{"id":32070,"date":"2023-09-06T10:05:38","date_gmt":"2023-09-06T08:05:38","guid":{"rendered":"https:\/\/beta.cycladic.gr\/exhibition\/ai-weiwei-at-cycladic-2\/"},"modified":"2024-04-05T14:36:24","modified_gmt":"2024-04-05T12:36:24","slug":"ai-weiwei-at-cycladic","status":"publish","type":"exhibition","link":"https:\/\/cycladic.gr\/en\/ektheseis\/ai-weiwei-at-cycladic\/","title":{"rendered":"Ai Weiwei at Cycladic"},"content":{"rendered":"
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Ai Weiwei at Cycladic<\/h1>

CONTEMPORARY ART<\/p>

MAY 20 UNTIL OCTOBER 30, 2016<\/p><\/header>

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THE EXHIBITION<\/h2> <\/header>\n\n \n
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\n Ai Weiwei at Cycladic was the artist\u2019s first major exhibition in Greece and his first exhibition in an archaeological museum, following a close collaboration between Ai Weiwei (b. 1957) and the Museum of Cycladic Art.\n <\/div>\n \n \n<\/div>\n\n <\/div>\n
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The exhibition, which was extended to both wings of the Museum, introduced Ai\u2019s practice to the Greek audience through some of his most canonical works focusing on his recurring use of particular materials which draw parallels with Greek art counterparts, such as wood and marble.<\/p>\n

Among the new works created for the show was Standing Figure<\/em> (2016), a life-size sculpture made entirely out of marble which alludes to marble figurines of the Spedos variety, a style prevalent in the Early Cycladic period (2800-2300 BC). In a personal interpretation of Cycladic art, Ai has augmented the scale, thus transforming the modest Cycladic figurine into a towering deity. In reference to his own infamous triptych of photographs Dropping a Han Dynasty Urn<\/em> (1995), the sculpture has outstretched arms and a vessel hovering below, alluding to the destruction of Chinese antique objects that took place during the Chinese Cultural Revolution (1966-1976).<\/p>\n

The exhibition highlighted also his most recent activities from the months that he spent in Greece documenting the refugee crisis. Following an invitation by the Museum of Cycladic Art in December 2015, Ai travelled to the Greek island of Lesvos to document the unfolding refugee crisis, at a time when the crisis was at its peak. As he stated shocked: \u201cWhen you see the people arrive, it\u2019s hard to describe the feeling \u2013 it’s like when you cut your skin and you see your blood run out. You see the wound and the fresh blood. And you see that the wound will never heal because there is no intention to heal it, so the blood keeps flowing and people just mess with the blood without any intention to stop it\u201d.<\/p>\n

A number of new works created in response to his time in Lesvos were displayed throughout the Museum, such as his marble Tyre<\/em> (2016) and Zodiac Boat<\/em> (2016) which convey the perils and poor living conditions that hundreds of thousands of refugees are suffering. Ai applies, in this case too, his method of elevating everyday objects to iconic status with items that have become synonymous to the refugee crisis.<\/p>\n

In addition, for the first time works by the Chinese artist were displayed among the Museum\u2019s permanent collections, highlighting the way in which contemporary art can converse with artefacts from the past. Tear Bottle\/Tear Gas Canister<\/em> (2016), is a clear political statement: gas canisters used by the FYROM police against the refugees are placed alongside ancient tear bottles, delicate vessels which were used to collect the tears of mourners. The comparison between the tear gas canister and the tear bottle is haunting, one is used to induce tears whilst the other collects them. One is a totem of humanity, whilst the other symbolises a complete loss of it.<\/p>\n

Responding to the needs that had arisen during the refugee crisis at the time, the Museum of Cycladic Art donated part of all exhibition proceeds to two NGOs; M\u00e9decins Sans Fronti\u00e8res (MSF) and the Greek NGO METAdrasi.<\/p>\n\n \n <\/div>\n\n <\/div>\n <\/div>\n<\/section>\n\n

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