the possibility of a critical approach to life.

In 2003, Ai Weiwei designed and realized his Fake Design Studio (which in Chinese reads as “fu-ke”, “fuck”), where he would subsequently plan, in his capacity as architect, a large series of spaces for galleries, studios and art centres, transforming a small unknown village between the fourth and fifth ring road to the north-east of the city into one of the most popular artists’ neighbourhoods in Beijing. Galleria Continua is showing 258 Fake, a titanic work of documentation consisting of 7,677 photos taken between 2003 and 2011, which record the artist’s everyday life: work, encounters, moments of leisure, political and social engagement. For Ai Weiwei, photography is an advanced archive tool but also an alienating and dangerous medium because of its inability to express reality in an unconditioned and objective way.

Documentation and archiving are fundamental, recurrent practices forming an underlying thread in Ai Weiwei’s work and career. The artist uses documentation to restore a name and a temporal and historic place to things and people, affirming their dignity and value. This can be seen in Changan Boulevard, which records the life of a constantly changing city and of the people who live there. Armed with a video camera, Ai Weiwei spent a whole winter driving around in a van along every street of the 4th, 3rd and 2nd ring, including Chang’An Boulevard, the immensely long Avenue of Eternal Peace, which starts in rural areas and villages and runs through the centre of the capital, the political district and the neighbourhoods with Beijing’s most magnificent buildings, museums and hotels, finally arriving at the Iron and Steel Works (regarded in the past as the symbol of socialist industry). At measured points along the way, the artist shot single frames of one minute each. The final edited work consists of 608 such segments, lasting a total of 10 hours, 13 minutes.

Ai Weiwei’s role as a dissident artist became clearly defined in 2008, when a violent earthquake devastated the province of Sichuan, causing the death of 70,000 people. Accompanied by a group of volunteers recruited on the web via his blog, Ai Weiwei embarked on a project to investigate the causes of the catastrophe. The results of his inquiries cast light on the poor quality of the public buildings (hospitals, factories, schools), which collapsed like houses of cards. The artist published on line a list of the names of 5,826 children who died under the rubble of the so-called tofu constructions. His act of denunciation made a strong impact on public opinion, drawing an immediate response from the Chinese police, who closed down his blog. Nonetheless, Ai Weiwei managed to get round the censorship, continuing to support his campaigns on the web through Twitter. The exhibition features a series of works linked to this sad chapter in Chinese history. Rebar 49 is a sculpture comprising three iron rings, used for reinforced concrete in the construction of civil buildings—one of the 150 originals deformed by the earthquake that Ai Weiwei collected in Sichuan, and two replicas. The work is a forceful condemnation of the Chinese government, but also a monument to those who were never found. Brain Inflation is an MRI showing the brain haemorrhage suffered by the artist at the hands of the Chengdu police in August 2009. Marble Helmet, a marble sculpture, is a replica of a worker’s hard hat, of the kind used by the workers who tried to save the lives of earthquake victims in the days after the disaster.

Around the end of the 1990s, Ai Weiwei began to work on the decontextualization and reconfiguration of ancient furniture, which resulted in a series of works destined to become a distinctive feature of his output. Using tables and architectural elements dating to the Ming and Qing dynasties, a legacy of the sophisticated Chinese craft tradition, the artist started a process of deconstruction and assemblage, adopting the ancient, and now largely forgotten, assembly technique of the Tang dynasty (618–907). The object, stripped of its original use, acquires new form and new significance. More recent works are articulated in architectural forms that are closer to solid geometry, from the cube to Platonic solids. There are two examples in the show, F-Size and Untitled.

Ai Weiwei’s enthusiasm for the ancient craft traditions of China is also reflected in his interest in porcelain. Exported around the world, it is perhaps the art form that best represents Chinese culture. Since 2004, the artist has explored this material with increasing closeness and depth. The themes that inspire his ceramics are less austere than the works in wood, and fit perfectly with the light, fragile and sophisticated nature of the material. In the exhibition there is Oil Spills, blown-up blots of oil that allude to the theme of consumerism, and Bubble of Twenty Five, 25 unequal-sized bubbles of porcelain situated in the garden of the gallery. The bubbles were produced in the ancient kilns of Jingdezhen (historically the capital of imperial ceramics), and reflect the surrounding landscape spherically and to infinity.

Rounding off the exhibition are several installations of great visual impact. Situated in the stalls area of the gallery is Ordos 100 Models, a large architectural model designed for Inner Mongolia, which once again saw Ai Weiwei working with the architects Herzog & De Meuron, for whom he had previously acted as a consultant on the Olympic stadium in Beijing. One hundred architects from 27 different nations were selected to design 100 villas, each measuring 1,000 square metres. The maquette and the prints on the walls document the design phase, and the film, Ordos 100, the three on-site inspections for the finalization of the designs, which, however, have not yet been realized. The stage and the gallery’s tower space house Stacked and Very Yao, variations on a symbolically rich subject already explored by the artist in the past. Ai Weiwei uses the bicycle as an iconic object: the principal means of transport in China – “Forever” (Yong Jiu Pai) is the most common bicycle brand in the country—it represents the lives of millions of Chinese citizens; what’s more, with its chain and sprocket mechanism, it somehow depicts the matrix of the labour force: the people. These installations also spotlight the more conceptual aspects of Ai Weiwei’s work; on the one hand, the activation of a process of abstraction whereby the object becomes the symbol-structure of nothing, on the other, the realization of the work as a metaphor of the fabrication of power.

Ai Weiwei was born in Beijing in 1957. He moved to New York in 1981, but returned to Beijing in 1993, and he still lives and works there today. His works have been shown around the world, and he has had solo exhibitions at Galleria Continua / San Gimignano, the Hirshhorn Museum and Sculpture Garden, Washington D.C., and the De Pont Museum of Contemporary Art, Tilburg, in 2012; the Victoria and Albert Museum, London, Somerset House, London, the Kunsthaus, Bregenz, the Taipei Fine Arts Museum, Taipei, the Asia Society, New York, the Fotomuseum Winterthur, Winterthur, and the Pulitzer Fountain, New York, in 2011; Stiftung DKM, Duisburg, the Museum of Contemporary Craft, Portland, the Arcadia University Gallery, Glenside, and the Turbine Hall, Tate Modern, London, in 2010; the Mori Art Museum, Tokyo, Haus der Kunst, Munich, and the Three Shadows Photography Art Center, Beijing, in 2009; the Sherman Contemporary Art Foundation, Cambelltown Arts Center, Sydney, and the Groninger Museum, Groningen, in 2008. Collective shows to which he has contributed include the São Paulo Biennial and the Venice Architecture Biennale in 2010; Documenta 12 at Kassel and an exhibition at Tate Liverpool in 2007. Ai Weiwei was invited to exhibit in the German Pavilion of the 55th Venice Biennale.
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source: unetoutezen

Ai Weiwei est un artiste chinois né à Pékin en 1957 et un activiste social. Son travail englobe divers domaines, y compris les beaux-arts, l’architecture et la critique sociale. Il est un des artistes majeurs de la scène artistique indépendante chinoise, à la fois sculpteur, performeur, photographe, architecte, commissaire d’exposition et blogueur. Selon le magazine Art Review, il est la figure la plus puissante de l’art contemporain : « Son militantisme a rappelé comment l’art peut atteindre une large audience et se connecter au monde réel ».

Le travail de Weiwei reflète sur et puise son inspiration dans un éventail de sujets, y compris l’histoire , la politique, la tradition et la culture. Ces sujets sont infusées dans son œuvre, ce qui les rend à la fois pertinente et stimulante.

Le 3 Avril 2011, Ai WeiWei a été secrètement détenu par la police pendant 81 jours à l’aéroport international de Pékin alors qu’il se rendait à bord d’un vol à destination de Hong Kong. Il a été libéré sous caution le 22 Juin 2011. Bien que la caution ait été levée après un an, les autorités n’ont pas rendu son passeport et il reste interdit de voyager hors de Chine. Accusé d’évasion fiscale, l’artiste polyvalent, qui a participé à la conception du célèbre Nid d’oiseau, le stade des jeux Olympiques de Pékin en 2008, avait notamment enquêté sur l’effondrement d’écoles lors du séisme de 2008 dans la province du Sichuan et sur un incendie qui avait fait des dizaines de victimes en novembre 2010 à Shanghai.

Bien qu’il ait été nommé l’un des artistes les plus influents du monde par le magazine ArtReview, le Chinois Ai Weiwei n’a pas pu assister au lancement de la rétrospective consacrée à son œuvre au Musée des beaux-arts de l’Ontario (MBAO) prévue en aout 2013, à Toronto. Les visiteurs ont eu l’occasion d’admirer tout un éventail du travail de l’artiste, dont un mur entièrement marqué des noms et dates de naissance des 5212 enfants tués par le séisme de la province de Sichuan en 2008 et une sculpture faite de morceaux d’acier récupérés sur le site de la catastrophe, entre autres.

Ses principales expositions personnelles incluent :

– exposition au MBAO, Toronto (2013)
– In according to what? au Hirshhorn Museum and Garden Sculpture, Washington DC (2012)
– Entrelacs au musée du jeu de Paume à Paris (2012)
– Ai Wei Weï: Absent au Taipei Fine Arts Museum, Taipei, Taiwan (2011)
– Circle of Animals au Pulitzer Fountain, New York, NY (2011
– The Unilever Series : Ai Weiwei à la Tate Modern, Londres, Royaume-Uni (2010)
– So Sorry au Haus der Kunst, Munich, Allemagne (2009)
– Ai Wei Weï : New York Photographs 1983 -1993 à trois ombres Photography Art Center, Pékin (2009)

Une des œuvres exposées représente une sculpture faite de morceaux d’acier récupérés sur le site deu séisme en 2008.

Exposée au Hirshhorn Gallery de la Smithsonian Institution à Washington , DC représente la diversité de son talent. Les œuvres d’art exposées dans le Hirshhorn avait déjà été exposée au Musée d’art Mori à Tokyo en 2009, mais la production existante contient plusieurs nouvelles pièces d’art , dont beaucoup sont présentés pour la première fois.

Exposition « Sunflower Seeds » En 2011

Une de ses œuvres récentes les plus célèbres est l’installation Sunflower Seeds présentée dans le cadre des « Unilever Series », du 10 octobre 2010 au 2 mai 2011, au musée de la Tate Modern de Londres.

L’oeuvre se compose de 100 millions de graines de tournesol, fabriquées individuellement avec de la porcelaine. Le projet adresse la question d’identité individuelle au sein de la masse, mais surtout, nous porte à réfléchir à l’idée de tout ces objets fabriqués qui nous entourent. Elle joue avec une métaphore célèbre de Mao Zedong où le peuple chinois devait se tourner vers lui comme les tournesols vers le soleil. Elles ont toutes été fabriquées et peintes à la main par les 1 500 personnes embauchées pour leur réalisation.

Cette performance est étendue sur 1 000 mètres carrés. Les gens marchent, s’assoient sur ces millions de graines ! On sent la texture et on entend le bruit des pas dans cette « matière ». C’est bien l’image de la graine de tournesol : la même couleur, la même forme, mais lorsqu’on en prend une dans nos mains ou que l’on marche dessus, on se rend compte qu’elles sont solides, dures comme de la roche, faites de porcelaine. L’expérience est saisissante, car on réalise le nombre incommensurable de ces petites choses nécessitées pour composer l’oeuvre et la trace de l’homme derrière chaque unité.

L’exposition aura été accessible durant 2 jours seulement. La poussière dégagée par les débris de céramique pourrait entrainer des risques pour la santé des visiteurs… La direction du Tate Modern a donc décidé d’interdire le contact direct avec l’œuvre.

Never Sorry

Ai Weiwei est également connu pour son côté provocateur. Ces doigts ont fait le tour du monde ! Retrouvez son film « Never Sorry » sorti en décembre 2012. « Ai WeiWei: Never sorry », est le portrait d’un artiste engagé qui affronte sans relâche l’état chinois et nous rappelle de manière essentielle notre besoin de liberté individuelle, politique et artistique.