(picture source: aiweiweineversorry)
There are some things I’m not supposed to write about and this is one of them. Ai Weiwei was once beloved as an artist in China, having helped design the Bird’s Nest stadium for the Beijing Olympics. But because of AWW’s outspoken criticisms of his motherland, “stuff” happened to him. Google around and you’ll find the story.
I admire AWW for his no bullshit attitude toward his work and society at large. Nothing is precious, and everything he outputs – from his more formal art pieces and architecture to his documentation of China through photos, videos, his blog, his Twitter, and interviews – leans heavily on grand sweeping concepts, rather than aesthetics. AWW has dipped neolithic vases in industrial house paint. He’s videotaped the entire sprawl of Beijing – street by street – from a bus, as commentary on the rapid industrial changes of China’s capital. There’s also his landmark piece, Sunflower Seeds, where he employed an entire village to make several hundred million sunflower seeds by hand. Because in China, with enough money and influence, you can.
Oh and one of my favorites, Fairytale. When asked to create an exhibit for a show in Kassel, Germany, AWW decided to bring 1,001 Chinese tourists to Kassel. The exhibit became a living, breathing, fanny-packed sculpture, and the art became the audience. Everyone – from the snooty art critics to the citizens of Kassel to the 1,001 wide-eyed Chinese visitors – left the show a little more enlightened.
Much like Andy Warhol, AWW is one of those rare figures that foresaw the sea change of a generation and through art, made it easy to understand for the masses. Andy Warhol for consumerism and the meaning of celebrity. And AWW, for the growing pains of a new Chinese superpower.
There’s a new documentary out about him, but unfortunately, there’s no chance in hell it will show here. You should also check out this short and super readable interview series published by Penguin Books.











