Dimension of Framing and Capturing in the Surface-driven World: A Study of Li Shun’s Internet Sketch
Abstract
This research paper discusses the works of art from artist Li Shun’s solo exhibition-“Brave New World” in Enclave Contemporary, Shenzhen, 2022. The exhibition features Li’s latest production continuing “Internet Sketch” series, which he uses Google Map to take virtual tour in foreign museums and appropriates the masterpieces for reproductions. Although Li tends to situate the viewers to consider the new dimension in viewing at the world, he also presents a “confined pleasure” that both combines and challenges conventional viewing. His intentional juxtaposition of multiple creations of the surface-driven imageries, fulfilling Nicholas Bourriaud’s Relational Aesthetics and Guy Debord’s Society of Spectacle, unhides people’s fragmented understanding of truth under the chaotic contemporary world. Welcoming viewers’ engagement and interpretation, Li’s exhibition encourages critical reflections on the ongoing pandemic control, capitalist economy, globalization, and consumerist culture. The 2019 pandemic is lacked abundant scholarly reviews, but popularly being adopted as subject matter by worldwide artists. Therefore, scholarly reviews would be focused on the artworks, and then the reflection of their spatial installment on institutional critique and contemporary art market. Based on that, I will also analyze how the happening social situation is going to become the mainstream for art practice.
References
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- Internet Sketch-Mr. Van Gogh, Li Shun, oil on the pages of “Brave New World”, giclee print on aluminum oxide plate, wallpaper UV inkjet, 90x70cm, 40x32cm, 251x255cm (size variable), 2022.
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