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Ocula ReportLocal to Global: Gallery Weekend Beijing 201813 Apr 2018 : Bowen Li for Ocula{{document.location.href}}
Gallery Weekend Beijing was first staged in 2017 on a number of premises, including the fact that Beijing needed an annual event with international appeal to maintain its place as an art destination after the rise of successful art fairs, and an increasing number of museums, in other regional cities like Shanghai and Hong Kong. As its title...
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Ocula ConversationMichaël BorremansArtist, Belgium{{document.location.href}}
Embarking on a career as a painter relatively late, at the age of 33, Belgian artist Michaël Borremans initially trained as a draughtsman and engraver at Saint Lucas in Ghent. On the occasion of his inaugural exhibition Michaël Borremans: Fire from the Sun at the new David Zwirner space in Hong Kong (27 January–9 March 2018), I spoke with Borremans...
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Ocula ReportArt Basel in Hong Kong 2018: A Post-mortem6 Apr 2018 : Diana d’Arenberg for Ocula{{document.location.href}}
On Monday night of Hong Kong's art week, the feminist art collective Guerrilla Girls, who call themselves the 'conscience of the art world', addressed a packed lecture theatre at the University of Hong Kong—their first public appearance in Asia. Armed with signature stats, facts, and bananas, three gorilla-masked members of the group, which...
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Ai Weiwei is China's most recognised contemporary artist. In the past 25 years, Ai has come to acclaim for his large-scale installations, political activism and frenetic online presence. Ai is the son of renowned poet Ai Qing, a one-time member of the Chinese Communist Party who was accused of 'rightist' opposition to the government the year of his son's birth. The family was subsequently exiled to a labour camp in rural northern China where they lived for 16 years. After Mao Zedong's death and the ensuing end of the Cultural Revolution in 1976, the family returned to Beijing where the young Ai enrolled in the Beijing Film Academy. It was here that he co-founded Stars Group, one of China's earliest avant-garde art collectives.

In 1981, Ai moved to the United States where he studied at the University of Pennsylvania; the University of California, Berkeley; and Parsons School of Design in New York. However, he ultimately dropped out and made a living by working odd jobs. During this time he took a prolific amount of photographs in the city's East Village and learned about conceptual art, performance and poetry from friends like Allen Ginsberg—lessons that would inform his developing practice. In 1993, due to his father's illness, Ai returned to China and found it a changed nation—the pro-democracy Tiananmen Square protests had taken place just four years earlier and surges of materialism, corruption and environmental problems had accompanied the country's rapid economic development. Inspired by his time in New York's East Village, Ai contributed to the creation of the Beijing East Village, an avant-garde artistic community comprising some of the first Chinese performance artists. Ai made his own first significant performance work two years later, when he dropped a 2000-year-old Han Dynasty urn (Dropping a Han Dynasty Urn, [1995]). Met with outrage, Ai drew connections between the act and Mao Zedong's stance that China must both build a new world and destroy the old one, a sentiment used to justify the sacking of cultural objects and historical signifiers during the Cultural Revolution. Such wariness of establishment and government came to characterise Ai's career, and is surmised in his ongoing series of photographs that depict him giving the middle finger to structures of power such as Tiananmen Square, Hong Kong's skyline, the Eiffel Tower and the White House (Study of Perspective [1995-2003]).

Ai is an artist, architect, photographer, filmmaker, antique furniture dealer, scholar and designer, but what he has become most known for are his criticisms of the Chinese government—an authority that employs strict censorship and is known for punishing dissenters. Ai and the Communist Party first clashed when in 2005, the largest internet platform in China invited the artist to begin blogging. As relayed in a 2006 interview with Hans Ulrich Obrist, the artist was 'totally seduced'. He posted a constant stream of social commentary, political criticisms, personal writings and photographs; at one point over 100,000 people were reading per day. Due to its perceived sensitive content, the blog was shut down by authorities four years later. Ai took to Twitter and Instagram (both banned in China) where his hundreds of thousands of followers are still inundated with images of his life and work. He is widely credited for bringing to light human rights issues in China for an international audience.

In 2008, along with Herzog & de Meuron, Ai came to even greater global acclaim when he acted as artistic consultant for the Beijing National Stadium, constructed for that year's Olympics. Yet controversy struck again when in the same year, an earthquake hit Sichuan province and thousands of children died while studying in shoddily constructed schools. Ai launched a 'Citizens' Investigation', rallying the public to collect the names of the victims in order to memorialise them and shed light on the substandard building conditions that had heightened the death toll. The government did not approve, and Ai was beaten by police shortly before he was scheduled to testify for one of his collaborators on the project and suffered a cerebral haemorrhage. One of Ai's most famous photographs shows him in the elevator with the policemen after the attack (Ai Weiwei in the Elevator When Taken into Custody by the Police [2009]). Still, Ai's work about the earthquake travelled to Munich, where it was included in the exhibition So Sorry at the Haus der Kunst from October 2009 to January 2010. Displayed on the museum's façade, the installation _Remembering _(2009) was constructed from 9000 children's backpacks and spelled out the phrase 'For seven years she lived happily on this earth', a quote from one of the young victim's mothers. This multiplicity of material and large scale is characteristic of Ai, who is known for repeating and modifying simple materials, as seen in the millions of porcelain seeds for his 2010 Tate Modern project Sunflower Seeds, and his accumulation of 886 wooden stools in Bang at the 2013 Venice Biennale.

2011 was a monumental year for Ai; the artist was arrested at the Beijing airport by authorities who had branded him as a 'deviant and plagiarist'. His studios were searched, computers confiscated and Ai and his staff and family were questioned. After almost three months of harsh imprisonment, Ai was released after receiving charges of tax evasion. Yet his passport was confiscated for four years as the artist was 'suspected of other crimes'. He is still under close watch by authorities; indeed, the cameras installed by the police in front of his studio to monitor his activities inspired his marble sculpture Surveillance Camera (2010). In recent years, Ai's attention has been focused on the migrant emergencies in the Middle East. The artist has travelled extensively to refugee camps and the shores where migrants enter Europe to conduct research and document the humanitarian crisis. Law of the Journey (2017-18) featured a 230-foot-long inflatable raft carrying 258 faceless refugee figures, while thousands of lifejackets collected from asylum seekers in Lesbos made up the installation Soleil Levant (2017) in Copenhagen. The installation saw the façade of a major building adorned with the bright orange safety vests. Other recent projects have focused on surveillance, drones and political prisoners.

Ai Weiwei currently lives in Berlin, where he is the Einstein Visiting Professor at the Berlin University of the Arts.

by Elliat Albrecht | Ocula | 2018
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