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In his sculptures he refashions artefacts and antiques into surprising, sometimes monumental constructions such as \u003cem\u003eTemplate\u003c\/em\u003e (2007): hundreds of wooden doors and windows taken from demolished Ming and Qing dynasty temples and arranged into a massive outdoor sculpture. As much as these materials look to the past, they also speak of the present, because never before (and probably never again) have they been available in such abundance. Like his benches carved from centuries-old temple beams, \u003cem\u003eTemplate\u003c\/em\u003e is a sly commentary on the speed with which China's building boom is obliterating its past. (When \u003cem\u003eTemplate\u003c\/em\u003e collapsed in a rainstorm two weeks after its unveiling at Documenta 12, the artist embraced its demise as a clever artistic twist.)\u003c\/p\u003e \u003cp\u003eIn China today, making art that's critical of current cultural and economic policies is not a particularly safe career move. But Ai's father, the poet Ai Qing, walked a similar path, absorbing European avant-garde styles while studying in 1930s Paris and later standing by them in the face of Communist opposition, a move that eventually led to his exile to the distant provincial town where his son Weiwei came to be born and raised. In the late 1970s Ai Weiwei moved to Beijing, banding together with other pro-democracy artists in a loose collective known as the Stars Group. In 1981, following government retaliation against one of their exhibitions, Ai moved to New York, where he attended art school and lived the life of the bohemian for twelve years, his East Village apartment serving as a base for countless visiting Chinese artists. 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Their resolution of Eastern and Western styles is a fitting parallel to his antique readymade sculptures.\u003c\/p\u003e \u003cp\u003eAt a time when the West is finally discovering Chinese contemporary art, Ai is one of the few to have transcended the label 'Chinese artist'. In part thanks to his gallery Urs Meile (Lucerne and Beijing), Ai has won the support of strong European collectors. His work is increasingly being shown at major venues around the world (Kunsthalle Bern, Kunsthaus Graz, Tate Liverpool) and included in major international exhibitions (the Moscow Biennial, the Guangzhou Triennale, Documenta). A complex, multi-faceted artist, Ai is poised to make a deep impact on contemporary art far beyond China's borders.\u003c\/p\u003e \u003cp\u003eIn the interview Hans Ulrich Obrist discusses Ai Weiwei’s life and motivations, his childhood in a rural province close to the Russian border, his underground political work, his move to New York in the 80s and consequent return to China in the 90s, and his break within the art world. \u003c\/p\u003e \u003cp\u003eKaren Smith’s survey examines the evolution of Ai Weiwei’s work from the early paintings, drawings, and sculptures pieces through his most recent installations and architectural work, including the cotton-made sculpture \u003cem\u003eWorld Map\u003c\/em\u003e (Biennale of Sydney, 2006), the wooden doors and windows structure \u003cem\u003eTemplate\u003c\/em\u003e (Documenta 12, 2007) and his collaboration with the Swiss firm Herzog \u0026amp; de Meuron for the Beijing National Stadium for the 2008 Summer Olympics.\u003c\/p\u003e \u003cp\u003eBernard Fibicher focuses on \u003cem\u003eWorking Progress (Fountain of Light) \u003c\/em\u003e(2007), a site-specific sculpture for Tate Liverpool inspired by Tatlin’s Monument to the Third International (1919) and that takes the form of a spectacular chandelier.\u003c\/p\u003e","brand":"Phaidon Press","offers":[{"title":"Default Title","offer_id":46523618459748,"sku":"9780714848891","price":54.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/5292\/6820\/files\/ai-weiwei-en-4889-3d-standing-front-3000_11e1fc23-6d8e-437d-9c4a-aeb87d0da443.jpg?v=1764655443"},{"product_id":"zhang-huan","title":"Zhang Huan","description":"\u003cp\u003eZhang Huan has emerged as one of the most important artists of the past decade, a fearless explorer of the limits of the human body and a key figure in the flourishing Chinese art scene. His earliest performances, including \u003ci\u003e12 Square Meters, 65 Kilograms, \u003c\/i\u003eand \u003ci\u003eTo Raise the Water-Level in a Fishpond\u003c\/i\u003e, subjected his body to grueling tests of endurance while addressing the relationship between physical endurance and spiritual tranquility. \u003c\/p\u003e\u003cp\u003eZhang 's move to New York in 1998 contributed to establish himself as a widely recognized figure in the international contemporary art world, staging performances in several cities around the globe, including Sydney, Rome, Shanghai and Hamburg where he reflected on his experiences in the cities he visited and his ethnic identity in a foreign land. \u003c\/p\u003e\u003cp\u003eIn 2006 Zhang established a studio in Shanghai, where he began to seek a greater connection to Chinese heritage and history. This marked a new direction in his work, as he turned from performance to sculpture, painting, and installation. Through creating large-scale sculpture in diverse media, such as ash from local Buddhist temples, and with found objects, such as doors from the Chinese countryside homes, Zhang Huan continues to explore new ways to render his interest in the body and its language.\u003c\/p\u003e\u003cp\u003eA significant aspect of Zhang's new work revolves around his interest in Buddhism. Although Buddhist themes figured indirectly into his early work, they took on a more prominent role after a visit to Tibet in 2005. There, Zhang began to collect fragments of Buddhist sculptures, which he then used as models for massive copper figures. Upon his return to Shanghai, Zhang Huan began to collect ash from local Buddhist temples for use in sculptures and paintings. 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Working in Paris in the cultural ferment of the 1960s, she moved to New York in the 1970s to co-establish the feminist gallery A.I.R. and to join with artists and critics such as Leon Golub, Robert Morris and Lucy R Lippard in forming the Art Workers' Coalition. Since the 1980s she has attracted international acclaim, her exquisite works giving form to feminist issues and new critical discourses.\u003cbr\u003e\u003cbr\u003eThe Survey by Jon Bird, cultural theorist and curator of the first British retrospective of Spero's work, discusses developments in her practice since the 1950s. Contemporary art scholar and critic Jo Anna Isaak talks with the artist about her life and work. Art historian Sylvere Lotringer, Edtior of Semiotext(e) and author of \u003cem\u003eOverexposed\u003c\/em\u003e, focuses on her 1993 installation at the Whitney Museum of American Art. 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In his gallery installations around Europe and America since the 1980s, Dion has constructed the laboratories, experiments and museum caches of the great historical naturalists - following in their footsteps in his own adventurous, eco-inspired journeys to the tropics. His research and magical collections are presented in installational still lifes that combine taxidermic animals with lab equipment artefacts, like walk-through Wunderkammers and life-sized cabinets of curiosity.\u003cbr\u003e\u003cbr\u003eLias Graziose Corrin, Director of the Williams College Museum of Art, surveys Dion's most significant works and his ongoing investigations into natural history's obsession with categorizing nature. Critic and theorist Miwon Kwon talks to the artist about the interface between ecology and culture and the phenomenon of site-specific art. Norman Bryson, Professor of Art History at the University of California, San Diego, makes an iconographical analysis of \u003cem\u003eThe Library for the Birds of Antwerp\u003c\/em\u003e, an indoor sculpture Dion constructed for 18 live African finches in 1993. The artist has selected a text by novelist Jon Berger, one of the first post-war thinkers to analyze the position of animals in a capitalist society. The book also features Dion's own provocative, witty and often lyrical writing on nature and his role as an artist engaged in environmental issues.","brand":"Phaidon Press","offers":[{"title":"Default Title","offer_id":46523938275428,"sku":"9780714836591","price":45.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/5292\/6820\/files\/9780714836591-Mark-Dion-3d-standing-1to1_ad0db4bb-a68e-4a37-a7a8-48ceab82209b.jpg?v=1764655665"},{"product_id":"simon-starling","title":"Simon Starling","description":"When Marcel Duchamp shipped Constantin Brancusi's sculpture \u003cem\u003eBird in Space\u003c\/em\u003e to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring \u003cem\u003eBird in Space\u003c\/em\u003e an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own \u003cem\u003eBird in Space\u003c\/em\u003e (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance.\u003cbr\u003e \u003cbr\u003e Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself).  Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. \u003cem\u003eWilhelm Noack oHG\u003c\/em\u003e (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts.\u003cbr\u003e \u003cbr\u003e Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph.\u003cbr\u003e \u003cbr\u003e Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum\/palladium prints that constitute \u003cem\u003eOne Ton\u003c\/em\u003e (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals.\u003cbr\u003e \u003cbr\u003e Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the São Paulo Biennial (2005).  Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). \u003cbr\u003e \u003cbr\u003e In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focus scrutinizes \u003cem\u003eWilhelm Noack oHG\u003c\/em\u003e (2006) as an example of material cinema. Artist's Choice is a extract from Flann O'Brien's 1996 novel \u003cem\u003eThe Third Policeman\u003c\/em\u003e, a fantastical conversation about bicycles swapping atoms with their riders. Artists Writings include five project statements, all of which consist, in varying proportions, of history, science and speculative fiction.","brand":"Phaidon Press","offers":[{"title":"Default Title","offer_id":46524071608420,"sku":"9780714864198","price":49.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/5292\/6820\/files\/9780714864198-Simon-Starling-3d-standing-1to1_ebf9c4c5-4494-4b36-a719-cb6d6c3cd02d.jpg?v=1764655999"},{"product_id":"gillian-wearing","title":"Gillian Wearing","description":"\u003cp\u003eBritish artist Gillian Wearing, winner of the 1997 Turner Prize, uses photography and video to explore the intimacies and complexities of everyday life. Borrowing from popular culture, her work is disturbing and confessional. In 1992 she began the acclaimed series \u003cem\u003eSigns that say what you want them to say and not Signs that say what someone else wants them to say'\u003c\/em\u003e, in which random passers-by are photographed holding messages they've written, such as the mild-mannered young businessman whose sign unexpectedly reads 'I'm Desperate'.\u003c\/p\u003e\u003cp\u003eWearing's work borrows from familiar forms of popular culture to produce direct, revealing records of deep-seated human trauma and emotion, often adopting the methods of television documentaries for her 'fly-on-the-wall' view of people's lives. Her videos can be alarming, as in\u003ci\u003e Confess All ... \u003c\/i\u003ein which masked individuals confess their darkest secrets, or humorous, as in \u003ci\u003e(Slight) Reprise \u003c\/i\u003e- a sampler of adults playing 'air guitar' in the fantasy rock stadium of their bedrooms. 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