Ai Weiwei's "Five Houses" Needs More Guidance
Going in, Ai Weiwei's "Five Houses" seemed like an important exhibition. It marks the U.S. premiere of the Chinese artist's project, which debuted at the Kunsthaus Bregenz in Bregenz, Austria, this past summer. It's the latest in a lineage of fully designed environments by noted architects such as Josef Hoffmann, Frank Lloyd Wright and Gerrit Rietveld. ![]()
It's one of several events around the city connected with Weiwei, coinciding with the opening of the new Asia Society Texas Center and the installation of his "Circle of Animals/Zodiac Heads" in Hermann Park. And it's the first new architectural project since Weiwei, an outspoken political figure, was arrested and detained in his native China last year for "alleged economic crimes."
But instead of leaving "Five Houses," up now at the Architecture Center Houston, with a sense of its importance as a piece of art, I was more frustrated than anything.
The exhibition is comprised of a series of five different types of residential houses, all built around the repetition of shapes and certain shifts in direction. While a pamphlet and text accompanying the show sort of explained these different types of houses and approaches -- in impenetrable architecture jargon -- none of the actual scale models were labeled. I didn't know what I was looking at. Further adding to my confusion, the models were accompanied by blown-up renderings and diagrams on the wall inexplicably labeled "House A," "House B" and "House C." I could presume these houses correlated to the models, but I just didn't know. The exhibition didn't explain it.
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