Ai Weiwei’s furniture-sculpture: Radical ambiguity and the function of critique
This article will examine the evolving function of critique in the work of artist, activist and dissident Ai Weiwei since the mid-1990s. It will do so by first considering Ai’s manipulated and transformed furniture in relation to the inundation of Ming and Qing Dynasty antiques on the market during the 1980s and 1990s to demonstrate how his art uses ambiguity to critique western market expectations. Throughout his artistic career from 1996 to the present, Ai has repurposed antique furniture, doors and temple beams as sculptures and installations. If this under-researched yet important group of works by him is considered through a socio-economic framework and a Duchampian sense of irony, as this article intends to do, these pieces will be able to be understood as sardonic assisted readymades, with a specific set of different meanings for people in China and the West. Differing from prevailing views of Ai’s repurposed antiques that have regarded them as objects moving away from their Chinese sources, i.e. their ‘Chinese-ness’, this article will look at his sculptures and installations, which incorporate while dramatically altering these historical objects, as satirizing western consumption of Chinese culture and history. It will also situate the works as critical of a consequence of China’s rapid transition to global stage: consumers’ and government’s tendency to erode cultural heritage, sites, and artefacts in exchange for economic growth and the new. Ultimately, this article will suggest that these works source their political thrust from a type of ‘radical ambiguity’ that Ai has now expunged from his practice in favour of more determinate means of critique.