DC -- Hirshhorn Museum -- Exhibit: Al Weiwei: According to What:
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Description of Pictures: Ai Weiwei: According to What?
October 7, 2012 to February 24, 2013
Ai Weiwei (Chinese, b. Beijing, 1957) is one of China’s most prolific and provocative contemporary artists. He is best known for projects such as his collaboration with architects Herzog & de Meuron on the design of the 2008 Beijing Olympic National Stadium, as well as his embrace of the internet and social media as an active platform for commentary and as an art form in itself. Ai has been a leading figure among Chinese artists since he returned to China in 1993 after spending more than a decade in the United States. He has also become internationally recognized as a result of his actions that challenge the political status quo in China. Despite his arrest and detention for eighty-one days in 2011, the artist has continued to create art that transcends dualities between East and West, focusing on fundamental questions about the interrelations between art, culture, society, and individual experience.
This exhibition demonstrates Ai Weiwei’s broad artistic practice and includes sculpture, photography, audio, video, and site-specific installations. Many of his works employ simple forms and methods that evoke and play with notions of conceptual and Minimal art, while others manipulate traditional furniture, ancient pottery, and daily objects in ways that question cultural values and political authority. More recent works address his ongoing investigation into the aftermath of the 2008 Sichuan earthquake as well as his detention and continual surveillance by Chinese authorities. In each piece, Ai emphasizes the value and place of the individual within society.
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2012_DC_SIHIR_Weiwei: DC -- Hirshhorn Museum -- Exhibit: Al Weiwei: According to What (75 photos from 2012)
2013_DC_SIHIR_Weiwei: DC -- Hirshhorn Museum -- Exhibit: Al Weiwei: According to What (9 photos from 2013)
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
SIHIRW_121012_049.JPG: Kippe
2006
Tieli wood (iron wood) from dismantled temples of the Qing Dynasty (1644-1911) and iron parallel bars.
SIHIRW_121012_067.JPG: Map of China
2008
Tieli wood (iron wood) from dismantled temples of the Qing Dynasty (1644-1911).
Using traditional Chinese joinery techniques, this sculpture is a map of China made of salvaged wood from dismantled Qing Dynasty (1644-1911) temples. The work can be interpreted in a variety of ways. As a map of China, it can be understood as symbolizing the political unity of a country made up of many different cultural and historical factors. The monumental scale of the work suggests the long history of the Chinese nation.
SIHIRW_121012_109.JPG: I make the useful become not useful; these objects combine the practical with change and illusion. They open up a perspective so that we can have an understanding of the material or an understanding of space. It is a basis for dealing with perception, and when you think about how people use an object, you're also using so-called knowledge in the sense that "useful" has a meaning. The meaning is the use. And that plays a great role in human understanding and culture.
-- Ai Weiwei
SIHIRW_121012_123.JPG: If we push the boundaries of craftsmanship and artisanship, we see that they are not just mechanical skills but are actually an exploration of the very nature of the materials they employ, a challenging, a questioning of wood or stone materials. This changes our perspective.
-- Ai Weiwei
SIHIRW_121012_207.JPG: A historical property has morals and ethics of the society that created it and it can be revived. What I mean is that we can discover new possibilities from the process of dismantling, transforming, and recreating.
-- Ai Weiwei
SIHIRW_121012_210.JPG: Bowl of Pearls
2006
A pair of porcelain bowls and freshwater pearls
SIHIRW_121012_214.JPG: So-called creative behaviors always accompany the issue of 'authentic' and 'original.' It may be the most important core question, whether a work is original or authentic. And this issue may well be the main point for contemporary art. People are looking for something new. But what on earth is something new? And what is the method of making something new? Can it be fake and at the same time authentic?
-- Ai Weiwei
SIHIRW_121012_247.JPG: He Xie
2010-
3,200 porcelain crabs
In He Xie, a new work, Ai metaphorically represents the restriction of individual expression and free speech in Chinese society. He zie literally means "river crab," but it is also a homophone for the word meaning "harmonious," which is used in the Chinese Communist Party slogan "the realization of a harmonious society." In the context of the Internet, the term refers to online censorship and the removal of antiestablishment views and information. In November 2010, responding to the imminent demolition of his newly constructed studio in Shanghai, Ai called for support via Twitter and invited guests to a feast of 10,000 river crabs in protect of the government's control of information. Ai was unable to attend, however, having been placed under house arrest as a result of his actions.
SIHIRW_121012_285.JPG: The tragic reality of today is reflected in the true plight of our spiritual existence; we are spineless and cannot stand straight.
-- Ai Weiwei
SIHIRW_121012_303.JPG: Extending a hand to those in trouble, rescuing the dying, and helping the injured is a form of humanitarianism, unrelated to love of country or people. Do not demean the value of life, it commands a broader, more equal dignity.
-- Ai Weiwei
SIHIRW_121012_314.JPG: Surveillance Camera
2010
Marble
SIHIRW_121012_321.JPG: Marble Helmet
2010
Marble
SIHIRW_121012_327.JPG: For artists and intellectuals today, what is most needed is to be clear about social responsibility, because that's what most people automatically give up. Just to protect yourself as an individual is very political. You don't have to march on Tiananmen, but you have to be clear-minded, to find your own means of expression.
-- Ai Weiwei
SIHIRW_121012_331.JPG: Ai Weiwei in the elevator when taken into custody by the police
2009
SIHIRW_121012_338.JPG: Brain Inflation
2009
SIHIRW_121012_345.JPG: Study of Perspective: White House
1995-2003
SIHIRW_121012_349.JPG: Study of Perspective: Tiananmen
1995-2003
SIHIRW_121012_357.JPG: A name is the first and final marker of individual rights, one fixed part of the ever-changing human world. A name is the most basic characteristic of our human rights: no matter how poor or how rich, all living people have a name, and it is endowed with good wishes, the expectant blessings of kindness and virtue.
-- Ai Weiwei
SIHIRW_121012_362.JPG: Names of the Student Earthquake Victims Found by the Citizens' Investigation
2008-11
Ai created the Citizens' Investigation project with the goal of compiling a list of all the children who died in collapsed schoolhouses. The list, which records the name, year, class, and sex of each victim, has grown to include over 5,000 individuals. It is posted on the wall of Ai's studio, and the investigation continues. For this exhibition, the names are printed in ink on white paper and displayed on the gallery walls.
SIHIRW_121012_366.JPG: Snake Ceiling
2009
Backpacks
Approximately 90,000 people died or went missing in the May 12, 2008 Sichuan earthquake. Many school buildings collapsed, killing many children and leaving their backpacks scattered across the quake areas. This work, which resembles a giant snake, is formed from commonly used student backpacks in various sizes (representing children from elementary school through junior high) laid out as a requiem for the souls of those who perished in the disaster.
SIHIRW_121012_374.JPG: The world is changing. This is a fact. Artists work hard hoping to change it according to their own aspirations.
-- Ai Weiwei
SIHIRW_121012_386.JPG: This so-called contemporary art is not a form but a philosophy of society.
-- Ai Weiwei
SIHIRW_121012_410.JPG: We cannot just learn from Western art, but also need to examine and criticize our daily experience and our own thought. This is the nature of intellect as well as art, to question the basic foundation of being and our state of mind.
-- Ai Weiwei
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2012 photos: Equipment this year: My mainstays were the Fuji S100fs, Nikon D7000, and the new Fuji X-S1. I also used an underwater Fuji XP50 and a Nikon D600. The first three cameras all broke this year and had to be repaired.
Trips this year:
three Civil War Trust conferences (Shepherdstown, WV, Richmond, VA, and Williamsburg, VA),
a week-long family reunion cruise of the Caribbean,
another week-long family reunion in the Wisconsin Dells (with lots of in-transit time in Ohio and Indiana), and
my 7th consecutive San Diego Comic-Con trip (including side trips to Zion, Bryce, the Grand Canyon, etc).
Ego strokes: I had a picture of Miss DC, Ashley Boalch, published in the Washington Post. I had a photograph of the George Segal San Francisco Holocaust memorial used as the cover of Quebec Francais (issue 165). Not being able to read French, I'm not entirely sure what the article is about but, hey! And I guess what could be considered to be a positive thing, my site is now established enough that spammers have noticed it and I had to block 17,000 file description postings for Viagra and whatever else..
Number of photos taken this year: just below 410,000.
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