Posts Tagged ‘Solo Show’

Selected Art Works by Shi Jinsong

December 31st, 2009

Shi Jinsong was born on 1969 in Dangyang county, Hubei province, China. He lives and works in Wuhan and Beijing, China. Shi Jinsong has branded his stainless steel baby product line Na Zha, a child warrior deity of Chinese folklore celebrated for his bravery and strategy in the battlefield. Befitting its title, this sculptural series consists of a cradle, a carriage, a walker, a toy, needle-tipped pacifiers and pieces of abacus, all outfitted with deadly weapons inside out and evokes the image of Swiss army knives. The artist’s extreme makeover of formerly harmless and delightful objects into such a meticulously built and disturbingly handsome compilation of machineries was geared to expose the constant battles we have to fight to survive the manipulative, erotic and violent nature of our consumption culture and the fearful world. Chambers Fine Art is proud to announce the opening of Na Zha Baby Boutique. Comprised of sculptures, blueprints, and photographs, this exhibition represents the debut solo show by Shi Jinsong, one of the leading young sculptors in China.

The title refers to an enduring figure of Chinese folklore and mythology: Na Zha, an impish trickster with supernatural powers and flamboyant fashion sense (legend has it his red silk trousers generated so much heat the sea began to boil, enraging the East Sea Dragon King). Na Zha’s essential ferocity long since tamed in the Chinese psyche, he is now chiefly celebrated as a God of Lotteries and Gambling, a commodified totem of the new global economy. “Na Zha” is here recast as the brand name for an outrageously unsafe line of baby products. Meticulously assembled in stainless steel from intricate mechanical drawings, they include a deadly Carriage; a sadistic Cradle; a sinister Walker; and a malicious, multi-part Toy complete with needle-tipped pacifiers and dismembering abacus. Baby Boutique confronts its “shopper” with a radically strange and seductive “product,” lethal luxury designed to reveal the forces that dominate our lives in unimaginable ways.

Shi Jinsong enrolled at the Hubei Academy of Fine Arts in 1994, majoring in sculpture and mastering a gamut of traditional techniques. Under the influence of three powerful stimuli – radical socio-cultural change in China; a reading of Foucault’s Madness and Civilization; and the birth of his first daughter – the artist began to investigate ideas of transformation and control. Featured in Alors La Chine, a groundbreaking survey of contemporary Chinese art mounted at the Centre Pompidou in 2003,

Conclusions:

Shi Jinsong had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles.

What to Do Next. . .

If you want any information about Shi Jinsong or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/shi_jinsong. htm

German Artist John Stezaker at the Saatchi Gallery

September 13th, 2009

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.Combining early and late work, John Stezaker’s first solo show in almost a decade revealed how effectively his intimate photographs reenergize the modernist fascination with an urban uncanny. Presented in a freestanding display case were examples from his “Third Person Archive,” which was begun in 1976. Here Stezaker, who was born in 1949, presents enlargements of human figures from John Hammerton’s 1920s encyclopedia, Countries of the World. As if in homage to a forgotten flaneur, these grainy, surveillancelike works invite us to engage with images remote from our present. Contemporary with early Surrealism, the people in Countries of the World remind Stezaker of the somnambulant anonymous types in paintings by de Chirico, Delvaux and Magritte. Begun as a limited series for book publication, the collection has grown to suggest an infinitely expandable archive.

Along the walls of the gallery were examples from the disorienting “City” series (2000-04). Barely larger than postcards, these found-image collages either invert a single urban image or horizontally bisect one cityscape with the upturned photograph of another, and have been carefully glued in place to maximize disequilibrium.Stezaker’s simple yet disconcerting modifications toy with the subconscious and the surreal. His permutations produce a ‘moment of revelation within the universal blindness that the consumption of images has become: a glimmer of consciousness within the unconsciousness of image reception’* In ‘Blind’, one incision monstrously removes the eyes of the subject completely. The ‘Masks’ continue Stezaker’s ongoing interest with the hidden face. Found postcard images obscure and replace the subject’s physiognomy, leaving a ‘surround’ of hair, neck and clothes.In his Marriage series, Stezaker focuses on the concept of portraiture, both as art historical genre and public identity. Using publicity shots of classic film stars, Stezaker splices and overlaps famous faces, creating hybrid ‘icons’ that dissociate the familiar to create sensations of the uncanny.




By: Saatchi-gallery