Ai Weiwei: 'A New Chatpter'

'A New Chatpter' sees Weiwei explore the chaos of modernity through the lens of diverse historical and artistic references.

The works on show open dialogues between past and present – an examination of identity, politics, displacement and cultural heritage against the context of changing times.  

At Weiwei's request, the show's title was written by Google Gemini – a typo intentionally added for effect.

As you walk into Lisson Gallery, a large-scale work confronts you.

Where Do We Come From? What Are We? Where Are We Going? sees Ai Weiwei reinterpret Paul Gauguin’s painting of the same name (1897–98), using toy bricks to explore the philosophical and existential themes that Gauguin navigated in his original. Here, Weiwei adds an interrogation of modern social, political and environmental issues — such as drone warfare, military intervention and the atomic bombing of Hiroshima. By depicting himself in the composition (bottom left), the artist merges his own reflections on displacement and belonging with a broader exploration of the human experience.

This work is particularly significant for Weiwei, who has spoken about the lasting impact of Gauguin’s original piece on him since he first encountered it at the age of 20.

Why toy bricks?

Weiwei began using LEGO as a medium in 2014 to explore themes of freedom of expression, political activism and mass production. Concerned about appearing to endorse the use of their products for politically charged projects, LEGO initially banned him from buying. Weiwei saw this as a form of corporate censorship. In response, he launched a Twitter campaign asking people to donate LEGO bricks for the project. The campaign quickly gained international attention, with individuals from around the world sending him toy bricks in support of his right to create freely and without censorship.

Weiwei has since transitioned to using toy bricks manufactured in China to create his large-scale installations.

Weiwei has a personal relationship with the button – a natural progression from his toy brick works and his application of everyday objects in the realm of fine art.

Growing up, he experienced extreme material scarcity, owning just one pair of trousers and one pair of shoes. If a button fell off, it was a huge loss because finding a replacement was ‘extremely hard.’ For Weiwei, buttons hold extraordinary significance — small in size yet symbolic of life’s essentials and human dignity.

Weiwei now comes full circle with F.U.C.K, a striking installation that features hundreds of buttons attached to four Second World War military stretchers. The buttons were sourced from a now-closed button factory, with the artist acquiring 30 tons and more than 9,000 types.

On July 13, 2024, President Donald Trump survived an assassination attempt while speaking at a campaign rally in Pennsylvania. Secret Service agents rushed to the scene to protect him, with Trump shouting, “let me get my shoes,” as he was hurried away. Weiwei found this line somewhat farcical and it served as inspiration for one of his main sculptural pieces exhibited in A New Chatpter.

LET ME GET MY SHOES builds on Weiwei’s 1988 work One Man Shoe, continuing his exploration of using everyday objects and materials to convey political narratives.

The sculpture is the only piece on show displayed on the floor, a choice made by Lisson to ‘ground the work.'

As you approach the far end of the main room, Weiwei's China Flag commands attention, occupying a vast space. The piece depicts the flag of the Qing dynasty – an emblem adopted in the late 19th century, featuring the Azure Dragon and the red flaming pearl – using only buttons.

Weiwei intended for the piece to be displayed a couple of meters from the wall, encouraging viewers to interact with it and discover the craftsmanship displayed. As you walk around the work, you see that each button aligns almost perfectly.

In Iron Root, Weiwei explores the tension between nature and industrialisation – a continuation of his 2019 Roots series, where he cast ancient Brazilian roots believed to be over a thousand years old. Here, Weiwei’s exploration of displacement manifests in a literal depiction of uprootedness, with the contrast between the impermanence of rainforest wood and the permanence of cast iron symbolising the lasting impact of human intervention on nature.

See these works and many others in person by visiting the Ai Weiwei: A New Chatpter exhibition at Lisson Gallery, London.

7 February - 15 March 2025.