Friday, October 02, 2015
AI WEIWEI AT THE ROYAL ACADEMY
The most valuable and moving piece in the exhibition, for me, is not an art object but a video: an effective and affecting piece of investigative journalism. It was filmed in the aftermath of the 2008 Sichuan earthquake and documents the discovery, due to stubborn and painstaking examination of the ruins by Ai Weiwei and others, that the instant collapse of several schools in which hundreds of children died, was due to local authorities' corruption leading to lax building regulations and shoddy construction. Weiwei's response to the scandal was to buy tons of the mangled rebar, the "'useless bones of all those schools that collapsed". In his studio, workers pounded hundreds of the twisted metal bars straight and kept hammering even when he was imprisoned by the government for several months
Straight, of which he has said:
The tragic reality of today is reflected in the true plight of our spiritual existence. We are spineless and cannot stand straight.
I like Ai Wewei, I respect his integrity, his courage, patience and humour, his defiant stoicism in the face of the mental and physical hardships, injustice and repression he (and thousands of his unseen, unsung compatriots) have suffered, are suffering. I just wish he was as bold, unconventional and resourceful in his choice of venues for the display of his protest-works as he is in protesting.
Peering down into the several mini-tableaux which reproduce, half life-size, the actual cell in which Wewei was detained, along with the Chinese guards who watched his every moment, I couldn't help wondering, again, if this was the relevant place to show them. In the art gallery context they were reduced to rather ironic toy-scapes, even when you had read the explanation.
who is taking the mickey of whom?
The bicycle chandelier is rather beautiful, in the way that a twenty layer birthday cake made of sugar cobwebs would be beautiful but even the Chinese bicycle symbolism doesn't save it from being instantly forgotten (by me) once I've seen/eaten it.
Before I end this grumpy review, I want to apologise for it to Ai Wewei even though he surely won't be reading it. I'm truly glad that the Royal Academy is exhibiting his work, he deserves encouragement and support from every quarter, public and private. I sincerely wish him well and I hope that his country's leaders will come to their senses, in his lifetime, and recognize what he, and all the other exceptional individuals they have been tormenting and repressing, could do for China if they would only be given the freedom which is every human's right.
Posted by Natalie d'Arbeloff at 4:55 am