Ai Weiwei at the Crocker Museum in Sacramento

Ai Weiwei, Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Frida Berntson, 03-06-16

Few people interested in the contemporary art world today are unaware of the Chinese artist Ai Weiwei. As an artist, architect, sculptor and activist Ai Weiwei encapsulates the super active media society that we live in today. His political work and gripping installations have made him probably the best known artist of our time, and to see his work on display at the Crocker Museum in Sacramento was truly exciting, almost like seeing a celebrity. The fame of Ai Weiwei makes the experience of his work even more interesting but also problematic; do we see his art differently because he is so critically acclaimed? All his work may not be celebrated, but the large shadow of fame must certainly creep into our conscience as we find ourselves in his art.

Ai Weiwei, Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Frida Berntson, 03-06-16

Ai Weiwei, Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Frida Berntson, 03-06-16

The Crocker is showing Ai Weiwei’s installation Circle of Animals, Zodiac Heads right now until May 1, 2016. The artwork consists of the twelve Chinese zodiac animals' heads cast in bronze in an oversized scale. They stand in a circle just outside the entrance at the Crocker, looming before anyone who stands before them. The size of the heads gives a massive impression, but each one is sculpted differently. Some of them look rather naïve, especially the rabbit and monkey. The ram, rooster and dog are on the other hand sculpted very naturalistically, some even with fine veins on the surface of the heavy bronze. Some of the animals are stylized; the tiger and especially the dragon. The dragon catches your eye fast, because of its specifically Chinese style, it is as if it screams for attention… or it might just be different from the other ones.

Ai Weiwei, Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Frida Berntson, 03-06-16

Ai Weiwei, Detail of Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Frida Berntson, 03-06-16

There is no doubt that this work draws attention to Chinese history, art and Chinese identity, topics that Ai Weiwei has touched on many times. The heads are actually inspired by the twelve zodiac animal heads that adorned the 18th century fountain-clock of the Yuanming Yuan; an imperial retreat close to Beijing. The Yuanming Yuan was sacked by French and British troops in 1860 and the heads were lost. Ai Weiwei’s contemporary recreation of the heads can be interpreted as a sort of ceremonial repatriation. One could think that the culture of China is more and more westernized each year with the expanding economy and sort of western way of society spreading throughout the country. Maybe Ai Weiwei is reacting to change in his artwork or questioning the establishment? Maybe the dragon represents traditional Chinese culture; a large shadow over the other animals and a bit lonely. The artist is above all reflecting over what it means to be Chinese today, in recreating an old legend in this specific way.

Me in front of Ai Weiwei's Circle of Animals, Zodiac Heads, bronze, 2010, installation at the Crocker 2016. Photo: Virginie, 03-06-16

The exhibition was a good experience and I think the Crocker had done a nice job in how to complement the monumental bronze heads. They had a good text next to the objects, not too long and not too short. The text was also friendly to people that may not have been familiar with Ai Weiwei, which is nice in terms of participation. There was a bigger room and area with more information inside the museum, and sometimes too much context can ruin an art experience but I think it really fitted well here. A weakness in the exhibition is that it is spread out at the museum; it was hard finding the way to the additional information area and without exploring through the museum it can easily be missed. Maybe this is not Ai Weiwei’s most jaw dropping or loud artwork, but it has other qualities; it is a quiet ponder about China, its people and fast-forward change.

Information about the exhibition on the Crocker website click here

Pump up the volume! – review of the exhibition with artists Joe Lewis and Jane Dickson

A couple of weeks ago I wrote about the exciting artists’ talk that was held at Sac State with artists Joe Lewis and Jane Dickson as a part of their exhibition “Pump up the Volume!”, and it is time to talk about their exhibition more closely, even though I am a little late to the party!

If you read my post about the artists’ talk you know the background of Jane Dickson and Joe Lewis, but if you haven’t I will briefly go through their background. Both artists were a part of the famous art organization Fashion Moda in the Bronx in the 1970’s and 1980’s. They worked in new materials and collaborated with graffiti artists for example, they were the pioneers of new art at the time.

Me in front of the title by Joe Lewis and Jane Dickson, at Else Gallery, 02-23-2016

At the opening of the exhibition on January 27, 2016. Photo: Frida Berntson, 01-27-2016

In the foreground Joe Lewis' “UNITY…Who you calling a bitch?”, Epson UltraChrome K3 ink on Kodak Endura Paper, unique, 2015. Photo: Frida Berntson 01-27-2016

In the exhibition at Else Gallery Joe Lewis and Jane Dickson showed a variety of different works, and all of them connected in some way with early hip hop culture, which they both experienced in the Bronx. Early hip hop was playing in the gallery and set a perfect atmosphere and mixed well with the art, which was very varied; paintings, installations, prints and collages. One of my favorite works was Joe Lewis’ “UNITY…Who you calling a bitch?” from 2015. In this digital collage print we see the classical Nefertiti bust besides a wall of boom boxes, and then the best part; a “Hello my name is” sticker but with the text “who you calling a bitch”, put directly on the print. I thought the work was very funny but also a bit political with the classical Nefertiti. It made me think of African American culture, how it has changed and what it means. The Nefertiti bust has always been an art historical ideal, but here she has more of a personality and attitude!

Joe Lewis, The Word, 2010 with visitors in the background. Photo: Frida Berntson 01-27-2016

Jane Dickson had a lot of portraiture in her sketchy and full painting style, which I thought suited well with the hip hop theme. Another of my favorite works was Joe Lewis’ “The Word”, an installation piece set up in the middle of the gallery. It consisted of a table with a white linen cloth and a large open book on top of it, on the page was “THE N WORD” typed, and in front of the table a music-stand. This work made me think of a lot of things and I thought it was remarkable. The thing I remember the most was that I thought it had a lot to do with power, who has the right to speak, to learn, to be educated? And I of course thought about the power of that specific word, where is it now and will it sometime be forgotten?

The exhibition had little or no weaknesses in my opinion; it was very well put together and the relaxed atmosphere made the exhibition less formal. The show was dynamic, interesting, exciting, funny and serious; a nearly perfect display.

Left: Joe Lewis, The Message, Epson UltraChrome K3 ink on Hahnemühle paper, Edition of 3, 2015, right: Jane Dickson, B-Boy Head Spin 1-3, oil on rolotex on canvas, 2016. Photo: Frida Berntson 02-23-2016