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PAVILION OF COMRADES 同志之亭 LIN KE 林科 PUSSYKREW WILLIAM LEE LU YANG 陸揚 OLIVER HAIDUTSCHEK THE COLLECTIVE ADA SOKOL BEATA WILCZEK
INTELLIGENTSIA GALLERY 智先 画廊
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PAVILION OF COMRADES 同志之亭 LIN KE 林科 PUSSYKREW WILLIAM LEE LU YANG 陸揚 OLIVER HAIDUTSCHEK THE COLLECTIVE ADA SOKOL BEATA WILCZEK
7 November 2015 2015 年 07 月 11日
Pavilion of Comrades Intelligentsia Gallery is thrilled to present ‘Pavilion of Comrades’, a group exhibition with works by Pussykrew, William Lee (b.1985 Beijing, China), Oliver Haidutschek (b. 1976 Vienna, Austria), Lin Ke (b. 1984 Wenzhou, China), Lu Yang (b. 1984 Shanghai, China), The Collective (f. 2015 Beijing, China), Ada Sokół (b.1994 Wrocław, Poland) with Beata Wilczek (b. 1986 Wroclaw, Poland) . Identity politics and the iconography of structures of power are two ubiquitous conditions of the contemporary. Strategies and methods of production create an even field of exploration in which the artist, thinker, actor, and creator share questions, observations and speculations about the characteristics of our time. ‘Pavilion of Comrades’ reflects on identity politics in the age of digital exchange of information and virtual mediums of production and communication. Following Boris Groys questions on the contemporary, the exhibition challenges the notion of art creation, curation, and diffusion while proposing a form of pavilion that looks beyond the limits of physicality, matter and latent conditions of production, discourse and consumption of art creating a domain of comrades of the contemporary. Curated by Garcia Frankowski, the first China-based Pavilion of the The Wrong (Again) New Digital Art Biennale presents Video, Installation, and objects both as online territories and as physical installation forming a pavilion of comrades. Intelligentsia Gallery
同志之亭 智先画廊隆重呈现群展“同志之亭”。参展艺术家包括Pussykrew, William Lee, Oliver Haidutschek, 林科 , 陸揚, The Collective, Ada Sokol, Beata Wilczek。 身份认同政治与图像的力量是普遍存在于当代的两种状态。当代的生产策略与生产方式创造了平均的探索 场，使艺术家、思想家、演员、创作者得以分享上述提到的关于我们时代特征的问题、观察以及推测。 “同志之亭”，探讨了在当下这个依赖数字信息交换与虚拟媒体生产交流的时代，身份认同政治的意义。顺应 Boris Groys对当代性的质疑，展览挑战了艺术生产、策划与展览的概念，并提出一种超越其物理、物质与 条件局限的亭子原型，创造出一个与当代性为伍的领域。 由Garcia Frankowski策展，The Wrong (Again) Digital Art Biennale的第一个中国馆展示了一系列同时涵盖 线上虚拟与实体装置的影像、装置与物件，形成这座同志之亭。
智先画廊
49 Wrong Questions Christopher Rey Perez
What is the foundation upon which we erect the pavilion? Besides pus, blood, yolk, glair, and phlegm, will matter extoll less dialogic, confessional, and epicurean forms? How to push into unreal sculpture without submerging into raw idealism? Does the bestial show its hand at virtual norms? What to do with all these cells? Who is in the hearse and how fast is it proselytizing Baudrillard’s pataphysics? How can futurist perceptions of gender evade binaries when code itself seems left without a neuter? Why do some people talk about emotions as if they’re not the best of fiction? How do I envelop within varying representations of revolution at a fast enough frame rate? Is our articulation of society just a screenshot of its own information system? What to do with the fact that Alan Turing worked for the military—and more gravely, what to do with the military as primary fountainhead of technology? Are our onscreen choices reductive inasmuch as they expose a program of relation? At what resolution do we best imitate the aesthetic experience? In what ways has irony totalized ipseity? Does installation predate the architecture of ruins, like a hard drive full of memory trying to stay afloat? Is rejection of the digital alarmist or just an excess of emergency?
If the Sunflower Manual is read as a technê, did Dongfang Bubai become transhuman? What will replace both YouTube and Vimeo for the online exhibition of video? Can a computer’s aptitude for deviance simulate bodies at play? How to provide a space for the deinstrumentalization of technology? Will technogaians endorse Nendo Digital? Is art production a technological gesture, and by that I mean a mold of recurring human activity? How to create an online happening? What use remains of mail art? How much of this do we owe to Plato’s cave? What happens when these “jumping molecules constant revolt” are understood, like L.F. Céline’s use of hyperbole, as unconventional—and yet influential—style? Has painting always been a liminal activity designed to negotiate our relation to the screen? How much do I feel we are entering the era of computational affectivity? To what extent do trends both inhibit and manifest the contemporary’s possibility of defragging its own contemporaneity? Does digital art work toward utopia or dystopia, or does it exist outside this dichotomy as non-society or even as inadvertently ineffectual for conceptualizing futurity? What are some Third-Worldist takes that necessarily exclude beaches, fashion, and the .wav form? Am I delusional or at 9:02 did I see a version of Todd 364 from Soldier (Warner Bros. 1988)? If we examine the full title under which Robinson Crusoe was published—The Life and Strange Surprizing Adventures of Robinson Crusoe, Of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having
been cast on Shore by Shipwreck, wherein all the Men perished but himself. With An Account how he was at last as strangely deliver’d by Pyrates—do we begin to redact the functionality of a desktop? Is the question What Would F.T. Marinetti Do (WWMD) the height of anachronism or another ironic defeat of historical relativism? Wherein lie PornHub, XVideos, and the rest of Internet porn? Is the participation of my avatar political enough? In what ways am I thinking of Hito Steryl’s thoughts on the poor image (Comrade, what is your visual bond today?)? Will Bitcoins hold the ultimate purchasing power for art? What are the names of the folders and subdirectories that store these works? Is language the final abstraction of the virtual? Does criticality make an art practice feel human in the face (Latin: facies—form, appearance, face) of its own (perhaps lack of) market value? Will e-commerce ever not necessitate the corporeal? What happens when narrative immersion becomes the endgame of modeling unreal space? If I’m thinking of the iconography of the popular, what to do with high art’s appropriative tendencies? What is the relationship between this new territory of the non-physical’s subsistence on visuality and the self-conception of the nation via the mapping of the colony? Do androids dream of black bodies in space? What happens when Who am I only answers to the acculturation of globalized tastes? Are digital art and object-oriented ontology ideal bedmates? How do we reduce our lag with far-off comrades laboring in the jungle of the real?
PAVILION OF COMRADES 同志之亭
Ada Sokol with Beata Wilczek Nendo Pigment Print on Paper 42.0 x 59.4cm 2015
Oliver Haidutschek Channel 5 Pigment Print on paper 33 x 18cm 2015
Lin Ke 林科 Robinson Crusoe Single Chanel Video 0’55” 2011
Lu Yang 陸揚 Uterus Man Single Chanel Video 11’20” 2013
Pussykrew Fossil 3D printed sculpture XT Polyester, holographic paint 27 x 24 x 22 cm 2015
Ivory Blood digital print on satin 240cx 120cm, 2015
William Lee Dongfang Bubai Double Channel Video installation 92x150x27.5cm 2015
The Collective Stay Hydrated Single Channel Video, Sound 6’07” 2015
Fundamental Comrades Garcia Frankowski
Like Comrades of Time, each of the artists reacts to circumstances of contemporary life and artistic production. Tacticians on a universal strategic game, they mediate, analyze, scrutinize the flows and networks of production, representation and diffusion –of ideas, images, concepts, products. They look outward into new worlds. Into the systems of multilateral exchange, into the advertisement of abstractions, and the wormholes that generate value via the connection of distant conceptual universes. They look into the commodity as art, and art as the commodity in a realm trapped between the rebirth of history and the decay of fragile ecosystems. They look inwards too, reflecting on the perennial questions of our existence. Once the cosmic ambitions have landed on newly discovered seas, they highlight with dark humour the ideological constructions that give or take meaning from the condition of being-in-the-world while floating in the metaphorical fluid of the desktop background. The computer screen, mirroring reflection of our hybridity as physical and virtual entities, shows the existential remains of an eternal pixelated shipwreck. Floating in these vast oceans some colonies have created mythologies concerning physiological avatars, and the psychological machines that fuel them. Meanwhile others focus on the utilitarian commodity in its ideological and aesthetic function. At once cosmonauts of unknown digital galaxies, and sailors of these geopolitical seas, each artist confronts in the novelty of the medium and the legacy of discourses two facets of contemporary artistic production. In this pavilion of paradoxes, each comrade works with new media to answer old, fundamental questions.
Ada Sokół (b.1994 Wrocław, Poland) Ada Sokół is a visual artist and designer. She was raised by an architect and 3d designer in Poland and studied Fashion design at the University of Fine Arts in Warsaw. Currently she is about to start a degree in Media studies at University of Arts London. Her early projects were heavy-detailed illustrations, which later transformed into experiments with 3d environment, what have become a core element of her current work. She enjoys collaborating with artists from different fields, as it allows to put her works in a new context. So far she has worked with such companies as Primitive London and New Ultra Group, with who she did couple of mixed-media editorials and organized conceptual showroom during London Fashion Week. Her digital works has been published in TANK Magazine and many independent zines. adasokol.com Beata Wilczek ( b.1986 Wrocław, Poland) Beata Wilczek is an artist, fashion lecturer and curator. Since 2007 she has been extensively working with art institutions, universities and brands. She holds MA in Culture, Curation and Criticism from Central Saint Martins and MSc in Social Psychology from University of Social Psychology SWPS. Her works have been exhibited in galleries and museums in Poland, London and Paris and published in New York Times, Frische, Novembre and many other magazines. Her interest in fashion is on one hand academic, as she lectures on fashion in relation to power, art and theory on university level, but also practical, as she has worked for such clients as UNIQLO, VICE, DIESEL and NEON. Since 2011 she has been a Director and Chief Curator of an artist-run space Czarny Neseser. She has also curated two large institutional group shows, NOMADIK at Design BWA, about neo-nomadism, virtual transition and multi locality and The best exhibitions that never took place at Wroclaw Contemporary Museum, about unrealised ideas and speculative curating. Recently she has been commissioned by European Capital of Culture Wrocław 2016 to create FOLD, an exhibition and educational programme based on extensive research on art and fashion. www.beatawilczek.com Lu Yang (b. 1984 Shanghai, China) LuYang was born in 1984 in Shanghai, China. She received her MFA in New Media Art department in the China Academy of Art in 2010. She currently lives and works in Beijing and Shanghai. Her works have been featured in museums and institutes around the world including Ullens Center for Contemporary Art UCCA (Beijing, 2011); Minsheng Museum of Art (Shanghai, 2011); Power Station of Art (Shanghai, 2012); CAFA Art Museum (Beijing, 2012); Guangdong Museum of Art (2012); Contemporary Arts Museum Huston (2012); Tampa Museum of Art (2014); Museum of Fine Arts, St. Petersburg (Florida, U.S. 2014); StavangerArt Museum (Norway, 2014); Museum Fridericianum (Kassel, 2015); Orange County Museum of Art (2015); OK Corral & Science Friction (Denmark, 2015) and more. Recent solo exhibitions include “Delusional Mandala”, Beijing Commune; “Anti-Humanisme”, Ok Corral,
简介 Ada Sokół (b.1994 波兰华沙) Ada Sokół 是一名年轻的视觉艺术家及设计师。她从小生活在一位建筑师和3D设计师的家庭，曾在华沙现 代艺术大学学习时装设计。现将前往伦敦艺术大学，学习媒体专业。 她喜欢将艺术与其他领域相结合，也因此创造了自己艺术作品的新路径。她曾在伦敦时装周为Primitive London and New Ultra Group打造多媒介构成的概念陈列室。她的一些数字作品曾在TANK杂志及其他电 子杂志中发表。 adasokol.com Beata Wilczek 比塔-威尔茨克 (生于1986年, 弗洛茨瓦夫. 波兰) 比塔-威尔茨克是一位艺术家, 时尚讲师及策展人, 自2007年起 ,她与艺术院校,大学及品牌展开了广泛合作. 她取得了圣马丁学院的文化.策展及批评艺术硕士学位, 波兰华沙社会心理学大学的社会心理学工学硕士学 位. 她的作品已经在波兰, 伦敦, 巴黎的画廊及美术馆里展出, 纽约时报, 弗里舍, 十一月等杂志也对其有报 道. 她对时尚的兴趣不仅表现在学术上, 她在大学里教授时尚与权力.艺术及理论课程, 同时她也关注实践, 与优衣库, VICE, NEON等品牌均有合作. 自2011年起, 她开始担任艺术家空间杂利-内思舍的总监及总策展 人, 已经策划了两个大型群展, 一个是在BWA设计空间的NOMADIK , 主要关于新游牧文化, 虚拟变迁及泛 地方性; 另一个是在沃尔克劳当代美术馆展出的”最好的展览从未出现”, 这个展览关注的是一些没有实现的 想法及投机性策展. 她最近被任命为2016欧洲文化之都沃尔克劳策划”FOLD”展览及举办基于艺术及时尚的 广泛研究的教育活动. www.beatawilczek.com Lu Yang (b. 1984 Shanghai, China) 陆扬生于1984年, 上海,中国. 她在2010年获得中国美术学院新媒体艺术系的艺术硕士学位. 她现生活并工作 在北京和上海. 她的作品已在国内外众多美术馆及机构展出, 如尤伦斯当代艺术中心（2011）、上海民生现代美术馆 （2011）、上海当代艺术博物馆（2012）、广东 美术馆（2012）、中央美术学院美术馆（2012)、休斯 顿当代美术馆（2012）、美国坦帕艺术博物馆（2014）、美国圣彼德斯堡美术馆 （2014）、挪威斯塔万 格美术馆（2014）、德国卡塞尔Museum Fridericianum（2015）、美国橘郡美术馆（2015） 她近期的个 展包括北京公社的”妄想曼陀拉”, 丹麦 OK Corral & Science Friction 展出的” Anti-Humanisme”, “陆扬游乐 园”,墙娱,纽约;KRAFTTREMOR项目, 博而励画廊, 北京; 子宫男人, Art Labor画廊, 上海, 最近的国际参展项 目有第56届威尼斯双年展(中国馆),莫斯科双年展, 重新发电－2012上海双年展”（2012）, “第五届福冈亚洲 艺术三年展” （2014）, “第四届莫斯科国际青年艺术双年展”（2014）等. 网站: http://luyang.asia/
Copenhagen; “Lu Yang Arcade”, Wall Play, New York; The Project of KRAFTTREMOR, Boers Li Gallery, Beijing; Uterus Man, Art Labor Gallery, Shanghai. Recent international events include her participation in the 56th Venice Biennale (China Pavilion); the Moscow Biennale; “Reactivation –Shanghai Biennale” (2012); The 5th Fukuoka Asian Art Triennale (2014); The 4th Moscow International Biennale for Young Art (2014); etc. Lu Yang has been nominated for the Pierre Huber Prize (2014). Recent collections include Fukuoka Asian Art Museum. http://luyang.asia/ Lin Ke (b. 1984 Wenzhou, China) Lin Ke is a multi-media artist currently living and working in Beijing.Born in 1984 in Wenzhou, Zhejiang province, he Graduated from new media department, China Academy of Art, Hangzhou in 2008. He is recipient of the Pierre Huber Art Prize (2014), and the ninth AAC Chinese Youth Artists Award (2015). Lin Ke is a member of the artist collective Double Fly Art Center. Recent exhibitions include L in K, Gallery Yang, Beijing; Editing the Spectacle: the Individual and Working Methods Post-Mediatization, Hive Center for Contemporary Art, Beijing; Pavilion,la Biennale di Venezia 2015, CAC, Shanghai; Dark Matter 01, A01 Space, Xi an; 28°00′N 120°42′E，How Art Museum (Wenzhou) ，Wenzhou; ∞Ω-Absolute Infinite Game;A4 Contemporary Arts Center, Chengdu; Works in ProgressPhotography from China, Museum Folkwang, Essen; This is not Video, Asia Art Center, Taipei; Perched in the Eye of a Tornado, Yingspace, Beijing; The 2nd “CAFAM Future” Exhibition: Observer-Creator, CAFA Museum, Beijing; Teach us to care and not to care - Teach us to sit still ,BANK，Shanghai; A Room Not of One’s Own ,SpaceStation ,Beijing; “Company’’A project--”Incommunicable” Platform China ,Beijing; and more. linkewaco.tumblr.com The Collective The Collective is a Beijing based collaborative artistic project. Formed by a group of artists, authors and curators, The Collective works on a wide range of media and platforms. Taking a critical stance in fast developing systems of conceptual and ideological production, development and apprehension, The Collective produces projects that question the state of discourses and practices of contemporary culture. The Collective creates works as critical reflections and active actions often employing irony and humour deeply rooted in philosophical foundations. Oliver Haidutschek (b. 1976 Vienna, Austria) Oliver Haidutschek studied at the Academy of Fine Arts in Vienna. His work explores different phenomena that occur in and through social media, both in the sense of the language production of images and in their consumption. Through repetition and duplication Aoto Oouchi
林科(生于1984年, 温州, 中国) 林科是一位多媒体艺术家, 现居住及工作在北京, 1984年生于中国浙江省温州市, 2008年毕业于杭州中国美 术学院新媒体系. 他于2014年获得皮埃尔-于贝尔艺术奖,在2015年获得第九届AAC艺术中国年度青年艺术家奖, 艺术中心艺术家团体成员.
林科是双飞
他最近的展览包括在北京杨画廊的”L在K里”, 编辑景观——媒介化之后的个体与工作方式蜂巢当代艺术中心 (中国 北京市); 2015年威尼斯双年展, CAC, 上海; 黑暗物质01, A01空间, 西安; 北纬28°00′, 东经 120°42′, 什 么美术馆(温州), 温州; ∞Ω-绝对无限的游戏, A4当代艺术中心, 成都; 中国发展摄影作品, 弗克王美术馆, 艾 森; 这不是视频, 亚洲艺术中心, 台北; 气旋栖息者, 应空间, CAFAM未来展, 观察者-创造者, CAFA美术馆, 北 京; 教我们去关心和不去关心- 教我们坐着不动, BANK, 上海 一间不属于自己的房间, 空间站, 北京; 「公司/ company」项目「一个计划-无可告知」, 站台中国当代艺术机构, 北京; 及其它. linkewaco.tumblr.com The Collective The Collective 是北京的一个合作艺术项目，由多位艺术家和策展人联合创办。是一个包罗万象的媒体平 台。在概念的和意识形态的产品培养体系中占据重要地位。The Collective的项目是对当代文化的论述和实 践，并且具有批判性反思，常常基于深层次的哲学并带有讽刺和幽默色彩。 Oliver Haidutschek (b. 1976 Vienna, Austria) 他的作品旨在探索产生自社会媒介的纷繁现象，既关乎形象的语言表达，又关乎形象的消费。通过重复和 复制，Oliver Haidutschek希望重新思索客体如何在本体论意义上被塑造的方式，特定类型的美学术语与对 象如何成为在流行文化圈中定义社会群体的偶像，以及诸如likes和reblogs等价值驱动系统如何为艺术提供 了具体的创作背景。 正因对现实生活中的观察对象的如实描绘转化为网络环境中分享传播的3D雕塑时会具有不同的价值和意 义，Oliver Haidutschek喜欢使用这种技巧创作3D装置，并通过将其重新植入社会媒介去观察这种装置所 反映的价值的转移和重塑。 近期的展览包括：在智先画廊的 《The Death of a Friend》;在独角兽艺术空间的《Drifting》; 在CCA中心 的《Rhetorical Materialism》, 在蒙特利尔现代艺术博物馆的《X+1》l;在马赛PARADISE的 《Post Human - Post Humanism》, 在马赛MAMO的《COOL - As a State of Mind》; 在柏林媒体艺术节的 《Long Distance Gallery》;在智先画廊的 《Victory over Nothingness》;在柏林newscenario《CRASH》;网络在线展 览 《100% NET GALLERY SHOW 5》及《MON3Y.US》; 在墨尔本New Low画廊的《Ctrl + Paste》; 网 络在线展览《The Wrong - New Digital Art Biennale》。 www.haidutschek.com
aims at rethinking the ways in which objects are shaped ontologically, how certain types of aesthetic languages and objects become fetishes that define social groups within pop culture or how value-driven systems as likes and reblogs create a specific setting for the work. Just as the actual depiction of objects in real life hold a different value than when shared in the internet as a 3d sculpture, Aoto Oouchi likes to use these schemes to create 3d object installations and watch their symbolic value shift and reshape by reseeding it back to the social media. Recent exhibitions include ‘The Death of a Friend’ at Intelligentsia Gallery; ‘Drifting’ at Unicorn Centre for Art; ‘Rhetorical Materialism’ at CCA Center, ‘X+1’,Museum of Contemporary Art, Montreal; ‘Post Human - Post Humanism’, PARADISE, Marseille; ‘COOL - As a State of Mind’, MAMO, Marseille; ‘Long Distance Gallery’, transmediale, Berlin; ‘Victory over Nothingness’, Intelligentsia Gallery, Beijing; ‘CRASH’, newscenario, Berlin; ‘100% NET GALLERY SHOW 5’, Online; MON3Y.US’ – Online; ‘Ctrl + Paste’, New Low Gallery, Melbourne; ‘The Wrong - New Digital Art Biennale’, Online. www.haidutschek.com Pussykrew (b. 1982 & 1985) Pussykrew is an interdisciplinary duo of Tikul and mi$ gogo. Their creative practices range from multimedia installations, 3D imagery, videoclips and audio-visual performance, to DIY electronics and sculpture design. Pussykrew is originally from Poland, developed globally via Ireland, UK, Berlin and Brussels, currently based in Shanghai and online. Pussykrew explores post-human concepts, corporeal aesthetics, urban landscapes and fluid identities with their synthetic-organic notions, constantly searching for liminal states within the digital realm. Pussykrew works are being presented in various contexts - at digital arts and film festivals, independent art spaces, renown institutions, club environments, as well as commercial events, tech fairs and galleries. Pussykrew have worked with Boiler Room / x House of Vans, Converse, Hugo, Mini, WARP Records and performed live visuals for numerous international music artists (such as Angel Haze, Kelela, Evian Christ, Kode9, Nguzunguzu.. ) Pussykrew loves dynamic surroundings, interactive spaces, discoveries and future scenarios. http://niochnioszki.net/ William Lee (b.1985 Beijing, China) William Lee graduated from London College of Communication (LCC) in 2008, with diplomas in Photography and Writing for Film and Television. His artistic practice deals mainly with the issues concerning the perception and performance of gender. He currently lives and works between Beijing and London.
Pussykrew (b. 1982 & 1985) 普希克鲁 (生于1982年, 希维诺乌伊希切, 波兰 及生于1985年, 格洛古夫, 波兰) 普希克鲁是一个跨专业的双人组合, 由提库尔和米格格组成. 他们富有创造性的实践涵盖有多媒体装置, 三维图像, 录像及音像表演, DIY电子设备及雕塑设计. 普希克鲁成立于波兰, 后在爱尔兰, 英国, 柏林及布鲁赛尔发展, 最近他们工作地在上海,同时也在线上工作. 普希克鲁探索后人类的理念, 肉体美学, 城市景观及不固定的身份人造-有机的理念, 并不断在数字世界里寻 找阈限状态. 普希克鲁的作品已经在多种语境下获得展出, 如在数字艺术节及电影节, 独立艺术空间, 著名机构, 会所及商 业活动, 科技展, 画廊. 普希克鲁与Boiler Room / x House of Vans, Converse, Hugo, Mini, WARP唱片, 也曾 为国际音乐艺术家(Angel Haze, Kelela, Evian Christ, Kode9, Nguzunguzu等)表演了视觉现场作品. 普希克鲁喜好多元环境, 交互空间, 具有探索精神及未来的场景. http://niochnioszki.net/ William Lee (b.1985 北京, 中国) William Lee 2008年毕业于伦敦传媒大学（LCC）的摄影和电视、电影创作专业。他的艺术实践主要是关 于性别的感知和行为。他目前工作和生活在北京和伦敦。
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。
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Acknowledgements / 致谢 Intelligentsia Gallery would like to thank everybody involved in the realization of this exhibition. 智先画廊感谢以下诸位对实现此次展览的帮助： Michelle Garnaut; Geisel Cabrera; Hao Chen / 陈昊; Ophelia S. Chan, Jacob Dreyer, Zhang Yanping / 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz; Li Shan, Amanda Zhang / 小静; Nan Kai / 南开; Guido Tesio; Annie Wang; Natasha Qin / 覃美律; Xu Ruiyu / 徐瑞钰
The Wrong New Digital Art Biennale
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