Yu Ji

Yu Ji

China

Yu Ji, born in Shanghai in 1985, obtained her master’s degree from the Department of Sculpture, College of Art of Shanghai University in 2011. Her works have been exhibited extensively internationally. Selected recent solo exhibitions including Against Shadows (Sadie Coles HQ, London, 2022); Wasted Mud (Chisenhale Gallery, London, 2021); Yu Ji: Spontaneous Decisions II (Centre Pompidou × West Bund Museum Project, Shanghai, 2021); Forager (Avenue Apartments on Tongren Road, supported by the Sifang Art Museum, Shanghai, 2020); Stones in Her Pocket (Project Terrace, Shanghai, 2020); Black Mountain (Beijing Commune, Beijing, 2016); Diary of Sulfur Mining: Pataauw (Mind Set Art Center, Taipei, 2016). Selected recent group exhibitions include the 10th Asia Pacific Triennial of Contemporary Art (Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2021); The Fifth New Museum Triennial: Soft Water and Hard Stone (New Museum, New York, 2021); INCORPOREAL 03 (Basement Roma, Rome, 2021); Interrupted Meals (HOW Art Museum, Shanghai, 2020); May You Live in Interesting Times (the 58th Venice Biennale, Venice, 2019). Yu was shortlisted for the Hugo Boss Asia Art Award in 2017.

Flesh in Stone-Green Hair Monster #3

2019

Cement, sand, iron

27 × 22 × 36 cm

 

Flesh in Stone is a series of works integrating Yu Ji’s years of research and site visits about ancient sculptures in China, Cambodia, and India. In this process, photographic archives of archaeological remains damaged with the passing of time, and sketches of bodies in the real world and real life. This series tears down the authority of formal and historical accuracy. Cast in cheap cement, these bodies take on a seemingly smooth yet in fact rough surface, retaining traces of distortion and inaccuracy occasionally involved in the production of sculpture, a traditional art form.

 

In this iteration, these cement-made bodies resemble both deserted materials and remains in a historical site, unobtrusively placed in the natural outdoor environment, as a response to the distant memories in the stone pillar of Jingyin Temple. The moss gathering on the surface will continue to grow during the exhibition.

Flesh in Stone-Green Hair Monster #2，40 × 45 × 65 cm

2019

Cement, sand, iron

Flesh in Stone-Green Hair Monster #3，27 × 22 × 36 cm

 

Flesh in Stone is a series of works integrating Yu Ji’s years of research and site visits about ancient sculptures in China, Cambodia, and India. In this process, photographic archives of archaeological remains damaged with the passing of time, and sketches of bodies in the real world and real life. This series tears down the authority of formal and historical accuracy. Cast in cheap cement, these bodies take on a seemingly smooth yet in fact rough surface, retaining traces of distortion and inaccuracy occasionally involved in the production of sculpture, a traditional art form.

 

In this iteration, these cement-made bodies resemble both deserted materials and remains in a historical site, unobtrusively placed in the natural outdoor environment, as a response to the distant memories in the stone pillar of Jingyin Temple. The moss gathering on the surface will continue to grow during the exhibition.

 

Flesh in Stone-Green Hair Monster #1

2018

Cement, sand, iron

44 × 32 × 44 cm

 

 

Flesh in Stone is a series of works integrating Yu Ji’s years of research and site visits about ancient sculptures in China, Cambodia, and India. In this process, photographic archives of archaeological remains damaged with the passing of time, and sketches of bodies in the real world and real life. This series tears down the authority of formal and historical accuracy. Cast in cheap cement, these bodies take on a seemingly smooth yet in fact rough surface, retaining traces of distortion and inaccuracy occasionally involved in the production of sculpture, a traditional art form.

 

In this iteration, these cement-made bodies resemble both deserted materials and remains in a historical site, unobtrusively placed in the natural outdoor environment, as a response to the distant memories in the stone pillar of Jingyin Temple. The moss gathering on the surface will continue to grow during the exhibition.

 

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