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靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows

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靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows 靳山雕塑 Jin Shan 近期 shows 高迪塑料钢筋聚酯崇真艺客

高迪的结 2019

塑料，钢筋，聚酯塑料

Gordion’s Knot, 2019

Plastic, Iron wire, PPS

41 x 25.5 x 58 cm

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.

靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows 靳山雕塑 Jin Shan 近期 shows 高迪塑料钢筋聚酯崇真艺客

误解 2015

木头，塑料

Mistaken，2015

Woods, Plastic

90cmx100cmx194cm

作品图片由洛杉矶郡艺术博物馆提供

Photo Courtesy of "The Allure of Matter:Material Art from China"@LACMA, LA

“

靳山使用特殊的材料混合物建造雕塑但同时又将其毁灭。就像艺术批评家吴蔚所言「雕塑最终的变形产生于艺术家炼金术般的过程：熔化和按压、浇注、浸泡、切片和切割」。靳山的作品因此证实了材料的“多形态”美学，颠覆了过去“材质艺术”中艺术家将自己全然投身于特定个人化材料的方式。

“ 巫鸿

靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows 靳山雕塑 Jin Shan 近期 shows 高迪塑料钢筋聚酯崇真艺客

蒸发，2018

钢丝网，黄麻丝，石膏，塑料，钢筋

Evaporate，2018

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.

靳山 Jin Shan

哪里也不是 Nowhere, 2015

Plastic, steel 塑料，钢

215 x 70 x 83 cm

人的身体如神般的观念是一个危险又诱人的想法，靳山则用具象的雕塑试图颠覆这种观念，如这件作品《哪里也不是》(2015)。他用艺术系学生用来学习的网上购置的雕塑教具(古典古代和文艺复兴时期的著名作品的石膏模型)为他的雕塑人物制作模具，创造出破碎又惊悚的人物，强调必死的命运与身体的衰落。作品《哪里也不是》(2015) 是根据波利克莱托斯创作的古希腊雕塑《多丽弗罗斯》(公元前440年至公元前50年)创作的，通过罗马大理石仿制的青铜原作才为我们所知。靳山使用一种塑料化合物制造出一种几乎无法辨认其原始的古典来源的异形扭曲。这个男性身体如历经爆炸一般，塑料挤压物似乎从肉身中被强行穿射而出；皮肤上撕开的洞使得这个人物体内的负空间展露无遗；躯干和第二张脸的碎片裂变至这位勇士形象的周遭之外。此外，模具各部分的接缝和接合处却被故意保留，这无疑是对完美叙事的挑战。

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.

WU HUNG

靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows 靳山雕塑 Jin Shan 近期 shows 高迪塑料钢筋聚酯崇真艺客

倒影 ,2015

树脂，大理石

Inverted, 2015

Plastic, Marble

36 x 44 x 109cm

靳山 Jin Shan | 炼金术式的雕塑创作｜近期展览回顾 Recent shows 靳山雕塑 Jin Shan 近期 shows 高迪塑料钢筋聚酯崇真艺客

遗留，2018

沙子，高强石膏，钢，水泥

Residue, 2018

Sand, High-strength Gypsum, Steel, Cement

218 x160 cm

展览回顾

Past Exhibition

展览现场，靳山《蒸发》，166艺术空间，上海，2018

Installation view, Jin Shan, Evaporate, 166 Art Space, Shanghai, 2018

展览现场，靳山《镜厅》，Night Gallery, 洛杉矶，2019

Installation 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，2019-2020

Installation 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

文章编译自
《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

Text Reference:
"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

更多关于艺术家

More about the artist

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.

- 近期展览《出神》昊美术馆 -

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