Ai Weiwei at the Royal Academy, London

10 November 2015 § Leave a comment

The notorious Chinese dissident artist has clearly been very busy since his recent, and not insubstantial, exhibition at Blenheim Palace (reviewed here). His latest outing is at the Royal Academy where a survey of works from 1993 to the present day make up his first major institutional exhibition in the UK.

Ai Weiwei Royal Academy

Blenheim provided an excellent historical foil for his anti-establishment works: the richly decorative interior a natural target for pieces that attack state control, and bourgeois ideals. At the RA Ai is more isolated, his pieces needing to succeed both individually, and as a cohesive body of work. Unfortunately this is not quite the case – his rather blunt methodology sometimes left exposed in is an exhibition that is fortunately however more hit than miss.

Ai Weiwei Royal Academy

The largest new work on show here is Straight (2018-12), which fills the largest of the halls. Thousands of rebar concrete reinforcement rods were secretly purchased from the recycled rubble of the Sichuan earthquake, straightened and arranged in an undulating and split metal sculpture that occupies the central area.

Ai Weiwei Royal Academy

The structure represents the undulations and cracking of the earthquake, although it is not particularly clear, works as a fitting memorial for the thousands that lost their lives in the disaster, many of them children who died in the poorly constructed concrete buildings, compromised by the corrupt officialdom. A moving film looks at the disaster whilst victims names meanwhile line one of the walls.

Ai Weiwei Royal Academy

In another room, an impressive many-arched structure is built from wooden fragments of destroyed temples, the whole apparently shaped like a map of China if viewed from above. In Bed (2004), a beautifully made sculpture of dark iron wood bears a 3D profile of the country and its borders. As do the ridges and grooves of a set of round, wall-mounted aluminium frames.

Ai Weiwei Royal Academy

Coloured Vases (2015) collects together a range of valuable vessels aged from the Neolithic to Qing Dynasty, dipped in paint in a work about authenticity and value. Better are the three photographs hung behind, entitled Dropping a Hang Dynasty Urn (1995), which attack the Chinese authorities destruction of historic buildings and objects. Both works however do have the morally ambiguous quality of destroying historically valuable pieces to make their point – because Ai the artist is the destroyer does that somehow make it better?

Ai Weiwei Royal Academy

Four one metre cubes crafted from a variety of materials neatly echo Robert Morris’ minimalist mirrored cubes, but for little good reason, whilst I also wonder why an exquisitely carved marble pram sits in a bed of marble grass. The huge and impressive crystal chandelier incorporating bicycle frames is another strange hanging sculpture that seems to exist only  for the incorporation of the bicycle, symbolic of ‘old China’.

Ai Weiwei Royal Academy

The last of the main galleries revisits Ai’s ordeals at the hands of the Chinese authorities who held him in a tiny cell, and subjected him to various physical and mental tortures. Six half scale metal boxes recreate the cell in minute detail and incorporate Ai and his guards in various scenarios.

Ai Weiwei Royal Academy

It is an intense and fascinating reminder of what the artist was subjected to, and a statement of how far he has come and how much he had to endure.

Ai Weiwei Royal Academy

We should be grateful but it is nevertheless rather unfortunate that it is somewhat reminiscent of historic tableaux in a regional museum. Ultimately he has of course to be forgiven – we have to recognise his artistic and physical battle against what we must not forget has been one of the worlds most unforgiving and authoritarian regimes.

Ai Weiwei Royal Academy

Much less forgiveable is the RA’s decision to crowdfund the installation of the monumental, and excellent, Tree sculptures that fill the courtyard. Some £123,000 was raised for their transport and installation, which surely this hugely profitable show should be providing? Is it not ironic that the RA have cynically manipulated the British public in a similar, albeit less oppressive, way that past Chinese governments have exploited theirs?

Ai Weiwei Royal Academy

Despite our misgivings this is a show that is sure to be a crowd-pleaser; big on spectacle, it is worth seeing for the best works and a timely reminder that art must continue to fight against all political corruption, tyranny and oppression.

Ai Weiwei Royal Academy

Ai Weiwei The Royal Academy of Art runs until 13 December 2015

For more information visit

Ai Wei Wei at Blenheim Palace

6 November 2014 § Leave a comment

Ai Wei Wei at Blenheim Palace is the inaugural exhibition of the Blenheim Art Foundation. One’s first instinct is that these are strange bedfellows: Ai Wei Wei is a strongly anti-establishment figure. Mistrusted by the Chinese authorities he has been regularly arrested or jailed whilst even now he is under house arrest, his passport confiscated. On the other hand the stately Blenheim Palace is a symbol of the aristocracy as well as the home of WInston Churchill, one of the very pillars of British Society.
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This juxtaposition of this irreverent joker and political activist with the heart of establishment Britain is of course the genius of the show. Nowadays it is not lost on wealthy titled land-owners that in the modern-day there is a fine line to be walked between historical anachronism and valuable heritage.
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It is exhibitions like this that allow the likes of the current 11th Duke of Marlborough, Lord Spencer-Churchill, some apparent self-critical analysis, whilst adding valuable funds to the coffers, helping shore up their slowly crumbling stately piles.
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never been afraid of taking on the powerful. In the library, for example, is Weiwei’s extensive series “Study of Perspective”, dating back to the Nineties – blown up snapshots of the artist sticking his middle finger up at symbols of influence, from Big Ben to St Paul’s, the Tate Modern to a super-yacht.

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With Ai stuck at home in China this exhibition was amazingly put together using a combination of plans, 3d imagery and extensive collaboration, the artist never having visited the site. Mightily impressive it is too both in scope – over fifty works – imagination and scale. Works are dispersed throughout the house and gardens, part of the enjoyment being to spot the unlabelled ‘impostors’ amongst the ornate interiors. Almost seamlesslessly old is combined with new, East with West and opulence with bling.
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The fun starts immediately upon entering the main house. A seventeen foot chandelier hangs from the vast baroque ceiling and looks remarkably at home. Ai is immediately questioning us – should not all his works be seen to sit on an equal cultural and aesthetic footing as all the incumbent pieces?

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In the Red Drawing Room, a sea of porcelain crabs sit in front of the fireplace, each carefully hand made. In the Green Drawing Room ancient Han vases, each been painted in a different gaudy metallic car-body colour, sit ironically surrounded by Blenheim’s own ornate china collection.

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In the First State Room is a wooden map of china carved from the wood of demolished Qing temples. A bowl of 250kg of freshwater pearls sits in a giant rice bowl in the centre of the Boulle Room right opposite a gold-crested casket by Louis XIV’s cabinetmaker.

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In every room the tapestries heirlooms and paintings are interrupted by his provocative Duchampian installations. Golden zodiac heads are impressive in the Salon, his marble surveillance camera watches over us in the library, Han vases with Coca Cola logos are in the Great Hall where we find ourselves walking upon Soft Ground – a 45 metre long custom woven rug that replicates a muddy cart track.

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Ironically Ai’s contemporary art that includes his own appropriation of antique vases and pieces of furniture allows us to realise that of course Blenheim’s own collection is not rooted in one era.  Our appreciation of his own work is not only expanded but also is the quality of what is already there.

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This is a truly liberating, irreverent, humorous and inspirational exhibition and surely the best of the year so far.

For more information visit

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