MOTTAINAI WEIWEI ! Broken China at Mori Museum


Is it just me, or did anyone else else feel a bit uncomfortable gliding around Ai Weiwei’s smooth and impressive retrospective at Mori Museum? Does anybody else feel like that this blockbuster exhibition – blocks of tea, blocks of ebony, bowls of pearls, mountains of expensive carved wood – was all a bit wasteful and extravagent, post-September 2008? While the economy is collapsing, ice caps are melting, jungles disappearing, and most of the world (and especially China) is disappearing under rivers of concrete, steel and glass? That someone needs to say: Mottainai!

Of course, I know this is the point. Ai’s signature pieces are the grubby black and white photographs in which he smashes some priceless Han dynasty vase and – hey presto – creates a new value on the contemporary art market. Or when he dips neolithic age jars in some gaudy industrial paint, or sprays them with a Coca-Cola logo. Yes, it’s a good idea, it is clever cerebrally satisyfying iconoclastic art conscious of its postioning in art theory. But as we know now, these “new” values are subject to the massive fluctuations of a capricious art market, as no doubt will Ai’s current reputation once this work truly starts to be evaluated according to different, globally responsible criteria, rather than the still dominant notions of “globalisation” that brought us the wild enthusiasm of “China mania” and its limitless development and economic growth. That is, once art is held accountable to the fragile, expendable world we are all now sharing post-Lehmann brothers, post the Hirst-at-Sothebys bubble of September 2008.

Unlike the superstar curators and architects who apparently were able to generate a marathon 8 hours of talk with Ai at a Mori conference about his work, I don’t really have much to say here. At its best there is an extraordinary simplicity of relation between the idea and the exquisitely crafted execution, and I like that. The works in wood, particularly, are breathtaking, although I baulk at the exploitative economics of production – all that easily available cheap Chinese labour and skill – that must also be required to build some of it. The massive snake ceiling made of school ruck sacks also looks seamless and grand – in the manner of Murakami’s Randoseru school bags, or a Koons’ balloon dog – but for this very reason might be seen as a commercial exploitation of the tragedy rather than a “political” commentary on the memory of the Sichuan earhquake.

Ai, to me, seems like the consummate postmodern New York artist of the 1980s – locked in a Duchamp -> Warhol -> Koons groove, just with “CHINA POWER” stamped all over it, in the same way that Murakami is Duchamp + Warhol + Koons + “COOL JAPAN”. This lineage, as we know, has dominated art theory in the expansive global 1990s and 2000s, and it has certainly opened the door to placing “Asian art” (mainly Chinese) on the Western art collector’s shelf. But someday, when people look back, they will marvel at the intellectual brittleness of attitude and tasteless excess of production that characterised the dominant art debates and exhibitions of that “global” era, especially when translated into self-consciously intellectualised “post-colonial” practice, fuelled by Western curatorial art theories.

In his notes on the show, Fumio Nanjo says it is time to stop having “China” group shows, and that we now must start considering the new global stars of Chinese art individually, according to global standards. There are several Chinese artists who merit this kind of attention, and Ai Weiwei is certainly one of them. It helps that he looks like some kind of cult figure, and that he positions himself as a dissident to the dominant regime. Yet, for now, his work could only be made in China, under the kinds of extraordinary economic conditions and opportunities it provides, and his work is only getting discussed in the context of a global art debate transfixed with its Western conception (that is, mixing fear and fascination) of this “emergent” Chinese power and development. Take this away and what exactly is left? Would we find a block of wood (as in the photo above) with a map of, say, Switzerland carved through the center just as fascinating? Would we be so transfixed by a video of someone driving along a road in, say, Belgium, or think that a room full of photos of anonymous industrial sites in Antwerp and Brussels is such a remarkable analysis of the modern urban condition? In these works, “CHINA” just becomes an empty signifier for our naïve fascination, and our willingness to forget that, even in China, the notion of limitless development or undepletable labour and natural resources are a dangerous illusion. Ai has manipulated this into a body of work that says a lot about the shortsightedness of global art trends today.

Mori Museum, Tokyo, until 8 November 2009



感謝、フクロウ。 もし花びんが偽物であるならば、これらの作品について言うためにNOTHINGが本当にあること、および伝統が新しいvalues窶?に変換される時のカタログ窶 窶徼he瞬間からの窶 quote

前のブログにおいて、私はコウノイケについての何も言いませんでした。 referingし に 、テッペイKanneujiの議論であるブログ。 私が見た仕事において彼がDIY店から安い材料を使ったこと、およびthat窶冱 私がそれが好きであった理由 。

2009/10/15 19:28
よく、言われて、そこけれども人々に来ることは試みわずかな民主主義および均一な利き手にそうさせます。 大量負債額に、前である40+年、ドナルド・ジャッドにこのショーを分解することが少し容易でした(飾り額は、彼を、私達が、代わりに彼のショーを切望していることで残されているポイントに述べます。) 賢いポイントがあるけれども、はい、このショーがばらばらになり、私達が、タダシカワマタスペースに、thierライフにおいていくらかのアートを見た最もいる時間までに、ボーリングされて、疑い深い。 もし美術館に少し行くならば、めったに、1000歳自国語花びんが、完全な条件と中と出るスムーズにないことに気づくでしょう。 この面の疑惑はどこですか? 見ることがそんなに難しくありません。

しかし、ここの私のポイントはどこであり、ここの日本のアーティストの批判ですか? トモココウノイケ(オオカミ、小刀、激しさの大きい、見られたsemi nekkid年ごろ女の子...窶 Isそれそれ 見る ?)、またはイラストレーターヨシトモねり歯みがきのきまり文句ストリングでの賞賛を蓄積する代わりに、、誰がまだcharachter開発を全然持たず、カルビンおよびホッブズ レベル にさえ昇るはずがなく 確信している 問題 多く 、それはかわいいけれども、それをしますか? 焼く批判はどこですか ネオ東洋学者Murakostabiの質問と拒絶 ? 理由でにの缶Teppanyakiスケート ある馬鹿な写字生 彼も莫大な借金をAi Weiweiに自身で負っている間の以下の3+アーティストのもろい再hashings !チェックリンク およびyoru自身のために見ます!。mozilla:en-米国:official&client=firefox-a。mozilla:en-米国:official&client=firefox-a&um=1&ie=UTF-8&ei=z1zWSuOOMYPq6gO6qvi3Ag&sa=X&oi=image_result_group&ct=title&resnum=4&ved=0CB4QsAQwAw %20black%drums&oe=utf-8&rls=org。mozilla:en-米国:official&client=firefox-a&um=1&ie=UTF-8&sa=N&hl=en&tab=wi

2009/10/15 17:55



louboutin outlet
MOTTAINAI WEIWEI ! Broken China at Mori Museum
投稿元 : louboutin outlet / 2013年05月21日09:11





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