Intelligentsia catalog 3 by Intelligentsia Gallery

INTELLIGENTSIA GALLERY 智先画廊

DIALECTICAL TERRITORIES: LANDSCAPES AND ABSTRACION 辩证性场域: 景观与抽象 TROYKA UNION ANASTASIA SOBOLEVA OLGA RODINA LENA TSIBIZOVA LI WEI 李威 LAURA GIL SANTANA GARCIA FRANKOWSKI CRUZ GARCIA NATHALIE FRANKOWSKI

20 April 2014 2014 年 4 月 20日

Dialectical Territories: Landscapes and Abstraction Intelligentsia Gallery is thrilled to present the group exhibition Dialectical Territories: Landscapes and Abstraction, including works by Olga Rodina (Moscow, 1982), Anastasia Soboleva (Kostroma, 1989) and Elena Tsibizova (Moscow, 1988) of Troyka Union; Li Wei (Harbin, 1979); Laura Gil Santana(Madrid, 1985); Cruz Garcia (San Juan, 1983) and Nathalie Frankowski (Dundee, 1985) of Garcia Frankowski. With artworks that range from photography, to painting and sculpture, the exhibition challenges the territorial boundaries that often stand between Landscapes and Abstraction in the realm of contemporary art. Because of their romantic implications these two concepts are usually presented in terms of contrast: Landscapes depicting contextual scenes versus abstraction as the dematerialization of the world around us. However, upon closer inspection, contemporary photography, painting and object-making have the capacity to transform each subject into its opposite, surrogating meaning and possible interpretations. Pure feeling becomes panoramic scenery, oblique cityscapes bands of colour and visual textures. In this process of transgression, Intelligentsia Gallery becomes an exploratory field for dialectical transformations. Whether the product of cultural and ethnographic research or of an archaeology of our minds, the works in the exhibition shift our focus from nature, to the city, to matter, to feeling, as landscapes become and stand in contrast to abstractions, and the immaterial becomes sublime. Intelligentsia Gallery

辩证性场域: 景观与抽象智先画廊呈现给大家这组令人激动的群展，辩证的场域：景观与抽象。参展艺术家包括Li Wei (哈尔滨, 1979); Olga Rodina (莫斯科, 1982), Anastasia Soboleva (科斯特罗马, 1989) and Elena Tsibizova (莫斯科, 1988) of Troyka Union; Laura Gil Santana( 马德里, 1985), Nathalie Frankowski ( 邓迪, 1985) and Cruz Garcia (圣胡安, 1983). 涵盖了摄影、绘画和雕塑，展览试图挑战当代艺术中景观与抽象之间通常存在的领域界限。因为两者不同的浪漫含义，这两种概念经常以对比的形式出现：景观是对文脉性场景的描绘，与之相对，抽象是对我们周遭世界物质性的抽离。然而，如果近一步审视当代艺术，会发现摄影、绘画和物体创作都具有被推向其研究主体之对立面的潜力，展现的意义和可能的诠释从而被更换。对纯粹感觉的描绘变成全景式的风景，倾斜的城市景观被非物质化为彩色条纹和视觉肌理。在这场正逐渐展开的越界中，智先画廊成为探索辩证性转型的试验场。无论是作为文化和民族研究，或是作为思维考古学的产物，此次展览中的作品将我们的焦点由自然转向城市、物质与感觉。景观既能转变为抽象又能保持与之相对，非物质性的表现也可以形成壮丽的风景。

智先画廊

As Far as the Eye can See Sophie Salamon

The field of vision has always seemed to me comparable to the ground of the archaeological excavation. -Paul Virilio Dialectical Territories presents works dealing with the intersection of photography and abstraction; a compelling field that explores spheres between the external world and subjective vision, reframing landscapes through a series of straight lines and geometrical planes. This kind of abstracted practice, in conjunction with the minimalist installations presented in the exhibition, exposes us to the ambiguously simple procedures that operate within our minds; constituting the dualism between observing and viewing, reception and reaction. It has been argued that straight lines do not exist, that they are an over-simplified illusion generated by our brainâ&#x20AC;&#x2122;s capacity for spatial reasoning, and that this process of perceiving boundaries is conditioned by the type of physical environment we inhabit, imposing itself onto our most basic modes of conceptualization. Precisely this tension can be effectively visualized and communicated through the medium of photography; a practice that introduced a kind of mechanized, artificial distance, enabling us to reconsider who or what the subject(ive) is.

Simply put, straight lines allow us to perceive outlines, to distinguish between the ‘end’ of object A and the ‘beginning’ of object B, translating them into Subject A and Subject B. Indeed, daily life is saturated with the straight line, there is the interplay between light and shadow, there is human effort resulting in the intricate geometries of the spaces we inhabit, the technology we use; and yet the line remains illusory, allusive - an illusion of control and categorization. So where does the mechanism reside that tricks us into seeing the straight line - wanting to see it - yearning for this conditioned clarity of shape and boundary? Spatial reasoning aside, the eye is our innate camera obscura, projecting an interpretation of reality onto the brain, imbuing it with meaning through personal memory and experience. Constantly consuming images, angles, shapes, colours - the eye tirelessly converts these into electrical impulses, weaving the visual into the visceral. As photography concocts visualized abstractions of light impulses on a screen, we are confronted with the processes of simplification and categorization that operate within our mind. Often too readily consumed, this kind of image perception is what art critic Jonathan Crary refers to as ‘subjective vision’ - a process of conceptualization that came to its fore with the dawning of the 19th Century. It is difficult to assess the complicated relationship between viewer and viewed, no less so in the realm of photography. However, what may be said with some certainty is that the viewer invariably influences that which is viewed, imposing on it a subjective vision, smothering it with subjective narratives. Each individual observer will make use of his or her customized set of memories and experiences in order to decode that which lies ahead, both temporally and visually. This premise is at the core of Crary’s concept. The intersection between photography and abstraction has the potential to push its audience beyond the passivity of such experiential processes, opening up a sphere for self reflective discourse, provoking the artifice of the (re)presented into allowing us to experience critical immersion. Distance (re) creates criticality. This is conceptual distance from nature as embodied in the abstract expression that layers itself atop an image, the effect and consequence of which can be observed in some of the landscapes presented in Dialectical Territories. Thus, it is this artificially created distance that enables us to (re)connect, to come closer - not to the world but to the subjective vision that imbues simple electrical impulses in our brain with unique meaning; dismantling the deceptive simplicity of the straight line and exposing modes of conceptualization within us and without us.

Olga Rodina Karelia 2012

Dialectical Illusions I donâ&#x20AC;&#x2122;t have a lot to say concerning the country: the country doesnâ&#x20AC;&#x2122;t exist, itâ&#x20AC;&#x2122;s an illusion. -Georges Perec, The Countryside What is there to say about something that in itself is an illusion? How to deal with the concept of landscape, the countryside, the romantic view of the land and the city in the 21st century? At the same time, how to rethink the concept of abstraction after the recognition that every medium of representation is at the end of the day just that: a medium of representation. Is there something to say regarding landscapes and abstraction in contemporary art, now that every motif of discussion is possible? When trying to recapitulate the evolution of landscape representation in contemporary art, including mediums that range from photography to film one cannot avoid thinking of a certain process of abstraction in which the space depicted is reduced into its representation, or more precisely, into a projection of a certain moment in time about a particular setting. Photographing, painting, drawing a landscape implies a certain interpretation of what is being portrayed, leading more often than not, to a process of synthesis, amplification (often by reduction) and, unequivocally, abstraction.

Dialectical Territories implements both, landscapes and abstraction, and offers ground where each concept can confront the other and to a certain extent become each other. Territorial transformations occur as paintings, objects, and photographs and stand either in sharp contrast or in sublime resemblance to one another. Intelligentsia Gallery becomes a cartographic experiment, a map of landscapes that traces geographical connections from Murmansk to the subconscious territories of the imaginary. Although the works presented in the exhibition are fairly new (the oldest one being a photographic series by Olga Rodina dating from 2012), the issue addressed concerns the history of art, especially that of painting and photography. The question of a possible dialectic between landscape and abstraction was addressed for instance in the works of Caspar David Friedrich or, in his later days, by Kazimir Malevich. In this process of stripping nature of its context and creating a window that always looks at a precise instant in time, either real or artificial, landscape gradually merges into abstraction. This phenomenon of dematerialization resonates particularly in the work of Troyka Union, a Moscowbased collective of artists, or in the paintings-as-erasures of Li Wei, one of the promising contemporary artists in China, working in the landscape motif. It is precisely the work of Caspar David Friedrich ‘The Monk by the Sea’ (c. 1809) whom the Russian artists seem to deliberately summon as a conscious appeal towards landscapes as abstractions. Olga Rodina’s picture of a priest by the sea in Karelia, with its blue-tinted skies, irrevocably echoes Friedrich’s romantic landscapes in which the viewer is immersed in a sublime natural spectacle. This reference creates a prologue that sets the tone of the topics discussed in the exhibition while establishing a connection with the history of landscape representation in art. Rodina’s series of snow landscapes in Pereslavl-Zalesski can also be interpreted as the most obvious link to complete abstraction through the medium of photography; snow painted as unrecognizable landscapes, a group of trees like brushstrokes of wind-blown snow, homogeneous surfaces, etc. Dramatization is lost by achieving harmony in complete isolation, as by a gentle gradient in which nature is painted into an abstract picture where nothing is discernible. All is covered, painted, disguised, and transformed into the other. Dialectic as consummation, Rodina photographs the winter landscapes as abstraction. Anastasia Soboleva’s photos of the Siberian town of Tomsk create rhythmic compositions where grass and sky form two horizontal bands, reminding us that framing and cropping can make the most commonplace element of nature evaporate into oblivion thus giving way to a new reality. Something perversely calm emanates from these pictures, as the world disappears in a sudden rupture between ground and sky, earth and heaven, between the graspable and the immaterial. Soboleva’s photographs are dialectical in themselves. Always split into two parts, they depict clouds appearing and disappearing, changing

gradients, different shades of blue skies, grass and corn fields, different natural elements which make each composition unique. One can argue that although all the romanticist elements are present, the systematic approach makes the images — in the possible terms ofa German art historian — a form of ‘un-romantic Romanticism.’ Elena Tsibizova’s work offers a more challenging reading when presented in the context of this exhibition. Her photographs don’t disguise context. The scenes are no longer washed away by the abstractionist power of snow, or zoomed in into the unrecognizable familiarity of generic nature. In one of her Moscow pictures, a series of soviet housing blocks create a visual fence that splits the picture into two halves, as if deliberately obstructing the visibility of the ‘cityscape’. The pictures are taken in the Russian capital, but it could be in Beijing, just behind the premises of Intelligentsia Gallery. In one of her other photos an urban deer stares back at us. His fur looks crisp and his expression cold and defiant, as if confronting our reading of these photographs. What is left is a force to be reckoned with. We have invaded his territory. Not every landscape is a deliberate form of abstraction. The deer reassures us that there is a dialectic between abstraction and landscapes, that although the dividing line might not always be obvious, it still exists. This photograph resonates with her other landscapes in the show. One of the photos has been taken in Murmansk. It depicts a mountainous background, with a bus stop in the middle. Like the deer, the bus stop is a recognizable form; it is not hidden from us, neither dematerialized into the domain of abstraction. Its straight contour lines contrast abruptly with the sinuous mountains in the backdrop. However, in spite of the familiarity of the objects in the image, the composition and layout of the picture, the shape and centric location of the bus stop makes us think of Malevich and his last struggle with the dialectic of landscape and abstraction illustrated in his painting Red House (1932). The bus stop and its Malevich recollection empathize with a set of works by Garcia Frankowski. Horizontal Composition with a Red Square is painted at the back of a wood paneled stretcher. The usual canvas material is substituted by wood, the frame is inverted creating four frames or four “windows” that allow us to peek into this landscape of continuous bands structured repeatedly in relation to the vertical wooden elements. Asingle red square inhabits the landscape as if echoing Tsibisova’s bus stop picture, or the aforementioned Red House painting of Malevich, a reference which can also be found in their work with objects. Two white pedestals stand in the middle of the gallery, each one displaying black painted wooden blocks, either cubes or rectangles, perfectly aligned and organized into two different compositions. Recalling the imagery of silent spectators, the wooden blocks occupy unevenly the surfaces of the stands as if the white space that is left was an open invitation for their further progression. . In the work exhibited here, the artist Li Wei, having previously worked on vernacular landscapes, finds this time a medium that challenges both the most traditional landscape paintings and painting itself. The

picture is not drawn; the paper isn’t colored. The landscapes she composes are made solely with strips of carbon paper. Painting is avoided, and the most traditional methods of landscape representation are substituted as the image emanates and rises to the surface. The carbon paper is self colored. Blue and red is scrapped giving access to glimpses of landscape scenes. Carbon paper, a material commonly used and frequently discarded acquires a real protagonism by becoming not only the surface of artistic expression, but the essential part of the composition. This medium usually hidden between two sheets of paper turns therefore independent and symbolizes the main feature of a new form of landscape painting that continues a legacy while simultaneously making a new contribution to an ongoing discourse.

Mapa en Blanco, an ongoing project of Laura Gil Santana, seems to capture the strength and narrative power of wild landscapes. As rocky scenery unfolds endlessly through the camera lens, vivid compositions of grass and water convey the feeling of being the sole witness of the last untouched landscapes. Natural no-man’s land, the abstract character of the photographs comes from the hostility of the places and from the roughness of their topography. The endless landscapes seem to bear no traces what-so-ever of any settlements or human intervention. The white skies fade into the fog detaching the components from their ground. The absence of tangible references turns the landscapes into natural elements so untamed that they become pure romantic abstractions; in a sense following the tradition of artists that invite the viewer to participate in a transcendental natural spectacle. Exposing the gap between image as representation and representation as image, the works exhibited in Dialectical Territories delve into the conflictive nature of landscapes and abstraction. Either stunning images of nature and cityscapes, or bands of color and geometric objects seem at ease on either side of this battlefield; it’s only when put next to each other that questions about the nature of the work of art and what it represents emerge. The square photographs of Troyka Union, the drawings-as-negatives in the blue and red carbon paper of Li Wei, the painting and object compositions of Garcia Frankowski and the photographic no man’s land of Laura Gil Santana are thrown up together and/or against each other in this struggle. Dialectically unavoidable communicating by the eye of the visitor, the works offer us the possibility to redefine and endlessly question the role of two of the pillars of image representation. It makes us wonder that even if this dialectic didn’t exist, we can still talk about illusions.

Dialectical Terriories: Landscapes and Abstraction

辩证性场域: 景观与抽象

Elena Tsibizova Troyka Union Murmansk Photograph 500x500mm 2013

Elena Tsibizova Troyka Union Moscow Photograph 500x500mm 2013

Olga Rodina Troyka Union Pereslavl-Zalesski Photograph 500x500mm 2012

Anastasia Soboleva Troyka Union Penza Photograph 500x500mm 2013

Li Wei Horizon 13 地平线13 Red and Blue Carbon Paper 红蓝复写纸 750x1430mm 2012

Li Wei Faint Scent 细细香 Red and Blue Carbon Paper 红蓝复写纸 660x830mm 2012

Li Wei Shadow of Haunting 离离影 Red and Blue Carbon Paper 红蓝复写纸 660x830mm 2013

Li Wei Horizon 15 地平线15 Red and Blue Carbon Paper 红蓝复写纸 630x730mm 2013

Li Wei A tuft of leaves 团团叶 Red and Blue Carbon Paper 红蓝复写纸 650x750mm 2013

Garcia Frankowski Horizontal Composition with Red Square Oil and Gesso on Wood 600x2000mm 2014

Garcia Frankowski Islands Oil pain on Wood Blocks 50x50mm 50x70mm 50x100mm 2014

Laura Gil Santana Mapa en Blanco Digital Print on Cotton Paper 300x200mm 2012

Laura Gil Santana Mapa en Blanco Digital Print on Cotton Paper 500x400mm 2012

Murder was the Case Guido Tesio

Soon man will land on Mars. Nevertheless, as we continue to develop available geographic territories, we progressively lose touch with any sense of the natural environment. After the vanishing of the romantic distinction between natural and artificial the boundary between reality and illusion has also been blurred. With the digital revolution, “Reality itself has been murdered”.[1] * “When reality is not what it was, nostalgia assumes its full meaning”[2]. The generation that first experienced “the disappearence of reality” developed a whole mythology of the fall; its sense of guilt produced innumerable restorative narratives about possible returns to Nature. A panic stricken desire for the original - the “Real”- to prevent our world from collapsing, succumbing to its supposed reality deficit.

As a result, here and there, portions of wilderness as well as entire cities started to be protected, which is to say that, from now on, they could have been understood only as alternatives, exceptions. Held in captivity landscapes stopped being natural. As quarantined areas of innocence,landscapes became holiday. Tropical screensavers started to remind us of our alienation. * The narrative about our definitive detachment from Nature, as well as the nostalgic mythology of its resurrection, is a typical by-product of modern thought, of its obsession for clarity and coherence, of its rejection of any form of ambiguity and opaqueness. On one side total artificialization, the city, on the other side uncorrupted nature. “Supremely inorganic, the organic is the generic city’s strongest myth”[3] * The artists selected for the third exhibition of Intelligentsia Gallery -Dialectical Territories: Landscapes and Abstraction _belong to a generation that did not experience the trauma of the ultimate detachment from the principle of Reality - with all the self-evidence and the material inertia that the concept implies - but grew up in what came immediately after: a new era of abstraction and indifference, of definitive erasure of specificity: the era of the generic. An era in which everything is ultimately reduced to communication flow. Rootlessly free to move from anywhere to anywhere. Encountering no resistance, leaving no traces. Mainly kids of the 80’s, the artists on display abandoned any moralistic and politically correct point of view - the ecological lament for the betrayal of Mother Nature, the cult of the origins, of inviolate and culturepreserved environments - and without nostalgia and a certain degree of disillusion moved forward starting from a new and truly post-modern “awareness of the relative and thereby exchangeable nature of all claims to truth” in order to challenge monolithic and reductive understanding of what our landscape, our reality in all its expressions, is and could be. The works that structure “Dialectical Territories: Landscapes and Abstraction” are not trying to resist the overlapping of concepts such as reality and illusion, matter and image, natural and artificial, description and abstraction, through the imposition of rigid borders but are instead, intended to fully exploit the contemporary potential for their multiplicity of superimposition and interchangeability. ________________________________________ [1] Jean Baudrilliard, The Perfect Crime, 1995 [2] Jean Baudrilliard, Op. Cit. [3] Rem Koolhaas, The Generic City, in SMLXL, 1995.

An ode to Landscapes and Abstractions Daniel J Furth

Dialectical Territories presents works dealing with the intersection of photography and abstraction; Are abstractions fragments formed through a process of reduction, of distillation -- whether it be a concept or observable phenomenon? Are these fragmented shards subordinate concepts that fit within the canvas -- the landscape? Do they otherwise lack the framework that lends them relevance and purpose? Might the definition be expanded to mean a foundation of abstraction from which to add, to reduce, to amend? Likewise, must landscapes necessarily remain a backdrop, a container of the abstract? Might surreal landscapes fit most comfortably within abstracted context? Does such a duality indeed exist? When the borders between the two melt and definitions fall away, the possibilities of which is containing or framing the other is no longer relevant. Itâ&#x20AC;&#x2122;s within this undefined space that new perceptions are possible.

新场所

Lingbo Liu

The form of an object is always its being-formed by me, by my inner activity. It is a fundamental fact of all psychology, and most certainly of all aesthetics, that a “sensuously given object,” precisely understood, is an unreality, something that does not, and cannot, exist. In that it exists for me-and such objects alone come into question-it is permeated by me activity, by my inner life.’ This apperception is therefore not random and arbitrary, but necessarily bound up with the object. -Willhelm Worringer, Abstraction and Empathy 在艺术家Laura Gil Santan的作品中，风景已经已经不再只是仅仅满足人类对周围环境的美的诉求存在。在这里，人们记忆与常识中的气，草，天，地有自己的属性与质感，并且重新被艺术家的视角与经验组合在一起。在Laura的摄影中，各个物质已经在镜头里重新被命名。甚至，观众无法识别“这里”究竟是属于哪里。这里，即微妙的组成了一个似乎与人类社会相类似的小世界：混合，矛盾，相融。另外，时间总是会让人们看到物质的千变万化，艺术家恰巧捕捉到了在特定时间下，自然呈现出的不同寻常的色彩。 Elena Tsibizova的摄影话题关照的是与我们居住环境息息相关的。尽管影像中没有出现人物，但是却仍然可以通过可见的建筑，动物或是闲置的景观装置以及风景看到人类生存的痕迹。作品中传达出一种在城市与自然景观的边缘感，并使观看者可发生更多的对可见的以及隐藏的地点甚至額外物種的探索意识。比起自然带来的唯美景观，Elena更关心的是人类如何将自身置于周围的环境中，这种紧张感与相互依存感在艺术家的镜头下表现的十分微妙。 Garcia Frankowski把诗歌，建筑，景观以极简的几何形体表现出来。这些形体是对事物形而上学的当代诠释，通过平实的，黑白的，规则的图像构成了对空间自身的无限延展。并且，空间被艺术家进行有意识的结构上的分割以后，会使观众体验到艺术与科学所带来的美学。但是，仅仅说这些空间是几何图形的自我衍生还是不够的。因为对Garcia Frankowski而言，它们更是他个人的记忆产物。他将景观在现实中甚至在无意识状态下所呈现的，被幻想的影像储存在记忆中，然后通过自己的语言再次显现出来。那些在画面中空白的部分，或许是艺术家缺失的一部分记忆。

Bio Troyka Union (Moscow) Troyka is a creative union formed in 2012 by artists Olga Rodina (Moscow, Russia, 1982), Anastasia Soboleva (Kostroma, Russia, 1989), and Elena Tsibizova (Moscow, Russia, 1988). Created as a cultural and ethnographic research project, Troyka Union explores Russia and post-Soviet territories, eager to solve the issues of cultural and epoch interaction in present context (both from Russian and global perspectives). Recent exhibitions include Between Heaven and Earth at the Rizzordi Art Foundation in St. Petersburg with the support of Triumph Gallery, Russian Export at 55 Sydenham Road in New South Wales, Le nostre mura at Museo Casa Giorgione in Castelfranco Veneto and Troyka Personal Exhibition at Artplay Design Centre in Moscow. www.troykaunion.org Li Wei (Harbin, China, 1979) Li Wei was born in Harbin in 1979. After completing her studies at the High School of the China Academy of Art in Hangzhou, she graduated from the Oil Painting department of the Nanjing Institute of the Arts and obtained a Master Degree from the Mural Department of the Central Academy of Fine Arts in Beijing winning the first prize of the Graduation Exhibition. Recent solo exhibitions include On the Horizon (2013) at Art+ Shanghai Gallery, Matter of the Invisible at In-Shine Gallery in Beijing and at Life of Circle Art Space in Hong Kong, Winding at Beyond Art Space in Beijing, as well as her touring exhibition Complicated showcased at Today Art Museum in Beijing, Gefeng Contemporary Gallery in Shenzhen and at the Nantong Central Art Museum. The work of Li Wei has been part of group exhibitions in Beijing, Shanghai, Hangzhou, Taiyuan, Hong Kong, Beirut, Denver, Washington, London, Paris, and is part of the collections of the Guan Shan Yue Art Museum, Nantong Central Art Museum, the Deutsche Bank Collection and the DSL Collection. www.liweistudio.com

简介 Troyka Union （俄罗斯） Troyka是成立于2012年由艺术家Olga Rodina (莫斯科, 1982), Anastasia Soboleva (科斯特罗马, 1989), and Elena Tsibizova (莫斯科, 1988)所组成的创意团体。致力于文化及人种学研究项目，Troyka Union探索俄罗斯及后苏联领域，积极解决当下语境中文化与时代交互的问题（同时从俄罗斯和全球化的视野出发）。近期的展览包括，由Triumph画廊支持，在St. Petersburg，Rizzordi艺术基金会所举办的“位于天堂与地球之间”；在New South Wales，55 Sydenham Road举办的“俄罗斯出口”；在Castelfranco Veneto Museo Casa Giorgione所举办的“我们的墙”；以及在Moscow, Artplay设计中心所举办的Troyka私人展览。 http://www.matjaztancic.com/ 李威（哈尔滨，中国，1979）李威1979年出生于哈尔滨。曾就读于杭州国美高中，南京艺术学院油画系，她于北京中央美术学院壁画系获得其硕士学位，并获得毕业展览一等奖。近期的个展包括在上海Art+画廊的“水平之上”（2013），在北京In-Shine画廊和香港Life of Circle艺术空间的“不可见物质”，在北京Beyond Art Space的“缠绕”。同时，她的个展“复杂”巡回展览于北京今日美术馆，深圳格丰当代艺术馆，南通中央美术馆。李威的作品所参与的群展遍布北京、上海、杭州、太原、香港、贝鲁特、丹佛、华盛顿、伦敦、巴黎；其部分作品被收录于关山月美术馆，南通中央美术馆，the Deutsche Bank Collection 以及 the DSL Collection。 www.liweistudio.com

Garcia Frankowski (Beijing, China) Garcia Frankowski is an art group founded by Puerto Rican artist, architect, author and theorist Cruz Garcia (San Juan, Puerto Rico, 1983) and French artist, architect, poet and theorist Nathalie Frankowski (Dundee, Scotland, 1985). They are also co-founders of Beijing-based WAI Architecture Think Tank. The work of Cruz Garcia and Nathalie Frankowski has been exhibited in solo and group exhibitions around the world, including at the Museum of Modern Art (MoMA) in New York, the Vitra Design Museum in Weil am Rhein, Intelligentsia Gallery in Beijing, the Centre for Chinese Contemporary Art (CFCCA) in Manchester and in shows in Barcelona, Madrid, London, Beijing, Paris, San Juan, Porto, Lisbon, Tokyo, Osaka, Melbourne, Sydney, Shanghai, Helsinki, Chicago, Buenos Aires, Santiago de Chile, Montevideo, Prague, Bratislava, Milan, and Los Angeles. www.cargocollective.com/garciafrankowski Laura Gil Santana (Madrid, Spain, 1985) Laura Gil Santana is a Spanish architect and artist, graduated from the Superior Technical School of Architecture of Madrid. In 2003 starts the still ongoing project Mapa en Blanco, an attempt to capture the elusive condition of dissolution, emptiness and abstraction in landscape and urban photography. This project has led her to register dying constructive techniques in Castilian villages, blurring or disappearing identity conditions in the Mediterranean cities and the unintended coexistence of layers of meaning in abandoned towns of Asia Minor. Currently, she extends Mapa en Blanco through the Asian Anti-Metropolis, exploring the multiple relations to its immediate, quickly shifting territory. www.cargocollective.com/mapaenblanco

Garcia Frankowski (中国) Garcia Frankowski 是由波多黎各艺术家、作家、理论家Cruz Garcia (圣胡安, 1983)与法国艺术家、建筑师、诗人、理论家Nathalie Frankowski (邓迪, 1985)共同创立的艺术团体。他们同时也是位于北京的WAI Architecture Think Tank的联合创始人。Cruz Garcia与Nathalie Frankowski的个展与群展遍布全世界，包括美国纽约当代艺术博物馆，德国维特拉设计博物馆，北京智先画廊，曼切斯特中国当代艺术中心。其被展出的城市涵盖了巴塞罗那、马德里、伦敦、北京、巴黎、圣胡安、波尔图、里斯本、东京、大板、墨尔本、悉尼、上海、赫尔辛基、芝加哥、布宜诺斯艾利斯、智利圣地亚哥、蒙得维的亚、布拉格、布拉迪斯拉发、米兰和洛杉矶。 www.cargocollective.com/garciafrankowski Laura Gil Santana (马德里，西班牙, 1985) Laura Gil Santana是一个西班牙建筑师和艺术家，毕业于马德里理工（ETSAM)。“空白地图”是一个持续进行的项目，不断探索空白与抽象在景观与城市空间中的状态。她的项目引导她探索了地景中更广阔的领域，从沙漠到城市景观，从西班牙到土耳其。 www.cargocollective.com/mapaenblanco

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 Ronald Frankowski, Kyle Nan, Zhang Yanping (Diego), Janson Zhang, Hao Chen, Amanda Wang, Lingbo Liu, Joao Dias Pereira, Li Shan, Amanda Wang, Guido Tesio, Sophie Salamon, Christian Melz ‘Dialectical Territories: Landscapes and Abstraction’ 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：小静, 张照松, 南开, 李珊, 张燕平, 陈昊, Ronald Frankowski, Joao Dias Pereira, Laura Gil Santana, Felix Cruz Marcos, Guido Tesio, Sophie Salamon, Christian Melz。你们的热情和帮助使“辩证性场域:景观与抽象”展览得以实现。