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Faurschou

Name: Faurschou
Address: 148 Green Street, New York, NY, 11222, US
Telephone: +13479161238
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02/23/2025

‘Party’ (2019) draws inspiration from a poem written by Ai Weiwei’s father, Ai Qing, about the way trees communicate beneath the earth.

In 2017, Ai’s research in Brazil focused on the roots of the ancient Pequi tree, native to the region. These roots, discovered in Trancoso, Bahia, were remnants of deforestation and natural causes.

With the help of Chinese and Brazilian artisans, the roots were assembled from two or three separate pieces using traditional Chinese woodworking techniques, similar to Ai’s ‘Tree’ (2009–2010), in which fragments of felled trees were assembled to create new forms. After the roots were restructured, wooden molds were crafted and sent to China, where they were cast in iron.

Last change: ‘What You See is What You See’ closes today, Feb 23. Faurschou New York is open 12–7pm. Admission is free.

Party (2019) by Ai Weiwei
© Ai Weiwei Studio.
Photos by Olympia Shannon courtesy of Faurschou.

02/22/2025

Meticulously constructed in shades of magenta, Ai Weiwei reimagines Peter Paul Rubens’s ‘The R**e of the Daughters of Leucippus’ (1618–1621).

Rubens’s painting depicts the dramatic abduction of two sisters, Hilaeira and Phoebe, by the twin demigods Castor and Pollux, capturing a dynamic moment charged with emotional tension. The Greek myth presents a conflict between divine power and human vulnerability, as the partly immortal brothers, intent on marrying the princesses, abduct them despite their prior betrothal to others. Ai transforms the violent scene into a critique of cultural identity, political power, and territorial boundaries.

The baby panda replaces Rubens’s cherubic angel, and serves as a symbol of China’s diplomacy, inviting viewers to question the use of cultural icons and soft power.

Last chance: ‘What You See Is What You See’ closes tomorrow, Sunday, Feb 23. Faurschou New York is open all weekend, 12–7pm. Admission is free.

‘The R**e of the Daughters of Leucippus in Magenta’ (2023)
© Ai Weiwei Studio
Photos by Olympia Shannon courtesy of Faurschou.

02/21/2025

‘Last Supper in Turquoise’ (2022) reimagines Leonardo da Vinci’s painting ‘The Last Supper’ (1495–1498) using toy bricks and allusions to Andy Warhol’s silkscreen process.

Ai replaces Judas—a symbol of betrayal—with his own laughing figure, positioning himself as a disruptor of authority. The work reflects on mass media’s influence and complexities surrounding truth, suggesting that there is more than one side to every story—a liar to some may be a truth-teller to others. Ai critiques how the media merges information, politics, and entertainment into spectacle, eroding meaningful discourse through sensationalism and misinformation. By alluding to the Christian Church as a
historical propaganda machine, the work explores themes of betrayal, media influence, and institutional control over perception, prompting reflection on the multifaceted nature of truth.

Last chance: ‘What You See is What You See’ closes Sunday, Feb 23. Faurschou New York is open Thu-Sun, 12–7pm. Admission is free.

‘Last Supper in Turquoise’ (2022)
© Ai Weiwei Studio.
Photos by Olympia Shannon. Courtesy of Faurschou.

02/19/2025

Constructed from over 650.000 toy bricks, Ai Weiwei’s monumental ‘Water Lilies’ (2023) reimagines Claude Monet’s ‘Water Lilies’ triptych (1914-1926)—which hangs in the collection of MoMA in New York—in a contemporary, dream-like vision.

Within the serene landscape, Ai introduces a black void, perhaps evoking Kazimir Malevich’s ‘Black Square’, symbolizing a disruption. This dark hole is, in fact, reminiscent of the doorway to an underground dugout where Ai spent five years of his childhood alongside his father without electricity and water, exiled in a labor camp in the remote desert of Xinjiang.

His father, Ai Qing, a renowned poet, was punished for opposing the Chinese government through his writings during Mao Zedong’s Communist regime. In 2011, Ai Weiwei himself was detained for 81 days without formal charges, an experience he likened to “being in a black hole.”

Last chance to see ‘What You See is What You See’, closing this Sunday, Feb 23. Faurschou New York is open Thu-Sun, 12-7pm. Admission is free.

Water Lilies (2023) by Ai Weiwei
© Ai Weiwei Studio
Photos by Olympia Shannon, courtesy of Faurschou

02/18/2025

This week is the last chance to experience Ai Weiwei’s exhibition ‘What You See Is What You See’ at Faurschou New York.

Visit us Thursday–Sunday, 12–7 PM. Admission is free.

148 Green Street, 11222 Brooklyn.

Ai Weiwei: What You See Is What You See
October 24, 2024 – February 23, 2025

Artworks © Ai Weiwei Studio. Installation photos by Olympia Shannon, courtesy of Faurschou.

01/29/2025

Exploring themes of homeland and the profound meanings of war and returning home, Ai Weiwei’s LEGO work ‘Last U.S. Soldier Leaving Afghanistan’ (2022) depicts a night vision photograph of Major General Chris Donahue boarding a cargo plane at Kabul’s Hamid Karzai International Airport on August 30, 2021. The image marks the official conclusion of the nearly two-decade U.S. military presence in Afghanistan.

By focusing on the solitary figure of the departing soldier, the piece highlights the personal and collective impacts of prolonged conflict. Evoking a sense of finality and introspection, the composition questions the cyclical nature of war and the complexities of withdrawal. It invites contemplation on the emotional weight carried by those who serve and the unresolved challenges left behind, emphasizing the intersection of individual experience and broader historical events.

‘What You See is What You See’ is on view at Faurschou New York, Thursday-Sunday, 12–7pm. Admission is free.

Ai Weiwei, Last U.S. Soldier Leaving Afghanistan (2022)
©️ Ai Weiwei Studio
Photos by Olympia Shannon, courtesy of Faurschou.

01/23/2025

A recent conversation between Ai Weiwei and The Brooklyn Rail’s Publisher and Artistic Director, Phong H. Bui, about his memoir ‘1000 Years of Joys and Sorrows’ is now live on the Rail’s website (link in bio).

Don’t miss Ai Weiwei’s current New York exhibitions: ‘Child’s Play’ at Vito Schnabel Gallery in Chelsea and the West Village and ‘What You See is What You See’ at Faurschou New York in Greenpoint.

The interview was recorded on January 2nd in New York.

h.bui

11/18/2024

“This is a necessary show.” — Hrag Vartanian

Ai Weiwei’s “What You See Is What You See” has been featured in Hyperallergic’s “Six New York City Shows to See Right Now.”

“Ai Weiwei is one of the rare art world heavyweights who always seems to have something worthwhile to say. Don’t miss the opportunity to see a variety of his socially and politically incisive pieces at Brooklyn’s Faurschou.” – Natalie Haddad

Read the full story following the link in our bio.

11/10/2024

Truth (2023) features a portrait of the Australian-born journalist Julian Assange, who founded WikiLeaks in 2006.

Assange and WikiLeaks rose to global attention in 2010 after publishing internal and classified documents, including diplomatic cables and military files relating to the wars in Iraq and Afghanistan. This unauthorized release sparked heated debates about transparency, journalistic ethics, and the public’s right to know.

Ai Weiwei’s portrait of Assange is a nod to Shepard Fairey’s iconic Hope poster for Presidential candidate Barack Obama. Once in the White House, the Obama administration presented a paradox: it promoted progressivism and openness but also pursued aggressive actions against whistleblowers and expanded drone-based extrajudicial assassinations. By representing Assange in Fairey’s recognizable style, Ai repurposes the imagery as a reminder of the gap between rhetoric and reality.

In February 2012, WikiLeaks published over 5 million emails leaked from a global intelligence company. Among these files are more than 2,500 documents that mention Ai Weiwei, revealing efforts to monitor the artist and his relationship to China. Around the same time, Assange sought asylum in the Ecuadorian embassy, where he remained nearly seven years. In June 2024, he ended a 14-year saga by pleading guilty to breaching the Espionage Act – “I plead guilty to journalism.” In Ai’s LEGO work, the face of an “ethical hacker” compels us to reflect on our own relationship with truth and to consider whether we, too, would risk our safety in its defense.

Truth (2023). Artwork by Ai Weiwei ©️ Ai Weiwei Studio

Photo by Olympia Shannon ©️ Faurschou and the artist

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Thursday	12pm - 7pm
Friday	12pm - 7pm
Saturday	12pm - 7pm
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