Why are you creative? (group show)
Museum für Kommunikation, Berlin
2 February – 8 April 2018
Zum Anbeißen: Früchte in der Kunst - Aus der Sammlung Rainer Wild (group show)
Museum der Brotkultur, Ulm
8 February - 20 May 2018
The New York Times - Art Leaders Network (conference)
25-26 April 2018
A Summit for Innovators and Experts
This April 25-26 in Berlin, The New York Times brings together a select group of the world’s most distinguished art experts and influencers - from dealers and gallery owners to museum directors and curators to auction executives and collectors.
The economics and dynamics of the art market are changing faster than ever before; driven by new buying habits, an increasingly global clientele, and ever-higher pricing led by shifts in supply and demand. Devised specifically with art and cultural leaders at its core, the Art Leaders Network program will define and assess the most pressing challenges and opportunities in the industry today.
Through provocative interviews and riveting discussions, senior New York Times journalists will explore myriad topics, from the impact of economic events on the arts to the outlook for galleries in the age of the mega dealer, as well as the future of museums to the undiminished fascination with contemporary art.
This invitation-only gathering will take place in Berlin, a city whose story of renaissance and reinvention mirrors the essence of this groundbreaking event.
The New York Times - Art Leaders Network
Ai Weiwei, Rineke Dijkstra, Thomas Struth et al.
Stage of Being (group show)
Museum Voorlinden, Wassenaar
9 December 2017 - 13 May 2018
Who are we? Where do we come from? What are we doing here? Where are we going?
We live in a world of progress: we know more and are capable of more, we live longer than ever before; maybe one day we will even achieve immortality. At the same time, we humans struggle with feelings of emptiness, loneliness and fear. Once, religion and ideology provided guidance and assuaged our doubts. Nowadays, we rely on self-help books, doctors, philosophers and coaches – but above all, on ourselves.
Artists in particular dare to face down the fundamental questions of existence. In fact: the very essence of art might be found in diffusing that existential, human fear. Art can hold up a mirror to mankind. This mirror is sometimes quite direct, raw and confrontational. And sometimes indirect, enshrouded in layers of meaning.
Museum Voorlinden, Wassenaar
Dangerous Art (group show)
Haifa Museum of Art, Haifa
11 November 2017 - 27 May 2018
Political changes in the Western world drove many democratic countries to a constant "state of emergency", which lead to an erosion of citizens' and institutions' rights. The new cluster of exhibitions revolves around artists' response to limitations placed on civil freedom, in Israel and worldwide. The various exhibitions relate to social issues such as the right of protest, women rights, rights of the LGBTQIA community, and the rights of refugees. Many artist use artistic activism as a strategy, and raise the question whether contemporary art has the power to function as an arena of political protest. This in contrast to the common view, according to which the revolutionary spirit is over and every form of criticism domed to undergo castrating censorship.
Today's art world, in Israel and worldwide, evinces an increased interest in the intersection of art and social activism. Known as artivism, this new form of expression aspires to blend art and activism in equal degree. Contemporary art criticism emphasizes the power of art to function as an arena for political protest. Artistic activism, a new phenomenon that has become a staple of our time, is different from the type of critical art that dominated modernist discourse in the 20th century.
Since the beginning of Modernism, artists have endeavored to tackle taboos in radical and groundbreaking ways. Avant-garde art set its sights on "the system": the form of government, the social structure, the distribution of capital, and issues of policing and control. High hopes were hung on the movement's potential to instigate revolution. The current cluster of exhibitions aspires to illustrate subversive artistic practices in a post-revolutionary time, devoid of any possibility for artistic-political protest. In our days, when every form of criticism is immediately negated and appropriated by capitalism, has art lost its power to critique? Or does art, more than ever, find itself in a position to challenge and threaten the political order?
Mostly, the works displayed in this cluster of exhibitions were meant not only to represent the struggle of the oppressed, but also to create a space for activist intervention. The works relate to social spaces in which neoliberalism takes great pride in extending the rights granted to various communities, such as women's rights, LGBTQIA rights, refugee rights, or the rights to protest and self-defense. However, the tolerance attributed to the spirit of liberalism is often of a cynical nature, used as a fig leaf to cover up the exacerbation of social inequality and denial of human rights. The artists featured in this cluster of exhibitions seek to liberate themselves of the ideological stronghold of the political hegemony and expose the unjust antagonism and violence it propagates. In this way, contemporary artists are able to take an active part in redefining the contemporary political discourse.
Haifa Museum of Art, Haifa
ISelf Collection: The Upset Bucket (group show)
Whitechapel Gallery, London
5 December 2017 - 1 April 2018
This display of works by 28 major artists examines how we project our identity through our appearances and consumer choices, ultimately shaping our sense of self in relation to society.
Whitechapel Gallery, London
Inoculation (solo show)
Fundación Proa, Buenos Aires
25 November 2017 - 25 February 2018
Ai Weiwei, activist and one of the most outstanding artists, today inaugurates in Proa Foundation an anthological exhibition with the most representative of his works. A tour of pieces that evoke political persecution - constant in his life and work; allegations of violations of human rights; migrations and refugees, among other issues that motivate the historical review and contemporary debate.
Objects, Installations, works in paper, Wallpapers, videos, and its cinematographic production, next to an active program of parallel activities, will construct the universe Ai Weiwei, one of the most representative of the present time.
Fundación Proa, Buenos Aires
Age of Terror: Art Since 9/11 (group show)
Imperial War Museum, London
26 October 2017 - 28 May 2018
See the UK’s first major exhibition of artists’ responses to war and conflict since the terrorist attacks on 11 September 2001. Age of Terror: Art Since 9/11 will feature more than 40 British and international artists, including Ai Weiwei, Grayson Perry, Gerhard Richter, Jenny Holzer, Mona Hatoum, Alfredo Jaar, Coco Fusco and Jake & Dinos Chapman.
The complex issues surrounding the global response to 9/11, the nature of modern warfare and the continuing state of emergency in which we find ourselves have become compelling subject matter for contemporary artists.
Artists’ unique ways of communicating through their art provide different levels of understanding. The stories they tell, whether first or second-hand, come from alternative viewpoints not always reflected in the mainstream media, often challenge our perceptions.
Through 50 works of art including film, sculpture, painting, installations, photography and prints, many of which will be exhibited publicly in the UK for the first time, this exhibition highlights the crucial role of artists in representing contemporary conflict.
The exhibition will be presented through four key themes: artists’ direct or immediate responses to the events of 9/11; issues of state surveillance and security; our complex relationship with firearms, bombs and drones and the destruction caused by conflict on landscape, architecture and people.
Imperial War Museum, London
Ai Weiwei (solo show)
Various locations, The Contemporary Austin, Austin
3 June 2017 - ongoing
The Contemporary Austin and Waller Creek Conservancy announce an upcoming two-part outdoor exhibition of large-scale installations by Chinese artist and political activist Ai Weiwei, to go on view to the public beginning June 3, 2017, as part of The Contemporary Austin’s partnership with Waller Creek Conservancy and its Museum Without Walls program. The project is made possible by the Edward and Betty Marcus Foundation and represents the second collaboration between The Contemporary Austin and Waller Creek Conservancy.
The works include the striking installation Forever Bicycles, 2014, installed by The Contemporary Austin at the Waller Delta (74 Trinity Street, Austin, Texas), and Iron Tree Trunk, 2015, on view at The Contemporary Austin’s Betty and Edward Marcus Sculpture Park at Laguna Gloria (3809 West 35th Street, Austin, Texas). The public opening for both works by Ai Weiwei will be celebrated with free family-friendly art activities and refreshments on Saturday, June 3 from 10 a.m. to noon at the sculpture Forever Bicycles at the Waller Delta. Both works will remain on view as long-term loans.
The Contemporary Austin, Austin
21st Biennale of Sydney (group show)
Various locations, Sydney
16 March - 11 June 2018
“The curatorial premise of the 21st Biennale of Sydney is an exhibition that will explore multiple viewpoints in search of a state of equilibrium. With a holistic view, the Biennale will also seek in-depth engagement with individuals and communities while exploring a range of perspectives and meanings of abstractions.
“The exhibition will be a journey; a walk through microcosms of the world today based on the stratum of history, human knowledge, emotions, desires and beliefs, as well as the mysteries of natural phenomena and the whole of the universe.”
21st Biennale of Sydney
Circle of Animals / Zodiac Heads (solo show)
Bayfront Gardens, The Ringling, Sarasota, FL
9 June 2017 - 1 June 2018
The Ringling is pleased to announce the presentation of the Chinese artist Ai Weiwei’s 12 monumental bronze sculptures, Circle of Animals/Zodiac Heads. A sculptor, photographer, installation artist, architect, and social activist, Ai is one of the most renowned artists working today.
Circle of Animals/Zodiac Heads was inspired by the fabled fountain-clock of the Yuanming Yuan, an 18th-century imperial retreat just outside Beijing. Designed in the 18th century by two European Jesuits at the behest of the Manchu Emperor Qianlong, the fountain-clock featured the animals of the Chinese zodiac, each spouting water at two hour intervals. In 1860, the Yuanming Yuan was ransacked by French and British troops, and the heads were pillaged.
Seven out of the 12 animal heads in Ai’s piece are based on the original fountain works that have been discovered—rat, ox, tiger, rabbit, horse, monkey, and boar. The remaining five are the artist’s reimagining of the currently missing artifacts—dragon, snake, goat, rooster, and dog. The dual title of the work addresses the artist’s desire that the piece be relatable on many different levels and to people who may not know the original sculpture’s history.
In re-interpreting these objects on an oversized scale, Ai Weiwei focuses attention on questions of looting and repatriation, while extending his ongoing exploration of the 'fake' and the copy in relation to the original. He states that each piece is “a copy of an original, but not an exact copy—something that has its own sensitive layer of languages, which are different, and that bears the mark of our time.”
The 12 bronze Zodiac Heads stand on bronze columns. Each animal head measures approximately 4 feet high and 3 feet wide. The animal heads on their columns reach between 9.8 and 12 feet high, with each one weighing approximately 800 lbs. This group of works, (including a smaller copy in gold) has been exhibited worldwide since the official launch of the Zodiac Heads in 2011, making it one of the most viewed sculpture projects in the history of contemporary art.
The Ringling, Sarasota
Good Fences Make Good Neighbors (solo show)
Public Art Fund, Various locations, New York
12 October 2017 - 11 February 2018
This October, as a highlight of its 40th anniversary in 2017, Public Art Fund presents Good Fences Make Good Neighbors, a timely new exhibition across multiple boroughs by world-renowned artist Ai Weiwei. Inspired by the international migration crisis and tense sociopolitical battles surrounding the issue in the United States and worldwide, the artist has conceived of this ambitious, multi-site project as a way of transforming the metal wire security fence into a powerful artistic symbol. By installing fences in varying, site-specific forms at locations across the city – including sites like the New York City Economic Development Corporation-managed Essex Street Market on the Lower East Side, The Cooper Union for the Advancement of Science and Art on Astor Place, JCDecaux bus shelters in Brooklyn in partnership with the New York City Department of Transportation, Doris C. Freedman Plaza at Central Park and Flushing Meadows-Corona Park in Queens both in partnership with NYC Parks, and numerous others throughout the city – Ai will create striking installations that draw attention to the role of the fence as both a physical manifestation and metaphorical expression of division. In this way, he will explore one of society’s most urgent issues, namely the psychic and physical barriers that divide us, which is at the heart of debates about immigration and refugees today.
Public Art Fund, New York