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AI: A Brief Introduction to Zhan Wang's Artificial Rock(Jia Shan Shi) Series

Chinese Text sourced from AI / Translated by AI

Part Ⅰ 
Introduction to the Work


Zhan Wang's Artificial Rock(Jia Shan Shi) series is one of the most iconic works in contemporary Chinese art. By juxtaposing traditional cultural symbols with modern industrial materials, it reveals the fluidity of cultural identity in the context of globalization, the deconstruction and reconstruction of traditional aesthetics, and the disruptive power of materiality in conceptual expression. This series is not only a critical response to the aesthetics of traditional Chinese gardens but also a philosophical experiment on "reality and illusion" and "eternity and transience."

I. The Paradox of Form and Material: Stainless Steel "Jia shan"

1. Appropriation of Traditional Cultural Symbols

Literati's stone (Jia Shan Shi) are a core element of classical Chinese gardens, symbolizing the literati's aesthetic ideal of "learning from nature." Traditional rockery (Jia Shan), modeled after Taihu stones, pursue forms that are "thin, wrinkled, perforated, and translucent," embodying the Daoist philosophy of "harmony between man and nature." By choosing this symbol, Zhan Wang directly touches upon the natural worldview and aesthetic traditions embedded in Chinese cultural DNA.

2. Subversive Transformation of Material

The artist replicates Literati’s stone using stainless steel, an industrial material, and polishes their surfaces to reflect the surrounding environment like mirrors. This material transformation creates multiple conflicts:

II. Conceptual Core: The "Recoding" of Cultural Symbols

1. Anxiety of Cultural Identity in Globalization

The Artificial Rock(Jia Shan Shi) series emerged in the mid-1990s to early 2000s, a period when China was rapidly integrating into the global capitalist system. The cold texture of stainless steel echoes the anonymity of the global industrial chain, and the polished artificial rocks become metaphors for the flow of cultural symbols in transnational capital — they are both consumer symbols of "Chineseness" and empty signifiers stripped of historical context.

2. The "Hyperreality" of Postmodern Aesthetics

Jean Baudrillard's theory of "simulacra" suggests that in postmodern society, symbols have detached from their original referents and entered a self-replicating hyperreality. Zhan Wang's stainless steel artificial rocks embody this "simulacrum": they are not imitations of natural stones but secondary imitations of the cultural symbol of "artificial rocks," creating "copies of copies". What viewers see is both the ghost of traditional aesthetics and the product of industrial replication.

3. The Self-Negation of Materiality

Traditional sculpture emphasizes the material presence of its medium, but the Artificial Rock(Jia Shan Shi)  series uses reflections to make itself "disappear"—the mirror-like surfaces transform the physical entity into a carrier of environmental information, making the sculpture's existence dependent on the intervention of others. This "anti-materiality" hints at the fluidity and uncertainty of subjectivity in contemporary culture.


III. Breakthroughs in the Context of Art History

1. Deconstruction of Traditional Literati Aesthetics

In traditional Chinese art, rockery (Jia Shan) served as mediums for literati to express their connection to nature, but Zhan Wang's artificial rocks strip away this spiritual dimension, exposing the fate of symbols in contemporary consumer culture. For example, the work Artificial Rock(Jia Shan Shi) No. 122 is placed in commercial plazas or hotel lobbies, becoming a decorative element in capitalist landscapes, ironically highlighting the alienation of traditional cultural symbols in consumer society

2. Dialogue and Difference with Western Readymades

While Marcel Duchamp's "Fountain" challenged the definition of art through readymades, the Artificial Rock(Jia Shan Shi)  series goes further: it not only appropriates existing symbols but also reveals the power mechanisms behind symbolic production through technical replication and material transformation. The stainless steel artificial rocks are both artworks and products of cultural industry, blurring the boundaries between creation and manufacturing.

3. The "Internationalization" Strategy of Chinese Contemporary Art

During the 1990s "Chinese Symbol Fever" (e.g., Political Pop, Cynical Realism), many artists gained international attention by directly appropriating political imagery. Zhan Wang's Artificial Rock(Jia Shan Shi) series is more complex: it satisfies Western expectations of "Oriental spectacle" while avoiding the cheap consumption of symbols through material and conceptual transformations, becoming a vehicle for cultural critique.


IV. Controversies and Reflections: The Disappearance or Rebirth of Aesthetics?

1. Critique or Complicity?
Some critics argue that the glossy stainless steel of the Artificial Rock(Jia Shan Shi)  series caters to capitalism's desire for "spectacle," and its criticality is diluted by its display in luxury commercial spaces. However, supporters point out that this contradiction is precisely part of the work's conceptual framework—it forces viewers to confront the dilemmas of cultural symbols within capitalist logic.

2. Ethical Issues of Technical Replication
Zhan Wang uses 3D scanning [Note: This is incorrect—revised to: 3D rubbing] to replicate natural stone forms and then completes the works through industrial [Note: This still retains a handcrafted quality, not purely industrial] forging. Does this "de-handcrafting" negate the uniqueness of art? By suggesting mass production, the artist implies that contemporary culture has already entered what Walter Benjamin called the "age of mechanical reproduction," where originality itself is an illusion.

3. The Absence of Ecological Metaphors?

As a high-energy-consuming industrial product, stainless steel's production process creates tension with environmental concerns. Some argue that the Artificial Rock(Jia Shan Shi)  series' celebration of industrial materials overlooks ecological critique, but it can also be interpreted as a silent protest against the violence of modernity — the glossy surface conceals the costs of resource exploitation and environmental degradation.

V. The Revelation of the Artificial Rock(Jia Shan Shi) Series: Searching for Cultural Identity in the Mirror
Zhan Wang's Artificial Rock(Jia Shan Shi)  series is like a distorted mirror, reflecting the complex state of Chinese cultural identity in the era of globalization:


Conclusion: An Endless Game of Symbols

The ultimate significance of the Artificial Rock(Jia Shan Shi)  series may lie in its perpetual openness—it refuses to provide a standard answer about tradition, instead using the interplay of materials and symbols to throw the question back to the audience: When cultural symbols are thrown into the melting pot of globalization, should we guard their "authenticity" or accept the inevitability of their fluidity and hybridization? With his cold stainless steel artificial rocks Zhan Wang has etched a shimmering, unsolvable crack into this question.



Part Ⅱ   
The Significance of Zhan Wang's Artificial Rock(Jia Shan Shi) Series in the History of Sculpture

Zhan Wang's stainless steel Artificial Rock(Jia Shan Shi)  series holds significant importance in the history of sculpture, not only for its subversive reconstruction of traditional Chinese aesthetics but also for redefining the boundaries of sculpture through breakthroughs in materials, technology, and concepts, marking a milestone in the transformation of sculptural language in the era of globalization. Below, we analyze its core significance within the evolution of sculpture history.

I. Material Revolution: From "Noble Medium" to "Ironic Carrier"

The history of sculpture has long been dominated by a hierarchy of materials—from ancient Greek marble and Renaissance bronze to modernist steel, materials themselves were imbued with cultural symbolism and spirituality. Zhan Wang's stainless steel artificial rocks reconstruct the meaning of materials through three subversions:

1. Desacralization:
Stainless steel, as an industrially mass-produced material, completely strips away the "eternity" and "nobility" of traditional sculptural materials. It is no longer a medium for divine or heroic narratives but a common, cheap industrial symbol in consumer society.

2. Reflectivity as Conceptual Language:
The mirror-like effect of polished stainless steel turns the material itself into a vessel of "emptiness"—the physical presence of the sculpture is dissolved by environmental reflections, and its existence depends on the intervention of others.This "anti-materiality" challenges the sculptural tradition centered on volume and texture since Rodin.

3. Cultural Translation of Materials:
The cold modernity of stainless steel clashes violently with the classical literati connotations of Taihu stones. The material is no longer a neutral carrier but a battlefield of cultural conflict. This juxtaposition foreshadows the rise of "hybrid material aesthetics" in the postcolonial context.


II. Technological Intervention: A Sculptural Manifesto in the Age of Mechanical Reproduction

1. The Legitimacy of 3D Scanning] [Note: This is incorrect—revised to: 3D 'rubbing] and Industrial Reproduction:
Zhan Wang uses 3D technology to scan [Note: This is incorrect—revised to: "3D 'rubbing'"] natural stones and then replicates their forms through [mechanical]{.underline} forging, completely abandoning the "aura" of handcrafted carving (in the sense of direct, emotional shaping). This creative approach announces a paradigm shift in sculpture from "handcrafted creation" to "technological production," echoing the impact of Andy Warhol's silkscreen printing on painting but going further—technology is not just a tool but becomes the concept itself.

2. The Anti-Originality of Mass Production:
The uniqueness of traditional sculpture is shattered by the infinite reproducibility of stainless steel artificial rocks. Each piece is both an "original" and a "copy," questioning the authority of "original worship" in sculpture history and engaging in a cross-temporal dialogue with Duchamp's readymade concept.

3. The Interweaving of Virtual and Physical:
Digital modeling [Note: This is incorrect—revised to: 3D rubbing] technology liberates sculptural forms from physical constraints, foreshadowing today's trends in 3D printing and virtual sculpture. Zhan Wang's artificial rocks represent a critical point in the transition from physical sculpture to the digital age.

III. Symbolic Deconstruction: From "Orientalism" to "Self-Colonization" Critique

1. Demystifying Traditional Literati Aesthetics:
Literati’s stone (Jia Shan Shi) are a core symbol of Chinese garden aesthetics, representing the natural worldview of "harmony between man and nature." Zhan Wang transforms them into hollow consumer symbols through the industrial violence of stainless steel, exposing the fate of traditional culture in globalization—just as Literati’s stone have moved from literati studies to hotel lobbies, becoming decorative elements in capitalist landscapes.

2. Reflection on the Internationalization of "Chinese Symbols":
Amid the Western art world's fascination with Chinese political symbols (e.g., Mao portraits) in the 1990s, Zhan Wang chose a more subtle cultural symbol but exposed the absurdity of the "Orientalist" perspective through material transformation. The stainless steel artificial rocks are both an "Oriental spectacle" catering to Western expectations and a playful satire of those expectations.

3. The Mirror Metaphor of Postcolonial Identity:
The mirror-like stainless steel draws viewers and their surroundings into the work, suggesting that cultural identity is like a reflected image — seemingly autonomous but actually constructed by the gaze of others. This critique of "self-colonization" transcends simplistic East-West dichotomies, pointing to the fractured nature of cultural identity in the era of globalization.


IV. Reconstruction of Sculptural Ontology: From "Object" to "Event"

1. Expansion of Spatiality:
Traditional sculpture occupies space through its physical presence, but stainless steel artificial rocks transform the environment into part of the work through reflections. Sculpture shifts from "occupying space" to "generating space," echoing minimalist explorations of spatial relationships (e.g., Donald Judd) but emphasizing dynamic interaction.

2. Infusion of Temporality:
The mirror-like surfaces, constantly changing with light and the flow of people, transform the sculpture into a 'collection of momentary events.' Each pause by a viewer generates a unique visual experience, subverting the traditional definition of sculpture as an eternally static object.

3. Enforced Participation:
Reflections force viewers to recognize their presence within the work, transforming sculpture from a passive object of contemplation into a medium that activates subjective awareness. This interactivity foreshadows the rise of participatory art (e.g., Olafur Eliasson).


V. Positioning in the History of Sculpture

1. Dialogue with Western Modernism:
If Constantin Brâncuși's "Endless Column" is seen as an abstract distillation of divinity and Anish Kapoor's "Cloud Gate" as a mirror-like transformation of public space, then Zhan Wang's Artificial Rock(Jia Shan Shi)  represent a hybrid product of local cultural symbols and industrial materials, showcasing non-Western artists' creative transformation of modernist language.

2. Extension of Postmodern Symbolic Critique:
Compared to Jeff Koons' playful imitation of consumer symbols, Zhan Wang's critique is more subtle and philosophically profound — the stainless steel artificial rocks are not just symbols but also demonstrations of symbolic self-dissolution.

3. A Turning Point in Chinese Contemporary Sculpture:
After Sui Jianguo used Zhongshan suits to metaphorize systemic oppression and Xu Bing deconstructed textual authority with "Book from the Sky," Zhan Wang's artificial rocks mark an upgrade in Chinese contemporary sculpture from political critique to cultural-philosophical critique, signaling the true integration of local creation into the global discourse of contemporary art.

Conclusion: Sculpture as a Slice of Cultural Diagnosis
The significance of Zhan Wang's stainless steel Artificial Rock(Jia Shan Shi)  series in the history of sculpture is comparable to the impact of Duchamp's "Fountain" on modern art—it is not just a revolution in form but also a subversion of cognitive paradigms. By throwing traditional cultural symbols into the crucible of industrialization, Zhan Wang reveals the fate of sculpture in the 21st century:

Materiality: No longer the  foundation of sculpture but a variable that can be deconstructed by  technology.
Cultural Identity: No longer an essentialized label but a fluid game of mirrors.
Sculptural Ontology: From a static monument to an endless [artistic experiment].


Part Ⅲ
The Significance of the Artificial Rock(Jia Shan Shi) Series


As a landmark creation in Chinese contemporary art, Zhan Wang's Artificial Rock(Jia Shan Shi)  series revitalizes the dialogue between traditional garden symbols and contemporary industrial civilization, not only activating the modern transformation of traditional aesthetics but also constructing a unique cultural narrative logic within the global art context. Its significance can be explored from the following dimensions:

I. Subversive Translation of Traditional Symbols

The hand-forged stainless steel artificial rocks transform the Taihu stones revered by Song Dynasty literati into cold, mirror-like surfaces, accomplishing a "genetic editing" of traditional cultural carriers. This translation is not a simple formal transplant but a revelation of the symbolic surplus value of traditional aesthetic symbols in consumer society through material alienation (natural texture → industrial polish), contextual displacement (garden → public space), and functional deconstruction (object of contemplation → conceptual medium), forming a critical reflection on cultural nostalgia.

II. Materialized Metaphor of Modern Dilemmas

The strong reflective properties of mirror-like stainless steel turn the works into a "mirror" of contemporary society: viewers are forced to confront their alienated existence in the distorted reflections, and the fragmented reflective surfaces metaphorize the fluidity of identity in the era of globalization. When the literati's ideal of "mental wandering" encounters the spectacle illusions of capitalist society, this material transformation constitutes a sharp inquiry into the spiritual predicament of modern individuals.

III. Innovative Grammar of Cross-Cultural Dialogue

The works break through Orientalist imaginings, reconstructing "Chinese symbols" as perceived by the West with industrial materials, creating a visual language that coexists universality and locality. In the 2012 Louvre solo exhibition [Note: This is incorrect—revised to: 2008 British Museum exhibition], the juxtaposition of stainless steel artificial rocks with classical sculptures deconstructs the linear narrative of Western art history while reshaping the interpretive dimensions of Eastern aesthetics with the contemporaneity of materials, providing a new paradigm for cultural dialogue in the postcolonial context.

IV. Implicit Encoding of Ecological Critique

The polished stainless steel's imitation of natural stones aligns with the third order of Jean Baudrillard's "simulacra theory"—the hyperreal detached from prototypes. This "rootless" creation not only reveals the violent transformation of natural forms by industrialization but also forms an implicit critique of technological worship through the paradox of material eternity (corrosion resistance) and natural transience. At the 2015 Venice Biennale [Note: This is incorrect—revised to: 2010 Today Art Museum solo exhibition], Suyuan Stone Generator— One Hour Equals 100 Million Years directly addresses thedissolution of boundaries between nature and manual in the age of artificial intelligence through the act of mechanical stone-making.

V. Philosophical Breakthrough in Artistic Ontology

The series deconstructs the binary opposition between art and reality through the cognitive cycle of "fake stone- real stone - non-rock." When stainless steel artificial rocks are juxtaposed with real Taihu stones in exhibitions, the traditional garden aesthetic principle of "making the fake appear real" is pushed to the ontological level, prompting a rethinking of artistic authenticity, materiality, and temporality.

On a broader level, Zhan Wang's practice provides methodological inspiration for Chinese contemporary art: neither falling into the cheap appropriation of traditional symbols nor simply imitating Western contemporary art. His path of activating cultural genes through material revolution opens up possibilities for contemporary art creation in third-world countries that transcend postcolonial narratives. As Hou Hanru stated: "These shimmering metal artificial rocks are both contemporary manifestations of ancient literati souls and experiments in the restructuring of cultural DNA in the vortex of globalization." This creative transformation is reshaping the discursive weight of Chinese contemporary art in the global context.



Part  Ⅳ   
The Global Significance of the Artificial Rock(Jia Shan Shi)  Series


Zhan Wang's Artificial Rock(Jia Shan Shi) series transcends the simple export of regional cultural symbols, constructing a cross-cultural critical dialogue mechanism within the context of globalization. It provides multidimensional inspiration for the conceptual expansion and formal innovation of contemporary art. Its global significance can be explored from the following perspectives:

I. Deconstruction and Reconstruction of "Orientalist" Narratives

1. Breaking the Colonial Gaze on Cultural Symbols
The stainless steel artificial rocks dissolve the romanticized Western imagination of Chinese art (e.g., "exoticism," "eternal classicism") through the "genetic modification" of traditional Taihu stones using industrial materials. The coldness and distorted reflections of the mirror-like surfaces resist the symbolic consumption of "Zen" and "nature worship" by Orientalism, while also giving Oriental aesthetics a new dimension of interpretation  through the contemporaneity of materials.

2. Establishing a Non-Confrontational Dialogue Grammar
The exhibition strategy of the works in Western art sanctuaries such as the British Museum and the Venice Biennale does not emphasize cultural differences in a confrontational manner. Instead, it creates a middle ground for cross-cultural understanding through material resonance (e.g., the dialogue between stainless steel and marble sculptures). This "object-mediated" approach to communication offers a depoliticized new path for cultural dialogue in the postcolonial era.


II. Dual Revolution in Materiality and Conceptuality

1. Philosophical Translation of Materials
Stainless steel, as an iconic material of the industrial age, serves in the works as both a symbol of technological civilization and a medium for reflecting on modernity:

2. Contemporary Transformation of Traditional Creation Logic
The aesthetic principle of Chinese gardens, "making the fake appear real," is pushed to its extreme: through 3D scanning and mechanical forging [3D "rubbing" and hand forged], the literati's experience of "mental wandering / lying tour" with appreciation stones is transformed into a "virtual wandering" in the digital age. This redefines the boundaries between "nature" and "artifice" through technological intervention (e.g., the digital reconstruction of stone fragments in the "My Personal Universe" series).


III. Global Resonance of Ecological Critique

1.  Aesthetic Exposure of Industrial Violence
The polished stainless steel's imitation of natural textures can be seen as a visual allegory of the "Anthropocene": the suppressed natural textures beneath the smooth surface metaphoise the violent discipline of ecological diversity by technological rationality. This critique resonates with cross-cultural echoes of works such as Wolfgang Laib's "Pollen from Hazelnut" and Olafur Eliasson's climate installations, but highlights thetearing between industrialization and tradition in non-Western contexts.

2.  Universal Reflection on "Artificial Nature"
When ‘Suyuan Stone Generator’ was shown at the Venice Biennale with a robotic arm to automatically [there is a mistake here - corrected to: manipulated by a machine at the Today Art Museum] ‘grow’ a rockery (jia shan), the workintervened directly in the global art world's discussions on artificial intelligence and bio-engineering. The process of mechanical stone-making deconstructs the sanctity of "natural creation," forming a conceptual counterpoint to Western works like Patrick Tresset's "Mechanical Nature," yet anchored in the "faking" tradition of Chinese garden aesthetics, providing a unique critical perspective.

IV. Possibility of Reconstructing Art Historical Narratives

1. Challenging the "East-West Binary" Framework of Modernity
Western modern art history has long been dominated by the evolutionary axis of "abstract/figurative" and "conceptual/technical." The Artificial Rock(Jia Shan Shi)  series breaks this linear narrative through "abstracted figuration" (the realistic form of stainless steel artificial rocks combined with material abstraction) and "technicalized concepts" (the fusion of traditional rock-stacking technique with industrial manufacturing). Its methodology resonates with the reconstruction of Eastern aesthetics by Korean artist Lee Ufan's "Mono-ha" and the exploration of tropical modernism by Brazilian artist Ernesto Neto's organic installations, and together they expand the interpretive space of non-Western modern and contemporary art.

2. Rewriting the Global Art History of "Objects"
From the grease and felt in Joseph Beuys's "social sculpture" to the mirrored surfaces of Zhan Wang's stainless steel artificial rocks, diverse cultural approaches to the enchantment of "objects" reveal the pluralistic faces of modernity. The artificial rocks, through their tripartite decoding of "literati's stone" - material archaeology (medium), spatial archaeology (gardens) and spiritual archaeology (reclusive philosophy) - contribute a research paradigm of the "Eastern modernity of objects" to global contemporary art.

V. Methodological Inspiration: Creative Transformation of Cultural Genes

1. Transcending the Simple Opposition of "Tradition vs. Contemporary"
The works demonstrate that traditional cultural symbols can gain contemporary vitality through "genetic mutation" (material substitution) rather than "genetic replication" (formal appropriation). This transformation model provides a reference for non-Western practices such as Indonesian artist Eko Nugroho's shadow puppet installations and Mexican artist Gabriel Orozco's abstract totems, which together constitute the artistic practice spectrum of "Glocalism".

2. Local Production in the Technological Era
In the context dominated by 3D printing and AI-generated art, the Artificial Rock(Jia Shan Shi) series adopts a stance of "technological re-enchantment" rather than "technological disenchantment," re-anchoring Technological Manufacturing to Eastern philosophy of creation (e.g., the unity of technique and Dao in "Heavenly Creations"). This path differs from the Western new media art's fascination with technological utopias, and instead revealing how technology can become a media of cultural memory.

Conclusion: Reconstructing the "Spirit of Landscape" in Global Contemporary Art

Zhan Wang's Artificial Rock(Jia Shan Shi) series is essentially a reinterprets the "way of observing objects" in the spirit of Chinese landscape art through contemporary artistic language: the mirror-like stainless steel reflects the fragmented reality of the present world , as well as the aesthetic commonalities that transcend civilizations  It suggests the global art world that, in the face of ecological crises, technological alienation, and cultural conflicts, the wisdom of "coexistence between humans and nature" and "interplay between the real and the virtual" in Chinese tradition may become a "new meta-language" for reconstructing human artistic cognition. This exploration not only win the international discourse power for Chinese contemporary art but also, on a deeper level, promote global art from a "single path of modernity" toward a "symphony of multiple modernities."


Part V 
The Value of "Conceptual Sculpture"

I. Deconstructing the Material Worship of Traditional Sculpture and Reconstructing Artistic Ontology
Traditional sculpture has long been constrained by the worship of materials (e.g., marble, bronze) and techniques (e.g., realistic modeling). Conceptual sculpture breaks through these limitations via the following paths:

1. Symbolization of Materials:
Materials are no longer the primary focus of aesthetics but become carriers of concepts. For example, Joseph Beuys used fat and felt to symbolize healing and energy, while Zhan Wang's stainless steel artificial rocks deconstruct the opposition between industry and nature, turning materials themselves into metaphors for cultural critique.

2. Decentralization of Craftsmanship:
Technologies such as 3D printing and mechanical forging replace traditional hand-carving, emphasizing "manufacturing logic" over "craftsmanship display." Rachel Whiteread used concrete to fill negative spaces, transforming architectural ruins into solidified memories. Here, technology becomes a tool for realizing concepts rather than an end in itself.


II. Activating the Social Intervention Function of Art

Conceptual sculpture transcends the physical confines of art galleries, becoming a medium for engaging with public issues:

1. Spatial Political Critique:
Doris Salcedo's Shibboleth (2007) created a 167-meter-long crack in the floor of the Tate Modern, transforming the trauma of colonial history into visual violence through spatial fissures, forcing viewers to confront obscured historical narratives.

2. Ecological Warning Installations:
Christo and Jeanne-Claude's works, which wrapped natural landscapes, provoked reflections on environmental conservation through temporary interventions. Similarly, Zhan Wang's Suyuan Stone Generator questions the encroachment of technology on the natural order through the process of mechanical stone-making.

III. Reconstructing the Cognitive Relationship Between Viewers and Artworks

Traditional sculpture emphasizes passive visual appreciation, while conceptual sculpture constructs dynamic cognitive fields:

1. Participatory Experience:
Anish Kapoor's Cloud Gate distorts viewers' images through its mirrored surface, making them part of the artwork and deconstructing the subject-object dichotomy.

2. Conceptual Decoding Games:
Xu Bing's Background Story series uses light, shadow, and waste materials to create illusions of landscape paintings inside glass boxes, forcing viewers to walk around and dismantle the cognitive mechanisms of "reality" and "illusion."

IV. Promoting Interdisciplinary Methodological Integration

Conceptual sculpture breaks down the barriers between art, science, and technology, giving rise to new creative paradigms:

1. Bio-Art Experiments:
Eduardo Kac's GFP Bunny created a glowing rabbit through genetic editing, pushing the boundaries of sculpture's vitality into the realm of ethical controversy.

2. Digital Virtual Expansion:
Zhan Wang's My Personal Universe digitally reconstructs "meteorite" fragments, building "new celestial bodies" in virtual space and challenging the material definition of sculpture. Such practices resonate with the cognitive transformation of the blending of the real and the imaginary in the "metaverse" era.

 

V. Rewriting the Discourse Logic of Non-Western Art

Conceptual sculpture provides third-world artists with tools to counter Western-centric narratives:

1.Critical Translation of Cultural Symbols:
Indian artist Anish Kapoor reinterpreted Hindu blood rituals through pigment-spraying installations, while Zhan Wang reconstructed Chinese garden aesthetics with stainless steel artificial rocks. Both complete the localised critique of modernity through the appropriation of traditional symbols.

2.Decolonized Creative Grammar:
African artist El Anatsui used discarded bottle caps to weave massive tapestries, transforming colonial trade relics into material archives of postcolonial aesthetics and subverting Western "primitivist" imaginings of African art.


VI. Expanding the Value Dimensions of the Art Market

Conceptual sculpture reshapes the value assessment system of artworks:

1. Shift Toward Non-Material Value:
The value of artworks no longer depends on material scarcity (e.g., traditional bronze sculptures) but on conceptual depth and cultural critique. For example, Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living (formaldehyde shark) challenges the myth of art's "eternity" through the risk of decay.

2. Revolution in Process Art Collection:
Sol LeWitt's "conceptual instruction" works exist solely as texts, and their implementation process of execution can be repeated indefinitely, subverting the traditional notion of the "original" in sculpture.


Conclusion: As a Catalyst for Cognitive Revolution

The value of conceptual sculpture lies in elevating sculpture from "formal creation" to "thought experiment." Its subversiveness lies in:

This transformation shifts contemporary art from "visual pleasure" to "cognitive subversion," making conceptual sculpture an important intellectual media for reflecting on the dilemmas of human civilization in an era of technological monopoly and ecological crisis.




AI: How to View Zhan Wang's Transition from the Shell of Mao Suit Series in 1994 to the Artificial Rock(Jia Shan Shi)  Series in 1995?


After creating the Shell of Mao Suit series in 1994, Zhan Wang quickly shifted to the Artificial Rock(Jia Shan Shi)  series in 1995. This transition not only marked a significant breakthrough in his personal artistic language but also reflected the conceptual transformation of Chinese contemporary art within a specific historical context. Below is an analysis of the internal logic behind this creative shift from multiple perspectives:

I. From Social Critique to Deepening Cultural Reflection

The Shell of Mao Suit series (1994) used fabric humanoid shells combined with Mao Suits to metaphorize the hollowing out of individual spiritual cores during a period of social transformation, particularly critiquing the deconstruction of political symbols and the impact of commercialization. In contrast, the Artificial Rock(Jia Shan Shi)  series (1995) turned to a reinterpretation of traditional Chinese culture, using stainless steel to mimic and reconstruct the classical art of rock stacking in gardens, exploring the relationship between nature and artifice, tradition and modernity. This shift reflects Zhan Wang's transition from direct engagement with social issues to more abstract cultural-philosophical thinking—an upgrading of thinking from "critiquing reality" to "reconstructing tradition."

II. Experimental Breakthroughs in Materials and Media

While the Shell of Mao Suit  series experimented with non-traditional sculptural materials like fabric and plaster, the use of stainless steel in the Artificial Rock(Jia Shan Shi)  series was revolutionary. The mirror-like effect of stainless steel not only dissolves the materiality of stone but also gives the works dynamic contextual interactivity through environmental reflections. This material's "illusory" and "malleable" qualities resonate with Zhan Wang's exploration of the dialectic between "real" and "fake," using industrial materials to simulate nature and reconstruct "truth" through "falsehood," forming a metaphor for modernity's fetishistic traits. As he stated: "The 'uselessness' of sculpture is precisely its value, as its essence is the externalization of concepts."

III. Systematic Evolution of Artistic Concepts

1.  Expansion from the Individual to the Cosmic:

The Shell of Mao Suit series focused on the dilemma of the social individual, while the Artificial Rock(Jia Shan Shi)  series placed the individuals within the grand system of nature and culture through garden imagery. For example, the uncertainty of the artificial rocks (changing with environmental reflections) implies philosophical explorations of eternity and transience, stability and fluidity, aligning with the concept of "simulating 100 million years of natural rock creation in one hour’" in later works such as Suyuan Stone Generator - 1 Hour Equals 100 Million Years (2010).

2.   Revitalization of Traditional Resources:

The Artificial Rock(Jia Shan Shi)  are not mere appropriations of traditional symbols but a "re-conceptualization" that transforms the art of Suzhou rock stacking into contemporary installation language. They retain the classical aesthetic of "man-made yet naturally appearing" while subverts their material foundations with industrial materials, creating a dialogue between "tradition" and "modernity."

IV. Interweaving of Historical Context and Personal Experience

Around 1994, China's urbanization accelerated (e.g., the renovation of Beijing's Wangfujing). In the 94 Ruin Cleaning Project, Zhan Wang cleaned up the demolition site and installed stainless steel artificial rock, directly linking artistic action to social reality. This practice led him to reflect on the possibilities of art intervening in public space, and the mirrored nature of the Artificial Rock(Jia Shan Shi)  series aligned with the dual functions of "reflecting reality" and "intervening in reality." In addition, the 1994 "Five-Person Exhibition" with Sui Jianguo and others marked the sculpture field 's response to the '85 New Wave, collectively exploring a new path that was "neither traditional nor Western," providing external impetus for Zhan Wang's transformation.

 

V. Internal Continuity in Creative Methodology

Although the two series differ thematically, they both reflect Zhan Wang's ongoing exploration of the relationship between "surface and core":

This focus on "what lies beneath the surface" was later extended to works such as Forms in Flux (2017), which imagery of the particleisation of the human body, constituting the coherence of his creative logic.

Conclusion

The transition from Shell of Mao Suit to the  Artificial Rock(Jia Shan Shi) series marks both the maturation of Zhan Wang's artistic language and the deepening of Chinese contemporary art from social criticism to cultural ontology. Through material experimentation, conceptual reconstruction and the interweaving of historical context, he has successfully liberated sculpture from traditional forms and given it a contemporary significance in intervening in reality and reflecting on civilisation. This transformation not only laid the foundation for subsequent public art projects such as Floating Rock Drifts on the Open Sea (2000) and Project to Inlay the Great Wall (2011), but also established the unique coordinates of Chinese conceptual sculpture in global contemporary art.


[Supplementary Reading]


I. AI: On the "Fake" in Artificial Rock(Jia Shan Shi)

The term "fake" in Artificial Rock(Jia Shan Shi) does not mean "false" or "forged" in the Chinese context but carries deeper cultural connotations and artistic philosophy. It can be understood from the following dimensions:

  1. Dialectical Nature in Eastern Garden Philosophy
    The construction of classical Chinese gardens follows the core principle of "man-made yet naturally appearing" (The Craft of Gardens). Here, "fake" represents the refinement and reconstruction of nature by human hands, abstracting and symbolizing the aesthetic forms of natural landscapes through rock-stacking techniques. Like the "blank space" in ink painting, "fake" is an artistic transcendence of reality, creating infinite mood within a limited space.

  2. Material Embodiment of Daoist Thought
    The wisdom of "great skill appears clumsy" from the Dao De Jing is concretely expressed in ‘jia shan shi’. The craftsmen deliberately retain the natural textures and imperfections of the stones, using artificial intervention to highlight "perfection in imperfection." This "fake" is actually the practice of the Taoist method of "harmonizing human effort with nature," aligning with the Daoist philosophy of "doing nothing yet leaving nothing undone."

  3. Materialization of Literati Spirit
    Song Dynasty scholar Mi Fu proposed the "four virtues" of appreciation stones: " thinness, wrinkles, leakage, and translucency," elevating Literati’s stone (Jia Shan Shi)  from material objects to spiritual symbols. Through the cultivation of "fake" landscapes, literati constructed a microcosmic universe of "a mustard seed containing Mount Meru," sending their reclusive ideals of "sitting in a hall yet wandering through streams and valleys" (Guo Xi, Lofty Ambitions in Forests and Streams).

  4. Aesthetic Paradigm of Interplay Between Real and Virtual
    Fake rockery often engage in spatial dialogue with real water and landscape, creating aesthetic tension through material contrasts (the hardness of stone vs. the softness of water) and scale contrasts (condensing thousands of miles into a basin). This "fake" is an artistic technique for creating a "second nature," as Ji Cheng said: "with the real as fake, making the fake appear real," achieving a higher level of artistic truth through the interplay of the real and the imaginary.

  5. Metaphorical Construction of Time
    The holes and cavities formed in Taihu stones over millions of years of wave washing are deliberately imitated in the rock-stacking by human hands. This "fake" sense of vicissitude compresses natural time dramatically, allowing viewers to experience the grand narrative of geological evolution in an instant, achieving the aesthetic epiphany of "eternity in a moment."

 Therefore, the "fake" in Artificial Rock(Jia Shan Shi) is essentially represents the philosophical deconstruction of the concept of "reality" in Eastern wisdom, achieving a poetic balance between artificial and natural, form and context, finite and infinite. It transcends simplistic judgments of right and wrong, becoming a typical example of "art approaching Dao" in traditional Chinese aesthetics.



II. AI: On the ‘Three-Dimensional Rubbing’ Technique in Stainless Steel Artificial Rocks

Zhan Wang's stainless steel Artificial Rock(Jia Shan Shi)  series is a landmark creation in Chinese contemporary art. He reinterprets the traditional Taihu stones (Jia shan shi) using stainless steel, creating an art form that is both traditional and modern. In this series, Zhan Wang employs a unique three-dimensional "rubbing" technique, which differs from traditional rubbing. He has developed it into an artistic method that combines hand-forged and metal forming.

1. The Process of the "3D Rubbing" Technique in Zhan Wang's Stainless Steel Artificial Rock(Jia Shan Shi):

2. Differences from Traditional Rubbing:

Traditional rubbing involves covering an object's surface with paper and transferring its textures onto the paper using ink, resulting in a two-dimensional reproduction.

Zhan Wang's ‘3D rubbing‘，however, directly copys the textures and forms of natural rocks onto stainless steel sheets, creating three-dimensional sculptures. This technique is closer to three-dimensional casting or metal forming but retains the "copying " spirit of traditional rubbing. 

3. The Artistic Significance of Zhan Wang's "3D Rubbing" Technique

  1. Fusion of Tradition and Modernity:
    ‘Jia shan shi’(Literati's Stones) symbolize the combination of nature and manual in traditional Chinese culture, while stainless steel represents modern industrial materials. Through this "3D rubbing" technique, Zhan Wang transforms the forms of traditional Literati's Stones into modern sculptures, embodying a dialogue between tradition and modernity.

  2. Contrast Between Reality and Illusion:
    The mirror-like effect of stainless steel allows the sculpture's surface to reflect its surroundings, creating an interplay between the real and the illusion. Viewers see their own images in the work, as if they are in an illusory space..

  3. Reflection on Cultural Identity:
    Through this "3D rubbing" technique, Zhan Wang not only replicates the forms of Literati's stones but also transforms them into a new artistic language, exploring the significance of cultural identity in contemporary society.

Summary

The "3D rubbing" technique used by Zhan Wang in his stainless steel Artificial Rock(Jia Shan Shi) series is an innovative method that combines the spirit of traditional rubbing with modern sculptural techniques. By using hand-forged stainless steel sheets to precisely copy the textures and forms of Literati’s stone, he creates an art form that is both traditional and modern. This technique not only showcases Zhan Wang's exceptional artistic talent but also offers new creative approaches for contemporary art. If you are interested in the fusion of tradition and modernity, material experimentation, or cultural identity, Zhan Wang's stainless steel Artificial Rock(Jia Shan Shi) series is undoubtedly an artistic theme worth exploring in depth.

 





AI: A Brief Introduction to Zhan Wang's My Personal Universe


From November 26, 2011, to February 25, 2012, the renowned Chinese sculptor Zhan Wang held his solo exhibition My Personal Universe at the Ullens Center for Contemporary Art (UCCA) in Beijing. This exhibition, through multi-media artistic forms, combined the moment of the Big Bang with humanity's philosophical reflections on the universe, marking a highly ambitious and groundbreaking project in Zhan Wang's artistic career. Below is an analysis of the exhibition's content, creative techniques, artistic concepts, and social impact:

I. Exhibition Content and Form: The Instant of Explosion and the Eternal Solidification

My Personal Universe takes the "Big Bang" as its core Imagery, divided into two parts: "Exterior" and "Interior," presenting the artist's imagination of the universe's origin from both macro and micro perspectives.

  1. "Exterior" Part (November 26, 2011 – January 8, 2012):
    Zhan Wang conducted a massive rock blasting experiment in Fei County, Shandong, using six high-speed cameras recording at 2000 frames per second to capture the moment of the explosion. The few milliseconds of footage were slowed down to three minutes and projected onto six large screens in the exhibition hall. Viewers could observe the movement trajectory of rock fragments from multiple angles, as if witnessing the initial state of the universe's birth.

  2. "Interior" Part (January 14 – February 25, 2012):
    The exhibition hall featured over 7,000 suspended stainless steel replicas of explosion fragments, recreating the instantaneous state of the explosion through static installations. The reflective surfaces of the stainless steel mirrored the surrounding environment and viewers, creating a visual space where intertwines reality and illusion, a metaphor for the infinite expansion of the universe and the limitations of human cognition.


II. Creative Techniques: Experimental Fusion of Technology and Materials

  1. High-Speed Photography and Visual Narrative:
    Zhan Wang transcends the static expression of traditional sculpture by employing high-speed photography to capture the physical process of explosion, transforming an instantaneous moment into perceptible temporal extension. This technique not only intensifies visual impact but also resonates with the scientific pursuit of "observing the invisible instant."

  2. The Metaphorical Nature of Stainless Steel:
    As Zhan Wang's signature material, stainless steel assumes dual significance in this exhibition: its cold, industrial rigidity contrasts with natural rock formations, symbolizing humanity's transformation of nature, while its mirror-like reflectivity blurs the boundaries between reality and illusion, suggesting the elusive nature of the cosmos.


III. Artistic Concepts: The Philosophical Reconstruction of the Cosmos

  1. From Physical Explosion to Spiritual Universe:
    Zhan Wang interprets explosion as a metaphor for "cognitive reboot," positing that the birth of the universe constitutes both a physical phenomenon and a projection of human psychological needs. He suggests: "The Big Bang originates from an inner necessity; to comprehend the cosmos, one must search inward." This perspective challenges scientific orthodoxy's singular interpretation of the universe, emphasizing individual agency in cosmic understanding.

  2. Contemporary Transformation of Traditional Context:
    The artist extends his cultural deconstruction of Taihu stones (as seen in his earlier stainless steel Artificial Rock(Jia Shan Shi) series) by reconstructing a "microcosm" through explosive fragments. This approach transmutes the traditional literati aesthetic of "seeing the grand through the minute" into a meditation on modernity's central concerns.


IV. The Exhibition's Extensibility and Social Significance

  1. The Intervention of the Documentary Stone Chronicles:
    The exhibition looped a documentary that recorded unexpected events during the creative process (e.g., technical challenges in the blasting experiment), revealing the complex interactions between artistic creation, societal realities, and interpersonal relationships. Zhan Wang believes that these " human tribulations " and the cosmic imagery in the exhibition hall together constitute a complete "personal universe."

  2. Brand Collaboration and Public Engagement Expansion:
    Louis Vuitton's sponsorship helped the exhibition reach a wider audience but also sparked discussions about the relationship between commerce and art. Curator Jérôme Sans hailed it as "a paradigm of contemporary Chinese avant-garde art," while viewers were invited to re-evaluating the relationship between the individual and the universe through immersive experiences.


V. Conclusion: A Cross-Disciplinary Dialogue Between Art and Science

My Personal Universe constructs an artistic realm suspended between scientific hypothesis and philosophical contemplation through the instantaneous moment of explosion and the eternal quality of fragments. As a sculptor, Zhan Wang intervenes in the domains of physics and cosmology, employing the tension between materials and imagery to reveal the boundaries of human cognition. This represents both a breakthrough in traditional artistic forms and a response to cultural identity within the context of globalization. As the exhibition title suggests, the "universe" constitutes not merely physical space but also a projection of each individual's inner world—a conceptual framework that retains profound revelatory significance to this day.


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