史金淞：世盖/SKY
展期：2021年06月18日- 2021年8月22日
艺术家：史金淞
学术主持：廖廖
地址：昊美术馆（上海）三楼，（上海市浦东新区祖冲之路2277弄1号）
主办：昊美术馆
Please scroll down for English version.
昊美术馆（上海）荣幸地宣布将于2021年6月18日至8月呈现艺术家史金淞的个展“世盖/SKY”。本次展览以艺术家持续创作的“铠甲”系列新作为主体，共展出数十件的装置、跨媒介交互作品。通过精神世界和现实空间的联通，带领观众进入史金淞个人意识的拟像世界。
襁褓甲.椅，2007
不锈钢
57x36.5x57cm
致谢艺术家
“世盖”是艺术家史金淞给自已的意识空间取的一个名字，一个带武汉口音的“世界”，与英文的天空sky发音相谐，和传统中文语序的“盖世”呈镜像关系。
展览将呈现史金淞一系列“铠甲”新作，用各种意识碎片的3D图形组装的“铠甲世界”于艺术家而言是一个贴身的可移动城堡，一个自我主权的便携式城邦，一个基于身体的心灵装甲，一个精神性的外化骨骼。
新作与展览延续了史金淞一贯以来在作品中讨论的自我意识的塑造，同时艺术家对于传统铠甲与现代机甲的挪用、创造性误读，也是史金淞对于早前的个展“第三种复制”中的复制文化的思想的延续。
属猪的女孩盔甲，2008
不锈钢
38x29x96cm
致谢艺术家
铠甲不仅是史金淞个人意识的装甲，铠甲的物理特性指向的隔离、疏离、对抗、封闭、孤岛化等等文化特征，也是后疫情时代的公共空间与个人空间的直接投影。
铠甲在制造了封闭、隔离之外，也将“无器官身体”、“赤裸生命”的哲学概念做出了艺术视觉的呈现，展现当代语境下的关于肉身的新的变化与定义。如果说史金淞的“铠甲”作为一种身体功能的延伸与改造，那么对于铠甲的创造性的重组也意味着艺术家对于当代的生命政治、身体管理的思考，以及新技术对于秩序的重组。
铠甲作为一种特殊的服装是皮肤与骨骼的外化，艺术家也在新作中探索服装设计与建筑美学的关系。当艺术家把铠甲进行破坏、合并、重构的时候，也指向互联网文化的重要语言特征——模块化、合成性。
史金淞的“铠甲世界”呈现了自我主权与公共空间的意识形态，同时艺术家也试图把个人意识投射到更广阔的新的公共空间——数字空间当中，除了现实空间的作品展陈之外，艺术家还将在虚拟数字空间中通过作品来表现对于镜像、拟真等概念的思考。
如果说艺术家用现实与虚拟两个空间的展陈来探讨不同空间的重叠与平行，那么“铠甲世界”同时还在探讨“文化生产”下的艺术与商品的定义与边界。当许多人希望达成“艺术的商业化”的时候，史金淞则希望通过消费文化与流行文化的符号的再改造来达成“商业的艺术化”。
“世盖”不仅是艺术家希望展现个人的精神世界以及当代语境下的公共世界，更重要的是艺术家试图给现实与虚拟、文化生产与商品制造、躯壳与肉身、技术与秩序、暴力与文明、复制文化与复数精神……等等概念予以重新定义，或者说试图勾勒出这些概念在未来中的形状。
关于艺术家
史金淞，1969年生于中国湖北。其艺术实践涉及雕塑、装置、绘画、表演、建筑、影像、戏剧实验、观念设计及制造等多媒体系统，作品从意识的解剖、意识的自觉以及意识的公共性等三个方面，来探索名词意义上的“意识雕塑”和动词意义上的“雕塑意识”，因此他的每件作品均为不同时期不同角度的意识流断面，并互为关系共同构成一个独立个人的意识成因系统。
曾应邀在包括中国美术馆、廉姆布鲁克美术馆、柏林世界文化宫、蓬皮杜艺术中心等在内的国内外众多知名艺术场馆展出，并多次参加上海双年展、威尼斯双年展、塞尔维亚双年展等 重要的国际展览。其作品被 M+美术馆、格罗宁根美术馆、白兔美术馆、今日美术馆、余 氏美术馆、LVMH 基金会、瑞士银行(UBS)基金会、迪拜王储基金会、太古汇、奥迪、萨 奇、西克收藏等众多美术馆、机构及私人收藏。获得过国内国际的多种奖项及提名。
廖廖，策展人、艺术评论人、文化专栏作家、加密艺术从业者。
Shi Jinsong：SKY
Duration：June 18 - Auguest 22, 2021
Artist：Shi Jinsong
Academic Advisor：Liao Liao
Venue：F3, HOW Art Museum (Shanghai)，No. 1, Lane 2277, Zucongzhi Road, Shanghai
Organizer: HOW Art Museum
HOW Art Museum (Shanghai) is pleased to announce SKY, Shi Jinsong solo exhibition, will be on view from June 18 to August 22, 2021. The exhibition features the Armors, a recent series that the artist has been working on for years, and presents dozens of installation and interactive mixed-media work. Fostering a linkage between the spiritual and reality worlds, the exhibition leads viewers into the simulacrum world of the artist’s consciousness land. Swadding Armor Chair，2007The Chinese title “世盖” (shi gai) is what Shi Jinsong names his own world of consciousness. With his Wuhanese accent, it sounds a bit like the word “world” in Chinese and “sky” in English. Moreover, if we swap the two Chinese characters, it forms a mirror image of gai shi (盖世), which means “unparalleled”. The exhibition features recent works from the artist’s Armors series. The various 3D images deriving from the fragments of his consciousness constitute a “world of armors”, which to the artist is an intimate moving castle, a portable state under his sovereignty, a set of body-based mind armor and an externalized illustration of spirituality. His recent works and the exhibition carry on his long-term investigation into self-consciousness. Also, the appropriation and creative misinterpretation of traditional armor and modern mecha embody a continuation of his practice of cultural reproduction which was firstly perceived in his previous solo exhibition The Third Reproduction.
Girl pig’s Corselets，2008Armor not only symbolizes a protective covering of the artist’s consciousness. The physical properties of armor in turn imbue it with a variety of subtle cultural implications such as isolation, alienation, confrontation, segregation and island-becoming, making it an intuitive projection of public and personal spaces of the post-pandemic era. While creating segregation and isolation, armor also stands for an artistic demonstration of philosophical concepts such as “body without organs” and “bare life”, casting light on the new and changing definition of body within the contemporary context. If the “armor” in Shi Jinsong’s work represents evolution and transformation of body functions, his inventive reorganization of the armors also reflects his pondering upon contemporary bio-politics and body management as well as the impact of new technologies on the once steadfast order systems. As a type of special costume, armor could be deemed as a kind of externalization of skin and skeleton. In the exhibition, it could be perceived the artist’s attempts to explore the relation between fashion design and architectural aesthetics. When the artist damages, combines and reconstructs the armors, it also alludes to the prominent linguistic traits of the Internet culture – modularization and synthesis. Exotic fantasy wood Swadding Armor，2008Material Stainless Steel in color
Shi Jinsong’s “world of armors” casts light on the ideology of self-sovereignty and public space. And in the meantime, the artist also attempts to project his personal consciousness onto the new and broader public space – the digital space. Apart from presentation in physical space, Shi Jinsong further extends the exhibition into the virtual and digital space to reveal his reflection upon concepts such as mirror image and simulacrum. The dual presentations of the “world of armors” in both the physical and virtual spaces not only investigate the superposition and paralleling of different spaces, but also inquire into definitions and boundaries of art and commodity under the context of “cultural production”. While many people are enthusiastically working on the “commercialization of art”, Shi Jinsong, on the other hand, chooses a different path as he intends to achieve “artisticalization of commerce” through transformation and remaking of the symbols of consumer culture and popular culture. SKY not only opens a window to peep into the artist’s spiritual world as well as the public world in the contemporary context, but it also demonstrates the artist’s endeavors to redefine concepts such as reality and virtuality, cultural production and commodity manufacturing, outer form and flesh, technology and order, violence and civilization, cultural reproduction and plurality spirit, and to imbue them with a visible form for the future.
ABOUT ARTIST
Shi Jinsong was born in Hubei Province, China, in 1969. His artistic practice spans sculpture, installation, painting, performance, architecture, moving image, experimental theatre, conceptual design and manufacturing. With a root in anatomy of consciousness, self-consciousness and publicness of consciousness, his work probes into “consciousness sculpture” as a noun and “sculpting consciousness” as a verb. In this regard, each piece of his work represents a fracture surface of the stream of consciousness during different periods and from different angles, which collectively and organically contribute to the formation system of individual consciousness.
Shi Jinsong’s work has been widely presented at many prestigious art institutes both in China and abroad, including National Art Museum of China, William Brook Museum, Haus der Kulturen der Welt and Centre Pompidou. Large-scale international group exhibitions he’s participated in include Shanghai Biennale, Venice Biennale and Serbia Biennale. His works have been collected by various public and private institutes, including M+ Gallery, Groninger Museum, White Rabbit Gallery, Today Art Museum, Yuz Art Museum, LVMH Foundation, United Bank of Switzerland (UBS) Foundation, The Crown Prince of Dubai Foundation, Taikoo Hui Group, Audi, Saatchi Gallery Collection and Sigg Collection. Shi Jinsong has received numerous prizes and nominations at home and aboard.
Liao Liao is a curator, art critic, cultural columnist and practitioner of Crypto art.
*图片致谢艺术家
*Courtesy of the artist
文字 Text／廖廖 Liao Liao
翻译 Translate／邬晨云 Wu Chenyun编辑 Edit／Murphy
昊美术馆（上海）
HOW ART MUSEUM (SHANGHAI)
图片©昊美术馆
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间至夜间10点，目前特殊时期开放时间为上午11点至下午6点（周二至周日）。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
周二至周日 11:00-18:00（每周一闭馆）
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU）
图片©昊美术馆
昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间至夜间10点，目前特殊时期开放时间为下午1点至夜间8点（周二至周日）。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
周二至周日 13:00-20:00（每周一闭馆）
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昊美术馆（上海） HOW ART MUSEUM (SHANGHAI)
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU)
HOW ART MUSEUM (SHANGHAI)