无处着陆：尹秀珍个展 Nowhere to Land – Yin Xiuzhen
2013.07.20–2013.09.28 佩斯北京| Pace Beijing
Pace Beijing, 798 Art District, Beijing
20 July – 28 September, 2013
— 文/ 李蔼德 (Edward Sanderson), 译/ 吴玉笛
The first works encountered upon entering Yin Xiuzhen’s current solo show at Pace Beijing are a series of paintings representing bursts of fireworks against a dark sky (Fireworks Series, 2012–2013). Each canvas is shaped as a geometric form, a hexagon, dodecahedron, etc. the deep edges of which are each coated in thick grey paint, building up in a ridge along the front surface of each piece.
It is perhaps significant that paintings serve as the introduction to this show, as Yin is better known for her installations incorporating elements made from stitched-together clothing. Turning the corner into a darkened room, a large structure shaped like a cut diamond sits on the floor (Black Hole 2010). The facets of the diamond are made from panels of black t-shirts, with the logos and symbols applied to the original items positioned centrally on each facet. These also have small gaps between them, through which light from an LED array inside the structure glows in ever-changing colours.
The forms Yin creates with the clothing retain their connection with the human body and hold the promise of some kind of narrative element through that connection. However, it must be said that at times the artist sets up unsubtle conjunctions between the perceived softness of the fabrics (which can be read as a feature of biological forms) and the hardness of another material. In Life-Raft (2013), a set of seat-like forms covered in yellow clothing elements, is supported by a structure of metal tubes. From the base of this piece multiple car exhaust pipes poke out, their highly polished chrome metal appears like jet propulsion system for this “raft.” A similar conjunction occurs to better effect in Nowhere to Land (2013), in which a full-size aircraft undercarriage is placed upside down on the gallery floor. On closer inspection its enormous wheel is also made from fabric, while the metal structure that supports it consists of pots and pans, in a convincing simulacrum of the original.
Hanging from the high ceiling of the gallery is the most poignant piece, Lonely Series (2010). A long tube of beige fabric, interspersed with protuberances made by gathering the material up into shapes resembling octopus suckers, stretches down. At the end of this, a single child’s shoe is attached, such that only its toe gently touches the ground. As the piece moves in the air currents in the gallery, this shoe traces lines in a dusting of sand on the floor beneath it. This piece in particular sees Yin Xiuzhen successfully marrying a subtlety of purpose with the poetically charged signature materials and forms.
Author: Edward Sanderson