Intelligentsia catalog 2 by Intelligentsia Gallery

HERMENEUTICS OF A ROOM 房间解释学 SIMONA ROTA MENG ZHIGANG 蒙志刚 MATJAZ TANCIC CAMILLE AYME JAMES RONNER

INTELLIGENTSIA GALLERY 智先画廊

HERMENEUTICS OF A ROOM 房间解释学 SIMONA ROTA MENG ZHIGANG 蒙志刚 MATJAZ TANCIC CAMILLE AYME JAMES RONNER

1 March 2014 2014 年 3 月 1日

Hermeneutics of a Room Intelligentsia Gallery is delighted to present the group exhibition Hermeneutics of a Room including works by Meng Zhigang (Guilin, 1975), Simona Rota (Mäcin, 1979), Matjaz Tancic (Ljubljana, 1982), James Ronner (New York, 1979), and Camille Ayme (St Etienne, 1983). Curated by Garcia Frankowski, the exhibition explores possible interpretations of the room as container of space, experiences, relationships, feelings, and identity. The room is understood as a vehicle to decipher the dialectical relationship with its occupants and observers. Through different mediums of action, each of the artists unveils hermeneutical tools. Intelligentsia Gallery, a room of sorts, gathers together a series of sculptures, paintings and photographs that inform our subjective awareness of the room as a container for the display and interaction of the works of art, while simultaneously revealing their role as containers of rooms. The works displayed in ‘Hermeneutics of a Room’ develop perfunctory narratives that unfold by means of an interaction between the artist and the art work, between the observer and the subject of study. The room provides space for philosophical interrogation, as Meng Zhigang’s series Blank which paints spaces purged of furniture to leave room for self-reflection and introspective analysis. James Ronner questions the role of generic matter of post-industrial manufacture and art creation, by transforming objects of mass production into unique hand-crafted glass works usually associated with the domestication of space.

In Simona Rota’s photographic series Big Exit the dualistic relationship between domestic space and the corporeal sheds light on hermeneutical readings of containment and inhabitation. Performative self-portraits in an apartment, her photographs capture instants of dynamic tension between the body and the space that contains it, providing reciprocal protagonism in a visual struggle for dominance and capitalization. The exhibition researches and scrutinizes the room in both its spatial and psychological domains. Matjaz Tancic tridimensional reconstructions of space in his series Timekeepers recreate the multiplicity of semiotic layers usually absent in conventional photography. The resulting work challenges passive contemplation by altering our understanding of the picture and everything it contains, taking us from silent concentration to a state of permanent distraction. Everything comes to our notice in renewed form, from the textures of the walls in the room, to the gestures of the people that inhabit it. Exploring the relationship between semiotic interpretation and the psychology of the space, Camile Ayme’s Chambre avec vue presents a series of spaces that evidence the interaction between subject and object while forging a portrait of the understanding of a space as a means to construct dreams and battle nightmares. Subject to multiple readings, the artworks showcased in the exhibition posses a twofold character, to interpret and to be interpreted in that, as the reconstruction of space and the concept of room through every particular work offers plausible readings of being-in-the-world (Dasein) through the ‘Hermeneutics of a Room’. Cruz Garcia & Nathalie Frankowski Garcia Frankowski Intelligentsia Gallery

房间解释学很高兴智先画廊能呈现这个名为“房间解释学”的群展，包括了蒙志刚（桂林，1974），Simona Rota (Mäcin, 1979)，Matjaz Tancic (卢布尔雅那, 1982) James Ronner (纽约, 1979), and Camille Ayme (圣埃蒂安, 1983)的作品. 由Garcia Frankowski策划的此次展览旨在探索将“房间”作为容器来诠释的可能性，它包含了空间、体验、关系、感觉、身份。房间被作为一种译解其居住者与观察者之间辩证关系的载体。通过各不相同的创作方式与媒介，每个艺术家都在揭示解释学工具在解读上的可能。智先画廊，一个包含多样的房间，集合了一系列雕塑、绘画、摄影；这些作品一方面使我们意识到房间成为了艺术作品展示与交互的容器，同时又在展示他们本身作为容纳了各种房间的容器。 “房间解释学”展示的这些作品，通过艺术家与艺术作品、观者与研究主体之间的互动，发展出不经意的、偶发性的叙事。房间为哲学性的质问提供了空间，就如蒙志刚“空白”的绘画空间通过家具的清除而使房间本身成为自我反省的分析。James Ronner通过将批量生产的物体转变成独特的手工玻璃制品（这通常与空间的归化相关），质疑了后工业背景下工业生产和艺术创作的通属性的角色。在Simona Rota的摄影系列“大出口”中，内部空间与肉体的二元关系是对容器与其居住者间解释学的解读。通过对公寓中行为表演的自拍，她的照片捕捉了身体与容纳身体的空间之间动态而富有张力的瞬间，从视觉上体现了相互作用的主体之间,争夺支配与使用关系的斗争。展览研究并细阅了房间的两个方面，其空间性和其心理性。Matjaz Tancic在其”时间保管者“系列中对空间的三维重构再创造了传统摄影中无法体现的多重符号的层叠。作品的最终效果通过变换我们对图像的理解及其包含的内容挑战了观者被动的注视，将我们从沉默的专注引向注意力不断被分散的状态。任何进入我们注意力的事物都以更新的形式出现，从房间墙壁的肌理到居住其中的人物姿态。 Camile Ayme“看得见风景的房间”探索了符号阐释与空间心理学的关系。通过一系列的空间，它既明确展示了主体与客体间的互动，同时将对空间理解的描绘锻造成一种构造梦幻和抵抗噩梦的手段。此次展览中的作品都可被多重解读，并显示出双重特质，既在阐明又有待被阐明；就如同（通过每个作品表现出的）空间的重建及房间的概念，都在（通过“一个房间的解释学”）为世界中的存在（此在）提供真实可信的解读。。 Cruz Garcia & Nathalie Frankowski Garcia Frankowski

智先画廊

Five Rooms Guido Tesio

All menâ&#x20AC;&#x2122;s miseries derive from not being able to sit in a quiet room alone -Blaise Pascal

Hermeneutics of a Room brings together five very different artists to challenge our awareness of the ordinary. Tackled from different perspectives - with different means and different goals - the concept of the Room as a generic container - of objects, of people - unfolds in a kaleidoscope, exposing multiple ways to understand the relationship between ourselves and the objects we interact with, ourselves and the spaces we live within.

In the explicitly fabricated pictures of Simona Rota (M채cin, 1979) the relationship between the rooms and the human bodies that try to inhabit them produce emotionally charged compositions that seem to exclude any possibility of comfort; an existential struggle whose end point is grasped by one particular picture on display; the body on its way to jump out from the window. Confronted by these works, the snapshots of Camille Ayme (St. Etienne, 1983) look natural, domestic, cozy, even in the dramaticity of a hospital room, revealing a deep fascination for reality, for life in its everyday aspects. No trace of conflict, here the rooms provide the artist with nothing more - but also nothing less - than the spatial conditions for the accumulation of reality and its condensed experience. In these clearly circumscribed and protected environments, life is free to unfold and deposit traces. Life turns empty rooms into significant spaces. Conversely, challenging the idea of photography as a means to portray life as it unfolds, the picture of Matjaz Tancic (Ljubljana, 1982), suspended between hyper-realism and artifice tackle the same issues of life, privacy, intimacy and identity with a retrospective approach. In the format of the portrait, hyperrealistic and hyper-unnatural at the very same time, the room becomes a carefully arranged scenography. Packed with presences with a strong autobiographic character the room works as an archive, a repository of memoires. The tridimensional technique of the artist enhance our perception of these spaces, allowing a deeper insight into these private landscapes to detect meaningful traces and recompose the fragments of a possible identity of its inhabitants. Instead, in the rooms of Meng Zhigang (Guilin, 1975) there are no traces of human life to be found. The frame has been emptied of its content and is now exposed per-se. Are the rooms the main subject of these paintings or is it the absence of life from them? The rooms are wrapped in an aura of mystery and ambiguity that is enhanced by the visual analogy between photography and paintings, image and picture. Have these rooms just been abandoned? Or are they waiting to be inhabited? Ever conscious of the precariousness of life, these pictures seem dominated by a profound sense of death; living of the life of its inhabitants, sooner or later any room will return to be pure absence, just void. The works of James Ronner (New York, 1979) seem to investigate a similar issue of cyclicality, focusing on the objects that populate our domestic landscape, their ordinary use as well as their possible transformation and survival under different forms. Suspended in between their status of objects and their status of art pieces - literally melting one thing into the other - these works challenge a strictly utilitarian, linear and single-sided understanding of the relationship between us and our context, the objects we interact with, the spaces we live within.

Nothing but a room Felix Cruz Marcos

Hermeneutics of a Room is an open discussion about the deep nature of space, located in the Intelligentsia Gallery, crystallized in the exhibition of five different creators. Camille Ayme opens the exhibition with a series of portraits. Linked to her explorations on the fringes of contemporary society, diverse isolated individuals appear to us in a diverse domestic space. Most of them are young. The common denominator between them is an indefinable sense of intimacy. The sensual photographs of Ayme tell us a simple truth. We understand those rooms through these people that inhabit them. Through their clothes, their expressions. The human body is therefore our Rosetta Stone in this voyage, in its manifold manifestations.

Simona Rota contributes to the exhibition with part of her greatly acclaimed series “Big Exit”. In deeply balanced compositions a body escapes from a room. Rota sharply captures the divine moment in which our guide, the human body, evaporates. It moves not out but somewhere else. A white skirted woman that tries to reach the dark hole above a door. A young female absorbed by a mirrored garbage can. There is no notion of exterior space, or of an adjoining hall. Her escapes have a magical condition of disappearances. Two large canvases by Meng Zhigang continue the thread of the discussion. Both belong to his series of naked interiors. Constructed from extensively furnished pictures, these vibrant interiors convey the imprint left by its material inhabitants. They are not the deserted images of a building before its opening to the public, the soulless images of architectonic pornography. They, in subtle shadows, in barely perceptible lights, give us back the pure atmosphere, the presence, of those or that which dwells there. Like a woman’s scent. Like a disappearing echo of footsteps walking calmly away. From the charged primeval nakedness of these canvases we reach our next stop. Matjaz Tancic brings us back to the populated complexity, in his 3D photos of domestic interiors, taken in Anhui province. The extreme detail that this media captures portrays a sense of hyper-reality, an augmented dimension, exploding in its abundance. Contrasting with this exuberance, the composition of the pictures is extremely hieratic, like a bas-relief. Is this a hint towards the solid core of space, to the immutable essence of habited rooms, beyond the reach of technological multiplications? James Ronner closes the exhibition with a final observation through materialism. His work presented here is different in media and nature to all the rest. So is the disposition. Over a stacking of concrete blocks a wooden bench emerges. Over it, several handmade glass pieces stand. They are made out of reclaimed whisky bottles, so the embossing is still visible on the borders. These delicate pieces narrate the way we try to domesticate space. How we colonize it. After all the brutality of a society of mass production has passed we are allowed to go back to a room, to shelter from the noise. And from the remains of that material culture (serially produced bottles) cast as beautiful glass, we can differentiate that shelter from a bunker, and say in an unmistakable tone – “Yes, of course, this is nothing but a room.”

Hermeneutics of a Room

房间解释学

Meng Zhigang 无分别空间之光明心 No difference space－ The light of hear 布面油画 Oil on Canvas 1330x870mm 2013

Meng Zhigang 无分别空间之思辩 No difference space－ Speculative 布面油画 Oil on Canvas 1330x870mm 2013

Matjaz Tancic Timekeepers Moving 3D Photograph 300x400mm 2012

Matjaz Tancic Timekeepers 3D Photograph 1000x750mm 2012

Simona Rota Big Exit Photograph 500x400mm 2012

Camille Ayme Chambre avec vue Samanta, Laguna Nigel Photograph 500x500mm 2007

Camille Ayme Chambre avec vue Vincent, Montreal Photograph 500x500mm 2012

Camille Ayme Chambre avec vue James, Fullerton Photograph 500x500mm 2012

Camille Ayme Chambre avec vue Jessica, San Francisco Photograph 500x500mm 2007

James Ronner An Abbreviated History Recycled Bottle Glass Stemware 116x 110mmĂ&#x2DC; Wood Bench 920x210x200 Aerated Concrete Block 600x240x945mm 2013-14

Anecdotal Rooms

Annie Wang and Stephanie Lang The room is a framing device. Where the Earth gives us a horizon, architects (everybody is an architect) give us the room. A room emerges not when walls are built, but when the sensation of an edge is created. A room will always inform its inhabitants on how to occupy it; an inhabitant always exists in a room relative to its edges. Most aware of this is the politician, who must orchestrate a public image. Venue is of ultimate importance. Too large a space and the crowd is lost. Too small is always key. You want people stepping over one another to see the speaker. That is how you create excitement. Like the politician so is the artist also aware of the importance of the room. The venue determines everything about the work of art. Just imagine Duchamp’s urinal inside a men’s bathroom. Art greatly relies on the space where it’s being shown. In that sense art is all about the room. Intelligentsia Gallery has put together several artworks that make us rethink about that sensation of the creation of the edge. A series of photographs, paintings and sculptures dissect the room through the images of other rooms and the objects that are used to personalize them. Looking from one work to the other it becomes clear that we’re performing a hermeneutical reading. We see art about rooms inside a room. We try to understand the rooms, to comprehend them, to interpret them, to inhabit them. We do this by comparing the works—and the rooms in them— with each other, and by comparing them with the spaces we have archived in our memory, which serves the purpose of a metaphoric room. The interesting aspect of Hermeneutics is that, like the pure act of philosophy, it raises more questions than answers. Not only has the room come under scrutinizing observation, the critical understanding extends to the work of art that portrays the room, and even the possible interpretations given by the public. Hermeneutics makes every art work unfold endless stories, experiences, and events. Every edge created is transformed into a potential stage. Every framing device turns into anecdotal rooms.

Bio Matjaz Tancic (Ljubljana, Slovenia, 1982) Matjaz Tancic is a Slovenian photographer of the younger generation, who lives and creates between Beijing and Ljubljana. He began his path as a photojournalist for Mladina magazine, but quickly made his way abroad – Matjaz is a graduate of the London College of Fashion. His photojournalistic roots can be sensed in his fashion work as well – the endless pursuit of fresh locations and that moment of spontaneity that is the trademark of journalistic photography. Matjaz has 38 group and 10 solo exhibitions behind him, with his work being featured in magazines such as Vogue, L Officiel, Playboy, Mercedes Benz Magazine, Modna, Inspire and Look de Book. He was among the 6 finalists in the 2009 “Google Photography Prize” contest, as part of a worldwide competition of more than 3500 photographers. He is one of the leading 3D fashion photographers right now. http://www.matjaztancic.com/ Camille Ayme (St Etienne, France, 1983) 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 for cities as atypical destinies. She created there the first opus of a set of works titled 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 focuses on portraits of teenagers on a generation fed by 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 1960’s, questioning the relationship of the human body and the lines of 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/

简介 Matjaž Tančič (卢布尔雅那，斯洛文尼亚，1982） Matjaž Tančič是来自斯洛文尼亚的新生代摄影师，居住并创作于北京和卢布尔雅那。他起步于Mladina杂志的摄影记者，并迅速拓宽了道路——Matjaž是伦敦时尚学院的毕业生。他的新闻摄影背景也渗透到其时尚作品中——对新鲜场所和自发性的无限追求是新闻摄影的典型标志。 Matjaž参与过38个群展10个个展，作品遍布包括Vogue, L Officiel, Playboy, Mercedes Benz Magazine, Modna, Inspire and Look de Book等杂志。他是2009“Google摄影大赛”从全球3500位摄影者中脱颖而出的六位最终入围者之一。他目前是3D时尚摄影的前沿领导者。 http://www.matjaztancic.com/ Camille Ayme (圣埃蒂安, 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/ 蒙志刚（桂林，中国，1975）孟志刚是1975年生于桂林的艺术家，自从毕业于桂林工业大学的环境设计系，蒙志刚就迁移到北京居住并创作至今。他曾在798大库画廊和北京今日美术馆个展，并在北京、广州、上海、无锡、香港、西安、米兰、伦敦、纽约群展。深植于哲学根基，蒙志刚的绘画作品创造出对我们周围空间的心理学解剖，从他早期作品的虚构地景，到缥缈的建筑室内，到他近期作品中描绘的被剥离环境的机构大楼。混合了对打击乐和武术的痴迷，蒙志刚代表了新一代年轻富有潜力的艺术家将在中国艺坛再添一笔。 http://mengzhigang.com/

Meng Zhigang (Guilin, China, 1975) Meng zhigang is an artist Born in Guilin in 1975. After graduating from the environmental Design Department in Guilin University of Technology Meng Zhigang relocated to Beijing were he currently resides and creates his work. His work has been featured in solo exhibitions in 798 Daku Museum and Today Art Museum in Beijing and in group exhibitions in Beijing, Guangzhou, Shanghai, Wuxi, Hong Kong, Xian, Milan, London and New York. Deeply rooted in philosophical foundations, the paintings of Meng Zhigang create psychological dissections of the space that surround us, from the fictional landscapes of his early works, to the ethereal architectural interiors and Institutional Buildings scraped of context depicted in his recent paintings. Mixing percussion and martial arts to his endeavour, the work of Meng Zhigang is representational of a young generation of artists that promise to contribute to the already rich Chinese art scene. http://mengzhigang.com/ Simona Rota (Mäcin, Romania, 1979) Simona Rota studied Political Sciences in Bucharest and Barcelona and Photography in Madrid where she currently lives. By Commission of the Vienna Architecture Museum, she carried out a mission of documentation for the Museum of Architecture in Vienna, developed between 2010 and 2012, in the former Soviet republics. Her work has been exhibited at the Kursala, the Sevastopol Art Museum, the StadtMuseum Graz, the Architektur Zentrum Wien, the Museum of Modern Art of Medellín in Colombia and the Museo Nacional Centro de Arte Reina Sofia in Madrid. The work of Simona Rota has been selected and exhibited in Fotonoviembre 13, Arles Photobooks 13, Art Week Vienna 12, and SCAN 12 among others. Her work has been distinguished in national and international contests such as PHotoEspaña Descubrimientos, the Photography Award Purificación García (2012), the International Festival of Photography Emergent Pati de la Llotja, Fotonoviembre Biennial (2011), the IVth Prize for Plastic Arts of the Foundation María José Jove, the award Emergent of the Foundation Sorigué (2010), the Photography Award of the Museum of Architecture in Vienna (2009). She has published the book “Ostalgia” (Fabulatorio - Kursala, Cádiz, 2013) and Missbehave” (Vibok Works Sevilla, 2013). www.simonarota.es James Ronner (New York, USA, 1979) Born on December 31st 1979 in Tarrytown, New York, James Ronner is an American sculptor currently based in Beijing. He received his BS from Tulane University in Sculpture and Genetics in 2005 and completed his MSc in Molecular Biology in 2006. James has been teaching Venetian and Scandinavian Glass blowing techniques since 2001 and is currently a lecturer at Tsinghua University. He has exhibited his work in the US and abroad including Shanghai Art 2013 & 2012, WCO Beijing Design Week 2013 and the Boston Museum of Science. http://jamesronner.com/

Simona Rota (Mäcin, 罗马尼亚, 1979) Simona Rota在布加勒斯特和巴塞罗那学习政治学，在马德里学习摄影并生活至今。受维也纳建筑博物馆委托，她在2010至2012年间承担了为维亚纳建筑博物馆在前苏联提供文献记录的任务。她的作品曾于the Kursala, the Sevastopol Art Museum, the StadtMuseum Graz, the Architektur Zentrum Wien, the Museum of Modern Art of Medellín in Colombia, the Museo Nacional Centro de Arte Reina Sofia in Madrid展出。其作品还被收录和展出于Fotonoviembre 13, Arles Photobooks 13, Art Week Vienna 12, SCAN 12。她的作品曾在各大国内国际竞赛中脱颖而出，诸如PHotoEspaña Descubrimientos, the Photography Award Purificación García (2012), the International Festival of Photography Emergent Pati de la Llotja, Fotonoviembre Biennial (2011), the IVth Prize for Plastic Arts of the Foundation María José Jove, the award Emergent of the Foundation Sorigué (2010), the Photography Award of the Museum of Architecture in Vienna (2009)。出版书籍包括“Ostalgia” (Fabulatorio - Kursala, Cádiz, 2013) 和 Missbehave” (Vibok Works Sevilla, 2013)。 www.simonarota.es James Ronner （纽约，美国，1979）生于1979年12月31日，纽约塔里敦，James Ronner是一位目前定居北京的美国雕塑家。他于2005年在美国杜兰大学获得雕塑与遗传学学士，于2006年获得分子生物学硕士。James曾于2001年起传授威尼斯及斯堪的纳维亚玻璃吹制技术，现就任于清华大学讲师。他的作品曾于美国及海外展出，包括Shanghai Art 2013 & 2012, WCO Beijing Design Week 2013 and the Boston Museum of Science。

Intelligenstia 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.cargocollective.com/intelligentsia intelligentsia.gallery@gmail.com

Acknowledgements Intelligentsia Gallery would like to thank everybody involved in the realization of this exhibition. Without the enthusiasm of Zhang Yanping, Hao Chen, Joao Dias Pereira, Laura Gil Santana, Felix Cruz Marcos, Guido Tesio, Christian Melz ‘Experiments on Form’ wouldn’t be possible. 致谢智先画廊感谢以下诸位对实现此次展览的帮助：陈昊, 张燕平, 陈玲, 喻亿华, Joao Dias Pereira, Laura Gil Santana, Felix Cruz Marcos, Guido Tesio, Christian Melz。你们的热情使“形式实验”成为可能。