Jing'an Sculpture Park, Shanghai

The Jing’an Sculpture Park is sited on sprawling landscaped grounds offering large and small outdoor spaces for sculptural expression of various scale. Paved walkways and shady trees help provide some separation between the displays, with colourful flower beds and fountains lending a little softness to some of the edgy works in steel and stone. In the evening the sculptures are floodlit, presenting the works in a different light. 

The sculptures are either part of the permanent collection, or are pieces specially installed for periodic shows. Some of those seen here are exhibits of the Shanghai Jing’an International Sculpture Project (JISP) Biennale 2014 under the theme “City Paradise,” focusing on “animals, nature and the urban fabric.” 59 pieces are assembled showcasing the works of 15 international artists from 11 countries, and 5 local masters.

On one side of the park is the new Shanghai Natural History Museum, designed by Perkins + Will, featuring a nautilus-like spiral layout including a sweeping ramp that takes you up the roof for a breathtaking view of the surrounds and sculptures.

“Urban Fox” by British artist Alex Rinsler is the centrepiece, a monumental work covered in soft straw, atop a hard pedestal of shipping containers.

Raven on a precarious perch in “The Colour of Happiness” by Peter Woytuk.

No raging bulls these placid bovines by American Peter Woytuk, titled “Lasting Moment”, savouring the quiescence against the backdrop of Arne Quinze’s “Red Beacon” trees, a masssive installation of red painted timber beams.

Another one of Peter Woytuk’s bulls watched from afar by minimalist rotund figures created by Joy Brown.

The Shanghai Natural History Museum with its walk-up ramp that takes you to the roof garden to view the park and sculptures from a different perspective. 

Life imitating art as two visitors stand and sit mirroring “Stretching Thoughts” by Nadim Karam.

Dutch artist Ronald A. Westerhuis’ stainless steel monolith “New Life” is inspired by bamboo shoots, the embodiment of emerging life. One side is polished to a mirror finish, the other left matte. Approaching the gleaming side, the viewer appears to be leaving behind the reflected background representing the past. Moving round the other side, the viewer sees the unfinished surface symbolising the future as yet to be defined but where you can leave your mark, denoted by the etched plant motif reaching skywards. 

Cherry blossom in bloom as visitors stop for photo ops.