靳山是一个叛逆的角色，他的大部分作品对文化习俗、社会状况、政府官僚和宗教挑衅性，作品戏谑的机智和幽默感。这些特点在他的早期作品中都有所体现，比如2007年威尼斯双年展的《尿急》，2004年艺术家第一次去欧洲时，靳山对公共的撒尿儿童雕塑印象深刻，如布鲁塞尔的小于连雕像(Manneken Pis)，一个受到许多游客喜爱的裸体白人婴儿。靳山以自己为蓝本制作了一个真人大小的写实硅胶雕塑，一个穿着休闲服的黄种成年人，像喷泉一样向威尼斯大运河小便。这件作品极度激进，一些人认为这是一出恶作剧，引起了当地居民的愤怒，当晚就被放火焚烧了。Jin is a rebellious character, Most of his works provocatively interrogate cultural customs, social situations, governments and religious systems, usually with playful wit and a sense of humor. These qualities were epitomized in his early works, such as Desperate Pee for the 2007 Venice Biennale. When he first traveled to Europe in 2004, Jin was impressed by the public sculptures of peeing children, like Manneken Pis in Brussels, a naked white-race baby favored by many tourists. Jin made a life-sized realistic silicon sculpture of himself, a yellow-race adult dressed in casual everyday clothes, urinating like a fountain into the Grand Canal in Venice. Provocative and seen by some as a wicked prank, Desperate Pee aroused indignation among local residents, leading to It being set on fire under the cover of night.
Photo Courtesy of "The Allure of Matter:Material Art from China"@LACMA, LA
Wire mesh, Jute, Gypsum, Plastic, Steel bar
155 x 95 x 117 cm靳山投向具象雕塑，审视东西方、过去与现在的关系。他 2015年在 BANK 的个展《神的诡计》展出了各种解构分离又错位各异的古典身体形态。人体一直以来就被艺术家用作比喻的工具，借此象征权力、权威、勇气、美丽、快乐和性激情，也同时象征着失败、腐败、罪恶、痛苦、痛苦和死亡。身体既神圣又充满世俗之意。对于希腊人来说，年轻的男性身体既是一种道德理想，也是一种身体理想。无论是从古典雕塑，还是从经典自然主义的变化过程中，我们看到了这样一种观念，即身体的完美可以用数学比例来表示，美是通过应用特定的比例来编码的，这种关于完美的范式，已经被复制或是重新复制至今。Jin Shan turned to figurative sculpture to examine relationships between east and west, past and present. His 2015 exhibition, Divine Ruse, filled the gallery with classical bodies in various states of disfigurement and decomposition. The human body has been used as a metaphorical device by artists since ancient times, and in various guises has symbolised power, authority, courage, beauty, pleasure and sexual passion; as well as defeat, corruption, sin, pain, suffering and death. It has been viewed as both sacred and profane. For the Greeks, the youthful male body became a moral as well as a physical ideal. In the transition from stylised Archaic figures to the naturalism of Classical sculpture, we see the notion that physical perfection could be represented by mathematical proportions, with beauty being codified through the application of a specific ratio, a canon of perfection that has been copied and re-copied to the present day.
It’s a dangerously seductive idea, this notion of human bodies as god-like, one that Jin Shan subverts with figurative sculptures such as Nowhere (2015). Creating moulds for his figures from sculptural aids manufactured for art students and purchased on the internet – plaster models of famous works from classical antiquity and the Renaissance – he creates frightening, disintegrating figures that emphasise mortality and physical decay. Nowhere (2015), for example, is based on the ancient Greek sculpture Doryphoros, or Spear Carrier(c.440–50 BCE) by Polykleitos, which is known to us today through a Roman marble copy of the bronze original. Using a plastic compound, Jin Shan creates alarming distortions that render the original classical source almost unrecognisable. This male body appears to be exploding – plastic extrusions appear to be forcefully ejected through its very flesh; negative spaces within the figure can be seen through holes ripped through the skin; fragments of the torso and a second face spring into the space surrounding the figure of the warrior. Moreover, the seams and joins of the sections of the mould are deliberately left visible, a challenge to narratives of perfection.
“ Jin uses an idiosyncratic assortment of of materials to simultaneously construct and destroy sculpture forms. In the words of art critic Azure Wu, “The ultimate seemingly alchemical process: melting and pressing, pouring soaking, slicing and cutting, tearing apart ” As such, Jin’s work attests to a “polymorphic” aesthetics of the material that reverses the long- standing practice in Material Art of committing oneself to a personalised substance.
36 x 44 x 109cm
Sand, High-strength Gypsum, Steel, Cement
218 x160 cm
展览现场，靳山《蒸发》，166艺术空间，上海，2018Installation view, Jin Shan, Evaporate, 166 Art Space, Shanghai, 2018
展览现场，靳山《镜厅》，Night Gallery, 洛杉矶，2019Installation view, Jin Shan, Hall of Mirrors, Night Gallery, LA, 2019
展览现场，《物之魅力：来自中国的材质艺术》， 洛杉矶郡美术馆，2019-2020Installation view, The Allure of Matter: Material Art from China , LACMA, LA, 2019-2020展览现场，堪萨斯州斯宾塞美术馆，2011从天而降 It Came from the Sky! Installation view, Spencer Museum of Art, The University of Kansas
《物之魅力：当代中国的材质艺术》由芝加哥大学，Smart 美术馆出版，2019 《来自白兔的收藏：99位中国艺术家》白兔美术馆出版，2019"Allure of the matter: Material Art from China", Published by Smart Museum of Art, The University of Chicago, 2019“99 Chinese Artists from the White Rabbit Collection”, Published by White Rabbit Collection
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及洛杉矶郡立美术馆等收藏。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 and conflict, 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 Spencer Museum, The Groninger Museum, Netherlands, David Winton Bell Gallery, BrownUniversity, among others. His work is in the collections of: M+ Museum, Hong Kong, China, the Kadist Foundation, Paris, France, and the DSL Collection, Paris, France and The Spencer Museum of Art, Lawrence, Kansas, USA and Los Angeles County Museum of Art among others.