20 Ai Weiwei Follow Map of China tieli wood from dismantled Qing Dynasty temples, in 3 parts overall 100 x 125 x 95 cm (39 3/8 x 49 1/4 x 37 3/8 in.) Executed in 2009, this work is accompanied by a certificate of authenticity signed by the artist.
Provenance Alexander Ochs, Berlin Private Collection Private Collection Christie's, New York, 11 May 2016, lot 441 Acquired at the above sale by the present owner Catalogue Essay Embodying Ai Weiwei’s characteristic boldness, Map of China assertively confronts and challenges provocative notions of government censorship whilst concurrently commenting upon Chinese cultural history and artistic freedom. Ai skilfully interweaves threads of past and contemporary Chinese art and culture to form a strikingly cohesive yet complex puzzle of Chinese cultural identity. Unification and fragmentation are simultaneously juxtaposed and intertwined in Map of China as the interlocking elements of salvaged wood resemble a jigsaw-like configuration when viewing the work from above. The outline of the country is projected into a three-dimensional form, the cartography enlivened and catapulted upwards. Tendons of wood spring from the floor like a dense forest, their uniformity forming the shape of the country with all its small enclaves, vast bays and islands. Shined to perfection, the deep brown of the wood reflects light from its polished and ridged surfaces, highlighting the complexity of the carpentry and the material quality of the discarded wood. The skill with which Ai has assembled this sculpture, using a traditional Chinese method of craftsmanship known as mortise-and-tenon joinery, lends Map of China an almost deceptive appearance. Initially appearing to consist of a single piece of unspoiled wood, on closer inspection the separate elements reveal themselves. The monumental scale of the work and the impossibility of viewing its silhouette from one perspective are suggestive of the difficulty of grasping the full complexity and vastness of China. While fragmentation is evoked directly through the piecing together of elements of salvaged wood, it further alludes to the echoes of China’s fractured history. Sourced from the wood of dismantled Qing Dynasty temples, tieli wood (also termed ironwood), used in Map of China , is known for its durability. During the Cultural Revolution (1966 - 1976), instigated by Mao Zedong’s regime, certain aspects of Chinese history were obliterated from public memory. This dramatic upheaval included the destruction of Qing Dynasty temples in order to preserve Communist ideology and allow for industrial development and urban expansion. By employing tieli wood in the present work, Ai comments upon the removal of certain swathes of history and monumental buildings which embodied cultural significance. The artist collects discarded pieces of China’s fractured cultural memory and rebuilds them. Like Marcel Duchamp’s Readymades Ai uses shards from buildings, once revered, which have become detritus and valuable only for their material worth. The visible scars of breakage in Map of China convey the numerous stratums of collective memory which make up Chinese national identity in its entirety. Through emphasising the segmented nature of the work Ai also emblematises the ethnic and cultural diversity of his vast country. A rich tapestry of past and present, China is pulled together by the experiences of its many inhabitants. The all-encompassing title, Map of China, allows the spectator to reflect upon this work as both a geographical and historical map. Whilst the expansive nature of the country, combined with the depth of its rich cultural history, is heightened by the work’s monumental size. The use of tieli wood, combined with the decision to employ traditional ancient Chinese woodworking techniques, imbues Map of China with elements of nostalgia. Ai reflects upon China’s rich history while subtly breathing a new lease of life into the old and forgotten wood, demonstrating the restorative potentiality of his artistic output. Tieli wood is frequently employed by the artist throughout his prolific oeuvre. His Tree series, which commenced in 2009 and appeared in the artist’s acclaimed 2015 exhibition at the Royal Acad
20 Ai Weiwei Follow Map of China tieli wood from dismantled Qing Dynasty temples, in 3 parts overall 100 x 125 x 95 cm (39 3/8 x 49 1/4 x 37 3/8 in.) Executed in 2009, this work is accompanied by a certificate of authenticity signed by the artist.
Provenance Alexander Ochs, Berlin Private Collection Private Collection Christie's, New York, 11 May 2016, lot 441 Acquired at the above sale by the present owner Catalogue Essay Embodying Ai Weiwei’s characteristic boldness, Map of China assertively confronts and challenges provocative notions of government censorship whilst concurrently commenting upon Chinese cultural history and artistic freedom. Ai skilfully interweaves threads of past and contemporary Chinese art and culture to form a strikingly cohesive yet complex puzzle of Chinese cultural identity. Unification and fragmentation are simultaneously juxtaposed and intertwined in Map of China as the interlocking elements of salvaged wood resemble a jigsaw-like configuration when viewing the work from above. The outline of the country is projected into a three-dimensional form, the cartography enlivened and catapulted upwards. Tendons of wood spring from the floor like a dense forest, their uniformity forming the shape of the country with all its small enclaves, vast bays and islands. Shined to perfection, the deep brown of the wood reflects light from its polished and ridged surfaces, highlighting the complexity of the carpentry and the material quality of the discarded wood. The skill with which Ai has assembled this sculpture, using a traditional Chinese method of craftsmanship known as mortise-and-tenon joinery, lends Map of China an almost deceptive appearance. Initially appearing to consist of a single piece of unspoiled wood, on closer inspection the separate elements reveal themselves. The monumental scale of the work and the impossibility of viewing its silhouette from one perspective are suggestive of the difficulty of grasping the full complexity and vastness of China. While fragmentation is evoked directly through the piecing together of elements of salvaged wood, it further alludes to the echoes of China’s fractured history. Sourced from the wood of dismantled Qing Dynasty temples, tieli wood (also termed ironwood), used in Map of China , is known for its durability. During the Cultural Revolution (1966 - 1976), instigated by Mao Zedong’s regime, certain aspects of Chinese history were obliterated from public memory. This dramatic upheaval included the destruction of Qing Dynasty temples in order to preserve Communist ideology and allow for industrial development and urban expansion. By employing tieli wood in the present work, Ai comments upon the removal of certain swathes of history and monumental buildings which embodied cultural significance. The artist collects discarded pieces of China’s fractured cultural memory and rebuilds them. Like Marcel Duchamp’s Readymades Ai uses shards from buildings, once revered, which have become detritus and valuable only for their material worth. The visible scars of breakage in Map of China convey the numerous stratums of collective memory which make up Chinese national identity in its entirety. Through emphasising the segmented nature of the work Ai also emblematises the ethnic and cultural diversity of his vast country. A rich tapestry of past and present, China is pulled together by the experiences of its many inhabitants. The all-encompassing title, Map of China, allows the spectator to reflect upon this work as both a geographical and historical map. Whilst the expansive nature of the country, combined with the depth of its rich cultural history, is heightened by the work’s monumental size. The use of tieli wood, combined with the decision to employ traditional ancient Chinese woodworking techniques, imbues Map of China with elements of nostalgia. Ai reflects upon China’s rich history while subtly breathing a new lease of life into the old and forgotten wood, demonstrating the restorative potentiality of his artistic output. Tieli wood is frequently employed by the artist throughout his prolific oeuvre. His Tree series, which commenced in 2009 and appeared in the artist’s acclaimed 2015 exhibition at the Royal Acad
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
