Regarding the Lion Project Works (Excerpt: Isabelle Kuo / Collection Catalogue 2021, Taipei Fine Art Museum)
Completed after Shi graduated from NTNU and a year before he went to the United States, “Xiong Shi Project” explores the various influences of art media on cultural circles. Between May and August of 1993, he purchased advertising space in four monthly issues of “The Lion Art Monthly” with the goal of creating an artwork based on advertising aimed at promoting art, thereby examining the role of media, as well as the rules of the game, in the Taiwanese art world. The work highlights the business and advertising functions of media in cultural activities and the authoritative influence that media has on public opinion, thus giving rise to reflections on how information distributes power and capital. Shi also challenges the notion of an artwork’s uniqueness by duplicating and disseminating his work in published advertisements. He even went so far as to create a limited edition by mounting and affixing signatures to his advertising images published by the magazine and offering them for sale at a price higher than that of the magazine to reflect on art market mechanisms. This project makes media dissemination into a vehicle for art, as well as calls media into question with media.
Shi Jin-Hua completed this project with the generous cooperation of “The Lion Art Monthly.” His advertisements in the first three issues were different sentences presented on completely black backgrounds, and in the fourth issue, just the black background. The words discuss the existence or nonexistence of time, space and media, and suggest that every individual is isolated. In July of 1993, the project was presented in an exhibition at It-park under the same name, “Xiong Shi Project”. In addition to Shi’s limited edition mounted advertisements, the exhibition included an onsite installation projecting “There’s no space between us and nothing,” which was one of the sentences from his printed advertisements. After the writing, production, execution, publication, and dissemination of his project, the exhibition reified his concepts in different ways in the material world.
（節錄:郭怡孜/典藏目錄2021，臺北市立美術館）
〈雄獅計劃〉則是石晉華從師大畢業之後，前往美國深造前一年進行的創作計畫，旨在突顯並探討藝術媒體在文化圈的多重影響力。石晉華於1993年5至8月間，連續 4個月買下藝術月刊《雄獅美術》內的廣告版面，製作作品刊登其上而達到讓作品發行流通的目的，以此省思媒體在臺灣藝壇中扮演的角色，以及其遊戲規則。〈雄獅計劃〉彰顯了媒體在文化活動中所具有的廣告角色和商業功能，並提出媒體權威對大眾意見的影響，引起關於資訊的權力分配和資本運作的思考。而當石晉華提供的「作品」刊登於廣告版面並經由複製而普及化，也挑戰了「唯一原作」的概念。他進一步在雜誌刊登作品的頁面上簽名並裝裱，成為版次限量，而且價格比雜誌售價高出許多的作品。以廣告刊登的方式反思藝術市場運作機制的同時，這項計畫也使傳播媒體成為創作的媒介，進而透過媒體質疑媒體。
石晉華進行這項計畫時得到《雄獅美術》的大方配合，他在前3期月刊的廣告頁面刊登了全黑背景上的一句話，第 4期則只有黑色背景，探討時間、空間和媒體之間的存有與空無，帶有一種每個人都是一個孤寂個體的況味。這項計畫在當年7月於伊通公園以同名個展「雄獅計劃」發表，除了展出限量簽名裱框的雜誌，亦於現場裝置中投射刊登在雜誌廣告頁的其中一句：「在我們與無之間沒有任何空間」，在計劃書寫、製作、執行、發行、傳播之後，再以空間展演的形式，將觀念轉化為物質世界中的多重存在。
Completed after Shi graduated from NTNU and a year before he went to the United States, “Xiong Shi Project” explores the various influences of art media on cultural circles. Between May and August of 1993, he purchased advertising space in four monthly issues of “The Lion Art Monthly” with the goal of creating an artwork based on advertising aimed at promoting art, thereby examining the role of media, as well as the rules of the game, in the Taiwanese art world. The work highlights the business and advertising functions of media in cultural activities and the authoritative influence that media has on public opinion, thus giving rise to reflections on how information distributes power and capital. Shi also challenges the notion of an artwork’s uniqueness by duplicating and disseminating his work in published advertisements. He even went so far as to create a limited edition by mounting and affixing signatures to his advertising images published by the magazine and offering them for sale at a price higher than that of the magazine to reflect on art market mechanisms. This project makes media dissemination into a vehicle for art, as well as calls media into question with media.
Shi Jin-Hua completed this project with the generous cooperation of “The Lion Art Monthly.” His advertisements in the first three issues were different sentences presented on completely black backgrounds, and in the fourth issue, just the black background. The words discuss the existence or nonexistence of time, space and media, and suggest that every individual is isolated. In July of 1993, the project was presented in an exhibition at It-park under the same name, “Xiong Shi Project”. In addition to Shi’s limited edition mounted advertisements, the exhibition included an onsite installation projecting “There’s no space between us and nothing,” which was one of the sentences from his printed advertisements. After the writing, production, execution, publication, and dissemination of his project, the exhibition reified his concepts in different ways in the material world.
（節錄:郭怡孜/典藏目錄2021，臺北市立美術館）
〈雄獅計劃〉則是石晉華從師大畢業之後，前往美國深造前一年進行的創作計畫，旨在突顯並探討藝術媒體在文化圈的多重影響力。石晉華於1993年5至8月間，連續 4個月買下藝術月刊《雄獅美術》內的廣告版面，製作作品刊登其上而達到讓作品發行流通的目的，以此省思媒體在臺灣藝壇中扮演的角色，以及其遊戲規則。〈雄獅計劃〉彰顯了媒體在文化活動中所具有的廣告角色和商業功能，並提出媒體權威對大眾意見的影響，引起關於資訊的權力分配和資本運作的思考。而當石晉華提供的「作品」刊登於廣告版面並經由複製而普及化，也挑戰了「唯一原作」的概念。他進一步在雜誌刊登作品的頁面上簽名並裝裱，成為版次限量，而且價格比雜誌售價高出許多的作品。以廣告刊登的方式反思藝術市場運作機制的同時，這項計畫也使傳播媒體成為創作的媒介，進而透過媒體質疑媒體。
石晉華進行這項計畫時得到《雄獅美術》的大方配合，他在前3期月刊的廣告頁面刊登了全黑背景上的一句話，第 4期則只有黑色背景，探討時間、空間和媒體之間的存有與空無，帶有一種每個人都是一個孤寂個體的況味。這項計畫在當年7月於伊通公園以同名個展「雄獅計劃」發表，除了展出限量簽名裱框的雜誌，亦於現場裝置中投射刊登在雜誌廣告頁的其中一句：「在我們與無之間沒有任何空間」，在計劃書寫、製作、執行、發行、傳播之後，再以空間展演的形式，將觀念轉化為物質世界中的多重存在。
