“After returning to Beijing from the U.S., where he had lived from 1981 until 1993, Ai Weiwei began to explore the artistic and cultural traditions of his native country – a pursuit that had previously been banned since the Cultural Revolution. He studied and collected antiques and eventually started integrating them into his own work, which had by then taken on a strongly conceptual aspect. Ai Weiwei not only examined the mechanisms of the international art and antiques markets and the associated export of cultural values and historical knowledge; he also reflected on the clash between old and new ideas about value as Chinese society underwent a process of rapid modernization. For his installation for the German representation at the French Pavilion, Ai Weiwei has assembled 886 three-legged wooden stools. In today’s China, the three-legged stool is an antique. Manufactured by a uniform method, it was in use throughout China and in all sectors of society for centuries. Every family had at least one stool, which served all sorts of domestic purposes and was passed on from generation to generation. After the Cultural Revolution, which began in 1966, and the subsequent modernization of the country, however, production of these stools plummeted. Aluminum and plastic have superseded wood as the standard material for furniture. Out of 886 of these stereotyped and yet highly individual objects, Ai Weiwei, recruiting traditional craftsmen who possess the necessary and now rare expertise, has created an expansive rhizomatic structure whose sprawling growth recalls the rampantly proliferating organisms of this world’s megacities. The single stool as part of an encompassing sculptural structure may be read as a metaphor for the individual and its relation to an overarching and excessive system in a postmodern world developing at lightning speed. In the present exhibition, it functions also as a metaphor of the themes addressed in the works of Romuald Karmakar, Santu Mofokeng, and Dayanita Singh, each of whom has devised distinctive techniques to present a variety of perspectives on how biographical, cultural, or political identity is related to larger, transnational conditions and circumstances.” Susanne Gaensheimer in the foreword of the official publication of the German Pavilion at the Biennale di Venezia 2013
Finish! Last Month german pavillon – only 12 days left!
the official catalog of Germany’s pavilion at the Venice Biennale festival of art 2013
We are pleased to announce the upcoming release of the official publication of the German Pavilion at the Biennale di Venezia 2013!
Edited by curator Susanne Gaensheimer, the 240-page, cloth-bound catalogue will be available as of May 28, 2013 and is published by Gestalten, Berlin.
Eleven international authors—curators, artists, collectors, and critics as well as scholars from the fields of art history, politics, migration research, philosophy, and cultural studies—were invited to take part in this interdisciplinary discussion on cultural and sociopolitical aspects of the German contribution to this year’s Biennale di Venezia. ...
Ai Weiwei – Interlacing in Sao Paulo
From February 7 to April 14, 2013 the Museu da Imagem e do Som (MIS) Sao Paulo is presenting the exhibition Interlacing by the Chinese artist Ai Weiwei. Curated by Urs Staehl, Interlacing was developed as a coproduction by the Fotomuseum Winterthur and the Jeu de Paume, Paris. The exhibition was also on view at Kunsthaus Graz. As the first major photography and video exhibition of the artist’s work, Interlacing brings together a range of photographic documentation to convey a complex image of the “artist as network.”
The exhibition catalogue was published in 2011 by Steidl.
https://www.mis-sp.org.br/icox/icox.php?mdl=mis&op=programacao_interna&id_event=1208
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Ai Weiwei declares his intent for triennial
The Chinese artist is creating a work for this summer’s Emscherkunst art festival, held in the Ruhr region in western German.
https://www.theartnewspaper.com/articles/Ai-Weiwei-declares-his-intent-for-triennial/29008
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