卸甲山

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策展人：付晓东

2009年11月29日，史金淞在“空间站”的个展“卸甲山”即将开幕。这是在完成08年的“琰”和“华山计划”两个大型个展之后，又一重要的新型作品。本次展览由19张用钢垫圈编结的兽皮锁子甲和60张飞鸟锁子甲组成，其中最大的虎皮甲重达200多斤，最小的飞鸟甲不足2两。为人格化的鸟兽所织就的锁子甲，以纵横交错的方式悬浮于展览空间。如同古老巫术图腾的灵魂附体，在光影的映照下，锁子甲闪烁出钻石和金银锦缎般的光芒，铺陈出一场华丽、流动、奢侈的现场感官盛宴。

史金淞这次消融了金属材料的刚性，将大小不同的钢垫圈以多种编织方法连接成为柔软的，交错玲珑的锁子甲。在花纹和焊孔处流露出的情绪化和写意性又是“华山计划”的内在精神气质的承接。这是一次对当代艺术的观念主义与社会学文本惯性的出逃，在屏蔽了常见的知识系统和价值判断之后，更多的是一种多重生命感觉经验的混合。一席由繁缛密集的人力劳动编织所组成的的金属花纹兽皮甲，在得意忘形的勾勒下外柔内刚，既遒壮高扬，又温润婉切，绮靡诡丽的境界，粘连了魏晋风度与先秦楚文化的缝隙，以及巴洛克式的末世美学核心。

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TAKE OFF THE ARMOR'S MOUNTAIN

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Curator：FU XIAODONG

On November 29, 2009, Shi Jinsong’s solo exhibition Disarmed Mountain will open at Space Station. The most recent work by the artist after his two large solo projects, Fire his Breath, Jade his Bone and Huashan Project from 2008. This exhibition consists of 19 beasts skin chain mail braided in stainless steel gaskets and 60 birds chain mails. Among them, the heaviest, a tiger armor, weighs over 200 pounds, and the smallest, a flying bird weighs less than 100 grams. These personified birds and beasts woven in chain mails suspend across the exhibition space, as if spirits of ancient totems of certain witchcraft have possessed them. Under the spotlights, these chain mails are as radiant as diamonds, and as glamorous as gold and silver, offering a resplendent, fluid and luxurious site of sensory experience.

Shi Jinsong has tamed the inhospitable properties of metals in this exhibition by connecting gaskets of different sizes in various braiding methods into intricate, complex yet exquisite chain mails. His emotional in promtu executions on patterns and welding junctions are continuous of the spiritual quality revealed in Huashan Project. It is yet again, another exit from the tendency of conceptualism and social criticism commonly found in contemporary art practices. Having screened the common knowledge system and exercised judgment on values, Shi Jinsong’s works are inclined to combine multiple life experiences through metallic patterns of beast armors of intricate yet complex laborious braiding. It is a composition of rigid exterior coupled with refined craftsmanship, bolster yet delicate and elaborate, attaining an eerie beauty. The artist wittily bridges the gap between characteristics of Wei and Jin dynasty with the cultures of Qin and Chu periods, finally arrives at the heart of apocalyptical aesthetics of the Baroque era.

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