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    Contemporary Arts Coup

    Get ready for 800-pound heads: Ai Weiwei's Chinese zodiac art headed to HermannPark

    Steven Devadanam
    Mar 12, 2011 | 2:08 pm
    • Ai Weiwei installation at Art Basel Miami Beach
      Photo by Steven Thomson
    • Weiwei's "Animals of the Zodia" installation at the 29th Sao Paulo Biennale
    • Artist Ai Weiwei

    A zoo of Chinese zodiac animal heads will soon rise above the green of Hermann Park. The artwork, "Circle of Animals/Zodiac Heads," is the first significant public art project by Ai Weiwei, one of China's most celebrated contemporary artists.

    ARTINFO reported that the sculptures will be unveiled in May at Central Park's Grand Army Plaza, at the footstep of the Plaza Hotel, before embarking on a world tour. And though it hasn't been announced yet, it turns out that Houston is one of the stops.

    The installation is rooted in China's colonial past: In the 18th century, a fountain clock was installed at the Yuanmingyuan gardens outside Beijing by two European Jesuits under the order of emperor Qianlong. Opulent animal heads of the Chinese zodiac gushed water every two hours. Tragedy struck during the Second Opium War, when French and British soldiers absconded with the creatures' heads. The boar, horse, monkey, ox, rabbit and rat have been recovered, but five are still lost in the art world's underbelly.

    Through "Circle of Animals/Zodiac Heads," Ai is setting out to right this imperial wrong. A dozen cast bronze heads, about 800 pounds apiece, stand on matching bases, creating a 10-feet high spectacle. "It's very interesting to offer this complete set," Ai tells the New York Times. "People can really appreciate public art on different levels."

    As the artist explains in an interview with filmmaker Alison Klayman, contemporary Chinese art expert Phil Tinari, Larry Warsh of the art organization AW Asia and Beijing-based New Yorker correspondent Evan Osnos:

    My work is always dealing with real or fake, authenticity and value and how value relates to current political and social understandings and misunderstandings. I think there's a strong humorous aspect there."

    Adding another layer to the work is a Feb. 2009 Christie's auction, in which the original rat and rabbit heads were bid on in the sale of Yves Saint-Laurent's estate. A representative of China's National Treasures Fund, Cai Mingchao, repatriated the objects for $19 million, but then neglected to write the check.

    A dedicated website to the artwork provides more information. The installation was arranged by the Houston Arts Alliance as part of a new Temporary Civic Art initiative. (At the time of publication, representatives of Houston Arts Alliance did not respond to phone calls.) Doreen Stoller, executive director of Hermann Park told CultureMap that the sculptures will potentially be unveiled in conjunction with the opening of the Asia Society Texas Center in spring of 2012.

    "We haven't finalized a date yet," says Martha Blackwelder, executive director of Asia Society Texas. "We want to work together," she says, hinting at a March 2012 opening date.

    Along with Central and Hermann parks, the sculptures will travel to London's Somerset House, Los Angeles County Museum of Art, Pittsburgh's Warhol Museum and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

    The Houston visit represents a bit of a coup for local audiences, as Ai Weiwei has enjoyed mounting art world attention for his installation of thousands of porcelain sunflower seeds at the Tate Modern's turbine hall. He also worked in collaboration with architects Herzog & de Meuron on the iconic Beijing National Stadium, commonly called the "Birds's Nest" for the 2008 Summer Olympics.

    Ai has also drawn attention to Chinese censorship policy: His public criticism of government corruption precipitated Shanghai officials to raze his studio in January of this year. Explains the New York Times, Ai considers his friction with authoritarian officials as a form of performance art.

    unspecified
    news/entertainment

    Movie Review

    Resident Evil reboot delivers blood, guts, and big laughs for horror fans

    Alex Bentley
    Sep 17, 2026 | 2:00 pm
    Austin Abrams in Resident Evil
    Photo by Dušan Martinček
    Austin Abrams in Resident Evil.

    In just two films (Barbarian and Weapons), writer/director Zach Cregger has established himself as one of the top horror filmmakers working today. His unique methodology involves taking audiences down familiar pathways before veering off into unexpected areas that feature copious amounts of gore and comically bizarre visuals.

    His new film, Resident Evil, plays out in much the same way, resulting in something starkly different from the previous action-heavy films based on the video game series. Bryan (Austin Abrams) is a courier tasked with bringing special deliveries like organs to hospitals. After one delivery, he gets roped in to making another to the distant location of Raccoon City, a mission he accepts despite being ill-prepared for the journey.

    Traveling down a snowy and icy road, Bryan gets waylaid after accidentally hitting a woman crossing the road. His attempt to save her jump starts a series of adventures in which he tries his best to survive in the face of an onslaught of numerous zombie-like people and creatures. All the while, Bryan is hellbent on completing his delivery at all costs.

    Cregger, who co-wrote the film with Shay Hatten (John Wick: Chapter 4), is in complete command of the tone of the movie from minute one. Leaning into his comedy background, Cregger aims for humor first, with both horror and non-horror moments eliciting laughs. One of the biggest pleasures of the film is the way Bryan — who more often than not is by himself — mutters incredulously after experiencing yet another unbelievable incident. His reactions feel close to how a real person would be acting in such an extreme situation, giving the audience a dose of needed relief.

    The episodic nature of the story also allows the film to play out like a video game without it ever feeling stilted. Every scene is like a new level of the game for Bryan as he faces increasingly difficult situations and monsters along the way. He gets some help from characters played by Kali Reis, Paul Walter Hauser, and Zach Cherry, but he’s mostly on his own, figuring out how to use guns and improvising ways to avoid or attack opponents.

    What Cregger seems to understand better than most filmmakers who have adapted video games into films is how to pay tribute to the series without becoming too much about fan service. There are references aplenty to the different games, but the movie works just as well even if you’ve never played a single second. There is no shortage of tense situations, blood-soaked scenes, and outrageous imagery — and Cregger knows how to stage all of it to maximum effect.

    Abrams is dynamite in the film, using understated line readings to make Bryan both funny and relatable. After being on the verge of breaking out for years, Abrams just might do so with this and the upcoming Whalefall. The appearances by Reis, Hauser, Cherry, Johnno Wilson, and others don’t last long, but each does a great job in helping the film keep the story going.

    Cregger is now three-for-three in his young career, making films that both pay tribute to and subvert horror conventions at the same time. Resident Evil is a blast for fans of the genre, featuring a great lead character, a slew of memorable moments, and indelible visuals that might haunt your dreams.

    ---

    Resident Evil opens in theaters on September 18.

    filmmoviesresident evil
    news/entertainment
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