Seven-Diagram Tactics

Seven-Diagram Tactics, Solo Exhibition of Song Jianshu

Curator: Wang Paopao

Hansand Space

05/23/2015 - 06/28/2015

Hunsand Space will present Song Jianshu's solo exhibition "Seven Palaces Formation" on May 23, 2015. The exhibition consists of seven works with the same title.

Many of Song Jianshu's methods of work use perceptual calculations to test a seemingly standard result, which seems to be a calculation, except that this is neither an inference of the past nor a prediction of the future, but an attempt to measure the distance between individual judgment and universal standards through his works, because he believes that "it is the existence of this gap that constitutes aesthetics"

The seven trigrams represent the missing one in the eight trigrams and serve as an outlet for artist himself - who is a person with feelings and body temperature - under the rules of indifference. If Song Jianshu's previous works were testing the accuracy and uniqueness of bodily sensations, the new works appearing in this exhibition show more of his attempt to re-evaluate the previous inaccurate aesthetics, and the focus of his work has shifted from negative skepticism of standards to affirmation and tribute to inaccuracy.

Born in 1982, Song Jianshu had more than ten years of modeling training and accumulation before he decided to construct his art in this "competitive" way, and it was out of a certain negative experience of this full and almost gapless academic tradition that he chose to re-follow those basic morphemes of forming /b16>- length, width, height, volume, capacity, etc. - set off, connect to the physical experience, measure and unfold the time and space that are layered in these morphemes, and through exchange after exchange, finally find the true home of the form at the end of the existing value, at the end of their secondary decline or increment.

In his work, there is a certain subtle shift and transformation of the public scale, and instrumental rationality and its constant become erratic. When he privatizes a unit of measurement in such and such a way, we are somewhat surprised to see the subtlety of the unit and the scale itself, which before was curled and suppressed in its respective prescriptive existence, and delayed in the sensual moment of things. As far as we have observed so far, all of his good work is presented as a reaction to the form, or the tension or potential of the shape, but I am sure that we cannot use "anti-modeling" This kind of styling language to talk about him, because the point has always been, and can only be, we can't be sure of it. It is in this uncertainty that Song Jianshu has completed the existence of the fun that existed almost as it was before the poem was published. And if in fact such an attempt by him would eventually be affirmed, appreciated as beautiful, converted into a price. Well, of course, we can also say that it is because we have had such a trigram.