SHI XINNING
石心寧

毛澤東和麥卡錫

細節
石心寧
毛澤東和麥卡錫
油彩 畫布
2005年作
簽名:石心寧

出版
2008年《革命在繼續》Saatchi Gallery 倫敦 英國 (圖版,第10-11頁)
2006年《繪畫路線圖》時區8有限公司 798藝術區 北京 中國 (圖版,第103頁)

在《毛澤東和麥卡錫》(Lot 1317) 這幅作品中,石心寧再一次引發了我們對這種肖像修辭手法的探問——肖像畫、攝影與表演藝術之間的差別在哪裡,以及這種諷喻政治的手法有怎樣的表現潛力。身著莊重的共產黨員服裝的毛澤東,仿若一名出席眾議院非美活動調查委員會聽證會的嘉賓。這場頗具爭議性的會議舉行於1938至1975年之間,打著保護美國國家安全的旗號展開反共產主義的官方調查。這種不可思議的安排——毛澤東參與一場以顛覆共產主義為題的聽證會——不僅突顯了視覺世界的錯覺,更重要的是揭示了我們對歷史評判的局部扭曲是由當地的政治宣傳機製造成的,中國與西方世界皆如是。

毛主席的樣貌,已成為現代藝術最被廣泛利用的影像之一。石心寧選擇了移花接木的手法,將毛澤東的樣貌嫁接到黑白舊照片中,組裝成一幕偽寫實情景。在此,毛澤東被塑造成一個玩世不恭的多事之徒,完全重寫了大眾所知的歷史和記憶。

石心寧把它製作成歷史名畫般巨大,卻刻意大大刪減了畫藝特質,模仿著印刷粗糙的黑白報章圖片。他筆下這一幕,屹立於虛幻與現實的邊界,讓歷史在建構的真實裡發展,以挑戰我們既有的觀念以及對歷史本身的理解,並對那些廣泛流傳的影像與事實之間的關係進行反思。
出版
Timezone 8 Limited, The Road Map of Painting, 798 Art Space, Beijing, China, 2006 (illustrated, p. 103).
Saatchi Gallery, The Revolution Continues, London, UK, 2008 (illustrated, pp. 10-11).
拍場告示
Please note that the work is also signed, dated and inscribed on the lower left.

拍品專文

The image of Chairman Mao has become one of the most ubiquitous images in contemporary art. By grafting the image of Mao Zedong into old historical photographs, Shi Xinning fabricates scenes of pseudo-reality in black and white and establishes his role as a playful interventionist in re-writing history and historical memory.

In Mao and McCarthy (Lot 1317), Shi once again engages us to question the image rhetoric - where the differences between image painting, photography and performance lie - and of its capacity when used in a politicized way. Dressed in formal communist attire, Mao appears as an engaged member attending the highly controversial House Un-American Activities Committee hearings that took place between 1938 and 1975 that held official anti-communist investigations in the name of protecting American national security. The improbability of Mao being involved in this hearing of communist subversion not only underlines the illusions of the visual world, but more importantly, the partial distortion in our judgment of history due to localized propagandistic agendas, in both China and the Western world.

Shi paints in a grand historical scale but deliberately minimizes any painterly effects, mimicking instead the crude print quality of black and white newspaper photography. His images bordering fantasy and reality continue to render constructed veracity to challenge our existing perceptions of the relationship between mass-circulated images and truth, and our understanding of history itself.

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