The Chinese artist is one of the most celebrated contemporary artists in the East and West, a global citizen who calls for political investigation within his wide practice. Ai Weiwei investigates and questions institutions and regimes at the core of his work, he measures our existence in relation to economic, political, and social forces, while his practice is rooted in Chinese tradition he executes within a contemporary and conceptual creativity.

His provocative blend of Chinese tradition and craftsmanship within fully contemporary practice serves his strong criticism of human rights violations and condemnations of governmental corruption. His own life since childhood has been marked by his struggles and fights against the Chinese Government. His father, a renewed poet, was declared “class enemy” and sent to labor camp with his family. Migrating to New York was his opportunity to expand his artistic vocabularies where he stayed for over a decade. During this time, he became influenced by the works of Marcel Duchamp, Andy Warhol, and Hasper Johns.
He was secretly detained without any official charges being filed for 81 days from April 3 to June 22, 2011 by the Chinese government, and his passport was held for 4 years afterward. Since being allowed to leave China in 2015 he has produced monumental installations and artworks that advocate for refugee rights and make awareness on the global crisis of displacement.

Ai Weiwei

Dissident artist Ai Weiwei is famous for conceptual artworks that challenge authority and explore the links between the contemporary world and traditional Chinese culture.

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Ai Weiwei often explores the intersection between ancient traditions and contemporary global culture in his works. His earlier works such as Dropping a Han Dynasty Urn (1995) and Han Jar Overpainted with Coca-Cola Logo (1995) are iconic examples of how he provocatively addresses China's historical confrontation with Western influences. These works illustrate the destructive and creative consequences of this cultural conflict. The same theme is vividly illustrated in the limited edition glass vase by Ai Weiwei. The edition explores the tension between ancient craftsmanship and modern mass production and questions the perceived value of the objects around us. Made of Murano glass, known for its centuries-old craftsmanship in the Venice lagoon, the vase symbolises a dialogue between the old and the new. It invites us to reflect on preserving traditions in an increasingly globalised world and reconsider the cultural and material value of everyday objects.

Vases in Five Colours (Set of 5)

ARTXX

Murano Glass

https://data.wengcontemporary.com/media/Ai_Weiwei_Vases_in_five_colors_Content_Sheet_NEW_BRANDING_Set_of_5BWMustard_klESH8o.pdf

Vases in Black and White (Set of 2)

https://data.wengcontemporary.com/media/Ai_Weiwei_Guardian_Content_sheet_2024__NEW_BRANDING_compressed.pdf

Ai Weiwei’s Guardian is crafted using an innovative technique designed to echo the tactile qualities of ceramic tiles or cast concrete in silkscreen form. The process begins with the laid out of a gold ink base, densely packed with metallic pigment and glitter, which is then overlaid with vibrant red ink. This method results in a striking visual effect, revealing intricate illustrations in negative space​.The artwork is a compelling fusion of traditional Chinese symbolism and contemporary socio political commentary, whereby Weiwei casts himself as the Door God figure, a powerful symbol believed to protect homes from negative influences. By interweaving his personal narrative with rich cultural heritage, Weiwei’s divine form wards off and protects from the enemies of art and justice; such as censorship, propaganda, corruption, and surveillance. The colour choices are also charged with meaning; not only do red and gold symbolise good fortune and prosperity in Chinese culture, but they also allude to deeper themes of justice and revolution.Through this artwork, Weiwei continues his tradition of using art as a form of resistance and commentary, blending ancient cultural symbols with contemporary issues. The Guardian, just as most of the artist’s oeuvre,&nbsp; serves as a powerful reminder of the ongoing struggle for truth and justice, making it a resonant piece in today's socio political landscape​.

Guardian

2 colour silkscreen with a metallic glitter base layer, printed on 410gsm Somerset Tub Sized Radiant White paper

https://data.wengcontemporary.com/media/Ai_Weiwei_Wo_ist_die_Revolution__Content_Sheet_2024__NEW_BRANDING.pdf

Ai Weiwei is an artist that plays with the idea of power of culture and how art can transform people´s lives. With this in mind, Wo ist die Revolution? was created for Ai´s exhibition at the Kunstsammlung Nordheim-Westfalen to revisit art history in our current turbulent age.

Stepping into a brisk stride as Joseph Beuys did almost half a century ago with La Rivoluzione Noi, 1972, as the title translates as ´We are the Revolution´. The edition is based on the artists´ life-size proportions, as both artists are depicted striding confidently towards the viewer, as if ready to dynamically step out of the image, in a confrontational way but also encouraging the viewer to join them towards a revolution.

Ai is the most exhibited artist in the world, who focuses a lot of time on conducting research, archiving and as he says ´involve in reality and documentary films. For me art is light. Everything is art, everything politics.´

Wo ist die Revolution

Inkjet print

https://data.wengcontemporary.com/media/Ai_Weiwei_PapercutPortfolio_Content_sheet_2024__NEW_BRANDING_compressed.pdf

In his "Papercut" Portfolio of 8 Prints, Ai Weiwei reflects on his life and work through the Chinese art of papercutting. Each of the eight pieces is meticulously cut in large-format, brightly red-colored fine-art paper, representing a turning moment within the artist’s iconic oeuvre: from his permanence in New York in the ’80s, his exploration of the traditional Chinese crafts in Beijing in the ’90s, to the political activism of his most recent production


Each papercut is signed by the artist and collected in a portfolio accompanied by explanatory notes by Chin-Chin Yap, who has extensively worked with Ai Weiwei, most recently as a writer and co-producer on several films. Through these eight pieces, the artist offers a beautiful, personal retrospective in a unique format.

The Papercut Portfolio

Papercuts in clothbound clamshell box (Portfolio of 8)

At the core of his production, Ai Weiwei investigates and questions institutions and regimes by measuring human existence in relation to economic, political, and social forces. The middle finger has been a recurrent theme in his artistic oeuvre. His photographic series Study of Perspective (shot from 1995 to 2003) shows the artist flipping the middle finger in front of iconic landmarks across the globe. The gesture represents a universal and concise statement of political opposition and the rejection of any form of oppression against human freedom. This iconic gesture has been translated into an equally iconic Murano glass sculpture, and the result is a powerful yet elegant object. The sculpture, made from the artist's own hand cast, embodies the deep and engaged message of Study of Perspective while meeting the glass' airy and light qualities, consequently producing a rare effect of beauty and mystic power.

Study of Perspective in Glass (Set of 6)

Murano Glass Casting

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_with_sets_2024_0ye7uLw.pdf

Ai Weiwei is an internationally renowned Chinese artist known for rigorous, compassionate and complex artworks that address&nbsp;political, ethical&nbsp;and&nbsp;social urgency subjects. His oeuvre encompasses&nbsp;architecture,&nbsp;public art and&nbsp;performance.His art powerfully relates to&nbsp;Chinese culture’s themes, yet the artistic vocabulary through which these are explored strongly resonates with his time spent in the United States. As a matter of fact, the artist moved to New York in 1981 and stayed for over ten years. During this time, Weiwei became deeply influenced by the works of&nbsp;Western art’s Masters&nbsp;such as Marcel Duchamp, Andy Warhol and Jasper Johns. From Duchamp, he inherited a kind of radical daring: a willingness to challenge and demystify the status quo.His work has been the subject of&nbsp;numerous solo exhibitions&nbsp;at venues including the&nbsp;Mori Art Museum, Tokyo (2009),&nbsp;Tate Modern, London (2010),&nbsp;Taipei Fine Art Museum (2011),&nbsp;Asia Society, New York (2011) and many more.

https://data.wengcontemporary.com/media/Ai_Weiwei_Study_of_Perspective_in_Glass_with_sets_2024_Rz7eEue.pdf

Study of Perspective in Glass (Black)

Peter Halley is a painter and printmaker born in New York in 1953.Associated with the Minimalist, Neo-Geo, and Neo-Conceptualist movements, he is best known for his brightly colored geometric abstractions, which he started painting in the 1980s and which he calls “prisons” and “cells”.Halley's paintings explore both physical and psychological structures of social space. He combines the hermetic language of geometric abstraction with the realities of urban space and the digital landscape. His prisons and cells, &nbsp;painted with fluorescent Day-Glo acrylics and Roll-a-Tex textured paint, are often connected by pipes. These shapes represent the division of space in a modern urban environment.Halleys paintings have been exhibited at the Kitakyushu Municipal Museum of Art in Japan, the Museum Haus Esters in Krefeld, Germany, and The Museum of Modern Art in New York.

Peter Halley

Peter Halley is a painter and printmaker born in New York in 1953. Associated with the Minimalist, Neo-Geo, and Neo-Conceptualist movements, he is best known for his brightly colored geometric abstractions, which he started painting in the 1980s and which he calls “prisons” and “cells”.

https://data.wengcontemporary.com/media/Peter_Halley_Nine_Times_Content_sheet_NEW_BRANDING_Ilu3VPf.pdf

“Red, Nine Times” has been created thanks to both a mechanical and manual process. The first one allowed the emergence of texture and relief, and the second one employed paint and pigments.The canvases were created thanks to “cells’ of Roll-A-Tex (a textured material seen in popcorn ceilings) repeated nine times and fixed together into a tightly packed puzzle, reminiscent of vintage video games.The signature hues of fluorescent nuances were made in Peter Halley’s Studio and applied to each canvas. Each artwork required 9 hours of technical engineering and printing, followed by 16 hours of work by hand.

Red, Nine Times

Acrylic, fluorescent acrylic on HI-RND technology print on aluminium

https://data.wengcontemporary.com/media/Peter_Halley_Nine_Times_Content_sheet_NEW_BRANDING.pdf

“Blue, Nine Times” has been created thanks to both a mechanical and manual process. The first one allowed the emergence of texture and relief, and the second one employed paint and pigments.The canvases were created thanks to “cells’ of Roll-A-Tex (a textured material seen in popcorn ceilings) repeated nine times and fixed together into a tightly packed puzzle, reminiscent of vintage video games.The signature hues of fluorescent nuances were made in Peter Halley’s Studio and applied to each canvas. Each artwork required 9 hours of technical engineering and printing, followed by 16 hours of work by hand.

Blue, Nine Times

Jia Aili is a Chinese contemporary artist born in 1979 in Liaoning province, China.&nbsp;His pieces feature the dark side of human progress and warfare, including symbols like&nbsp;gas masks,&nbsp;industrial waste, the&nbsp;hammer and sickle sign, and&nbsp;mushroom clouds. However, his captivating sci-fi style reveals also a certain admiration for these&nbsp;design and engineering feats - a contradiction that lies at the heart of his art, showcasing the existential duality of ugliness and beauty, threats and hopes.&nbsp;Renowned for his&nbsp;oil paintings, the artist employs a striking palette akin to Caravaggio's chiaroscuro, with contrasting dark tones and vibrant white strokes.&nbsp;Jia Aili is represented by&nbsp;Gagosian and has had several solo exhibitions since his graduation in 2004.

Jia Aili

Jia Aili is a Chinese contemporary artist born in 1979 in Liaoning province, China. His pieces feature the dark side of human progress and warfare, including symbols like&nbsp;gas masks,&nbsp;industrial waste, the&nbsp;hammer and sickle sign, and&nbsp;mushroom clouds.&nbsp;

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING_hYninNo.pdf

This iconic artwork series fully encapsulates and reflects the main themes and masterful work of this incredible artist.&nbsp;The very elements that have characterised his impressive career create a true&nbsp;immersive experience, where Aili's post-apocalyptic vision comes to life in all its&nbsp;evocative power.&nbsp;In this deep dark submersion, the viewer can almost&nbsp;feel the cold, the&nbsp;humidity of the air, and the&nbsp;isolation.&nbsp;The hefty atmosphere weighs on the audience like an eerie omen.&nbsp;

Engine

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING.pdf

Hermit

https://data.wengcontemporary.com/media/Jia_Aili_Engine_Mountain_Hermit_Content_sheet_2024_NEW_BRANDING_Fv3fEsw.pdf

Snow Mountain

Douglas Gordon is a Scottish artist born in Glasgow in 1966.

Having begun his career as a performance artist, he has later embraced a variety of different mediums and disciplines. The result is a diverse body of works, which has grown to include video, sound photographic objects and texts aimed at teasing viewers’ perceptions, memories and expectations.

After winning the prestigious Turner Prize in 1996, Gordon represented Great Britain at the 1997 Venice Biennale. One year later, in 1998, he won the Hugo Boss Prize, awarded annually by the Guggenheim Museum to an exceptional emerging or mid-career artist. Whether in the form of film, performance, video installation, sculpture, photography, or conceptual text, his production explores such themes as time, identity, self-image, and mortality, as well as darkness, power, collective memory, or morality. Using literature, folklore, and iconic Hollywood films in addition to his own footage, drawings, and writings, he distorts time and language in order to disorient and challenge.

Douglas Gordon

Throughout his diverse practice—spanning photography, video, performance, sound, and text-based work—Douglas Gordon recontextualizes familiar images and artworks, distorting time, language, and other aesthetic aspects to challenge viewers’ perception, expectation, and memory.

https://data.wengcontemporary.com/media/Douglas_Gordon_Portrait_of_a_Self_Portrait_of_a_Self_Content_sheet_NEW_BRANDING_Compress_8veHm6y.pdf

Icons of the artist’s oeuvre are his Self-Portraits, where Gordon uses real flames to erode Hollywood paradigmatic figures, such as Marilyn Monroe, Elvis Presley and James Dean. The fire corrodes specific elements of the represented characters, such as the eyes, noses and mouths. The remain untouched parts are then assembled on reflective, mirror-like surfaces, which denote Gordon’s interest in phenomenological experiences. The resulting surfaces details are the most compelling elements of these editions, where solidified drops meet the burnt areas, in a ambiguous encounter of elements. In an interview given to The Talks, Gordon jokingly admitted that he set his jeans on fire by accident during one of these burning sessions at Gagosian's in New York.

Portrait of a Self Portrait of a Self, as Marilyn

Print on canvas, inner frame, Dibond backplate

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Ai Weiwei Artworks

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