Ai Weiwei. Fragments, 2005. Ironwood (tieli). Tables, chairs, parts of beams, and pillars from dismantled temples of the Qing dynasty (1644–1911). Sigg Collection
Working with a team of skilled carpenters, Ai turned pillars and beams of ironwood salvaged from several dismantled Qing dynasty temples into a large-scale, seemingly chaotic work, which he calls an “irrational structure”.
Arthur M. Sackler Gallery, Washington DC, until 7 April 2013.
The Pérez Art Museum of Miami, Miami
Whereas everyone raves about the building, asking about the content is akin to inquiring after a terminal patient’s health. The decision to launch with Ai Weiwei’s travelling show, though not obvious to locals (as the Miami artist who recently smashed Ai’s pot demonstrated), must have seemed a no-brainer, given that the artist had consulted on Herzog and de Meuron’s “Bird’s Nest” in Beijing, but what else, and what after that?
Ink Art: Past as Present in Contemporary China
In the mid-1980s and 90s, as China distanced itself from the policies of Mao Zedong, and his successors became more willing to engage with the outside world, Chinese contemporary art began to appear with increasing frequency in important international exhibitions.
Damage Control: Art and Destruction Since 1950
In his novel The World Set Free (1913), the science fiction writer HG Wells described a post-atomic world in which a new weapon of mass destruction, the atomic bomb, had been discovered.
Our voice as protagonist – a meeting with Tania Bruguera
The chatter of a roomful of museum workers turned to silence the minute Tania Bruguera walked into the auditorium at the Museum of Modern Art in Rio de Janeiro.
Ben Brown Fine Arts presents us with the first solo exhibition of Wang Keping in the UK. Considering that Wang is such an important and revolutionary Chinese artist, it is surprising that his work has not been exhibited with focus before.