Ai Weiwei Trees Yorkshire Sculpture Park Ai Weiwei
- Slides: 27
Ai Weiwei - Trees
Yorkshire Sculpture Park
Ai Weiwei Trees Natural objects – from the sunflower seeds that carpeted Tate Modern’s Turbine Hall in 2010 to his series of porcelain rocks and watermelons – have been an ongoing source of inspiration for Ai Weiwei, with trees recurring as a spiritual motif in his work since 2009. These monumental wooden or iron multipartite sculptures are all composites of different parts of different trees gathered by the artist from various parts of China in reference to the ancient Asian tradition of collecting dry fragments of trees for contemplation of their complex forms. Fragments also play an important part in Ai Weiwei’s work as they force attention on foundational elements and the most basic units that combine to create a whole. Here, in line with the artist’s worldview, the whole is not greater than the sum of its parts but rather each individual part is equal and of unique importance. This focus on equality is evidenced in recent projects by the artist that take as their starting point the refugee crisis and challenges to freedom of speech. The iron roots and tree trunks are presented in a natural, untreated state, appearing at first glance as organic forms, yet upon closer inspection, reveal their artificiality. Not born of nature but made by human hands, the works, contorted by the surrounding landscape, represent a society uprooted by industrialisation and modernisation, illustrating how progress can often come at the expense of cultural and societal well-being. By eliminating their original function and value, Ai Weiwei imbues the objects with new
Ai Weiwei Árboles Los objetos naturales -desde las semillas de girasol que tapizaron la sala de turbinas de Tate Modern en 2010 hasta su serie de rocas de porcelana y sandías- han sido una fuente constante de inspiración para Ai Weiwei, con árboles recurrentes como motivo espiritual en su trabajo desde 2009. Estas esculturas monumentales de madera o de hierro multipartitas son todos compuestos de diferentes partes de diferentes árboles recolectados por el artista de varias partes de China en referencia a la antigua tradición asiática de recolectar fragmentos secos de árboles para la contemplación de sus formas complejas. Los fragmentos también juegan un papel importante en el trabajo de Ai Weiwei, ya que obligan a la atención sobre los elementos fundamentales y las unidades más básicas que se combinan para crear un todo. Aquí, en línea con la cosmovisión del artista, el todo no es mayor que la suma de sus partes, sino que cada parte individual es igual y de importancia única. Este enfoque en la igualdad se evidencia en proyectos recientes del artista que toman como punto de partida la crisis de refugiados y los desafíos a la libertad de expresión. Las raíces de hierro y los troncos de los árboles se presentan en un estado natural no tratado, que a primera vista aparecen como formas orgánicas, pero al examinarlas más de cerca, revelan su artificialidad. No nacidas de la naturaleza sino hechas por manos humanas, las obras, contorsionadas por el paisaje circundante, representan una sociedad desarraigada por la industrialización y la modernización, que ilustra cómo el progreso a menudo puede venir a expensas del bienestar cultural y social. Al eliminar su función y valor original, Ai Weiwei imbuye los objetos con. nuevos
Eight enormous trees created by Ai Weiwei – each around seven metres tall, clustered around a marble couch – have been installed in the Royal Academy's courtyard. Ai Weiwei began his ‘Tree’ series in 2009, and the RA’s eight-part work is the largest to date. This installation was crowd-funded through Kickstarter, where 1, 319 backers pledged £ 123, 577 to help bring the project to life.
Eight enormous trees created by Ai Weiwei – each around seven metres tall, clustered around a marble couch – have been installed in the Royal Academy's courtyard.
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