Aviva Studios, Manchester
The artist’s latest show is a staggering takedown of colonial history, warfare and the migrant crisis, featuring buttons by the tonne and richly perfumed tea
History has repeated itself all over Ai Weiwei’s vast exhibition of monumental sculpture in Manchester. The flags of long-lost nations hang from the ceiling, bronzes looted by dead empires have been recast and reclaimed, dilapidated ancient ruins have been rebuilt. Everywhere you look here, you will find death, exploitation, greed and suffering from across human history, brought back to life and put morbidly on display. The first thing you see is a black glass chandelier made of skeletons – The Human Comedy – and a wall covered in images of the most powerful bombs ever invented. Like a head on a stake, this is art as warning.
This massive, ambitious exhibition is the Chinese artist at his most monumental, and as a result at his most effective. His subject matter works best at enormous scale, blown up, expanded, shoved in your face. Lining the back wall of this warehouse is a giant inflatable dinghy, 100 metres long, filled with figures in lifejackets. Think you can ignore the migrant crisis? Not here you can’t, because Ai has taken everyday, normalised tragedy and made it into a monument. He spent years interviewing hundreds of refugees, meeting people desperate for safety and a new life and produced a huge amount of work about it. This is the culmination of that project. Is it a good-looking work of art? Not really, but it makes a point, and makes it loudly.
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