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TWISTED MODERNIST FANTASIES 扭曲的 现代主义 幻想 WANG SISHUN 王思顺 CHEN XI 陈熹 CAMILLE AYME JASON MENA XIAO XIAO 萧潇
INTELLIGENTSIA GALLERY 智先 画廊
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INTELLIGENTSIA GALLERY 智先 画廊
TWISTED MODERNIST FANTASIES 扭曲的 现代主义 幻想 WANG SISHUN 王思顺 CHEN XI 陈熹 CAMILLE AYME JASON MENA XIAO XIAO 萧潇
7 March 2015 2015 年 03 月 07日
Twisted Modernist Fantasies Intelligentsia Gallery is thrilled to present ‘Twisted Modernist Fantasies’, a group exhibition with works by Wang Sishun (b. 1979 Wuhan, China), Chen Xi (b.1985 Wuhan, China), Xiao Xiao (b. 1984 Hunan, China) Camille Ayme (b. 1985 St Etienne, France) and Jason Mena (b. 1974 Puerto Rico). Entering a year on what seems a new landscape of global changes and transformations the exhibition invites to reflect on the ungraspable concept of modernization as an inexhaustible process that touches, destroys, transforms and creates.Modernism, looked at as more than a general tendency or movement, but as the territory that ideas, concepts, subjects and objects inhabit. Curated by Garcia Frankowski, the 10th international group exhibition explores a theoretical framework that casts doubt on the necessity of portraying modernism as an expired image, as a recording of past achievements and failures, as a picture of nostalgic endless creation and of cataclysmic destruction, and instead asks about the possibility of a modernism existing not as material experience but as the spark of twisted desires. By means of site-specific installations, photography, video and mixed-media the exhibition creates a screen where to project fantastic scenarios that oscillate from metropolitan minimalist dreams, to the machinistic desires of suburban lifestyle, from the material transcendence of the real and imaginary structures of the future, to the critical views of these same structures all while creating a panoramic view of Twisted Modernist Fantasies. Intelligentsia Gallery
扭曲的现代主义幻想 智先画廊激动呈现群展“扭曲的现代主义幻想”。参展艺术家包括 王思顺 (1979武汉, 中国), 陈熹 (1985武 汉，中国), 萧潇(1984 湖南,中国) Camille Ayme (1985 圣埃蒂安, 法国) and Jason Mena (1976 波多黎各). 面对新一年全球变化与转型的图景，展览将现代化中那些不可理解的概念反思为触动、破坏和创作活动中 取之不尽的过程。现代主义，不只是关注了运动的总体趋势，而是当代想法、概念、主体与客体的栖息之 所。 由Garcia Frankowski策展，第十届世界群展探索了一个充满质疑的理论框架。它质疑将现代主义描绘成一 张过期图像、一段对过往成就与失败的记录、一幅关于无尽创造和灾难性破坏的怀旧图景的必要性，与之 不同的是，展览叩问了现代主义存在的可能性，并非将其理解为物质体验，而是扭曲幻想的火花。 通过装置、摄影、影片、混合媒体等形式，展览创造了一个投射幻想场景的屏幕。它摇摆于大都会的极简 主义之梦和对机械渴望的乡村生活之间，摇摆于超越现实物质对未来结构的想象和批判这些相同结构的观 点。由此，创造了关于扭曲的现代主义幻想的全景。
智先画廊
DOCILE REFRACTIONS, OBJECTS IN LAMENT James D. Poborsa
Like politicians, who relieve us of the bothersome responsibility of power, contemporary art, with its incoherent artifice, relieves us of the grasp of meaning through the spectacle of nonsense. This explains its proliferation: independent of any aesthetic value, it is ensured of prospering in function of its insignificance and vanity. Just as politicians persist despite the absence of any representation or credibility. Art and the art market therefore flourish to the extent that they decay: they are the modern charnel houses of culture and simulacra. -Jean Baudrillard, The Conspiracy of Art: Manifestos, Interviews, Essays If we adhere to Baudrillard’s callous rendering of the contemporary, with its monotonous schisms wrought upon an indifferent, docile public, what chasms remain to be wrenched open, and what spaces explored, amid the pitter patter of contemporary production? What mundane interventions enable us to extricate ourselves from the artifice of this superfluous deduction? Are we not all enmeshed in the fraud of the new - a cunning trick to alleviate our tactile boredoms and promote ourselves as inheritors of an elusive, undefinable modernity? Waiting in the open, there is always distance. Not between subject and object, for that distance has long since been obliterated, but between the trespass of the object within an ill-defined present, and its ten-
dentious historical valuation. Codifying the transtemporal rupture that defines our aberrant modernity in epistemic terms is as useless as lamenting the decline of autochthonous forms of subjectivity. The levelling of time by the rapacious march of modernity relates an untimely mediation, in which language equivocates, and meaning dissolves. Within this transformation, definitions of value are as fraudulent as the pontifications of those for whom disruption, negation, and subversion form the benchmark of the new. While for Matei Calinescu, the avant-garde represented the ‘cutting edge of modernity,’ this over-determined category has surely by now been reduced to another empty signifier - an enervating, listless simulation of itself. If we are to move beyond this tedious disclosure, then we must rethink the category of the contemporary as a space within which subversion and reversion co-exist as so many refracted schisms, forcing us ruminate upon the desultory aftereffects of modernity’s neglect. The historians may lament the escalating divide and voluminous production within the contemporary arts, even if they unwittingly called it into being with their disciplinary categories, but trespassing upon history is the purchase of the contemporary. It’s ubiquity and diffusion disrupts its influence, though also forms the transtemporal subterfuge that disconnects each gaze from any singular reading, as with so many twisted modernist fantasies. In these open spaces, cautious interventions into the tedium of the quotidian remain our only possibility. The detached photographic gaze of Xiao Xiao 萧潇 presents us with a singular framing of the quotidian as the symbolic speculation of a dejected, remote interiority. Windows frame our forlorn gaze, glaring out at the munificent spectacle which looms beyond our vacant interiors, as spires of callous concrete fill the grid upon which we project our facile desires. As with so many vapid, thoughtless manifestations of the urban environment, we remain enthralled by these captivating visions, though always cautiously remote. This distance forms an opening into our errant interiority, as while outside there is progress, inside we lament. We lament how it frames us; how it forces us under it, scrapping pathos for power, and texture for the harshness of its form. This melancholic reflection need not be meticulously framed, for as with Chen Xi’s 陈熹 shattering of the visual field, the obfuscation of form gazes back at us, splintered and diffuse, as with so many of our illusions. When our objects gaze back, they draw us in, as with Camille Ayme’s tantalising spinning rims, revealing an enthralling, hallucinatory realism. With each rotation and subtle modulation of light, we are drawn further in. Captivating, they return visions of the urban sprawl they hide from our gaze, while performing an eidetic evisceration of all that enframes the absurdity of the everyday. And we cannot escape. For we have become our own burden, A representational, etymological farce, Progressing cautiously onwards… Ad infinitum… together with, time.
NEVER ENDING STORIES Garcia Frankowski
Modernism is a fantasy. A twisted fantasy. Always drawing to a grand finale, Modernism finds life in the idea that the end is always closer. Modernism implies breaking and reorganizing rules, restructuring life. Playing with history while trying to erase it simultaneously. Like a dystopian piece of science fiction, Modernism is feared to produce future cataclysmic events, often as the byproduct of the interaction of people with the technology they develop. In Modern life everything becomes a machine. The city is a machine. The Home is a Machine. The Economy is a Machine. The government is a machine. The machine is a machine. But, what if instead of trying to disassociate people from the machines they create, this
exhibition would offer the point of view from these machines as a sci-fi novel with five different chapters? What if these machines would be telling a story? Every image possesses the ultimate potential of being a projection of the ambitions, desires, fears, criticisms and fantasies of modernism. A first chapter of this epic would start by approaching the idea that modernism is a human creation. The visionary imagines and engineers the blueprints of mighty machines. Before setting up to take over life, the machines exist not as objects, but as atmospheres in the mind. They exist as psychological landscapes on paper. They exist as abstract annotations of a developing project. While Chen Xi lays down the foundations of a robotic future, jagged edges and twisted metal unfold in material form on the walls of the gallery. Wang Sishun installs two sheets of lead thus exposing the toxic material as both, reminder of failed ambitions, and of the still ongoing project of modernization. This second chapter goes from the expanding fractals of the machines on paper, to an indeterminate boundless of metal sheets. Either spare scraps of a failed construction, or pieces for a possible future structure, ‘Indeterminate Boundless’ brings the abstract concept of modernist fantasy to its material stage. Are these parts of the machines of the future or wreckages of projects past? Isn’t modernism like these metal pieces, in apparent state of decay but always holding new promises? The third chapter and fourth chapter reaffirm that the fantasy exist as visual bait. The utopia is always reachable due to its chameleonic character. Due to its visual appeal. Sometimes the idealistic dream of modernism is transformed into muscle cars with the promise of a suburban utopia. The car is often the door to a twisted fantasy of individuality, of horizontality, and freedom. If Camille Ayme ‘Inglewood’ car and spinning wheel are images of the suburban machine, Xiao Xiao presents its counterpart with the modernist apartment as an urban machine. ‘Rational Reality’ exposes the hygienic minimalism underlying the urban ambition of inhabitation. Its windows loom not so much into the city that surrounds them, but inside the psychological reflection that projects the urban desire of personal space in the apartment as a machine for living. The image is then processed and constructed in a way as to become almost as abstract as the machinistic blueprints in the first chapter of the story. With the frightening potential of the lead panels hung on the walls. The city, the metropolis as a concrete concentration of wealth in the form of skyscrapers offers the apartment as the only available cells inside the modernist organism. For those who claimed that modernism failed, it takes seconds to realize that abstraction and repetition are tools used by the capitalist machine not only for weaving the fabric of the modernist city, but for drawing the bucolic scenarios of the suburban landscapes of contemporary urban sprawl that serves as the city’s supposed antithesis. If the Muscle car is the suburban machine par excellence, the epitome of the urban condition is the apartment cell as machine. This leads us to the fifth a final chapter (or the first) of this story in which the creation of value, the consolidation of the ideology that supports it and the materialization of these as abstract structures of power is presented in the ‘Confusion of Tongues’ by Jason Mena. By stacking coins of Latin American countries in a reference to the Babel Tower an anticlimax is reached. Never before has been the modernist fantasy so twisted as passing through five chapters that go from desire, to materialization, ambition, fear, and ultimately the possibility of collapse of an ambitions project that provokes the possibility of drawing new blueprints and start imagining and building machines all over again.
ON FUKEIRON AND METAL Christopher Rey Perez
I haven’t revolted enough to warrant these accouterments and sex toys What I want to share are the minor details of customer dissatisfaction filtered through the metallurgy of time My plan is to arrange the modern out of sequence and find its place of convulsion and perversity In 1972 three members of the Japanese Red Army assisted in a plane hijacking at Lod Airport Let’s imagine that we are in an economy of morphemes, now what is your currency? Metal was involved in the attack as well as territory and reflection on failure in history Obviously, this violence shall be addressed but we should also focus on our wages Some say that victimhood designates goodness and that this twists modernity’s logic I bring this up because there are some languages available to metal just like there are ones that become totalities of form An indeterminate boundless lowrider shunting time-constraints from the reality-window suburbia that’s the confusion of (ahistorical) tongues It’s exciting to imagine and yet I worry about approximating the body-sensation of these excesses through art’s ability to outlast the dead What is propaganda? Let’s pretend the terrain of modernism is a theater evoking not only all the languages like Chinese and Swahili but also repeated iterations of my sex By referencing the body I am trying to find paralinguistic comparatives of vulgate A sheet of metal takes part in this exchange just like Japanese militant communists in Palestine The citizen somnambulates through the vulgus and I mean she flattens into the land’s urbanizing pace
And I do not contend that pure, innocent communities were the prerogative of those whom today I call my ancestors, and from whom I am only descended after detour and voyage Open your browser Masao Adachi was a member of the Japanese Red Army but also a modernizer of filmic landscape theory you can view on YouTube Adachi’s theory of fukeiron claims that landscape itself exposes the structural violence of the political clime My fantasy also includes landscape as the declension made by modernization’s estranging tongue Yes I acknowledge a degree of relation to terror but we should also focus on how language necessitates hegemony and what’s unsaid in its gasp ‘I will get me cars and money but first I need metal Metal accumulating into the eventuality of something outside that window Because my love is for the ambiguity between struggle and fantasy My intentions sometimes belie the hormonal patina of the anxious ; I began with the toil of orgasm and am now moving toward a being of violent spark fueled by the irreducible difference of vulgar bodies In The Red Army-PFLP: Declaration of World War, a kuffiyeh, a dog, the desert, appear In Twisted Modernist Fantasies, variations on these objects A whole landscape, in fact, the progress of its panorama
Twisted Modernist Fantasies
扭曲的现代主义幻想
Wang Sishun 王思顺 The Indeterminate Boundless Lead Dimmensions Vary 2013
Wang Sishun 王思顺 The Indeterminate Boundless Lead Dimmensions Vary 2013
Jason Mena The Confusion of Tongues Pigment Print 500 x 330mm 2010-2014
Jason Mena The Confusion of Tongues Pigment Print 500 x 330mm 2010-2014
Xiao Xiao 萧潇 Rational Reality-Window series No.01 Pigment Print mounted on Aluminum 1000x1250mm 2010
Chen Xi 陈熹 和平 Peace 水彩、针管笔、纸 Watercolor,pigment liner,paper 60X85cm 2013
Camille Ayme Inglewood Pigment Print 700 x 700mm 2014
Camille Ayme LAX kinematik Color HD Video Duration 3’30” 2015
Bio Xiao Xiao (b. 1984 Hunan, China) Born in 1984 in Hunan, Xiao Xiao trained at the China Academy of Art in Hangzhou. While working in the studio of artist Bomu (Bo Gao), he started exploring alternative artistic processes. Since 2010 Xiao Xiao’s work focuses on urban morphology, individual perception, self-construction and group experience. He uses photography as a medium while paying very close attention to interventional art. Fueled by multiple possibilities of approaching and interpreting his environment, the works of Xiao Xiao include digital-printed media and multiple visual manipulative techniques. His deep sense of spatial awareness often transforms common places into abstract scenes filled with dramatic suspense. xxart.info Wang Sishun (b. 1979 Wuhan, China) Wang Shishun is an artist working with conceptual and social sculpture, performances, and installations. Graduated from the Central Academy of Fine Arts (CAFA) in 2008 and originally trained as a sculptor and iron welder for eight years, he spent some time in the studio of Cai Guo-Qiang. Recents solo shows include : ‘Truth’, Madein Gallery in Shanghai; The Indeterminate Boundless, Goethe Space, Shanghai; Superfluous Things No. 3, Hive Centre for Contemporary Art, Beijing; Back, Galerie Krizinger, Vienna; Liminal Space, Long March Space, Beijing; Wrong Body, Gallerie Dell’Arco, Shanghai; Top of Dopamine, Taikang Space, Beijing. His work has been included in numerous group shows including the Third Beijing Film Academy International New Media Art Triennial; Asia Triennial Manchester 14; Ground work Community and “51㎡16Emerging Chinese Artists” at Taikang Space, Beijing; The invisible hand: curating as gesture”, CAFA Art Museum, Beijing; ON/OFF: China’s Young artists in concept & practice”, Ullens Center for Contemporary Art; Image History Existence”, National Art Museum of China, Beijing; China; Moving Image in China 1988 - 2011”, Luigi Pecci Centre for Contemporary Art, Prato, Italy; and more. http://wangsishun.com/ Chen Xi (b. 1985 Wuhan, China) Chen Xi is an artist and writer working in a diverse array of mediums. After graduateing with a BA Degree from Jiangnan University he obtained an MA from East China Normal University. His work includes drawing, painting, and video installations. Recent exhibitions include ‘Ode to Joy’, Star Gallery; The 2nd CAFAM Future Exhibition, CAFA Museum Beijing; Ministry of Truth II: The Factitious and its Realm, Boers-Li Gallery, Beijing; Nonexistent Reality, Chambers Fine Art, Beijing; Time of the Dragon, Rauma Art Museum, Finland; The New Directions: Young Chinese Contemporary Artists, Moscow Museum of Modern Art, Moscow; Pattern-Vortex-Encounter, Space station, Beijing; as well as at the Museum of Arkansas State, Arkansas; PSA Shanghai; OV Gallery Shanghai, and more. chenxi1.weebly.com
简介 萧潇 (1984 湖南,中国) 萧潇，1984年生于湖南，2008年毕业于中国美术学院。 毕业后进入艺术家波木的工作室工作，期间研习明胶卤化银盐手工涂布工艺技法及树胶重铬酸盐工艺。 自2010起，创作开始涉及城市形态与个体感知，自我塑造与群体遭遇等命题。保持对社会介入性艺术密切 关注的同时，寻求传统摄影作品深度的重新构建。 他的深层次的空间意识经常将常见的地方转换为充满戏剧性悬念的抽象场景。 xxart.info 王思顺 (1979, 武汉, 中国) 王思顺的创作范畴包括观念艺术、行为表演以及具有社会意识的装置及雕塑。王思顺研习雕塑与金属工艺 长达8年，直到2008年毕业于中央美院雕塑系。之后他还在蔡国强工作室工作过。 近期展览包括： “真理”，没顶画廊，上海。“不确定的无限制者”，歌德开放空间，上海。“长物志”第三回， 蜂巢当代艺术中心，北京。“背后”，Krinzinger im parterre，奥地利，维也纳。“空间差”，长征空间，北 京。“错误的身体”，艾可画廊，上海。“多巴胺之巅”，泰康空间，北京。无形的手:策展作为立场——第二 届CAFAM双年展，中央美术学院美术馆，北京。 “ON／OFF：中国年轻艺术家的观念与实践”，尤仑斯当 代艺术中心, 北京。“图像 历史 存在”，中国美术馆，北京。“中国影像艺术1988 - 2011”， 路吉·佩吉当代 艺术中心，意大利普拉托等等。 http://wangsishun.com/ 陈熹 (1985, 武汉, 中国) 陈熹是一位多媒介艺术家，他也是位写作者。本科及研究生分别毕业于江南大学与华东师范大学。 他的创作范畴包括纸上绘画、布面绘画、动画、装置等。近期展览包括：“讴歌生命”，星空间 ，北京。“第 二届CAFAM未来展”，CAFAM，北京。“真相部II：再造界域”，博而励画廊，北京。“机器视觉” 视界艺术 中心，上海。“不存在的真实”，前波画廊，北京。“龙的时间”，劳玛美术馆，劳玛，芬兰。“风向——中国 当代青年艺术家作品展”，莫斯科现代艺术美术馆，莫斯科。“图案-漩涡-遭遇”，空间站，北京。他还在阿 肯色州立大学美术馆、上海当代艺术博物馆、OV画廊等地做过展览。 chenxi1.weebly.com
Camille Ayme (b. 1983 St-Etienne, France) Born in 1983, with a degree from the Ecole d’Architecture de Paris La Villette and from the Ecole d’Art de Cergy-Pontoise, Camille Ayme pursues a body of work evolving around the components of the modern city. If her use of photography always takes diverse forms (projections, slides, edition or prints), her characters or places of study seem fixed in a moment in time. In 2010, her collaboration with the TV series Skins in New York led her to rethink the notions of characters, sets and fictions. The same year she left for California in search of cities as atypical destinies. She created there the first opus of a set of works entitled California City (exhibited at the Printemps 2012 au 57ème Salon de Montrouge) as well as Salton Sea, a series of overexposed pictures. From those two ghost towns, one from the past, the other one from a future soon to be surpassed, appears a reflexion on the notion of generation. From 2012 she has focused on portraits of teenagers of a generation fed on American references and digital technologies (Born in the 90’s), as well as on a series of mises en scènes in the architectures of the 60’s, questioning the relationship of the human body in the middle of and lined by aged concrete. (Architecture + Fiction). Laureate of the Delano-Aldrich grant from the American Institute of Architecture, she bases her current research on the typologies of American roads and the urban fabric linked to their use. Camille Ayme writes regularly about her love for cars in Garagisme magazine. http://nimporteou.tumblr.com/ Jason Mena (b. 1974, Puerto Rico) Jason Mena is an artist currently living in Mexico City. After graduating from the Escuela de Artes Plásticas de Puerto Rico with a BA in painting he co-founded =DESTO, an artist run space that was located in Santurce, Puerto Rico which ran from 2005 until 2008. His work has been shown at the Hessel Museum of Art in New York; Casa del Lago San José Arreola; Museo de Arte Carrillo Gil and Ex-Teresa in Mexico City; the CCA Wattis Institute for Contemporary Arts and the Museum of Latin American Art (MoLAA) in California; the Massachusetts Museum of Contemporary Art (MASS MoCA); Vox Populi Gallery in Philadelphia; University of Puerto Rico (UPR); the Museum of Contemporary Art (MAC) and the San Juan Poly/Graphic Triennial in Puerto Rico, among others. His work has appeared in recent publications by the Instituto Nacional de Bellas Artes de Mexico and Yale University (MIT Press). Previous publications also include the CCA Wattis Institute for Contemporary Arts in San Francisco, AA Publications in London, University of Puerto Rico (UPR) and Instituto de Cultura Puertorriqueña (ICP). www.jasonmena.com
Camille Ayme (圣艾蒂安，法国, 1983) 生于1983年，毕业于巴黎－拉维莱特国立高等建筑设计学院和塞尔吉 - 蓬图瓦兹高等美术学院，Camille Ayme的一系列作品都持续围绕着现代城市的构成组件展开。如果说她的摄影作品在形式上是多变的（投 影、幻灯片、集册或是印刷品），其特征或研究领域却似乎总固定在时间中的某一刻。 2010年她在纽约与电视剧Skins的合作引导她重新思考了角色、设定与小说的意义。同年她赴加州开始了 对城市作为非典型命运的研究，由此创作了第一份作品。那是一系列曝光过度的图像，名为加州城市（展 出于Printemps 2012 au 57ème Salon de Montrouge）以及索尔登湖。 两个鬼城，一个来自过去，一个是即将被跨越的将来，都反射出关于“代”的概念。从2012年起，她开始着 重描绘在美国文化和电子科技下成长的一代青少年（90后）；以及拍摄一系列1960年代的建筑场景，探讨 人类身体与陈旧的混凝土线条之间的关系（建筑+小说）。 作为美国建筑协会Delano -Aldrich奖金的荣誉获得者，她目前的研究致力于美国公路类型学以及与其用途 相关的城市肌理。Camille Ayme定期为Garagisme杂志撰写其对于汽车的爱好。 http://nimporteou.tumblr.com/ Jason Mena (1974, 波多黎各) Jason Mena 是一名现居住于墨西哥市的艺术家。他在波多黎各的造型艺术学院获得绘画专业的学士学位 后，于2005年至2008年共同创办了位于波多黎哥圣图尔斯的艺术运行空间“DESTO”。 他的作品曾在纽约的赫赛尔美术馆，Casa del Lago San José Arreola，墨西哥市的Carrillo Gil and ExTeresa艺术博物馆，加州的CCA Wattis当代艺术研究所和拉丁美洲艺术博物馆(MoLAA)，马萨诸塞州当代 艺术博物馆(MASS MoCA)，费城的Vox Populi 画廊，波多黎各大学（UPR），波多黎各的当代艺术博物 馆（MAC）和圣胡安的复合/平面三年展，等，展出。 他的作品近期被墨西哥国家艺术研究所及耶鲁大学共同出版（麻省理工学院出版社）。他之前的出版商还 包括旧金山的CCA Wattis当代艺术研究所，伦敦的AA Publications，波多黎各大学（UPR）和波多黎各文 化研究所（ICP）. www.jasonmena.com
Intelligentsia Intelligentsia explores the relationship between art and life, between concepts and creation. Intelligentsia is a space for the conception and diffusion of ideas and their manifestation in the realm of contemporary art. Intelligentsia presents ideas in the form of texts, publications, images, pictures, photographs, paintings, performances, videos, objects, events. Intelligentsia offers collectible materials that communicate the ideas of artistic production. Intelligentsia creates a space for positions and oppositions, for dialogue and contradictions. Intelligentsia is a platform for converging projects, juxtaposing narratives, and conflicting art. Intelligentsia recognizes that diversity of projects create an intelligence of contemporary art. Intelligentsia is concerned with artistic production and artistic process. Intelligentsia is fueled with the intellectual discourse of art. Intelligentsia presents events as artistic production. Intelligentsia is an independent art space in Beijing. 智先 画廊 智先探索艺术与生活，观念与创作的关系。 概念在这一空间中孕育和传播，并以当代艺术的方式得以展现。 智先的思想通过文本、出版物、影像、图片、摄影、油画、表演、视频、物体、活动的形式呈现。 智先提供具有收藏意义的素材，传播艺术生产的理念。 智先的空间兼容了立场与对峙，对话与矛盾。 智先作为开放的平台，兼有趋同的项目、并置的叙事、冲突的艺术。 智先认识到当代艺术的智慧源于项目的多样性。 智先关注艺术生产及其产生过程。 智先以艺术的思辨讨论为驱动。 智先将活动作为一种艺术生产。 智先是位于北京的独立艺术空间。
www.intelligentsiagallery.com intelligentsia.gallery@gmail.com
Acknowledgements Intelligentsia Gallery would like to thank everybody involved in the realization of this exhibition. Without the enthusiasm of Michelle Garnaut; Geisel Cabrera; Hao Chen / 陈昊; Zhang Yanping / 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz; Li Shan / 小静, Amanda Zhang / 小静; Kai Nan / 南开; Celyn Bricker; Guido Tesio; Annie Wang; Lingbo Liu; Natasha Qin / 覃美律; Jacob Dreyer, Xu Ruiyu / 徐瑞钰
致谢 智先画廊感谢以下诸位对实现此次展览的帮助： Michelle Garnaut; James D. Poborsa, Geisel Cabrera; Hao Chen / 陈昊; Zhang Yanping / 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz; Li Shan / 小静, Amanda Zhang / 小静; Kai Nan / 南开; Celyn Bricker; Guido Tesio; Annie Wang; Lingbo Liu; Natasha Qin / 覃 美律; Jacob Dreyer, Xu Ruiyu / 徐瑞钰
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