Lisson Gallery has indefinitely put on hold an exhibition of new works by the Chinese artist and activist Ai Weiwei, which had been due to open in London this week, following a statement posted by Ai on social media relating to the Israel-Hamas war.
The artist tells The Art Newspaper that his show has “effectively [been] cancelled”, noting that the decision was taken “to avoid further disputes and for my own well-being”. Ai says “these good intentions” have been “well-received”.
The tweet, which Ai posted in response to a follower’s question on X (formerly Twitter) and which he has since deleted, read: “The sense of guilt around the persecution of the Jewish people has been, at times, transferred to offset the Arab world. Financially, culturally, and in terms of media influence, the Jewish community has had a significant presence in the United States. The annual $3bn aid package to Israel has, for decades, been touted as one of the most valuable investments the United States has ever made. This partnership is often described as one of shared destiny.”
It is not clear whether Ai’s show will now be rescheduled. A spokesperson for Lisson Gallery says the matter is “still in discussion”, with lead times for exhibitions often stretching into years. According to a statement provided by the gallery, there were “extensive conversations” with Ai following the comment he posted online.
The statement continues: “We together agreed that now is not the right time to present his new body of work. There is no place for debate that can be characterised as antisemitic or Islamophobic at a time when all efforts should be on ending the tragic suffering in Israeli and Palestinian territories, as well as in communities internationally. Ai Weiwei is well-known for his support of freedom of expression and for championing the oppressed, and we deeply respect and value our longstanding relationship with him.”
Ai says that, in the tweet, he “attempted to be objective and neutral without moral judgment, accusations, or evaluation of human actions”. But, hinting at the brevity and lack of nuance that social media posts can be prone to, he adds: “I understand that societal behaviour, whether at a national, collective, or religious level, cannot be oversimplified. This means we cannot use a simple moral framework to express the so-called ‘correct’ expression.”
For Ai, this raises crucial questions about freedom of speech. “If we cannot use simple ways to express a complicated question, does that mean expression becomes unnecessary, or that the so-called ‘incorrect’ expression becomes unnecessary?” he asks. He continues: “This is a fundamental aspect of free expression. For someone working in art, expression has never been about seeking correct expression. The most fundamental meaning of expression is free expression—expressing, as much as possible, based on objective facts, often without reaching a conclusion. We shouldn’t abandon expression because there is no conclusion; otherwise, we would be abandoning art, creativity, and creation.”
Born in Beijing in 1957, Ai grew up in labour camps in northwest China after the exile of his father, the poet Ai Qing. Though a longtime Communist, Ai Qing became a target first of the official Anti-Rightist campaign, in 1957, and then of the Cultural Revolution. As a result, Ai has long been an outspoken critic of the Chinese authorities and an advocate for human rights. In 2011, Ai was arrested at Beijing Capital International Airport in 2011 and detained for 81 days as part of the government’s crackdown on activists. In 2015 he left China for the last time and is now based in Lisbon, Portugal.
Ai has also been vocal in his support for Palestinians. In 2016 he travelled to Gaza while filming for his feature film, Human Flow, about the global refugee crisis.
“I have always regarded free expression as a value most worth fighting for and caring about, even if it brings me various misfortunes,” Ai says. “My father, as a poet, suffered unfair treatment, detainment, labour reformation, and almost lost his life simply because of his attitude. If he had lost his life, I would not exist.”
Ai says “all kinds of opinions” should be valued, “even when they are not correct”. As he puts it: “Incorrect opinions should be especially encouraged. If free expression is limited to the same kind of opinions, it becomes an imprisonment of expression. Freedom of speech is about different voices, voices different from ours.”
He adds: “Countless writers, artists, and people facing difficult living situations provide different voices that are often like a ray of light that makes darkness less scary. I might be saying a bit too much here. What I say is not important. The cancellation of an exhibition is not important at all because tens of thousands of exhibitions are still going on. Without exaggeration, as a person or an artist, I can live without ever doing another exhibition, and I can live without art as the space of expression, but I cannot live without free thinking and free speech. That would mean the end of life.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
