New York photographs, 1983-1993. Changwei, Chinese New Years on Mott Street, 1989.

Ai Weiwei is a generalist, a conceptual, socially critical artist dedicated to creating friction with, and forming reality. As an architect, conceptual artist, sculptor, photographer, blogger, Twitterer, interview artist, and cultural critic, he is a sensitive observer of current topics and social problems: a great communicator and networker who brings life into art and art into life.

In his late twenties and early thirties Ai Weiwei continuously lived in New York for 10 years (1983-1993). He was studying at Parsons School for Design, when he discovered artists like Allen Ginsberg, Jasper Jones, Andy Warhol, and, above all, Marcel Duchamp, who just like him understood art as part of life.

He himself often described this time as "aimless hanging around with friends". In 1988 the mood changed radically, Ai moved away from these tranquil, casual portraits and townscapes and started to focus on the "dark sides" of urban life, on decay and homelessness, but also on the human rights demonstrations in the streets and the police brutality accompanying them. 

Beijing Photographs, 1993-2002.

When he returned to China in 1993 due to the illness of his father, he continued his documentary style photography, capturing everyday moments and he quickly became immersed in the arts scene. Among the avant-garde artist of the "Beijing East Village" he was instrumental in documenting their work, and was a natural and progressive leader in pushing for a more open and unrestricted artistic expression. 

Provisional landscapes, 2002-2008.

Since 1949 all land in China belongs to the State, which allows it to develop -and in many cases demolish- large parcels of land without negotiations with land owners. Before a new development is begun, vast open lots suddenly appear. Where once stood traditional hutong-buildings unique to China now lie only piles of rubble and debris. Sometimes entire villages are uprooted and relocated, often inadequately compensated. Centuries of history and cultural heritage destroyed overnight to make way for "progress". This series investigate these provisional landscapes that exist only temporarily, a void that marks the end of the old way of life before the arrival of the new. 

Beijing Airport Terminal 3, 2002-2009.

In preparation for the 2008 Summer Olympics Beijing underwent tremendous changes in its landscape. To accommodate the anticipated influx of visitors from all over the world a new airport terminal was designed by Norman Foster and construction began in 2004. During the same time Ai was documenting the building of the Olympic Stadium, for which he served as artistic consultant, and proposed to do the same for Foster's project. Access to the site was highly restricted and only after a series of triumphs over bureaucratic red tape was authority granted.

Earthquake, 2008-1010.

On May 12, 2008 a catastrophic earthquake, 8.0 on the Richter scale occured in the central province of Sichuan, China. Within minutes, entire villages lay in piles of rubble killing at least 69,000 and leaving almost 5 million people homeless. A week after Ai traveled to the area to document the devastation. He realized while staring at the hundreds of bags and belongings of innocent children strewn about that all the effort and life before disaster hit was sadly reduced to nothing but crumbled bricks, as a result of corruption and negligence. The death of thousands became a sensitive political issue and those photographs serve to record and memorialize a tragedy and also Ai's frustration with the lack of accountability to those responsible. 

Shanghai Studio, 2010-2011.

In early 2008 Ai was invited by the Shanghai local government to build an arts and cultural studio on the outskirts of the city. Though he hesitated strogly at first, having given up his architecture practice, the officials were insistent and seemingly sincere, repeatedly visiting him in Beijing. Eventually he conceded and construction commenced under the local government's supervision. Immediately upon completion in August 2010, the authorities announced it was an illegal building that needed to be torn down immediately. From Ai's perspective this was clearly a politically informed decision to keep him in Beijing where his activities could be better monitored. In January 2011, by cover of night, demolition of the building commenced without any prior warning. Ai went to the sight early the next day, but by the time he arrived the dismantling was already well under way. Fortunately, Ai has a visual record of the process from the expectant beginning to the untimely and unjust end.

Blog Photographs, 2005-2009.

Ai Weiwei hosted a blog in China from 2005-2009 before it was shut down by the Chinese authorities due to his "politically sensitive" critiques of the government. He often posted photographs, showing everything from his quotidian life and travels to social and political issues. His archive numbers approximately 200.000 photographs, his way to engage and connect with the world in order to promote open uncensored communication. The blog archive in its entirety was taken from the studio by the police after Ai Weiwei has been detained. Fortunately a pre-selection was already made and sent to Fotomuseum Winterhur before the police searched the studio. 

Ai Weiwei-Interlacing is the first major exhibition of photographs and videos by this unique artist, as it foregrounds Ai Weiwei the communicator - the documenting, analyzing, interweaving artist who communicates via many channels.

The man and his dream will be revealed... 

All photos courtesy of the artist, © Ai Weiwei