{"id":13159,"date":"2014-05-06T17:22:00","date_gmt":"2014-05-06T17:22:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=13159"},"modified":"2023-09-21T17:27:55","modified_gmt":"2023-09-21T17:27:55","slug":"shi-jinsongs-fragile-branches","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/shi-jinsongs-fragile-branches\/","title":{"rendered":"Shi Jinsong\u2019s Fragile Branches"},"content":{"rendered":"\n

Shi Jinsong<\/strong><\/a> (b. 1969 in Dongyang, Hubei Province) is one of China\u2019s most adaptive artists yet, despite\u2014or perhaps because of\u2014renown for his shiny, dangerous \u201cNezha\u201d children\u2019s wares (e.g. a baby stroller or pacifier) composed of martial arts weaponry, he remains little understood and seemingly overlooked. A joint show with his wife, Xiang Yun, at Galerie du Monde in Hong Kong affords an opportunity to reexamine his work, with particular emphasis on his tree installations.<\/p>\n\n\n\n

The forerunners to his \u201cNezha\u201d line of baby products launched in 2005\u20132006 (\u201cNezha\u201d refers to a folklore trickster and dandy, in modern China often adopted as the god of gambling) included perverted famous corporate logos (\u201cSecret Book of Cool Weapons,\u201d 2002) and office equipment (\u201cOffice Equipment-Prototype No. 1\u201d\u2014a computer workstation whose computer controls are torture implements). For the 2006 Shanghai Biennale he produced a new \u201cproduct line,\u201d \u201cHalong Kellong\u201d (translated: \u201cHello-Clone\u201d), fusions of old-fashioned Chinese peasant tractors and American Harley Davidson motorbikes \u201cpimped\u201d with shining traditional Chinese weaponry and a \u201cdragon\u201d aesthetic\u2014no cheap knock-offs these, however contradictory the presence of the tractor as transformed Communist agrarian symbol of peasant production and modernization.<\/p>\n\n\n\n

While all these works are sadomasochisticly fun and seductively sinister, analysis has tended to be out-dazzled by the sheer \u201cbling\u201d attractiveness of the \u201cconsumer\u201d items. Clearly they are about the perverse and perverting desire of consumerism, especially in China, but Shi Jinsong\u2019s work is also closely tied to a traditional Chinese aesthetic and philosophy\u2014these words are easy to write but so often used as to be almost meaningless. Shi Jinsong engages in the invention of mythologies of things as ideals, much as the true shanshui<\/em> painters would create ideal landscapes with mountains, trees and rivers. Which is to say that invention and transformation are not corruptions of an ideal but rather its embodiment.<\/p>\n\n\n\n

\"\"<\/a>
Shi Jinsong, \u201cRocking Horse\u201d, stainless steel, 66 x 86.5 x 39 cm, 2008. Courtesy Chambers Fine Art
\u53f2\u91d1\u6dde\uff0c\u300a\u6447\u6447\u9a6c\u300b\uff0c\u4e0d\u9508\u94a2\uff0c66 x 86.5 x 39 cm\uff0c2008\u3002\u56fe\u7247\uff1a\u524d\u6ce2\u753b\u5eca<\/figcaption><\/figure>\n\n\n\n
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Image courtesy the artist and Platform China. \u56fe\u7247\uff1a\u827a\u672f\u5bb6\u548c\u5c55\u53f0\u4e2d\u56fd<\/figcaption><\/figure>\n\n\n\n

For \u201cAlors, la Chine?\u201d at the Centre Pompidou in 2003 he created \u201cA Life of Sugar,\u201d an installation made of caramel and designed to melt over the course of the exhibition, and also the floor. The \u201cHalong Kellong\u201d display at the Shanghai Biennale was accompanied by renovated and repurposed shipping containers that included dining facilities and a cinema and also a meaty muscle-suit\u2014no doubt parodying in part Zhang Huan\u2019s performance \u201cMy New York\u201d (2002). Then in 2008, Platform China in Beijing held the exhibition \u201cFire His Breath, Jade His Bones: New Work by Shi Jinsong,\u201d which included one of the most striking depictions of hell ever devised: a giant onanistic motor whose monomaniac purpose is to drive itself, with the result being that it became so hot it glows a molten red, threatening its continued existence and even that of the gallery displaying it. The installation is so large and heavy that it remains to this day, at slumber in the gallery. This is Skynet made of the grinder in Duchamp\u2019s \u201cLarge Glass.\u201d<\/p>\n\n\n\n

At this time, Shi Jinsong had already begun experimenting with drying dead trees. \u201cGentle Breeze and Waning Moon\u201d (2005-2007), composed of \u201cVarious types of tree roots, trunks, branches, willow, glass, and steel,\u201d perfectly exemplifies the way Shi Jing transforms reality (a tree that lived) into an idealized con-fiction (a sculpture of a tree made out of a tree). Shi is not the only prominent Chinese artists to work with living and dead trees. Shen Shaomin began his \u201cbonsai\u201d series of tortured trees in 2007. More recently Ai Weiwei has presented his own Frankenstein-monster entitled \u201cTree\u201d (2011), exhibited with \u201cRock\u201d (2011), porcelain \u201cstones\u201d made in Jingdezhen. This year Cai Guo-Qiang\u2019s created \u201cEucalyptus\u201d (2013), a complete 31-meter long dead eucalyptus tree set on its side, currently on display in the QAGOMA museum in Brisbane. Both Ai\u2019s\u2019s and Cai\u2019s works are deliberately grand, theatrical statements, whereas those of Shen and Shi are more poetic philosophical pieces, but while Shen concentrates on the aspect of torture, correction and subjugation of a living thing, Shi\u2019s trees are delicate, ghost-figures, the remains of the day.<\/p>\n\n\n\n

Sometimes Shi Jinsong burns the trees, reducing them to charcoal sticks. Sometime he inserts animal teeth into the delicate branches, such as in \u201cPavilion Garden\u201d (2012) (the word for tooth in Chinese\u2014y\u00e1<\/em> [\u7259]\u2014puns with the word for bud [\u82bd] raising simultaneously notions of rebirth and consumption). Always they are faithful attempts to reconstruct what has been broken, to restore the dead to life. It is an impossible, task and in the failure of these Sisyphean efforts lies the art and remonstration with our ethics.<\/p>\n\n\n\n

\"\"<\/a>
Shi Jinsong, \u201cGentle Breeze and Waning Moon\u201d, various types of tree roots, trunks, branches, willow, glass, and steel, 600 x 230 x 300 cm, 2005-2007. Courtesy Chambers Fine Art
\u53f2\u91d1\u6dde\uff0c\u300a\u6768\u67f3\u5cb8\u6653\u98ce\u6b8b\u6708\u300b\uff0c\u5404\u79cd\u6811\u6839\u3001\u6811\u5e72\u3001\u6811\u679d\u3001\u67f3\u6761\u3001\u73bb\u7483\u3001\u94a2\u6750\uff0c600 x 230 x 300 cm\uff0c2005-2007\u3002\u56fe\u7247\uff1a\u524d\u6ce2\u753b\u5eca<\/figcaption><\/figure>\n\n\n\n

An alternative version of Shi Jinsong\u2019s reconstructions is found in his scholar-stones carved from old walls, often from buildings that have been demolished. Scholar-stones are traditionally used in gardens to create a point of focus for contemplation. While the traditional garden stones occur naturally in nature, their epicurean selection and delectation has become in many ways an artifice, mere garden decoration, even a perverted obsession that far from bringing contemplation, interrupts it (think of Zhan Wang\u2019s mirror-polished stainless-steel versions). Shi Jinsong returns the stones to their original function by inventing new versions of them that remark their origins and original purposes, quietly critiquing their new one even.<\/p>\n\n\n\n

In recent years Shi has experimented with installations of \u201cChinese landscapes,\u201d with ink pounded from the ash of incinerated animal skeletons and trees, swept through a room in calligraphic-like gestures, such as \u201cOver There\u201d (2011), whereby actual space becomes the imagined landscape, or ink paints over living space\u2014the space of our environments and the environments we have changed, damaged and destroyed.<\/p>\n\n\n\n

Shi\u2019s scholar stones, heavy and awkward, recycle demolished walls and his trees, delicate and fragile, recycle dead branches. But their implied urban environmentalism, their anthropology, is as much concerned with our psychological environmentalism, the state of our heads\u2014what has been going on in them, what damage we have done them. The purpose, then, of these sculptures is to return the act of looking at sculpture to its original purpose, the contemplation of the self in the world, and how we measure up in it.<\/p>\n\n\n\n

Current exhibition:<\/em><\/p>\n\n\n\n

Shi Jinsong and Xiang Yun \u201cYou Won\u2019t Believe it\u201d<\/strong><\/a><\/p>\n\n\n\n

Galerie du Monde<\/strong><\/a> (108 Ruttonjee Centre, 11 Duddell Street, Central, <\/strong>Hong Kong) Mar 12\u2013May 8, 2014<\/strong><\/p>\n\n\n\n

\"\"<\/a>
Shi Jinsong, \u201cDongxi Ji No. 3\u2033, ink on xuan paper, 75.5 X 143.5 cm, 2014. Courtesy Galerie du Monde
\u53f2\u91d1\u6dde\uff0c\u300a\u4e1c\u897f\u96c6\u4e4b\u4e09\u300b\uff0c\u7eb8\u672c\u6c34\u58a8\uff0c75.5 X 143.5 cm, 2014\u3002\u56fe\u7247\uff1a\u4e16\u754c\u753b\u5eca<\/figcaption><\/figure>\n\n\n\n
\"\"
Shi Jinsong, \u201cPine Tree Garden\u201d, trees and debris, dimension variable, 2012
\u53f2\u91d1\u6dde\uff0c\u300a\u96d9\u677e\u5712\u300b\uff0c\u6a39\u6728\u6b98\u9ab8\u548c\u5efa\u7bc9\u6b98\u9ab8, \u5c3a\u5bf8\u53ef\u8b8a\uff0c2012<\/figcaption><\/figure>\n\n\n\n
\"\"
Shi Jinsong, \u201cOver There\u201d, locust tree and a number of animal skeletons made into charcoal, installation, variable in size, 2011
\u53f2\u91d1\u6dde\uff0c\u300a\u90a3\u8fb9\u300b\uff0c\u88c5\u7f6e\uff0c\u78b3\u5316\u4e00\u68f5\u6811\u548c\u82e5\u5e72\u52a8\u7269\u7684\u9aa8\u9abc\uff0c2011<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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