Jin Shan


Beyond his personal history, Jin Shan uses his body in his sculptural and installation works. At the 52nd Venice Biennale, he installed a life-size silicone replica of himself at Campo San Polo. The installation Desperate Pee (2007) featured the figure of Jin Shan with his trousers lowered, urinating into the Venetian canals by use of a pump mechanism built into the sculpture. An ambitious development of his street interventionist art works, Desperate Pee was in effect a temporary public fountain, creating a playfully rude response to more familiar sculptural forms of cherub statues urinating into fountains. For Jin Shan, it raised the question of why it might be acceptable for a statue based on a baby to be depicted urinating butunseemly for a statue of an adult to be depicted similarly. Inserting himself as the hyper-real, racial other, Jin Shan exploited the alarm or disgust of visitors to highlight social prejudices and racial stigmatization within public sculptural form.

靳山


在靳山的艺术生涯中,他常常将自己的身体融入到雕塑和装置艺术中。在第52届威尼斯双年展上,他在圣保罗广场设置了一个和他一模一样的真人大小硅质复制品。装置作品《绝望地撒尿》则是使用了他本人褪下裤子的造型,利用在雕塑中的水泵装置向威尼斯运河排尿。作为一个有创意和雄心的街头干涉主义作品,《绝望地撒尿》其实是一个临时公共喷泉,针对大家所熟知的向喷泉中撒尿的小天使,这是一个粗暴却令人玩味的回击。对靳山来说,其实他提出了一个疑问,即为何人们可以接受在广场上向水池撒尿的雕塑是一个儿童,而不能接受一个成年人做同样的动作。将自己归类为超现实的另一种门派,靳山引发了参观者的警醒亦或是厌恶,使他们能够更多地关注对于雕塑的种族描述以及社会成见。