Shi Xinning was born on 1969 in Liaoning Province, China. Trained in China, Shi Xinnings paintings are influenced by both social realism and European styles. Using the authoritative qualities of both, Shi embarks on history painting with a twist. Taking his imagery from iconic press photos, Shis canvases faithfully represent the world as we know it, the Yalta Conference in familiar 40s sepia tone, the Queen Mum in carriage emblazoned in newspaper black and white. Its only on second glance that Shis alterations become evident. Nestled between Churchill and FDR and conversing happily with royalty, Mao takes his place amongst the great leaders of the 20th century.
In China-fying history, Shi investigates dynamics of both the wests Eurocentric, and Chinas isolationist past world views. Humorously illustrating the Chairmans import and omnipresence in 20th c Chinese society Shis insertion of Mao into the fabric of western collective conscience seems entirely plausible. Infusing the totems of propaganda currency with a sense of normality and humility, Shi re-authors the most cherished moments of collective memory with a Forrest Gump effect, creating a specious mythology based in Hollywood schmaltz and unabashed optimism.
Selected Exhibitions:
2005
The Road Map of Painting, Beijing, China
The Other Shore of This Shore, Pingyao, China
Mahjong, Kunstmuseum, Bern, Switzerland
China Contemporary Painting, Fondazione Cassa di Risparmio in Bologna, Bologna, Italy
2004
Landscapes, Shanghai Gallery of Art, Shanghai, China
New Perspectives in Chinese Painting, Marella Art Gallery, Milan, Italy
Chinas Photographic Painting, China Art Seasons Gallery, Beijing, China
2003
Moyemode, Moyemobude, 798 Art Zone, Beijing, China
China Art Now, Marella Art Gallery, Milan, Italy
2002
Contemporary Art Exhibition, Deduct Fabricate Copy, Beijing, China
2001
Fake Reality, Beijing, China
1999
Contemporary Art Show “Out-of-control”, Beijing, China
1998
Contemporary Art Exhibition, “In the City- Individuality”, Beijing, China
Conclusions:
Shi Xinning had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles.
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