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The Unilever Series: Ai Weiwei: Sunflower Seeds

The Unilever Series: Ai Weiwei: Sunflower Seeds
1 of 4 About the exhibition Sunflower Seeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain. Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands. Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Update: Friday 22 October 2010 The landscape of sunflower seeds can be looked upon from the Turbine Hall bridge, or viewed at close range in the east end of the Turbine Hall on Level 1. Sunflower Seeds is a total work made up of millions of individual pieces which together from a single unique surface. Juliet Bingham, Curator, Tate Modern Related:  works

Ai Weiwei's Snake Makes Huge Statement Yesterday, Chinese artist Ai Weiwei was named the most powerful person in the art world, according to a poll compiled by ArtReview magazine. The Snake Bag is a perfect example of why China sees the Ai Weiwei as a threat. The artist/activist was detained by his home country for 81 days earlier this year. Ai Weiwei created this 55-foot-long undulating snake using 360 children’s backpacks, which he found at the deadly 2008 Sichuan earthquake. Photo credit: Carlos Gonzalez via [BBC], [Arrested Motion]

Marina Abramovic. An artist’s life Manifesto Le immagini presenti in questo profilo sono state prelevate dal web e pertanto potrebbero essere coperte da copyright. Tutti i diritti su testi, immagini, foto, audio e video appartengono ai rispettivi proprietari anche se non citati. La riproduzione di tali opere in questo profilo non ha fini di lucro. Questo profilo non rappresenta testata giornalistica in quanto non viene aggiornato con periodicità. This opera is licensed under a Creative Commons Attribuzione - Non commerciale - Non opere derivate 3.0 Unported License.

Ai Weiwei; Ai Weiwei, Circle of Animals/Zodiac Heads – review | Art and design | The Observer His art is here, but where is he? That is the question irresistibly raised by the sculptures and films in Ai Weiwei's new show at the Lisson Gallery in London. The works themselves only just made it out of China following the artist's arrest on 3 April. One curious customs officer is all it would have taken for his art, too, to be seized. Ai has been missing now for exactly six weeks. The horror of Ai's fate has already been brought home to us quite directly in Britain. A spirit of solidarity would be enough to impel one to the Lisson Gallery or indeed Somerset House, where Ai's Circle of Animals/Zodiac Heads was unveiled this week. At the Lisson Gallery, he is showing a most exquisitely crafted coffin-cum-table, benches on either side, made from wood salvaged during the destruction of a temple in the name of building development. Old objects are recreated in new materials. Two such cameras appeared outside Ai's Beijing studio a few years ago.

Rachel Whiteread's Holocaust memorial | World news The soft white parachute silk covering Austria's first memorial to its 65,000 Jews killed in the Holocaust rippled gently in the wind. "This monument shouldn't be beautiful," Nazi-hunter Simon Wiesenthal warned a crowd of around 400 gathered in Judenplatz - Jews' Square - for its unveiling. "It must hurt," he insisted, his faint voice shaking with age and emotion. As the ropes were pulled back, the silk slid with a swish over the bunker-like form and the chief rabbi's recitation of the Kaddish filled the small square. "It's harrowing," remarked Hilde Fein, 70, who had taken a pew on a window sill outside a beer cellar on the baroque square. The Austrian president, Thomas Klestil, called Ms Whiteread's "nameless library" - a hermetically-sealed room of books to symbolise the large numbers of victims and the untold stories of their lives - an attempt to "describe the indescribable". Acknowledgment The 1994 Turner prize winner received the commission to create the monument in January 1996.

Art Platform ’11: Ai Weiwei As we walked out the elevators last week to head into the main exhibition hall for Art Platform, something caught out attention in the side atrium. Imagine our surprise and delight as our eyes laid on Ai Weiwei’s Snake Bag, one of his most moving and intriguing works. The undulating 55 feet long serpent is created from 360 children’s backpacks and commemorates the deadly 2008 Sichuan earthquake. More detailed photos taken for us by Carlos Gonzalez of this powerful work after the jump… Photo credit: Carlos Gonzalez for Arrested Motion.

Georg Baselitz Finger Painting - Eagle, 1972 What is an eagle to a painter, you might profitably ask? Given that Baselitz refuses to accept narrative or political interpretations of his work – after all, this is why he began to invert his motifs about 40 years ago, in order to let the narrative content spill out and drain away – we should not hurry to call this eagle an emblem of the doomed Reich, a symbol of Roman power, an image of Zeus preying upon the hapless Ganymede or any of those other multifarious interpretative possibilities. The very fact that it is upside down increases its sense of helplessness. What cannot be denied is the ferocity of the painter's attack. The turmoil is on the very surface of the canvas. Even though Baselitz warns us again and again not to read storytelling of any description into his images, it is impossible not to do so. About the artist: Georg Baselitz (b1938)

Ai Weiwei Tracey Emin, “My Bed,” 1998 AI WEIWEI: NEVER SORRY, a film by Alison Klayman Lawrence Weiner | Images | Regen Projects 1 2 3 2012 Faber-Castell pencil and inkjet on pasted, folded archival paper Suite of three drawings 43 1/4 x 35 inches (109.9 x 88.9 cm) each framed Installation view: AROUND & AROUND HIGH & LOW Regen Projects II, Los Angeles May 19 - June 23, 2012 AROUND & AROUND HIGH & LOW 2012 Language the materials referred to Dimensions variable PLACED ON THE TIP OF A WAVE 2009 Language the materials referred to Dimensions variable Installation view LAWRENCE WEINER: PLACED ON THE TIP OF A WAVE Regen Projects II, Los Angeles July 11 - August 15, 2009 Installation view LAWRENCE WEINER: FOREVER & A DAY CAC Malaga, Spain July 25 – October 26, 2008 Installation view LAWRENCE WEINER: AS FAR AS THE EYE CAN SEE The Museum of Contemporary Art, Los Angeles The Geffen Contemporary at MOCA April 13 - July 14, 2008 LAWRENCE WEINER JUST ONE TIME, 2002 Language the materials referred to Dimensions variable Collection of The Museum of Contemporary Art, Los Angeles

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