艺术家/Artists: 赵洋、靳山 Zhao Yang, Jin Shan展览时间/Show Duration：2020.12.19 - 2021.03.19
地点/Address: 昊美术馆（上海）三楼（上海市浦东新区祖冲之路2277弄1号）Cement, plastic, iron chain
BANK is honored to announce that Jin Shan's participation in the dual exhibition "trance" at HOW Art Museum Shanghai with the opening on Dec 19. The show features a spontaneous state of “trance” the two artists presented during a time of changes. Works on show are mostly recent works by Jin Shan and Zhao Yang and encompass a mix of media including painting, sculpture and installation. Within the non-linear intersections developed by time-space construction and self-expression, the two artists resorted to different (images of) bodies in the attempt to explore for a unique spiritual path of cultural modeling and new possibilities to envisage the uncertain.
从天而降 It Came from the Sky! 2011Installation view, Spencer Museum of Art, The University of Kansas借助身体的形象，一切在靳山的雕塑中都变得可能。扭曲、破碎、爆裂、洞穿的躯体凝固在“出神”一刻，展现出永恒的潜在动势，延展于暗藏机巧的情境之中。身体这一元素，从出现在第52届威尼斯双年展群展的等身写实硅胶雕塑《尿急》（2007）开始，就进入了靳山艺术实践的核心。在逐渐远离以包括自身在内的真人为蓝本影射敏感社会问题（《从天而降》，2011）之后，艺术家转而将目光投向遥远的古希腊那些近乎完美的经典雕像，开启了对人类普遍境况的探讨。选用可塑性极强的工业塑料作为主要媒材，靳山将材料固有的流动性和柔韧性注入到了创作中。导入模具的塑料，时或混合包裹上其他材料（金属、石头、木材等），在冷却变硬前由艺术家进行任意形塑。这个重构过程，既是靳山因即时感受的触发而破出图纸，亦是他对塑料被撕扯后不完美痕迹的刻意保留。The images of bodies imbued Jin Shan’s sculpture with all the possibilities. Bodies that had been distorted, crushed, exploded and penetrated were frozen in the instant of a “trance”, demonstrating eternal potential momentum and growing in an understatedly intricate scenario. The emergence of “body” as an element in Jin Shan’s art could be traced back to Desperate Pee (2007), a life-size silicone sculpture presented at a group exhibition of the 52nd Venice Biennale, and remained a key element in his artistic practice ever since. During the process, he gradually drifted away from using human figures like himself as a model to allude to sensitive social issues (i.e.:It Came from the Sky!, 2011). Instead, he started to resort to the almost perfect figures of the classical sculptures from ancient Greece to probe into the general conditions faced by human beings. Choosing the highly flexible industrial plastics as a major material, Jin Shan managed to bring the fluidity and flexibility of the material into life in his artworks. The plastics poured into the moulds were sometimes mixed with other materials (i.e. metal, stone and wood) and shaped in whatever manner the artist preferred before it cooled down and stiffened. The process of reshaping embodied both the artist’s spontaneous reactions to his perceptions of the materials and his intentional retention of the traces of imperfection left by the stretching of the plastics.
靳山 Jin Shan
水泥，塑料，蜡烛 cement, plastic, candle
10 x 14 x 35 cm本次展览将呈现的新作《散射》（2020），是靳山基于古希腊波留克列特斯（Polykleitos）的著名雕塑《持矛者》（Doryphoros）的罗马复刻版进行的再度创作。折断臂膀的身体被艺术家简化为分崩离析的躯壳，仿若在束缚和解放两股动力态势的角力下四处冲撞。被打碎的轮廓扭曲而倾斜，拉扯住欲飞离出雕塑主体的面容和躯干。剧烈的撕扯感相较基于同一原型创作的《哪里也不是》（2015），有过之而无不及。精致而凶猛，刚直却脆弱，是靳山手中正在诞生或毁灭的怪诞之物所激起的最直接的观感体验。Scatter (2020), a recent work by Jin Shan, was a re-creation based on the Roman copy of Polykleitos’ Doryphoros (Spear-Bearer). The body with a broken-off arm was represented in a simplified version by the artist – a body that fell apart as if it was torn in between the two conflicting forces of constraining and liberating. The broken contour appeared distorted and tilted, clawing back the torso and head of the statue that were about to slip away. Compared with Nowhere (2015), a previous work of his based on the same original, the sense of struggling emitted from the new work became even stronger and more distinct. Delicate and yet fierce, rough and yet fragile described the intuitive feelings audience would gain from the grotesque objects that were about to be either born or destroyed in the creation of Jin Shan.
靳山 Jin Shan
倒影 Reflection, 2015
塑料，大理石 Plastic, marble
109 x 36 x 44 cm沿着以同一雕塑为原型的创作方式向前回溯，《倒影》（2015）和《无题》（2018）两件各自独立又互为对照的作品。《倒影》的躯体内部被艺术家全然向外翻转，原本应为躯干的部分因而袒露于外，头颅低垂的支离肢体将作品的负空间（negative space）展露无遗。《无题》与之恰好相反，呈现了一场即时的灵魂出窍——在夺路而逃的残破灵魂的形象背后留下岿然不动的躯体一具。在靳山眼中，两件作品互为“阴阳”，对立相冲又互藏互化。这在很大程度上消解了艺术家创造的内爆宇宙中由强烈的撕裂和破碎引发的不安。If we look further back, Inverted (2015) and Untitled (2018), two works which were also created on the basis of an ancient sculpture, could be seen as independent and yet comparable to each other. The body featured in Inverted was turned completely inside out. The negative space of the work was exposed to the maximum by the fragmented body with a drooping head. On the contrary, Untitled demonstrated a spontaneous out-of-body experience – and what was left behind the runaway soul was a motionless torso. In Jin Shan’s view, the two works could be seen as “yin” and “yang”: conflicting as they were, they were harmoniously integrated at the core. To a large extent, it helped dissolve the uneasiness incurred by fierce struggling and breakage inherent to the implosive universe created by the artist.
Text from HOW Art Museum
靳山，中国当代的社会介入式艺术家新生代领军人物，喜欢利用如激进讽刺文学般的方式，向观众诙谐地展现同周遭社会性、文化性以及政治性问题的对抗。旨在刻画当代中国现状的同时，他对“人类动机”的探究逾越了民族与地域的鸿沟，蔓延至人类基因中隐藏的共性——无节制的权欲。靳山的作品在新加坡双年展、威尼斯双年展、荷兰格罗宁根美术馆、美国布朗大学大卫·温顿·贝尔美术馆等展出。其作品也被香港M+美术馆、巴黎卡蒂斯特艺术基金会、巴黎DSL艺术收藏机构以及美国堪萨斯州劳伦斯斯宾塞美术馆等收藏。A leading voice in an emerging generation of socially engaged contemporary artists in China, Shanghai-based, Jin Shan is an agent provocateur. Preferring wit and satire to aggression andconflict, his work uses allegory and play to draw audiences into a confrontation with the social, cultural and political problemsof the day. While specifically describing aspects of contemporary China, his investigation of human motivation extends beyond national boundaries to the seemingly insatiable desire for power programmed into humanity’s DNA. Jin Shan’s work has been exhibited at The Venice Biennale, the Singapore Biennale, The SpencerMuseum, The Groninger Museum, Netherlands, David Winton Bell Gallery, BrownUniversity, among others. His work is in the collections of: M+ Museum, Hong Kong, China, the KadistFoundation, Paris, France, and the DSL Collection, Paris, France and TheSpencer Museum of Art, Lawrence, Kansas, USA, among others.
A Slow Remembering of A Long Forgetting