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Old stomping grounds

Ai Weiwei: According to What? is the latest touring exhibition by the Chinese artist

By Chris Fuchs  /  Contributing reporter in New York

A handout picture released by the Perez Art Museum on Feb. 18 2014 shows an installation by Chinese artist Ai Weiwei at the museum in Miami, Florida in November. According to a Miami Police report, on Feb. 16 a local artist picked up one of the vases, allegedly worth US$1 million, and smashed it on the floor. The local artist, identified as Maximo Caminero, said he was protesting that the museum only displays international artists and no local ones.

Photo: EPA

During the 1980s and 1990s, when Chinese artist and provocateur Ai Weiwei (艾未未) came to New York to study, part of his stay was spent living in what used to be a seedy, drug-ridden Brooklyn neighborhood called Williamsburg, known for its abandoned factories and warehouses whose capacious and sun-drenched interiors made for ideal art studios.

Perhaps it is fitting, then, that the first North American survey of Ai’s work has made its final stop this spring in the borough he once called home. Opening at the Brooklyn Museum last Friday, Ai Weiwei: According to What? — which takes its name from a 1964 Jasper Johns painting — features around 50 installations in all, a mix of videos, photography and objects crafted from marble, porcelain and wood that opine on some cultural, social or political facet of Chinese society.

Ai, 56, who once served as a design consultant for Beijing’s Bird’s Nest Stadium, built for the 2008 Olympics, continues to mature as a fearless critic of China’s government, and much of his art speaks to that mission. Still under house arrest, Ai was unable to travel to the US to tour with his exhibit, which began in Washington in October 2012.

Ai arrived in New York in 1981, at a time when urban decay had already begun to eat away at the city’s core. Living in Manhattan and Brooklyn until 1993, when he returned to China to be with his ill father, Ai had a front-row seat to the activism that grew out of the social and political causes of those heady times, including the AIDS and crack epidemics, an inexorably soaring homicide rate, and deteriorating race relations among blacks, Koreans and Jews.

One part of the exhibit documents this grittier, more volatile New York in a series of black-and-white photographs Ai took between 1983 and 1993. Images of bloodied demonstrators and police officers in riot gear standing sentry behind wooden sawhorses, along with candid shots of Beatnik poet Allen Ginsberg and civil rights leader Al Sharpton, reveal Ai’s early interest in social and political activism.

They also summon up the visceral emotions felt recently by so many Taiwanese, after seeing photos and video of Taiwan’s police using water cannons and batons to disperse protesters outside the Executive Yuan on March 24.

The exhibit also features Ai’s Colored Vases, originally a collection of 16 Qing-period vases dipped in bright colored paint that is meant to question the definition of cultural value. Colored Vases made headlines in February when Maximo Caminero, an artist visiting the Miami Art Museum where it was on display, lifted one of the vases and let it drop to the floor. Caminero’s alleged actions appear to mimic those documented in Ai’s work Dropping a Han Dynasty Urn, which is also part of the Brooklyn Museum exhibit. This photographic triptych records Ai dropping a 2,000 year-old Chinese vase, in an act that challenges traditional notions of how objects are valued based on their age.

Off in another room are two installations that speak to Ai’s concern for sociopolitical plight in China. The first, He Xie (河蟹), features 3,500 porcelain crabs piled on the floor in the center of the room, as if dumped from buckets. The scene is a reference to a dinner Ai gave at his Shanghai studio in 2010, before authorities tore it down. The name is also an ironic play on Chinese word hexie (和諧), a homonym that means harmony.

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