Jin Yanan：The Interval in Flux

2020.11.17-2021.01.04

Introduction

The building of Boxes Art Museum was converted from a dilapidated pavilion-like civic center three years ago. For this reason, the column forest is standing here to support the building, obstruct and drag the exhibition walls added in-between afterwards. When these stone columns put on a minimalistic coat, being equidistantly painted black and white, they present “The Established” to the audience. This piece of art reveals the obscure yet deeper thinking of Jin Yanan. It makes the essence of space perceivable to the audience, and it draws us to the feeling of imprisonment, discipline, and power with the intervals of a strong sense of formality. In terms of time lineage, the stone columns leap over the current cultural framework of “the museum” because they preserve in themselves the histories of this area. In such a way, they break the geographical restrictions of “the walls”.

“Standing” is a continuum of the artist’s mindset first displayed in his Hangzhou’s solo show in 2019. It is the opposite of public sculptures—symbol of fixation and immortality, and it demonstrates that “huge” sculptures can also have their unique “fluidity”. Having been moved from church to “white cube”, the classical sculpture bids goodbye to its “original context” and obtains the so-called autonomy. Similarly, the massive “fragments” of “public sculptures” have been placed in this “fragmented” exhibition hall in “Standing”, thereby obtaining a unique self-sufficiency. Their volume can be measured by referring to “The Established”, in which the stone columns can act as a building, work or ruler.

This exhibition shines light on “the site” by “repetitions” and makes us conscious of the collapse of “the monument” via the scattered “Standing”. The two series of “Touched Flat” and “Wishing Pool” focus on the audience, with large-scale residual limbs and distorted circles reflecting the foundation of society—“faith”, and black and white representing the choices between two spectrum poles. Among the triple relationships of seeing and being seen, works and space, building and system, “Standing” completes its “standing”.

Therefore, “interval” means not only repetition, but also the original that has been rewritten in “flux”.

artist

Jin Yanan

Artist

In 2012, Jin Yanan graduated from the Sculpture Department of China Academy of fine arts with a master’s degree, and now works in the Sculpture Department of China Academy of fine arts.

From these years’ work, we can find Jin Yanan’s interest in generating all kinds of dialogues. His work form is relatively complex. Earlier, he took participation in art groups or group creation as a way to explore the relationship between individual checks and balances in groups. Then try to work in public utilities, in community design, urban planning to explore the failure of consultation between all levels and the logic behind the dislocation. In recent years, he has paid more attention to the differential performance of individual or group units in collusion mechanism, aiming at the metaphorical design of mechanism architecture to strengthen the aggressiveness of dialogue. At present, some of his designs are presented through the narrative clues and participatory experience of his works, and the other part is carried out through project planning.

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Ji Ran

Curator

Curator, writer. He has curated exhibitions such as “The Law of Perspective” Wang Peng solo exhibition, “The interval in flux” Jin Yanan solo exhibition, “Unlimited Light”Macular Art Collective, “Peinture peinture” Rue Oberkampf, Paris, “Paris photographie”The Gallery B&B, Paris. Articles are published in journals such as Art Journal , New Art Museum Studies, Art Monthly, OCT Boxes Art Museum Ⅰ, and so on.

Jin Yanan：The Interval in Flux

Introduction

artist

Jin Yanan

Ji Ran

Selected works

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