Wang Sishun

Wang Sishun: Apocalypse

2016.4.28 – 5.26
Long March Space, Beijing

 

Wang Sishun: Apocalypse

Before the Beginning and After the End

Chen Chieh-jen, Hu Xiangqian, Ran Huang, Wang Jianwei, Wang Sishun, Xu Zhen produced by MadeIn Company, Zhou Xiaohu
2014.9.2 – 11.2
Long March Space, Beijing

 

Before the Beginning and After the End

Wang Sishun: Liminal Space

2012.7.1 – 8.12
Long March Space, Beijing

 

Wang Sishun: Liminal Space
 

2019 Asian Art Biennial: The Strangers from beyond the Mountain and the Sea

Guo Fengyi, Wang Sishun

National Taiwan Museum of Fine, Taichung

2019.10.5–2020.2.9

2019 Asian Art Biennial: The Strangers from beyond the Mountain and the Sea

Silent Narratives

Wang Sishun

MOCA Yinchuan, Yinchuan, China

2019.6.2−2019.8.8

Silent Narratives

Land fo the Lustrous

Wang Sishun

UCCA Dune, Aranya Gold Coast, Beidaihe, China

2019.4.23−2019.9.8

Land fo the Lustrous

Contagious Cities: Far Away, Too Close

Wang Sishun

Tai Kwun Contemporary, Hong Kong

2019.1.26−2019.4.21

Contagious Cities: Far Away, Too Close

Starting from the Desert: Ecologies on the Edge

Wang Sishun

MOCA Yinchuan, Yinchuan, China

2018.6.10 – 9.19

Starting from the Desert: Ecologies on the Edge

Echigo-Tsumari Art Triennale 2018

Wang Sishun
Echigo-Tsumari Region, Japan
2018.6.9 – 8.24
Echigo-Tsumari Art Triennale 2018

The Exhibition of Annual of Contemporary Art of China 2017

Chen Chieh-jen, Yu Hong, Wang Sishun

Beijing Minsheng Art Museum, Beijing, China

2018.6.9 – 8.24

The Exhibition of Annual of Contemporary Art of China 2017

Art Encounters: Life a User’s Manual

Wang Sishun

Timișoara & Arad, Romania

2017.9.30 – 11.5

Art Encounters: Life a User's Manual

Bagism – We are all in the same bag!

Wang Sishun, “Xu Zhen”

2016.7.15-10.9

chi K11 art museum, Shanghai, China

Bagism – We are all in the same bag!

A Beautiful Disorder

Wang Sishun, “Xu Zhen”

2016.7.3 – 11.6

Cass Sculpture Foundation, West Sussex, UK

A Beautiful Disorder

Unlawfully Constructed

Wang Jianwei, Wang Sishun
2015.11.15 – 2016.1.15
Surplus Space, Wuhan, China

Unlawfully Constructed

CAFAM Biennale: The Invisible Hand-Curating as Gesture

Ran Huang, Wang Sishun, Xu Zhen produced by MadeIn Company
2014.2.28 — 4.20
CAFA Art Museum, Beijing, China

CAFAM Biennale: The Invisible Hand-Curating as Gesture
 

王思顺:石头的客观启示录

2016.4.29_凤凰艺术

现成品再革命(王思顺)

2015.01_艺术客

当感性假借理性掩面而示(胡向前、王思顺)

2012.09_东方艺术大家_王胤

ALL THE FLESH ARE WITH REMORSE(Wang Sishun)

2012.08_ART BANK_by KK

“我觉得做艺术要聪明一点,再要傻一点”对话王思顺

2012.08_艺术眼

Wang Sishun: Liminal Space

2012.07_艺术时代_by 宋爽

 

[Exhibition] Wang Sishun:Apocalypse, Long March Space, Beijing

Courtesy of Action Media
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Courtesy of Action Media

[Exhibition] Wang Sishun:Apocalypse, Long March Space, Beijing

Courtesy of IY studio
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Courtesy of IY studio

[Artist] Wang Sishun, Huayu Youth Award, The 4th Art Sanya

Courtesy of Action Media
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Courtesy of Action Media

 

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“Art can escape from reality; it can also not escape from reality. Artists are like a pair of cunning smelly socks and turning them inside out is not a way to escape, but a means to grasp at reality.”

–Wang Sishun

 

Wang Sishun (b. 1979) was born in Wuhan and currently lives and works in Beijing. In 2005, he graduated with a Bachelor of Fine Arts from Hubei Institute of Fine Art in the Department of Sculpture and received his Master of Fine Arts at the Central Academy of Fine Art also in the Department of Sculpture in 2008. His artistic practice attempts to examine “the boundless abyss in our limited bodies” through the reinterpretation and transformation of time and matter. The rigor of his training as a sculptor is evident, although this experience often manifests itself in non-traditional ways to challenge formal ideas of process and meaning.

 

The Wrong Body 2 (2011) is a work in which Wang takes a piece of gold and ‘sculpts’ it into the shape of a tiny man by chewing it with his teeth, bringing the sculptural process down to the most primordial technological level. In Necessary Labor Time (2008), coins were melted and cast into one large metal ingot before being shaved down to a needle. The residual dust was used to fill an hourglass. As the title suggests, the process of creation is as important as the end product; the importance of the passage of time resides both in the creative process and in the physical object created.

 

Uncertain Capital (2009 ongoing) clearly exemplifies his sentiment of the power in transformation that lies at the heart of his work. In both of these works, he manipulates the material’s physical properties and alters the original utility of an object. The progression of time is an inevitable element in Uncertain Capital. The profits from the sale of each metal block of melted coins were again melted down to create a successive incarnation of the artwork. The process of transformation renders the coins’ original purpose obsolete while simultaneously creating something that has its own monetary worth for entirely different reasons. It reflects on the illogical nature of the relationship between capital and value. Wang’s fundamental simplicity and lack of aesthetic embellishments render his art, at its most elemental level, a reflection of the arbitrariness of the material world. If his work evokes nostalgia, it is because of their reach through past, present, and future passages of time.

 

Other works by Wang take on a more idiosyncratic and unpredictable tone to address the nature of being. The concept for The Indeterminate Boundless I (2013) was born out of a request for the artist to present a sculpture that “is not too big”. His interpretation of this statement led him to create this work made out of a sheet of lead plate, which can be manipulated in order to adapt to its environment. It can be opened up and revealed, or it can be folded up multiple times and displayed as such. Desire and One of N Points (2012) is a performance in which Wang throws a bottle cap arbitrarily on the floor, draw a circle with chalk around the cap, then picks up the cap and throws again and again until the it lands completely within the circle. All the Flesh is with Remorse (2012) consists of a two part video. The first part is a three-minute clip taken under the Dazhanzi Bridge in Beijing and the second is an almost identical scene reenacted by actors; the later was viewed by a live audience during filming. This work uses theatrics and staging to recreate a familiar surrounding, forming a multi-dimensional world of experience.

 

His latest sculpture series “Apocalypse” includes stones from all over the world including Russia, France, Italy, and China that the artist chose personally based on their resemblance to human portraits. The stones are made up of different sizes, shapes, colors and textures. It seems as though they bridge identities, race and origin, embodying lives from the past and the future. All of them have distinct dispositions: some of them possess spirits that are wholesome, while others are maleficent; some are divine, while others are grotesque. All of these lives and characters that the stones embody come together to create a world of both conflict and harmony.

 

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