Ai Weiwei to Take Over the Design Museum with Major Exhibition and Installations

Ai Weiwei, one of the world’s most celebrated and recognisable living artists, is to open a major new exhibition at the Design Museum in April.

Courtesy of Ai Weiwei Studio.

Ai Weiwei: Making Sense will be the artist’s very first exhibition to focus on design and architecture, and will be his biggest UK show in eight years. The Design Museum is delighted to reveal the details of the exhibition for the first time today. 

The exhibition will feature works never shown before in the UK, as well as major new pieces displayed for the very first time. Large-scale works will also be installed outside of the exhibition gallery, in the museum’s free-to-enter spaces as well as outside the building.

Known around the world for his powerful art and activism, Ai Weiwei works across many disciplines: his practice emcompasses art, architecture, design, film, collecting and curating. In this exhibition, Ai uses design and the history of making as a lens through which to consider what we value. 

At the heart of the exhibition will be a series of major site-specific installations. Hundreds of thousands of objects will be laid out on the floor of the gallery in a series of five expansive ‘fields’. These objects — from Stone Age tools to Lego bricks — have been collected together by Ai Weiwei since the 1990s, and are the result of his ongoing fascination with artefacts and traditional craftsmanship. These collection-based works have never been brought together before. Three of the fields have been created for this exhibition and will be seen for the very first time. The other two have never been seen in the UK before. 

The five field works are:

  • Still Life. 1,600 tools dating from the late Stone Age will be laid side-by-side as a reminder that the origins of design are rooted in survival. These axe-heads, chisels, knives and spinning wheels are presented as a terrain of forgotten know-how.
  • Left Right Studio Material. This will consist of thousands of fragments of the remains of Ai’s porcelain sculptures that were destroyed when his ‘Left Right’ studio in Beijing was demolished by the Chinese state in 2018. The remains are a form of evidence of the repression that Ai has suffered at the hands of the Chinese government, as well as a testament to his ability to turn destruction into art. This field is being displayed for the first time.
  • Spouts. This field will feature around 200,000 porcelain spouts from teapots and wine ewers crafted by hand during the Song dynasty (960 – 1279 CE). If a pot was not perfect when it was made, the spout was broken off. The quantity bears witness to the scale of porcelain production in China a thousand years ago. 
  • Untitled (Porcelain Balls). These cannon balls were made during the Song dynasty (960 – 1279 CE) from Xing ware, a high-quality porcelain. Ai was struck by the fact that this precious and seemingly delicate material was once used as a weapon of war. Approximately 100,000 will be on display, and the artwork has been created especially for this exhibition. 
  • Untitled (Lego Incident). Like other objects in the fields, Lego is produced on an industrial scale, but it is machine-made as opposed to hand-crafted. Ai started working with this material in 2014, to produce portraits of political prisoners. When Lego briefly stopped selling to him as a result, his response on social media led to overwhelming donations of bricks from the public. These donated bricks will be presented for the first time as a fully-formed artwork. 

Presented with these vast fields, visitors are invited to make sense of them. They will be able to walk among them, encountering thousands of years of human ingenuity. 

Justin McGuirk, Chief Curator at the Design Museum and curator of Ai Weiwei: Making Sense said: “Ai Weiwei’s fields are extraordinary, and they tell a story of human ingenuity that spans millennia. The fields are a meditation on value – on histories and skills that have been forgotten, and on the tension between the industrial and the handmade. Their scale is unsettling and moving, and in trying to make sense of these works the visitor is challenged to think about what we value and what we destroy.” 

Alongside the fields will be dozens of objects and artworks from throughout Ai Weiwei’s career that explore the tensions between past and present, hand and machine, precious and worthless, construction and destruction. His Han dynasty urn emblazoned with a Coca-Cola logo, which will be on show, epitomises these clashes. 

Highlights also include a number of examples of Ai’s ‘ordinary’ objects, where he has transformed something useful into something useless but valuable. He does this by crafting items in precious materials. These include a worker’s hard hat cast in glass which becomes at once strong and fragile, and a sculpture of an iPhone that has been cut out of a jade axe-head.

There are also works that reference the Covid-19 pandemic which exposed our dependence on humble things. On display will be three toilet paper sculptures: two life-size rolls (one in marble and one in glass) as well as a 2 meter-long sculpture in marble which is being displayed for the first time. 

These works are all shown in the context of China’s rapidly changing urban landscape, which Ai has documented through photographic and film works, and are shown in the exhibition. The scale of demolition during the development boom in China over the last three decades is the backdrop to questions about aesthetic sensibilities that have been lost with modernisation.

A number of large-scale works will also be installed outside of the exhibition gallery so that all visitors to the Design Museum will be able to experience Ai Weiwei’s work. The most striking will be Coloured House, the timber frame of a house that once belonged to a prosperous family in Zhejiang province, in eastern China, during the early Qing dynasty (1644 – 1911 CE). It will be installed in the Design Museum’s atrium where visitors will be able to walk within it. Ai Weiwei has painted the house with industrial colours, combining ancient and modern, and has installed it on crystal bases – giving presence and status to this unlikely survivor. This will be the first time Coloured House has been seen in the UK. 

Ai Weiwei said: “This is an exhibition focussed on a very specific concept: design. I had to think about how we use the space in the Design Museum as a whole, and the exhibition offers a rich experience of what design is, and how design relates to our past and to our current situation.”

Tim Marlow, Director and CEO of the Design Museum, said: “Ai Weiwei is one of the most compelling artists and activists working today, but his practice is profoundly pluralistic, encompassing film, architecture, design and collecting. This exhibition is, therefore, long overdue and I’m proud that the Design Museum is the first institution to frame the work of Ai Weiwei through the lens of architecture and design and to collaborate in new ways with one of the great creative forces of the 21st century to date.”

Ai Weiwei: Making Sense runs at the Design Museum from 07 April to 30 July 2023. Tickets are available to pre-book here

Tell Us What You Think

Do you have a review, update or anything you would like to add to this news story?

Leave your feedback
Your comment type

While we only use edited and approved content for Azthena answers, it may on occasions provide incorrect responses. Please confirm any data provided with the related suppliers or authors. We do not provide medical advice, if you search for medical information you must always consult a medical professional before acting on any information provided.

Your questions, but not your email details will be shared with OpenAI and retained for 30 days in accordance with their privacy principles.

Please do not ask questions that use sensitive or confidential information.

Read the full Terms & Conditions.