•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Li Songsong EXHIBITED AT THE SAATCHI GALLERY

Gift
Li Songsong
Gift

2003

Oil on canvas

180 x 300 cm (diptych)
In Gift, Li’s expressionistic painting utilises the devices of photography to allude to the deceptive qualities of images. Picturing Chinese fighters parading a shot down enemy airplane during the second Sino-Japanese war, Li renders the scene as a purely aesthetic experience, supplanting historical connotation with his own legacy of artistic production. Mirroring the original documentary photo, Li’s black and white palette concentrates attention on the formal techniques of the painting; the scene becomes secondary to Li’s seductive brushwork, as ’fact’ becomes disembodied into a malleable network of fluid, loose gestures. The right side of the image has been slightly enlarged to force a comparative study of the image, underscoring the subjectivity of represented ’truth’.
The Decameron
Li Songsong
The Decameron

2004

Oil on canvas

170 x 210 cm
Li’s The Decameron takes its title from a novel written by Giovanni Boccaccio in the mid-14th century; structured as a frame narrative the book is a collection of 100 stories told by ten characters over a period of ten days, creating not one continuous plot, but a medley of tales surrounding set themes. In Li’s painting, Boccaccio’s literary structure is applied to dissemble and reinterpret a public source photo of the 2004 National People’s Congress. Elongating the original image then cutting it into 10 separate pieces, Li completed the painting in individually demarcated sections, each one a distortion and biased embellishment of an historical event.
This Is How We Talk Politics
Li Songsong
This Is How We Talk Politics

2007

Oil on canvas (diptych)

210 X 210 cm 100 x 245 cm 160 X 260 cm Overall dimensions: 260 x 470 cm
Themes of intimacy, remoteness, and anxiety run throughout Li’s work. His scenes gain a haunting uncanniness not from their place in social memory, but because of their intensely concentrated surfaces. Treating his loaded source material as a void template, Li approaches painting as a purely amoral intervention, a meditative engagement with the possibilities of personal significance within an increasingly virtual world. Li’s diptych This Is How We Talk Politics blurs this distinction between public and private. Its sumptuously textured panels paradoxically convey the speed, pixellation, and distortion of mass media as fixed and tangible matter. Thick impasto fields in greyscale loom like a concrete facade, gauged and pockmarked, stippled and annotated through Li’s obsessive gestures, creating an almost spiritual contemplation of beauty from the intrinsically impersonal and generic.
Cuban Sugar
Li Songsong
Cuban Sugar

2006

Oil on aluminium panels

280 x 400cm
Li painted Cuban Sugar in 2006 at a time when China underwent a crisis in domestic sugar production, forcing it to engage in trade with Cuba to cut inflation. Li’s visualisation of this event is fractured, reflecting this ideological conflict of interest with an image that is not self-sustaining, but rather uncomfortably made up of a composite of independent sections. Executing his scene as a montage, each defined area operates as a painting within a painting, suggesting a layered and disjointed approach to historical interpretation, further complicated by Li’s intensely formal approach to his subject. Li offers no political opinion within his work, but focuses solely on the act of painting to open new relationships between individual perception and the authoritative narratives of documentation.






Other artists in
THE REVOLUTION CONTINUES: NEW CHINESE ART

Zhang Dali    Zeng Fanzhi    Wang Guangyi    Zheng Guogu    Zhang Haiying    Zhang Hongtu    Zhang Huan    Qiu Jie    Xiang Jing    Shi Jinsong    Fang Lijun    Yue Minjun    Li Qing    Wu Shanzhuan    Shen Shaomin    Li Songsong    Zhan Wang    Liu Wei    Zhang Xiaogang    Zhang Xiaotao    Cang Xin    Shi Xinning    Li Yan    Bai Yiluo    Sun Yuan and Peng Yu    Yin Zhaohui    Feng Zhengjie

Li Songsong's BIOGRAPHY

Li Songsong
1973
Born in Beijing

Lives and works in Beijing


SELECTED EXHIBITIONS


2006
CHINA NOW - Faszination einer Weltveränderung, Sammlung Essl, Klosterneuburg / Vienna, Austria
Mahjong - Chinesische Gegenwartskunst aus der Sammlung Sigg, Hamburger Kunsthalle, Germany

2005
PICTORIAL DNA made in China, Galerie Urs Meile, Lucerne, Switzerland
Mahjong - Chinesische Gegenwartskunst aus der Sammlung Sigg, Kunstmuseum Bern Switzerland
CHINA: as seen BY CONTEMPORARY CHINESE ARTISTS, Spazio Oberdan, Milano, Italy

2004
China´s Photographic Painting, China Art Season Gallery, Beijing
China und was mich sonst bewegt, Galerie 99 , Aschaffenburg
Solo exhibition Belgische Botschaft Beijing

2003
Left Hand,Right Hand, Deutsch-Chinesische Gemeinschaftsausstellung zeitgenössischer Kunst, 798 Space, Beijing
3.Nationale Kunstausstellung der Ă–lmalerei, Chinesisches Nationalmuseum in Beijing
fade in, Fotografie Ausstellung, 798 Art Space , Beijing

2002
China Contempo, Art Seasons Gallery, Singapore
Face to Face, Chinese and Indian Contemporary Art, Shen Gallery, Singapore

2001
Video Work, "Serendipitous Encounter", 1. unabhängiges chinesisches Filmfestival, Beijing
Public Action Work Horse , Campus des Fine Arts Institut an der Qinghua Universität, Beijing

2000
Beijing Invitational Oil painting Exhibition, Dong Huan Art Center, Beijing