2050, A Brief History of the Future (group show)
National Taiwan Museum of Art, Taichung
24 March - 3 June 2018
2050 is a future point in time that has not yet arrived. Many projections of the future of humankind envision the changes and appearances of our lifeworld in the year 2050. These yet unarrived times and objects are not far from our present and combine the history we have once experienced with humankind’s goals and aspirations for an ideal future life, drawing a possible blueprint for the future. The exhibition 2050, A Brief History of the Future aims to discuss the future world by looking at the development of human material civilization. The exhibition invites a total of more than fifty participating artists from Taiwan and abroad to adopt an angle of thinking about and probing the future from the point of view of contemporary works of art in exploring many of the social issues in today’s world. The works are rich and diverse, and filled with many thought-provoking and inspirational new creations.
This is the first international exchange exhibition to be co-organized by the National Taiwan Museum of Fine Arts and the Royal Museums of Fine Arts of Belgium. The exhibition is curated by Pierre-Yves Desaive, and its name and concept are inspired by A Brief History of the Future, published by French economist Jacques Attali. In A Brief History of the Future, Attali speculates on the future development of human history and describes the future international situation and changes in daily life based on known history and scientific viewpoints. Taking this as the starting point, the curator began to explore important topics such as the over-exploitation of natural resources, over-consumption, social inequality and religious wars in a world changed by the development of technology. He also expanded this curatorial framework to exhibit content in Taiwan, re-examining in greater depth all kinds of economic activity, the history of civilization in the context of technological developments, as well as the allocation of power and composition of ideologies. The exhibition outlines the relationship and dialogue between Taiwan and the exhibition’s main theme by showcasing East-West exchange and development during the Tang Dynasty, geopolitical and imperial power in the Age of Exploration, economic and political changes in Asia after the Cold War, as well as the market economy and technological development in the current era of globalization.
The original version of this exhibition was presented separately at the Royal Museums of Fine Arts of Belgium in Brussels, and the Louvre in Paris in 2016. For this exhibition in Taiwan, the curator has stayed true to the original curatorial context, exploring important issues of contemporary overexploitation of natural resources, overconsumption, social inequality and religious wars in a world changed by technological development. The exhibition extends and expands upon the above-mentioned framework to display in Taiwan a deep reexamination of various economic activities from the perspective of historical developments, as well as of the allocation of power, the history of civilizations in the context of technological development, and the composition of ideologies. Then, how humankind is facing a constantly evolving new future is looked at once again, as is the appearance of the world we have shaped.
National Taiwan Museum of Art, Taichung
Life Cycle (solo show)
Marciano Art Foundation, Los Angeles
28 September 2018 - 3 March 2019
Marciano Art Foundation is pleased to announce the next MAF Project in the Theater Gallery, a solo exhibition of Chinese artist Ai Weiwei, on view at the Foundation from September 28, 2018 — March 3, 2019. This exhibition is the artist’s first major institutional exhibition in Los Angeles and will feature the new and unseen work Life Cycle (2018) – a sculptural response to the global refugee crisis. The exhibition will also present iconic installations Sunflower Seeds (2010) and Spouts (2015) within the Foundation’s Theater Gallery.
On view for the first time in the Black Box, Life Cycle (2018) references the artist’s 2017 monumental sculpture Law of the Journey, Ai’s response to the global refugee crisis that used inflatable black PVC rubber in the shape of makeshift boats used to reach Europe. In this new iteration, Life Cycle depicts an inflatable boat through the traditional Chinese language of kite-making, exchanging the PVC rubber for bamboo. Ai first engaged with the traditional medium in 2014 in the installation With Wind created for the @Large: Ai Weiwei on Alcatraz exhibition in San Francisco, and this piece represents the artist’s further embrace of this ancient Chinese craft.
Suspended around the boat installation, the artist will exhibit a selection of figures crafted from bamboo and silk. In 2015, Ai Weiwei began creating a series of figures based on mythic creatures from the Shanhaijing, or Classic of Mountains and Seas. The Shanhaijing is a classic text made up of a compilation of mythic geography and myth, and versions of the text have existed since the 4th century B.C. The works are crafted in Weifang, a Chinese city in Shandong province with a tradition of kite-making dating back to the Ming dynasty.
Surrounding the parameters of the Black Box hangs Windows (2015) a reference to Chinese mythology, the tales and illustrations of the Shanhaiing, the history of 20th century art, and the life and works of the artist. The vignettes feature a dense mix of biographical, mythological, and art historical references to craft a contemporary story. Similar to chapters in a book, or acts in a play, the various scenes include the mythological creatures of the Shanhaijing alongside bamboo parallels of Ai’s own works, such as Template and Bang, and homages to Marcel Duchamp and Jasper Johns. A central theme running through the ten vignettes is freedom of speech and Ai’s efforts in defending it. Motifs recurring in Ai’s practice—the bicycle, the alpaca, symbols of state surveillance and control—are repeated and multiplied.
This multifaceted installation is evocative of Ai’s ongoing engagement with politics and social justice, and follows the release of his feature film Human Flow (2017) in which he depicts the refugee crisis on film. In the artist’s op-ed for the Guardian in February 2018, he writes, “I was a child refugee. I know how it feels to live in a camp, robbed of my humanity. Refugees must be seen as an essential part of our shared humanity.”
Placing Ai Weiwei at the forefront of the public contemporary art discussion, the installation Sunflower Seeds (2010), comprised of unique seeds made by 1600 artisans in Jingdezhen, Jiangxi province, will be presented in the Foundation’s Theater Gallery and will act to position Ai as one of the most recognizable artists of our time. This installation further expands upon reoccurring themes, such as authenticity, the individual’s role in society, geopolitics of cultural and economic exchange. The work also brings to mind the propaganda posters of the Cultural Revolution, depicting Mao Zedong as the sun and the citizens as sunflowers turning towards him.
Spouts (2015) is presented alongside Sunflower Seeds in the Theater Gallery, a piece comprised of thousands of antique teapot spouts dating back to the Song dynasty (960 – 1279). Following Ai’s practice of repetition and multiplication, the spouts may be seen as a metaphor for a mass of mouths, and a widespread yearning for freedom of speech and its continuing restriction throughout many societies. Spouts was previously exhibited in Galleria Continua in Beijing, the 21er Haus in Vienna, and the Sakip Sabanci Museum in Istanbul. The installation at the Marciano Foundation will be the first time the complete work is exhibited.
Ai Weiwei: Life Cycle will be accompanied by an illustrated publication, the third in MAF’s Project Series featuring an essay written by mythologist, writer, and professor Martin Shaw.
Marciano Art Foundation, Los Angeles
LOOK! LISTEN! Art is in the churches (group show)
Hauptkirche St. Katharinen, Hamburg
27 May - 22 July 2018
Art and the church have a long mutual past. In many areas, the history of European art illustrates the Christian accounts of God and Man. We find it in the windows of church interiors, on the walls, the altars and on the pulpits.
However, in the modern era, art and the church often go separate ways.
In this Exhibition Series, contemporary art and the church communicate with each other: The artwork should be commentary and impulse as well as complement to that which is otherwise only to be seen in the individual church. Thereby, we are consciously creating a connection to the designated European Year of Cultural Heritage 2018.
LOOK – We capture the world in pictures. In the Exhibition Series (usually) new and old art meet in sacred rooms. The works desire to be seen in the context of the church and vice versa: both develop a new impact through the other. The harmony of art and sacred rooms invite a closer and more exact view of the Old and the New.
LISTEN – Whoever is addressed by a work of art, listens within. What is the effect of what I see within me? At the same time, we listen in the churches to what God can say to us. Thus, these churches become places of reflection and meditation – about oneself and art in the light of new and old “anchor points” of attentiveness. Allow yourself to be affected and beguiled into contemplation!
Fan-Tan (solo show)
20 June – 12 November 2018
The Mucem is hosting Chinese artist Ai Weiwei, one of the major actors on the international art scene. The work of the photographer, architect, sculptor, performer, film-maker and social network activist combines Chinese thought with contemporary art, namely drawing his inspiration from Marcel Duchamp and Andy Warhol. His creations are able to challenge our societies with such force through his transformation of everyday objects into works of art.
Ai Weiwei is the son of Ai Qing (1910-1996), the famous Chinese poet who discovered the West in 1929 on disembarking at Marseille, on the docks of La Joliette, precisely the spot where the Mucem is located today.
This connection motivated the artist to take us on a voyage through time and his art, which he links back to his paternal lineage. Through the new resonances that emerge in this exhibition, we are able to view Ai Weiwei’s work in a new light.
His creations, placed in parallel with the collections at the Mucem, invite us to question opposing notions such as East and West, original and copy, art and craft, destruction and conservation. But above all, the artwork of Ai Weiwei also challenges the relevance of our own interpretations.
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