As you step into the enchanting medieval town of San Gimignano, the atmosphere is nothing short of mesmerising. This picturesque Tuscan scenery serves as the beating heart of Galleria Continua, despite the gallery's presence spanning eight distinct locations worldwide. Against this backdrop, the exhibition Neither Nor by Ai Weiwei takes centre stage, featuring a blend of thirty-five iconic pieces from 1995 to the present day. A mini retrospective of one of the most influential contemporary artists.
The Chinese artist beckons viewers on a journey through both time and space, skilfully balancing tradition and innovation amidst contrasting extremes. Within our contemporary era, which often mirrors past authoritarian periods, there exists a tendency towards reductionist binary choices — yes or no, black or white. The title of the show celebrates the subtleties beyond absolute truths, emphasising how human ingenuity and creativity flourish in these ambiguous contexts.
Throughout the gallery space, a diverse array of artworks emerges from the meticulous assembly of toy bricks. Ai Weiwei approaches art history as an objet trouvé, reinterpreting well-known pieces by Giorgione, Da Vinci, Seurat, and Pollock, among other masters, to generate alternative narratives. Using bricks as pixels, he breathes new life into classical imagery, infusing them with sociopolitical commentary. In his monumental Last Supper (2022), stretching nearly seven meters and crafted entirely from Lego, the face of the artist replaces that of Judas — a bold gesture met with resistance from the Danish toy production company that sought to stifle his provocative art. Undeterred, Ai rallied the community, inviting individuals to contribute bricks, transforming the project into a participatory endeavour.
Throughout the gallery space, a diverse array of artworks emerges from the meticulous assembly of toy bricks. Ai Weiwei approaches art history as an objet trouvé, reinterpreting well-known pieces by Giorgione, Da Vinci, Seurat, and Pollock, among other masters, to generate alternative narratives. Using bricks as pixels, he breathes new life into classical imagery, infusing them with sociopolitical commentary. In his monumental Last Supper (2022), stretching nearly seven meters and crafted entirely from Lego, the face of the artist replaces that of Judas — a bold gesture met with resistance from the Danish toy production company that sought to stifle his provocative art. Undeterred, Ai rallied the community, inviting individuals to contribute bricks, transforming the project into a participatory endeavour. This collaborative effort highlights Ai's commitment to community engagement and underscores the recurring theme of defiance against censorship in his work, inviting viewers to reconsider the histories embedded in the displayed artworks.
The most striking work within this brick-based oeuvre is Know Thyself (2022), situated in the backyard — a reversed iteration of a memento mori mosaic discovered in Rome. This poignant piece juxtaposes a haunting skeletal figure with the ancient Greek philosophical maxim gnōthi sauton, serving as a stark reminder of our mortality and the enduring power of introspection.
In the expansive stalls area of the former cinema theatre, this installation commands attention: an arrangement of thousands of Stools (2013), perfectly aligned to create an elevated wooden surface. These seats, hailing from North China villages and dating back to the Ming dynasty, exude a timeless simplicity and functionality, while evoking a domestic feeling that inspires contemplation about their previous occupants. Three black-and-white photographs titled Dropping a Han Dynasty Urn (1995) serve as a backdrop to this setting, capturing the controversial moment when a 2,000-year-old artifact is shattered into pieces. This pivotal performative act marked Ai Weiwei's exploration of using antique readymades to challenge cultural values and their creators.
Not easily noticed, just behind this triptych, lies Sol Lewitt's wall drawing Planes with broken bands of color (San Gimignano) — a long-term project of Galleria Continua, conceived in 2004 and installed posthumously after his passing. Lewitt's conceptual approach, prioritising the idea over the physical object, draws intriguing parallels with Ai's practice. This placement, though subtle, prompts a deeper reflection on the intersections and divergences between these two visionary artists.
This sense of fragility, but in a more refreshing way, is also evident in the gallery’s garden. Integrated into the surrounding natural environment is a selection of five glazed porcelain vases, known as Pillars (2006), arranged in a loosely choreographed composition. These oversized vessels, each standing over two meters tall, suggest both awkwardness and familiarity due to their extraordinary dimensions. They investigate and ultimately push the boundaries of working with porcelain, a material revered as the pinnacle of artistic expression in Chinese culture.
Seated before his own Cenacolo, Ai Weiwei embodies a true Renaissance man in action. Beyond labels, he seamlessly merges art and activism, while acknowledging his limitations yet embracing curiosity—a trait that has often led him into trouble. Ai champions the notion that the future is now and passionately advocates for human rights, particularly the right to free expression, valuing even the most unconventional viewpoints. His works challenge viewers to reassess the significance of everyday objects and the narratives we construct around them, prompting a deeper examination of our principles and the systems that uphold them. This approach encourages a shift in perspective, advocating for a society that embraces critical reflection and active engagement with our cultural heritage.
