Jiang Li: Put It In
Capsule Shanghai is pleased to announce Put It In, the first solo exhibition of Jiang Li curated by Eleonora Brizi in Shanghai. Jiang Li鈥檚 works are highly varied. He creates art from momentary thoughts, dreams and transient feelings in life. His art is a monologue of here and now, spoken by himself.
In the sculpture Death of the Liar (2012), we are surprised by the murder of a most prominent liar, which stirs up all kinds of feelings. Five Rings (2008) depicts the inside of a woman鈥檚 body, also touching us deep down. A scolding shower head stands tall and slender in front of us (Shower Head, 2017). For Gymnastics (2012), the artist made a motorbike, even though he cannot ride it. Ahead of its bony, awkward structure hangs a yellow light. The artist claims that he rode it once but will never again. He has found a family photo. The parents are successfully distracted and look sideways, but the young son, frowning and with a serious face, looks straight into the camera (Family Photo, 1990-2017). He even peed into a metal urinal, melodramatically taking a black picture of it and claiming it wasn鈥檛 an easy process.
All of Jiang鈥檚 works show humor, simplicity, sarcasm, variety, freedom and disguised observation in a strong and unique way. He detests routine and banality, doing everything he can to avoid them. He aspires to high degrees of purity and inner concision. He wishes to advance like an ant 鈥� when an obstacle obstructs its way, it climbs right up on the spine of the obstacle, as if steadily and surely walking on the ground.
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Capsule Shanghai is pleased to announce Put It In, the first solo exhibition of Jiang Li curated by Eleonora Brizi in Shanghai. Jiang Li鈥檚 works are highly varied. He creates art from momentary thoughts, dreams and transient feelings in life. His art is a monologue of here and now, spoken by himself.
In the sculpture Death of the Liar (2012), we are surprised by the murder of a most prominent liar, which stirs up all kinds of feelings. Five Rings (2008) depicts the inside of a woman鈥檚 body, also touching us deep down. A scolding shower head stands tall and slender in front of us (Shower Head, 2017). For Gymnastics (2012), the artist made a motorbike, even though he cannot ride it. Ahead of its bony, awkward structure hangs a yellow light. The artist claims that he rode it once but will never again. He has found a family photo. The parents are successfully distracted and look sideways, but the young son, frowning and with a serious face, looks straight into the camera (Family Photo, 1990-2017). He even peed into a metal urinal, melodramatically taking a black picture of it and claiming it wasn鈥檛 an easy process.
All of Jiang鈥檚 works show humor, simplicity, sarcasm, variety, freedom and disguised observation in a strong and unique way. He detests routine and banality, doing everything he can to avoid them. He aspires to high degrees of purity and inner concision. He wishes to advance like an ant 鈥� when an obstacle obstructs its way, it climbs right up on the spine of the obstacle, as if steadily and surely walking on the ground.
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