BANK Interview 采访（下) | "颠覆与重塑"——靳山的雕塑美学

艺术家靳山在洛杉矶首次个展刚刚开幕，位于同期他也参加了洛杉矶郡立艺术博物馆（LACMA）的大型群展“物之魅力：当代中国“材质艺术”。该展览是第一次通过材质学术性系统回顾中国当代艺术。由巫鸿联合洛杉矶郡立艺术博物馆，Smart美术馆副策展人, 芝加哥大学东南亚艺术中心负责人Harrie A. Vanderstappen及 Smart 美术馆全球当代艺术策展人Orianna Cacchione 共同策划。该展览汇集了从80年代末至今30年的35件作品，是洛杉矶首场中国当代艺术大型展览。

The artist just opened his first solo show in Los Angeles. He was also part of a large group exhibition at the Los Angeles County Museum of Art (LACMA) ‘The Allure of Matter: Material Art from China’, This exhibition is accompanied by the first scholarly volume to examine Chinese art through the lens of materiality. It is co-authored by the exhibition's curators, Wu Hung, Smart Museum Adjunct Curator, Harrie A. Vanderstappen, Director of the Center for the Art of East Asia at the University of Chicago, with Orianna Cacchione, Smart Museum Curator of Global Contemporary Art. The show brings together 35 artworks in total from the late 80s until today, into the first large-scale exhibition of Chinese contemporary art in LA.

BANK 小报在两次展览之际，采访了艺术家靳山。我们回顾靳山自90年代始至今的艺术生涯，作为一名活跃的中国艺术家在海外个展筹备中所遇到的结构性或随机性的困境/问题——作为外来者的心理状况，画廊空间本身的障碍，美国观众的袒露直接等。他视作自小接触的古典雕塑美学教育为一种“被动的殖民”，“主动输出”的此次个展，而后产生自己的美学，如此种种，这致使他将这些元素作为所做工作的起点。

The BANK ZINE interviewed Chinese artist Jin Shan in occasion of his two most recent exhibitions. We reviewed his artistic journey since the 1990s, and the structural and cultural obstacles he encountered while in preparation of his solo show overseas. Jin Shan opens up about the challenges of having an American audience, art education in China and crafting his own aesthetics in response to what he calls “passive colonization” from the West.

小时候条件没那么好，很多时候只能看画册没办法看原作。那么最大契机就是来自于高考画的古典雕塑。这我称之为叫被动的殖民。因为其实你是没得选择的，我们雕塑的样式很少，都是社会主义，现实主义，苏派的那些雕塑系列。要是讲到人体，有张力的美感，传统美学包含的一些要素主要还是来自于罗马文艺复兴时期的雕塑或者是希腊时候的一些雕塑，这就是我称之为被动的殖民。没办法，在当时的阶段，人家做的比你多，样式比你丰富，那么你也就只能去学习当中的一些基本的美学的原则。

那么为什么要做这些？我觉得还有另一个层面的意思，有次我在我的个展上面跟一个观众交流这个问题。其实我觉得这很有意思，前面是被动的殖民，那么现在我把它做出来再输出到美国的一个画廊，它在当地和观众有互动有销售，这里也有我自己的价值的输出。从被动殖民到主动输出。经过我的一些加工塑造，产生我自己的一个美学。所以也有这方面的因素。

When I was younger, the living conditions in China were not so good. Many times I could only read the catalogue and couldn’t see the original. The the best chance one had to actually see classical sculptures in real life was the college entrance examination. This is what I call passive colonization. Because in fact, you have no choice, the sculptures have very few styles, and they all revolve around socialism, realism, and Soviet art. In terms of pencil sketching and constructing the human body on paper, most of the elements of traditional aesthetics come from the sculptures of the Roman Renaissance or some sculptures of Greece. This is what I call passive colonization. There is no other way at that stage, one has to accept those as the basic principles of aesthetic. 

So why do I do this? I think there is an ulterior motive. I have actually had this conversation with a visitor in my solo show and I think this is a very interesting point. In response to this passive colonization, now I make work that I export to galleries in the United States. I get interactions and sales from the local audience, and I also get to output my own value here. From passive colonization to active output. After a process of manipulation, I created an aesthetic of my own.

Shedding, 2019

Plastic, Iron wire, 73*78*88 cm

我觉得3D很有意思，它是一个逻辑的东西，他先要建模，建好模之后呢，3D才能打印。你无法在不建模的时候想打什么就打什么。现代科技还没发展到这一步，我觉得3D建模对我来说，在我的作品中，经常有一些非理性的表达，是随机性的，因此是有冲突的，但是有的时候呢，我看3D那种建构的美，它也是一种美，不知道这两个冲突有没有融合的可能性。

未来的发展，我想以后在作品的实践当中更多的融入结构上的破坏和重塑，还从事一种叫半场景的植入。什么叫半场景呢，就是相对来说这个场景抽象的不是一看就知道是什么样的一个具体的场景，这个植入在我未来的作品当中我会呈现的多一点。包括我可能会启动一些平面作品的方面，我觉得我现在做的都是三维的我，我以后可能会做一些浮雕一些平面的，半浮雕式的这么一个创作。这些部分会在我未来的实践当中进行启动。

I think 3D is very interesting. I find the process extremely logical . One has to model first and after the model is built, 3D can be printed. You can't do anything you want and play around without modeling first. Modern technology has not yet developed in this regard. I think 3D modeling is often a irrational expression in my work: random and therefore conflicting. But sometimes I admire the beauty of 3D construction. It’s its own kind of beauty. I don't know if there is any possibility of integration between these two conflicts.

In the future development, I would like to incorporate more structural damage and remodeling in my work practice, and also engage in the implantation of a semi-scene. What is a semi-scene? Generally speaking it consists the partial abstraction of a scene, which makes it unrecognizable at first glance. I am going to expand this concept in my future works. I may start with some graphic works, now I am working three-dimensionally, in the future I might to do some works on flat surface.

这个问题每个艺术家都有自己的答案。我的这个作品本身的细节就特别多比较复杂。 当我觉得太啰嗦的时候我就停止了，我觉得就已经到顶了，我觉得这个事就差不多结束了。

Each artist has his own answer to this question. The details of my work itself are particularly complicated. When I feel it’s getting too much, I stop. When I feel that I have already reached the finish line and couldn’t bother any more.

我没做艺术家的话可能还是会做一些比较虚的工作。我觉得他不是一个具体有物理层面上操作的这么一个东西呃。比如说，我给他一个名字叫总体工程设计师，这什么意思呢，就是别人要做一个什么奇怪的事情，我帮他搭一个平台起来。比如说啊，某人要在一个空间当中做一个什么事情，那么我们就根据他的这个要求给他一些建议，设计。帮他把些不同的资源匹配到一起。我可能会做这样的一种职业，不知道这个职业算不算一个职业，可能也不算吧，就感觉跟做梦差不多。

If I was not working as an artist, I would still devote myself to some idle activity. I think i would call myself a design engineer. What I mean by this is that if someone wanted to make some abstract object, and I help them build it. For example, if someone waned to do something in a space, then I would give him some advice according to his request. Help him gather different resources together. I may be doing such a profession. I don't know if this profession is a career. It may be too much. It feels like a dream.

Resurgence?, 2018

Plastic,Cardboard,Gypsum,Wood,Wire,ExtrudedBoards, 

27cmx57cmx60cm

我现在算是一个职业艺术家啊，就是靠这个工作生活的。对于这个职业，我们在学校的那个年代，哪怕就是现在吧，对于艺术家这个职业其实是非常不了解的。什么是艺术家？艺术家在我们上学的那个时候是很荒谬的。那个年代，特别流行某种东西，呃，就是长头发，大头皮鞋，我们十几岁在一个小城市生活的时候什么信息都没有，连家里的电话都是后来才装的。所以说，信息那么闭塞的一个年代，我们一看那样的形象，那样的符号就觉得是个艺术家。所以说，一定要给过去的我一个建议的话，就是要全面系统的去了解艺术家这个职业，和他们面临的各种各样的问题。对于这个问题了解的越早，对于你从事的这个职业，你越清楚。

I am now a professional artist, art is my livelihood.  Even after attending art school I would not be able to advice somebody on how to achieve this profession. What is an artist? Being an artist was a ridiculous thing when I was in school. When i was a teenager in a small city where not even a phone was installed inside my house long hair and  platform shoes, were the trendiest thing. In an time when information was so limited, just dressing in such a way was enough to be considered an artist. Therefore, it is necessary to give me a suggestion in the past, that is, to comprehensively and systematically understand the artist's profession and the various problems they face. The sooner you understand this problem, the clearer you are about the profession you are engaged in. So if i wanted to give myself an advice it would be to study more about what comes with being an actual artist. 

我觉得这个问题每个人都有成功的标准和答案。不同层次的人看这个问题也是不一样的。这个问题呢，我觉得除了你自己能活着以外同时还能做自己想做的事就是最大的成功。

I think everyone has different standards and ideas of success. But overall, I think being able to live while doing what you want is the greatest success. 

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郑皓中个展：塔剋 TAKI

5月26日-6月29日

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