{"id":2395,"date":"2026-01-15T09:33:57","date_gmt":"2026-01-15T09:33:57","guid":{"rendered":"https:\/\/www.theartsgazette.com\/?p=2395"},"modified":"2026-01-27T06:39:52","modified_gmt":"2026-01-27T06:39:52","slug":"chinese-dissident-artist-ai-weiweis-first-solo-in-india","status":"publish","type":"post","link":"https:\/\/www.theartsgazette.com\/index.php\/2026\/01\/15\/chinese-dissident-artist-ai-weiweis-first-solo-in-india\/","title":{"rendered":"Chinese Dissident Artist Ai Weiwei\u2019s First Solo in India"},"content":{"rendered":"<p>[vc_row][vc_column]<p><em>Child Play\u2019, a work by Ai Weiwei, exhibited by Galleria Continua at India Art Fair, New Delhi, in February 2025. Toy bricks (LEGO), 76 x 76 cm. \/ 29.92 x 29.92 in. \u00a9 Archana Khare-Ghose<\/em><\/p>\n<div class=\"empty-space marg-lg-b10\"><\/div>\n<h3>Ai Weiwei\u2019s first solo show in India opened at Nature Morte, New Delhi, on January 15.<\/h3>\n<div class=\"empty-space marg-lg-b10\"><\/div>\n<p>Ai Weiwei, one of the cotemporary world\u2019s most well-known artists, is now having his first solo show in India. Though the Chinese dissident artist, born 1957, will visit New Delhi during the India Art Fair (February 6-9, NSIC Grounds, Okhla, New Delhi), his solo show opened at the Nature Morte gallery on January 15.<\/p>\n<p>The show, titled \u2018Ai Weiwei\u2019, will run through February 22, 2026, at the gallery\u2019s The Dhan Mill space in Chhatarpur Hills.<\/p>\n<p>According to information shared by The Met, \u201cHousehold Gods: Hindu Devotional Prints, 1860\u20131930 presents the first encyclopedic exhibition of these chromolithographic prints from the pioneering studio presses of Calcutta (Kolkata), Poona (Pune), and Bombay (Mumbai). These mass-produced prints became a powerful means of expressing Indian religious identity at a time when the country was experiencing the first stirrings of the Independence movement.<\/p>\n<p>Featuring approximately 120 works, shown in four rotations, from The Met\u2019s collection of chromolithographic prints, along with paintings and portable triptych shrines, Household Gods provides a unique window on the vibrant tradition of Indian devotional imagery on the cusp of modernity.\u201d<\/p>\n[\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=&#8221;2399&#8243; img_size=&#8221;full&#8221;]<p><em>Ai Weiwei in 2017. Image courtesy: Wikipedia\/ CC BY SA 4.0\/ Jindrich Nosen<\/em><\/p>\n<div class=\"empty-space marg-lg-b10\"><\/div>\n<p>Weiwei is most well-known for helping design the Bird\u2019s Nest stadium for the Beijing Olympics in 2008 before openly criticizing the Chinese government. It led to his detention for 81 days in 2011, being released on June 22. He was allowed to leave China only in 2015, and since then, he has lived between Portugal, Germany, and the UK. Weiwei\u2019s work focuses on human rights abuses, created using video, photography, wallpaper, porcelain and a variety of other media, including LEGO bricks, some of which were shown at the India Art Fair in New Delhi in February 2025. (Image on top) Some of his globally known works are <em>Sunflower Seeds, Forever, Circle of Animals\/Zodiac Heads, and Trees, among others.<\/em><\/p>\n<p>The solo show at Nature Morte presents sculptures, installations, and mixed-media works that the artist has created in the past two decades. As per reports on the Internet, the exhibition also includes pieces created as a personal homage to India.<\/p>\n[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Indian art market\u2019s fascination for modern works of art produced in the Fifties and Sixties bring into focus the richness and depth of Indian art in that period<\/p>\n","protected":false},"author":1,"featured_media":2397,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[46],"class_list":["post-2395","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teal","tag-news"],"_links":{"self":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2395","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/comments?post=2395"}],"version-history":[{"count":3,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2395\/revisions"}],"predecessor-version":[{"id":2512,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2395\/revisions\/2512"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media\/2397"}],"wp:attachment":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media?parent=2395"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/categories?post=2395"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/tags?post=2395"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}