Ai Weiwei’s Lego re-imagining of Monet’s water lilies to go on show in London

Exclusive: 15-metre-long work made up of 650,000 Lego bricks to form part of artist’s biggest UK show in eight years

Claude Monet’s monumental triptych, Water Lilies 1914 -26, which depicts nature’s tranquil beauty as part of the French impressionist’s world-famous series, will take on new meaning in a giant recreation by artist and activist Ai Weiwei in his new London exhibition.

Monet’s brushstrokes in his water and reflection landscapes are replaced by about 650,000 studs of Lego bricks, in 22 vivid colours, in the 15-metre-long work at the centre of Weiwei’s biggest UK show in eight years, opening next month.

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Ai Weiwei: ‘It is so positive to be poor as a child. You understand how vulnerable our humanity can be’

From living in a dugout in Little Siberia to his friendship with Allen Ginsberg in New York, artist and activist Ai Weiwei reveals what drives his restless creativity

Ai Weiwei is hard to pin down. For the first few minutes of our Zoom call, him bleary-eyed at his computer, I think he’s talking to me from his new base in Portugal. My mistake – it’s Vienna, where he’s planning a show for next March. A year and a half ago, Ai was giving interviews about his new life in Britain; before that it was Germany, the country that offered him safe harbour when he finally left China in 2015, after years of hounding by the authorities and a spell in detention. So where does he actually live?

“Yeah, the question always comes up,” he says sheepishly. He moved to Cambridge so his son, Ai Lao, could improve his English. His son is still there, but in the meantime, “I found a piece of land near Lisbon, so I’m kind of settled there, but that’s only for the past year”.

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Ai Weiwei on the death of Diane Weyermann: ‘Like a bridge of hope washed away in the storm’

The artist and film-maker remembers the pioneering documentary producer behind films such as RBG, The Square and An Inconvenient Truth, who has died aged 66

Diane has left. When someone close passes away, we feel that a part of ourselves left together with them. A part of our understanding of the world, a link in our interpersonal network, our previous value judgment and actions in the past have all been misplaced because of the passing of a close friend.

This sense of misplacement is sometimes very strong and clear, almost like the lack of a lit candle on the shore of a river or a pile of extinguished charcoal in cold weather. We cannot envisage it before people disappear from our life. When they do disappear, we suddenly become aware of the fact that the light and warmth, which vanished with their passing, are lost for ever. They are irreplaceable and will never return. No matter what happens in the future, whatever is lost is lost for ever.

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Ai Weiwei on his new life in Britain: ‘People are at least polite. In Germany, they weren’t’

Devastated by his time in Germany, which he regards as still Nazi, the artist has moved. As he unveils a powerful virtual reality artwork, he talks about needing a monster to fight – and why he’d like to be a barber

‘When we filmed this,” says Ai Weiwei, “the elephants didn’t know what to do. Once they were used for labour, and now they have lost their job.” The artist is talking about the groundbreaking documentary he has just made about unemployed logging elephants in Myanmar. You watch the film, shot with 360-degree virtual reality technology, through a special headset. Turn your head slowly and your view gradually changes. Turn your head 180 degrees and the picture changes completely.

“When they lost their job,” he continues, “each elephant had a few people to take care of it, so those people also lost their job.” Ai (Weiwei is his first name and means unknown or future) relates to the elephants as readily as he does to the subject of the second part of his VR project – this one about the lives of Rohingya refugees in a Bangladeshi camp.

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