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In the first image we see Wei holding the urn high on his chest just below his head. Joseph L Sax, “Collectors: Private Vices, Public Benefits,” in, Playing Darts with a Rembrandt: Public and Private Rights in Cultural Treasures. On the one hand we can view his work as a destruction of another artist’s work; on the other, Ai’s act can also be thought of as a kind of collaboration with an ancient artist over thousands of years—a revitalization. In it we see Wei doing just what the name implies, dropping an urn from the Han Dynasty. The Coca-Cola Urn originated from the same assortment of Han Dynasty pottery as Ai’s famed Dropping a Han Dynasty Urn—Ai transformed an antique vase into a piece of contemporary art by painting the Coca-Cola logo on its front. At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. There is a larger-than-life triptych of his famous set of photographs, “Dropping a Han Dynasty Urn”, in which the artist is shown doing exactly that: holding the urn, dropping it, and standing among the shattered pieces. In this anchoring image, the falling vase is not blurred but crisp and intact, preserved on the brink of destruction. Dropping a Han Dynasty Urn, 1995. The act is easy—every day we can drop something, but it is when we are forced to come face to face with this action and make a judgment … Dropping a Han Dynasty Urn Ai Weiwei 2016. Share. In any case, the irony cannot go unnoticed. Dropping a Han Dynasty Urn consists of three very large, almost life size, black and white prints displayed side by side. According to the artist, “the power [of my artwork] comes not from the act but from the audience’s attention, the challenge to their values. It is four metres long and weighs 635 kilograms. At least there is a kind of attention to that piece [because of the photograph]. Ai’s destruction of the historical artefact increased its … The iconoclastic art of China's Ai Weiwei overlooks the … As the present tense of the title suggests, it acts as the triptych’s centre of gravity. Oscar Niemeyer Museum Curitiba, Brazil. a show-stealer that depicts Ai Weiwei destroying a precious artifact. The tripartite documentation of this now-famous act is the perfect illustration of Newton’s three Laws of Motion: a poker-faced Ai holding the urn (the law of inertia), the urn dropping in midair (the law of resultant … 16–39. he event that Ai Weiwei created and captured in these photographs is one of violence. The performance was memorialized in a series of three photographic still frames. Watch later. According to the artist, “the power [of my artwork] comes not from the act but from the audience’s attention, the challenge to their values. - YouTube. Cite this page as: Tiffany Wai-Ying Beres, "Ai Weiwei, Young British Artists and art as commodity, Pictures Generation and postmodern photography, Featured | Art that brings U.S. history to life, At-Risk Cultural Heritage Education Series. Outside his mother's home in Beijing, he dropped and smashed a 2000-year old ceremonial urn. Our minds fill in the gaps, producing a continuous narrative where one may never have existed. Once an ancient receptacle, the urn in. Dropping a Han Dynasty Urn (1995). Ai Weiwei is without a doubt one of the most intelligent makers negotiating the art/craft divide. Dropping a Han Dynasty Urn (1995) Performance in which Ai lets an ancient ceramic urn fall from his hands and smash to pieces on the ground. When he returned to China in the mid-90s, a time of rapid modernization for his home country, he was shocked to discover that certain objects of, This kind of repurposing of the past also relates to Chinese aesthetics and culture. Tap to unmute. The Han dynasty urn still exists for the public but it has been transformed into the form of captured film stills. I say it’s a kind of love. Born in Beijing, China, in 1957, Ai Weiwei is an activist, filmmaker, curator and one of the world’s most famous artists. Map of China (2008) Sculpture resembling a park bench or tree trunk, but its cross-section is a map of China. Dropping a Han Dynasty Urn is driven by the tension between commercialisation and historic conservation, and the work certainly provides ample fuel for debate. The triptych, Dropping a Han Dynasty Urn, is today perhaps Ai’s most internationally renowned photographic artwork. 2 : Vase de la dynastie Han avec un logo Coca-Cola, 1994 À de nombreuses reprises, Ai Weiwei dira son mépris des conventions et des valeurs données arbitrairement aux choses. (Ann Arbor: University of Michigan Press, 2011), p. 63. https://www.sothebys.com/en/auctions/ecatalogue/lot.42.html/2016/contemporary-art-evening-auction-l16020, https://smarthistory.org/ai-weiwei-dropping-a-han-dynasty-urn/. Indeed, this triptych (set of three photographs) and the shadow of the vessel captured within it now receive unprecedented attention. It keeps Ai’s raised questions hovering, preventing them from falling to form a final full stop. The first question you want to ask is why he chose to do this act. The Han dynasty … He had became fascinated with China’s traditional heritage that Mao had tried to wipe out during the Cultural Revolution (1966-76). Une des pièces les plus célèbres d’Ai, Laisser tomber par terre une urne de la dynastie Han (Dropping a Han Dynasty Urn) (1995), incorpore ce que Ai a appelé un readymade culturel. Jaune Quick-To-See Smith's, Contemporary Native American Architecture, Art, Race, and the Internet: Mendi + Keith Obadike’s, Mickalene Thomas on her Materials and Artistic Influences. 'So much art represents only a small portion of society.’ We talk to synth pop group Yumi Zouma. Here the nostalgia for what once was serves as a mirror, reminding us that China’s past remains important and relevant today. Not only did the artifact have considerable value (the artist paid the equivalent of several thousand US dollars for it), but symbolic and cultural worth. For this performance, it seems that the object selection is almost immaterial—it might as well have been any ancient object. a true obliteration? Hear about how artists who returned to China after years abroad, such as Ai Weiwei, were a vital source of new ideas in post-1989 experimental art communities. Dropping a Han Dynasty Urn is one of many works by Ai Weiwei that focuses on heritage loss and the importance of the past. This set of photographs encourages its viewers to question value of antiquity in our modern world and whether it is worth preserving. Courtesy private collection, USA. The value of the images quickly exceeded that of the original object: does this justify the demolition, or render it all the more provocative? Among the other pieces, there is his collection of brightly painted antique pots, an antique pot with the Coca-Cola label imprinted on it, and a beautifully rendered marble sculpture of a … Ai is the man pictured. Tiffany Wai-Ying Beres, “A Battlefield of Judgments: Ai Weiwei as Collector,”, Reinventing the Past: Archaism and Antiquarianism in Chinese Art and Visual Culture. According to the artist, “the power [of my artwork] comes not from the act but from the audience’s attention, the challenge to their values. Ai Weiwei stares straight-faced at the camera, his digits splayed as an urn falls to the floor. Dropping a Han Dynasty Urn, an early work by the artist, demonstrates his show-stopping conceptual brilliance, and desire to provoke controversy. In Ai’s work, the object is less a vessel than an emblem of Chinese history. Ultimately the work demands a judgment: was the provocation and the global attention Ai garnered for the urn worth the destruction of the urn itself? Ai Weiwei Studio, Beijing Ai’s photographic triptych Dropping a Han Dynasty Urn, 1995, which shows the artist holding, releasing and smashing a Han dynasty vase, is one of the artist’s most iconic works and demonstrates his critical engagement with China’s violent cultural tradition. Indeed, law professor Joseph Sax calls such destruction a kind of “unqualified ownership” because it enables “the indulgence of private vice to obliterate public benefits.” [, Certainly, the destruction of art for ideological or egoistic reasons reflects badly on a collector of ancient objects. Left Ai Weiwei Dropping a Han Dynasty Urn, 1995 3 C-prints 126 x 110 cm each courtesy of the artist Right Ma Liuming Fen-Ma Liuming Walks the Great Wall, 1998 C-print 120 x … In China, there is a long and rarified tradition of collecting ancient material remains and transforming them into new art. Outside his mother's home in Beijing, he dropped and smashed a 2000-year old ceremonial urn. As the object levitates beneath his outstretched hands, we imagine him keeping it magically afloat, or holding the invisible strings of a pottery puppet. Let us know on Facebook, Patreon, or Twitter. Manuel Salvisberg followed suit with a sequel of sorts, a triptych of his own. From the artist’s point of view, his act was one of preservation through transformation. Lush steppes, documented sunrises, and throat singing feature in this selection of four Mongolian artworks. Many feel that it is unethical to destroy an artifact under any circumstances—that such an act indicates a lack of value and respect. We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. Words by Elizabeth Brown & John Wadsworth. (Chicago: Art Media Resources, 2010), pp. However, in recognition of Ai’s own celebrity, the artist has transformed this urn into something of great significance just by selecting it to become the subject of his art, by including its name in the title, and, of course, by destroying it. Manuel Salvisberg's response, Fragments of History, can be viewed here. Ai Weiwei’s Dropping a Han dynasty urn 1995 is composed of three large-scale black-and-white photographs depicting the artist in the act of dropping a highly valuable, millennia-old ceramic urn. The first showed him holding the vase. The second was of him dropping it. The images show the artist shattering this ancient vessel, an act recalling the reckless destruction of traditional relics during the years of the Cultural Revolution (1966-1976). Malcolm Harris has written about Ai's US reception for The New Inquiry. The work is widely available online, and even the focus of academic essays like this one. Dropping a Han Dynasty Urn is one of many works by Ai Weiwei that focuses on heritage loss and the importance of the past. Dropping a Han Dynasty Urn (details) 2015 Plastic Ai Weiwei Studio, Beijing . I feel highly provoked. Dropping a Han Dynasty Urn, an early work by the artist, demonstrates his show-stopping conceptual brilliance, and desire to provoke controversy. The sensationalism of breaking something so old and rare is what modern audiences find so compelling. Fast-forward to 2012, when Swiss artist Manuel Salvisberg created a photographic triptych called Fragments of History, which depicts Uli Sigg in an almost identical stance to Ai’s in Dropping a Han Dynasty Urn. Given Ai’s own celebrity status and the significance of this artwork, is also now far more valuable than the original ceramic object. https://www.guggenheim-bilbao.eus/.../ai-weiwei-dropping-han-dynasty-urn-1995 Instead, it is clear that the move was a deliberate one. Ai actually destroyed two urns to create the artwork: his photographer failed to catch the smashing of the first urn. Ai himself says that he considers the act of dropping the urn one of creation rather than destruction: “People always ask me: how could you drop it? Copy link. From Royal Academy of Arts, Ai Weiwei, Dropping a Han Dynasty Urn (1995), 3 black and white prints, 148 × 121 cm In 2016, this limited edition work, is one of many works by Ai Weiwei that focuses on heritage loss and the importance of the past. INITIAL RESPONSE: This piece of artwork is called, “Dropping a Han Dynasty Urn.” It is a description of what is happening in the image. In 1995, Ai Weiwei deliberately dropped a Han Dynasty (206 BC-220 AD) urn, capturing the action in three frames. The destruction of this antiquity was the subject of Dropping a Han Dynasty Urn, 1995, a series of three black and white photographs which capture Ai holding the vase, the vase in mid air, and the vase destroyed. This deliberately shocking act makes us question why the artist would do such a thing. . Dropping a Han Dynasty Urn (on Presidential Inauguration Weekend) Lauren Kiel January 19, 2013 . Ben Mauk has written about another urn-smashing incident for The New Yorker. The action imposed upon the antique Han pot represents the destruction of conventional or established values, creating a work that is in … Not only did the artifact have considerable value (the artist paid the equivalent of several thousand US dollars for it), but symbolic … Dropping a Han Dynasty Urn is a painstakingly deliberate close-up of the split seconds required to permanently transform an artifact that had survived over two thousand years. – Katherine Fieldgate, Silent Frame Sub-Editor (via Patreon →). The act is easy—every day we can drop something, but it is when we are forced to come face to face with this action and make a judgment … Some considered Salvisberg’s actions a logical extension of Ai’s, but others were unimpressed. In 1995, Ai smashed an antique urn. I chose to look at Ai through recommendation from my teacher. The value of the images quickly exceeded that of the original object: does this justify the demolition, or render it all the more provocative? A courageous act of cultural rewriting, Ai Weiwei’s Dropping a Han Dynasty Urn is arguably the most renowned example from the artist’s iconoclastic phase of the mid-1990s and has recently been featured in his widely acclaimed retrospective at London’s Royal Academy. The loss of one object gives the new artwork its potency. These photographs are displayed in museums and public institutions around the world. An interconnected world is not as recent as we think. For millennia before the advent of modern scientific archeology, rulers and elites collected ancient materials and acted to preserve them or emulate them in new works, whether it was preserving important documents by recording them, on durable surfaces like stone steles or incorporating ancient designs into bronze or ceramics. His infamous Coca Cola Vase (1994) is a Han Dynasty urn emblazoned with the ubiquitous soft-drink logo. How can the destruction of an artifact also be an act of preservation? Reactions were polarised. Read more about Ai Weiwei on The Royal Academy of Arts site. Ai also served as artistic consultant on the design of the “Bird’s Nest” stadium for Beijing’s 2008 Olympics, and has curated pavilions and museum exhibitions around the globe. Yet was. In any case, the irony cannot go unnoticed. Which works of visual art from 1995 would you recommend, and why? The piece of artwork was created by the Chinese contemporary artist Ai Weiwei in the year of 1995. Ai Weiwei - Dropping a Han Dynasty Urn, 1995. For example, Fu Hao’s tomb in Anyang, a, This is an important revelation because it suggests that more than three t, Ai Weiwei has chosen an unusual way of continuing this legacy of transforming the material past while at the same time expressing dissent against a country that sometimes obliterates its own cultural heritage: through direct confrontation. L’œuvre montre Ai laissant tomber une urne cérémonielle vieille de 2 000 ans en permettant qu’elle se fracasse sur le sol juste à ses pieds. Info. Chinese Ai Weiwei is the first artist working in Asia to be invited to create a major new work to fill the busy Turbine Hall in central London, as part of the Tate Modern's Unilever Series. The object broken was Ai’s Coca-Cola Urn, another priceless urn painted with a soft drinks logo. “Dropping a Han Dynasty Urn” is a three-paneled photograph taken in 1995. This piece is called “Dropping a Han Dynasty Urn, 1995/2009 (Smithsonian). The urn was created in the Han Dynasty, which, for those of us not well-versed in history, lasted from around 202 B.C.E to 220 C.E. Thank you for subscribing to our mailing list. This artwork is called Dropping a Han Dynasty Urn and for me it is Ai Weiwei's most provocative gesture. The third was it shattering into pieces at his feet. Shopping. Help Smarthistory continue to make a difference, Help make art history relevant and engaging, Sue Coe, Aids won’t wait, the enemy is here not in Kuwait, The YBAs: The London-based Young British Artists, Pictures generation and post-modern photography, An interview with Kerry James Marshall about his series, Omar Victor Diop: Black subjects in the frame, Roger Shimomura, Diary: December 12, 1941, An interview with Fred Wilson about the conventions of museums and race, Catherine Opie, Figure and Landscape series, Guerrilla Girls, ‘You Have to Question What You See’ (interview), Tania Bruguera, Immigrant Movement International, The National Memorial for Peace and Justice, What's in a map? Only the smoke and mirrors of photography prevent the urn from plummeting further. Your email address will not be shared with any third parties. Were it not for his evident indifference, he might have appeared taken aback by an act of clumsiness, pardoning his butterfingers. Monica Tan has interviewed Ai for The Guardian, as has Alastair Sooke for The Telegraph. So this priceless urn, which had survived some 2,000 odd years before Ai dropped it, held a kind of symbolic value in both its oldness and its representation of a great dynasty of the past. Ai Weiwei - Dropping a Han Dynasty Urn, 1995. C’est dans ce sens qu’il n’hésite pas à apposer une marque typique du capitalisme américain sur une antiquité à la valeur historique et financière inestimable. He had three photos displayed consecutively. Dropping a Han Dynasty Urn is one of many works by Ai Weiwei that focuses on heritage loss and the importance of the past. The shot represents a technical feat, its difficulty testified to by a failed first attempt: two urns were smashed in the making of this work. According to the artist, “the power [of my artwork] comes not from the act but from the audience’s attention, the challenge to their values. Mid-life crises and sleepy suburbs feature in this trio of artworks related to the word 'Voyeurism'. We believe that the brilliant histories of art belong to everyone, no matter their background. The act is easy—every day we can drop something, but it is when we are forced to come face to face with this action and make a judgment … that is the interesting. This is the second of three discrete stages: before, during, after. Either way, the disputes that the work prompted prove it to be a suitable continuation of the original work’s legacy. Ai’s destruction of the historical artefact increased its exposure more than traditional forms of preservation would ever have done. Middle view of a triptych of gelatin silver prints, each print 49 5/8” x 39 1/4”. Ai Weiwei, Dropping a Han Dynasty Urn, 1995. This photo essay raised a lot of commotion. Transforming them into New art present tense of the first image we see holding... 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