From September 21, 2024, to May 4, 2025 at Palazzo Fava, in the center of Bologna, over 50 works by Ai Weiwei are on display: among installations, paintings, videos, and sculptures, the Chinese dissident artist continues to represent our time.
L'artista cinese Ai Weiwei durante l'allestimento della sua mostra personale "Who Am I?" a Palazzo Fava
sede delle esposizioni di Genus Bononiae (Roberto Serra / Opera Laboratori Fiorentini), ph. Roberto Serra
Ai Weiwei’s first solo exhibition in Bologna, “Who am I?”, takes over the spaces of Palazzo Fava with over fifty works of art, ranging from installations, sculptures, videos, to photographs. Organized by Fondazione Carisbo as part of the Genus Bononiae cultural project and produced by Opera Laboratori, this exhibition, curated by Arturo Galansino, explores the creative universe of the Chinese artist, caught in an ongoing tension between tradition and experimentation, preservation and destruction.
The exhibition title, inspired by a conversation between Ai Weiwei and artificial intelligence, highlights the central theme of the show: identity. Within the frescoed rooms by the Carracci family, Chinese culture dialogues with Western heritage, blending mythological creatures from the Classic of Mountains and Seas with stories from the Aeneid.
In the Chinese language, the concept of imitation can be expressed in several ways. The term fangzhipin (仿製品) refers to a declared imitation, where the distance between the copy and the original is clear. However, another term, fuzhipin (複製品), signifies an attempt at perfect, identical imitation—an invisible, seamless copy. In one of the world’s oldest and most enduring civilizations, imitation was once considered a noble practice, leading to wisdom and taste. This concept was deeply ingrained in Chinese art, such as in painting, poetry, and calligraphy, all aiming for the perfect copy. Ai Weiwei’s works reflect these historical practices while confronting contemporary issues.
Lego as Artistic Medium: Reinterpreting Masterpieces
Ai Weiwei has been using Lego as a medium since 2014, utilizing the iconic blocks to reinterpret masterpieces of art history. He creates striking mosaics that blend Lego and traditional forms. In one room of the exhibition, visitors encounter “The Ecstasy of Saint Cecilia” by Raphael, Giorgione’s “Sleeping Venus,” and Leonardo da Vinci’s “The Last Supper,” all recreated using Legos. The “Last Supper” stretches over three meters in height and nearly seven meters in length, offering a pixelated effect that faithfully replicates the sacred scene.
However, there are notable differences: the characters are dressed in bright, pop-like colors, and Ai Weiwei’s mischievous face replaces that of Judas. This reference alludes to the fate of Ai Weiwei’s father, poet Ai Qing, who was exiled under Mao’s regime. It also suggests a reflection on human nature, implying that Ai Weiwei himself might betray others, just as Judas betrayed Jesus.
The optical effect of these Lego recreations is stunning and disorienting, blurring the line between figure and texture. The blocks of acrylonitrile seem to replicate the detail of ancient stone or glass mosaics, echoing the concept of imitation that has been praised by scholars throughout history.
Ai Weiwei’s use of Lego both honors and critiques the artistic tradition of imitation. His works possess a charisma and chromatic breadth that closely resemble the originals, but they also introduce a playful commentary on the relationship between authenticity and replication.
Ai Weiwei, Who Am I, veduta della mostra,
Palazzo Fava, Bologna, 2025, ph. Elettra Baston
Lego Mosaics and Social Commentary
Throughout his career, Ai Weiwei has used Lego as a tool to comment on political issues and the fragility of freedom. One of his major works, “Water Lilies #1,” made of over 650,000 Lego pieces, was presented at the Design Museum in London in 2023. At 15 meters long, it is the largest Lego work Ai Weiwei has ever created. It explores the intersection of art, politics, and technology, where Lego’s modular nature mirrors the repetitive, mass-production processes of contemporary digital technologies.
Ai Weiwei’s artwork is not only a formal exploration of Lego as a medium but also a powerful commentary on contemporary issues such as human rights, freedom of expression, and the refugee crisis. The “Odyssey” wallpaper, inspired by Attic vases, tells the story of modern-day migrations, while the installation “Forever Bicycles” evokes the social changes in modern China.
Ai Weiwei, “Water Lilies #1” (2022), LEGO.
Challenging Tradition and Modernity
Ai Weiwei’s use of materials and themes challenges the boundaries between tradition and modernity. His famous photographic work Dropping a Han Dynasty Urn (1995), which depicts him dropping a 3rd-century urn, and Han Dynasty Urn with Coca-Cola (1994), where a Coca-Cola logo is painted on a Han dynasty vase, illustrate his ability to bridge ancient Chinese traditions with contemporary global culture.
Ai Weiwei, Han Dynasty Urn with Coca-Cola Logo, 2014, Genus Bononiae
ph Roberto Serrapersonale "Who Am I?" a Palazzo Fava sede delle esposizione
di Genus Bononiae (Roberto Serra / Opera Laboratori Fiorentini)
Another significant work, Forever (2003), consists of dozens of bicycles intricately interwoven, recalling the mass of cyclists in Beijing and the city’s transformation. Through this iconic symbol, Ai Weiwei critiques the conformity of modern Chinese society while preserving a deep connection to his cultural roots.
Ai Weiwei
Art as a Tool for Social Change
Ai Weiwei’s art transcends mere aesthetic experience to become a tool for political and social change. By using Lego, ceramics, and other materials, he creates a dialogue about cultural preservation, the destruction of identity, and the clash of civilizations between traditional Chinese culture and hyper-modern Sino-Western influences.
His exhibition at Palazzo Fava serves as a profound reminder that art is not just an object of contemplation but also a powerful force for awareness and transformation. Ai Weiwei invites viewers to question the world around them, using art as a vehicle for personal reflection and societal critique.
In this way, Ai Weiwei’s body of work speaks to the evolving dynamics of identity, art, and imitation in both the global and Chinese contexts. Through his meticulous Lego mosaics and thought-provoking installations, he challenges the conventions of both traditional Chinese art and modern Western interpretations of artistic creation, showing that sometimes, the most profound imitations can reveal the most striking truths about society.