Ai Weiwei's experience and his work of art Literature Research Paper

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Ai Weiwei in Context
1. Background
By definition, art informs and is informed by identity. The works produced by an artist are not only representations of a gifted inspiration or, for that matter, admirable pieces showcased for consumption – and forgetness. Instead, art – and, by extension, an artist – is a product of complex political, economic, cultural and social dynamics in constant interplay. To understand an artist’s work, particularly one of international fame and recognition, is not, should not be, moreover, an exercise in exhibition shows, voiced political dissent or, for that matter, superficial fame. Typically, artists, particularly ones of international standing, are usually reduced into one or more frame of reference according to which such artists are presented, promoted and sold. There are, in fact, several examples, too many to merely refer to, about artists of genuine merit and who, due to commercial gains, political manipulation or sheer public indifference or lack of awareness, are reduced to an image sold to art galleries, political speaking platforms and, of course, nouveau riche art connoisseurs.
Of all artists of genuine merit, one, Ai Weiwei is, for current purposes, of central interest. This is justified by several reasons. First, Weiwei is an artist commercial gain, political manipulation and public apathy appear to offer an ideal example of – despite, or probably because of, his international status. Second, Weiwei, an activist and political dissident, is very
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frequently framed as such and less as an artist of genuine merit – beyond his Chinese nationality.
Third, Weiwei, in an extensive and diverse artistic activity spanning decades, appears to far
surpass his status as a genuine artist into a visionary whose artistic creations inspire not only
attitudinal change, as all art does, but, more important, disrupts established, conventional
boundaries in and beyond art. Fourth, Weiwei, fleeing political persecution, is art unto himself.
That is, whilst Weiwei’s work is essentially disruptive, his very life and positions reflect, in one
form or another, statements he makes in his art.
The hardly insightful biography and work portfolio is, accordingly, a matter of least interest in current essay. Indeed, characterizations as “activist,” “architect,” “curator,” “filmmaker,” and, of course “artist” are barely indicatory of, let alone insightful for, Weiwei as a unique creator of meaning informed by rich cultural contacts in early 21st century. Nor are descriptions or critical acclaim of his most famous works, e.g. Coca Cola Vase (1994) and Sunflower Seeds (2010) (“Ai Weiwei”), enough to uncover layers of meaning, hidden or unknown, by Weiwei in his different artistic statements and cultural encounters. True, some artistic contributions by Weiwei, e.g. synthetic installations and interactive works, are referred to. Yet, main concern is not on artistic expressions per se but on meanings and effects ensuing from cultural contacts Weiwei has developed over years. Thus, Weiwei’...