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INTELLIGENTSIA GALLERY 智先 画廊
A GREAT EVENT IS IN THE MAKING BUT NO ONE HAS NOTICED 一个重大事件正在酝酿，但是人们没有察觉 ENGEL LEONARDO LI TINGWEI李亭葳 JEFF MILLER & THOMAS SCHMIDT PUSSYKREW WILLIAM LEE SHAO YINONG 邵译农 & MU CHEN 慕辰 ALENA OLASYUK JU ANQI 雎安奇 MATJAZ TANCIC ALESSANDRO ROLANDI ADA SOKÓL
MENG ZHIGANG 蒙志刚 YU BOGONG 于伯公 WU DING 吴鼎 JASON MENA TROYKA UNION GARCIA FRANKOWSKI OLIVER HAIDUTSCHEK OPHELIA S. CHAN 陈秀炜 REN ZHITIAN 任芷田 XIAO XIAO 萧潇 THE COLLECTIVE CAMILLE AYME CHEN XI 陈熹
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10 January 2016 2016 年 01 月 10日
A GREAT EVENT IS IN THE MAKING BUT NO ONE HAS NOTICED 一个重大事件正在酝酿，但是人们没有察觉 ENGEL LEONARDO LI TINGWEI李亭葳 JEFF MILLER & THOMAS SCHMIDT PUSSYKREW WILLIAM LEE SHAO YINONG 邵译农 & MU CHEN 慕辰 ALENA OLASYUK JU ANQI 雎安奇 MATJAZ TANCIC ALESSANDRO ROLANDI ADA SOKÓL
MENG ZHIGANG 蒙志刚 YU BOGONG 于伯公 WU DING 吴鼎 JASON MENA TROYKA UNION GARCIA FRANKOWSKI OLIVER HAIDUTSCHEK OPHELIA S. CHAN 陈秀炜 REN ZHITIAN 任芷田 XIAO XIAO 萧潇 THE COLLECTIVE CAMILLE AYME CHEN XI 陈熹
A Great Event is in the Making. But No One has Noticed In a “room filled with the radiance of festive illumination and the assembled company”, a sense of anesthetizing detachment kept the ruling class from perceiving an upcoming substantial event in Robert Musil’s The Man without Qualities. With a title eponymous to the last chapter of his unfinished novel, the exhibition explores the role played by the gathering of parallel stories unfolding while the establishment overlooks a looming threat. Away from the hegemonic constructions of market-oriented, nationalistic and academic imperatives, all-encompassing narratives, and opportunistic discourses, ‘A Great Event is in the Making. But No One has Noticed’, reclaims the vital ethos of enthusiasm and alertness, and proposes the underground space as conceptual incubator for the gestation of positions, discourses, ideologies, projects, discrepancies, disconnections, agencies, aspirations, performances and executions. In occasion of its second anniversary, ‘A Great Event is in the Making. But No One has Noticed’ features 24 artistic positions in representation of the time elapsed since the foundation of Intelligentsia Gallery. Co-curated by Hao Chen, the gathering of works as a total installation proposes the exacerbation of the exhibition space as both container and action, contemplating a great event in the making, while no one else notices. Intelligentsia Gallery
一个重大事件正在酝酿，但是人们没有察觉 罗伯特·穆齐尔在《没有个性的人》中描述到，在一个“充满了欢庆的灯光和聚会人群的房间里”，麻醉式 的断裂使得统治阶级无法感知到即将来临的重大事件。与穆齐尔未完成的小说最后一章同名，此次展览 试图将集中展现那些挑战权威，却被权威无意忽略的平行故事。远离市场主导、民族主义、学术使命、 大全式叙事、投机主义论述等霸权主义架构，“一个重大事件正在酝酿，但是人们没有察觉”带来了热情 与警戒的重要回声，并使”地下“空间成为孕育立场、争论、意识形态、项目、分期、断裂、各方力量、 愿景、表演、执行的孵化器。 在两周年纪念日之际，“一个重大事件正在酝酿，但是人们没有察觉”集结了24位自智先画廊建立以来参 展过的具有代表性的艺术家。由陈昊联合策展，此次汇集的作品作为整体装置，将展示空间推升成一件 容器、一种行为，它凝视着正在发生的重大事件，但是人们没有察觉。
智先画廊
一个重大事件正在酝酿，但是人们没有察觉
dreams, indexical narratives, softcore possibilities, human necessity. A great event is in the making but no one has noticed. experiments on form, semiotic scrutiny, aesthetic epistemologies, a black square, one hundred years. A great event is in the making but no one has noticed. hermeneutic assemblages, critical foundations, declarations of refugees, comrades, and fantasies. A great event is in the making but no one has noticed. utopic desires, erotic landscapes, wreckages, experiential objects, paradoxes, performative observations, dialectical territories, nothingness. A great event is in the making but no one has noticed. rhizomatic operatives, radical structures, anti-climax, thought-figures, raw matter, feeling. A great event is in the making but no one has noticed. conceptual bridges, latent conditions, ubiquitous iconography, pavilions, bodies. A great event is in the making but no one has noticed. reformulations, re-appropriations, rogue images, identity politics, sublime crises. A great event is in the making but no one has noticed. artist colonies, consumer meditations, manifestoes, language. A great event is in the making but no one has noticed. contemporary situations, extinct histories, new ideas, exhibitions, collective victories. A great event is in the making but no one has noticed. —Christopher Rey Pérez
A GREAT EVENT IS IN THE MAKING BUT NO ONE HAS NOTICED 一个重大事件正在酝酿，但是人们没有察觉
Garcia Frankowski Study No. 2 50 x 50cm Acrylic on Canvas 2014
Xiao Xiao 萧潇 Graduation Series No.7 刻度系列之七 Photography Inkjet Print 摄影 艺术微喷 28x21cm 2015
Engel Leonardo Kaidangku Pigment Print on Paper 60 x 40cm 2015
Shao Yinong 邵译农 & Mu Chen 慕辰 East Wind and West Wind 83 x 64 x 5cm Imitation European Frames, Black Cashmere 2007
Li Tingwei 李亭葳 Darkness acrylic, spray paint on wood, 63,5 x 61 x 9 cm 2014
Wu Ding 吴鼎 Untitled-God never roll the dice because the rolling is doomed to stay away from the chance Single Chanel Video 4’58” 2013
Alessandro Rolandi Erasing Tech Drawings Pigment Print and Marker on paper 29.7 x 21cm 2015
Alessandro Rolandi Erasing Tech Drawings Pigment Print and Marker on paper 29.7 x 21cm 2015
Alessandro Rolandi Erasing Tech Drawings Pigment Print and Marker on paper 29.7 x 21cm 2015
Alessandro Rolandi Erasing Tech Drawings Pigment Print and Marker on paper 29.7 x 21cm 2015
Alessandro Rolandi Erasing Tech Drawings Pigment Print and Marker on paper 29.7 x 21cm 2015
Lena Tsibizova Tarusa Pigment print on paper 50 x 50cm 2015
Ren Zhitian 任芷田 Out of Control Pigment print on paper 64 x 51cm 2014
Garcia Frankowski Untitled Oil Stick, graphite on Canvas 30 x 30cm 2014
Alena Olasyuk Do you want to wear an artwork? Xilography on cotton 2016
Pussykrew Fossil 3D printed sculpture XT Polyester, holographic paint 27 x 24 x 22 cm 2015
Jason Mena Condominio Insurgentes Single Chanel Video Duration 60’00” 2010
William Lee Dugu Qiubai Single Chanel Video Duration 1’04” 2015
Oliver Haidutschek Channel 5 Pigment Print on paper, acrylic, metal clips 33 x 18cm 2015
Jeff Miller & Thomas Schmidt Recycled China Panel 1 Ceramic, Aluminum 35 x 40 cm 2012
Ada Sokol Unidentified Floriobjects Pigment Print on Paper 29 x21.7cm 2015
Chen Xi 陈熹 No Game No Snow Full HD 1920x1080 Single Chanel Video Duration 2’29” 2013
Meng Zhigang 蒙志刚 Democratic Style Oil on Canvas 25 x 20cm 2008
Meng Zhigang 蒙志刚 The Idea of Winter Oil on Canvas 25 x 20cm 2008
Yu Bogong 于伯公 The Blackboard (the Man Dulatu Community) Silk, wood, artificial fur and leather 60 x 48 x 12cm 2006
Camille Ayme Untitled Pigment Print 80x 65cm 2015
Camille Ayme Untitled Pigment Print 80x 65cm 2015
Camille Ayme Untitled Pigment Print 80x 65cm 2015
Lena Tsibizova Kalmykia 80 x 80cm pigment print on paper 2015
Anastasia Soboleva South Ossetia 80 x 80cm pigment print on paper 2015
Olga Rodina Karelia 50 x 50cm pigment print on paper 2015
Ophelia S. Chan The Red Room digital video 1’04” 2014
Matjaz Tancic #24 RI GYUONG SUN, 45, Mantaining Ancient History Section, Folk Park Pyongyang Pigment print gloss archival paper 60 x 90cm Courtesy of Pekin Fine Arts 2014
Ju Anqi 雎安奇 Mother LED, TV 1978 2016
Happy Birthday
Guido Tesio Two years ago Intelligentsia gallery opened to the public. Since then more than 50 exhibitions and events have taken place, providing - despite the limited amount of time - a massive amount of material to be retrospectively analyzed. In this short note, I will limit myself to underline some general aspects of this intense period of activity. From the very beginning Intelligentsia sought to bring differences together. Each exhibition staged a reflective dialogue between different subjects and the world rather than simply offering the aesthetic appreciation of a cohesive idea of art. Structuring its exhibitions as open fields of unresolved tensions that elicited the participation of both artists and visitors Intelligentsia deliberately gazed at the coexistence of diverse elements. At the very same time, from the large amount of exhibitions curated by Intelligentsia, a group of authors that had consistently contributed to these first two years of the gallery seems to emerge. They are not united by stylistic analogies as much as by their belonging to a generation that faces - in all its inner differences - increasingly common and global challenges. With its open yet inclusive attitude Intelligentsia has not only given these differences a platform to express, but also it provided a common ground for the progressive growth of synergies and connections among different subjects working for a concerted alternative to the contemporary homologation of culture.
Quantum Greatness Garcia Frankowski
A Quantum theory claims that nothing exists if there’s no way to measure it. That’s it. Finally. The way to achieve nothingness is by the lack of measurability. In order to leapfrog humanity we must disappear measurements. Sink into the void of immeasurability. Concepts are nothing but concepts. A measure is a concept. What’s measured it’s a concept too. We have come to the crux of the problem The summit. Climax.
In classic plots there’s a build-up to a series of unfolding events. Modernist narratives don’t give a fuck. They are like quantum theory, messed up fragments that appear and disappear with no measurable effect. Unmeasurable concepts. Anti-climax. I wish contemporary narratives worked in this direction. Where there’s nothing to say, there’s nothing to measure. How to value nothing, if it doesn’t exist? What can be measured? Distance traveled. Words written. Thesis proved. Photo taken. Paint sputtered. Fabric stitched. Typography printed. Images assembled. What can’t be measured? Level of happiness. Feeling of uncertainty. Sense of curiosity. A flirt. Waste. Unidentifiable matter printed and presented behind a plane of plastic, nailed to wall. The profound effect of a misspelled quote. Hours awash behind marker. Meaning. Ulrich was stripped from his qualities when the scales changed. Society engineered precision beyond the metaphysics of knowledge. The randomness of poetry. Deep in decadence, time—a measurable concept—ran lose. A great event is not great anymore if it can’t be measured. Unless, its greatness lies in nothing. Like quantum theory. Fragments of immeasurability spread through the walls.
Bios 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 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 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
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 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
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. Mu Chen and Shao Yinong (b. 1970, Liaoning Province; b. 1961, Qinghai Province) primarily work with photography but have recently pursued other mediums including installation and sculpture. Their practice reflects on the social and political impacts caused by the upheavals of the recent rapid economic, political and social change occurring in China. They examine the processes of memory – both collective and individual – deconstructing the false dichotomies that exist in reality and representation; truth and nostalgia. A number of works investigate the concept of how public space, architecture and objects can be invested with meaning and can evoke a certain historical or emotional moment. The photo-documentary series Assembly Hall addresses the use of architecture for political or social agenda, and explores how an empty building can capture the collective memories of past experience, highlighting the tensions between the political past and present. The Family Register series – an assemblage of sepia photographs of the artists’ relatives – documents the artists’ efforts to rebuild a traditional family register after theirs, as many others’, had been destroyed during the Cultural Revolution. The Childhood Memory series shows naked babies placed in front of famous Chinese landmarks such as Tiananmen Square and Yuanmingyuan,
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。 邵逸农&慕辰（邵逸农1970年出生辽宁省，慕辰1961年出生青海省） 邵逸农&慕辰主要以摄影为创作媒材，近期转向多元化的媒材创造；装置、雕塑……反映了中 国疾速转变的几年中所产生的政治及经济的社会现状，透过这些作品我们重新审视个人与集 体的记忆过程。 早期那些摄影解构了存在于表象下的虚拟与真实。 邵逸农&慕辰的作品概念包含了关于公共空间的调查，建筑内部空间所赋予的历史性意义勾起 了人们对于这些物体的情感。摄影系列“大礼堂”便陈述了建筑所含有的政治意涵、社会议题； 同时强调了在时间的转换下，政治在过去与当下两个维度产生的张力。在“家谱”系列中，艺术
poignant evocations of the submissive relationships of children to elders and likewise the people to the state. A recent installation work shown at the 2008 Guangzhou Triennale, East Wind West Wind uses Buddhist philosophy to discuss the shifting relationships between China and the West. The work plays with light as a metaphor for enlightenment, and dark for its potential; the European-style picture frames and chandeliers currently popular in China are swathed in black cashmere, omens of enlightenment. Mu Chen and Shao Yinong are a wife and husband team who live and work in Beijing. Since they began collaborating in 2000 they have had solo exhibitions in China, Canada, Italy, Taiwan and Korea. Recent group exhibitions include Farewell to the Postcolonial: Third Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, 2008; New World Order: Contemporary Installation Art and Photography from China, Groninger Museum, The Netherlands; 2007 and 5th Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia, 2006. Matjaž Tančič (Ljubljana, Slovenia, 1982) Matjaž Tančič 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 – Matjaž 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. Matjaž 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. Alessandro Rolandi (b. 1971 Pavia, Italy) Alessandro Rolandi has been living and working in Beijing since 2003, as a multimedia and performance artist, director, curator, researcher, writer and lecturer. His work focuses on social intervention and relational dynamics to expand the notion of art practice beyond existing structures, spaces and hierarchies and engage directly with reality in multiple ways. He is the founder and director of Social Sensibility Research & Development Department at Bernard Controls Asia. His work has been shown at the Venice Biennale in 2005 and 2011; WRO Wroclav Biennale 2011; CCD Photofestival Beijing 2009-11; Museo Pecci, Milano 2011; MCAF Gent-CAAW Beijing 2008-09; Asia Paic, Gwanju Biennale 2009; FUSO VideoArt Lisbon 2012; Under the Subway, New York 2012-14; UCCA Beijing, 2012; Fringe Festival Beijing 2012; Beijing Design Week 2012; MACT/CACT Ticino Bellinzona, 2013; EXIN China Independent Film Festival Nanjing-Beijing 2012-2013; OCAT Xian 2014 and MAGA Gallarate-Milan 2014. He joined the collective Forget Art since its starting event and collaborates constantly with ZaJia Lab, Homeshop, Institute for Provocation. He was nominated by the Global Board of Contemporary Art among the best performance artists for the Alice Awards 2011 together with Megumi Shimizu for the perfor-
家用黑白相纸捕捉了他的亲属群像，这是艺术家用心将过去曾经在文化大革命期毁损的逝去 时间进行记录。“儿时记忆”系列，是把赤裸的身体置身在中国诸多著名的地标前摆拍，例如 天安门，圆明园等，鲜活并且形成强烈对比，将儿童与成人、人群与国家之间微妙的权力关 系鲜活地表现了出来。 邵逸农&慕辰参加2008年广州三年展的作品《东风西风》，利用佛教哲学思想阐述中国与西 方渐变中的关系。作品中使用灯光作为暗喻；亮光代表启发，黑暗代表可能性，作品中所强 调的水晶吊灯以及用黑色开士米捆包的欧洲风格框裱预言了某种启示。 邵逸农、慕辰是一对夫妻档艺术家，目前居住工作在北京。自从2000年一起开始合作以来， 参加过在中国、加拿大、意大利、台湾以及韩国众多国家的个展以及群展。最近参加的群 展包括有第三届广州三年展“向后殖民说再见”、2008年度广东美术馆群展、荷兰Groninge 美术馆的“新世界规则”—中国当代装置艺术与摄影（New World Order: Third Guangzhou Triennial，Contemporary Installation Art and Photography from China）。 2007年第五届亚 太三年展。 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/ Alessandro Rolandi (b. 1971 帕维亚，意大利) Alessandro Rolandi 作为一名多媒体的表演技术家、导演、馆长、研究员、作家、讲师，从 2003年起他工作和居住在北京。 他的作品聚焦于社会干预并且是将现有结构、空间、层次和扩展艺术实践概念的相关动力与 多路现实相结合。 他是Bernard Controls亚洲社会感性调研&开发部门的创始人和主管。他的作品展出 于：2005年和2011年威尼斯双年；2011年的WRO Wroclav双年展；2009-11年北京的CCD
mance “Something on the way”. He contributes regularly to Hyperallergic Blog. Engel Leonardo (b. 1977 Baní, Dominican Republic) Engel Leonardo was born in Baní, Dominican Republic in 1977. A graduate of the Faculty of Arts of the Autonomous University of Santo Domingo with complementary studies in the Altos de Chavón School of Design (affiliated to the Parsons School of Design in NY). Selected exhibitions include Pedernales, TEOR/éTica, San José, Costa Rica; UNFOLD, Ramos Mederos, Santo Domingo; Moderno Tropical (with Laura Castro), 27th National Biennale of Visual Arts, Museo de Arte Moderno, Santo Domingo; Under Construction: New Perspectives on Dominican Identity, William Road Gallery, London, UK; Status Quo a sample of video art, Museo de Arte Moderno, Santo Domingo; On Common Ground, Art Museum of the Americas, Washington D.C. Awards: 27th National Biennale of Visual Arts for Moderno Tropical; selected in the call for emerging artists in Emergencia - Contexto Volcánico, TEOR/éTica, San José, Costa Rica; selected for the Solo Project Latin America section, ARCO, Madrid, Spain; selected by Worldwide Storefront for Art and Architecture with the project Tropical Ghosts. Li Tingwei (b.1989 Yantai, China) Li Tingwei is an artist working in a broad range of mediums including painting, sculpture and installation . She studied at Berlin University of the Arts, Hunter College of the City University of New York, and Tongji University in Shanghai. Recent exhibitions include Anti-Physis, Kreuzberg Pavillion, Berlin; Neue Sinnlichkeit, Ehem, JVA, Magdeburg; Second Thought, Flowers Gallery, New York; O.C.D.,EGG Gallery, Beijing; and Perched In the Eye of a Tornado, Ying Space, Beijing; Migrant I, Zhong Gallery, Berlin; MACHT,Wals.Gallery, Munich; Museum FLUXUS+, Potsdam; PHSIS 2013, Goethe Institut Athens; Moments of Encounter, Confucius Institute Berlin; INSPIRED BY THE UK , UK Pavillon of EXPO, Shanghai. Wu Ding(B.1982, Shanghai, China) Wu Ding obtained a MFA in Video from the China Academy of Art in Hangzhou and a BA in Sculpture from the Shanghai Normal University. Using text, images, and videos as his principal creative media, Wu Ding is engaged in the exploration and practice of the [still and moving] image [yingxiang]. His recent works have been concerned with the “order” within time and space, aspiring to explore the perceptible but indescribable “inner order” hidden in the world. Recent exhibitions include his solo show ‘The Reality of Dimension III, M50, Shanghai; and group exhibitions including Nonfigurative, Shanghai 21 Century Minsheng Art Museum, Shanghai; Off the Shore, M Art Center, Shanghai, Dark Matter, A01 Space, Xian; Hidden Sentiment, L-art Gallery, Chengdu; Moving Image Istanbul, Kulei Building, Istanbul; Rhetorical Materialism, Intelligentsia Gallery; Beijing; Secret Seeker, Inna Space, Hangzhou; Take in Nature, We Gallery, Shanghai; Nihilistic Belief, Antenna Space, Shanghai; Personal Project/The Reality Of Dimension I VS II, L-Art Gallery,Chengdu; The Image Show-To Generate 2D Reality, Chengdu Blueroof Art Gallery, Chengdu; Get it louder, Liangdian Design
摄影展；2011年米兰Museo Pecci；2008-09年北京的MCAF Gent-CAAW；2009年Asia Paic, Gwanju双年展；2012年里斯本的FUSO VideoArt；2012-14年纽约的Under the Subway；2012年北京的尤伦斯当代艺术展；2012年北京的Fringe Festival；2012年的北京设计 周；2013年在北林佐纳提契诺的MACT/CACT；2012-2013年南京-北京EXIN中国独立电影 节；2014年的OCAT西安；2014年米兰的MAGA Gallarate。 他加入了Forget Art并经常与 ZaJia Lab, Homeshop, Institute for Provocation合作。他于Megumi Shimizu共同表演的“Something on the way” 被全球艺术委员会提名为2011爱丽丝奖的最 佳表演奖。他定期为Hyperallergic Blog. 撰稿。 www.alessandrorolandi.org Engel Leonardo (b. 1977巴尼, 多米尼加共和国) Engel Leonardo 1977年出行于多米尼亚共和国的巴尼。从圣多明哥自治大学的艺术学院毕业 后，又进一步在 Altos de Chavón艺术学院（隶属于纽约帕森斯设计学院）进修设计。 巡展包括：《Pedernales》，意大利，圣荷西，哥斯达黎加；《UNFOLD, Ramos Mederos》，圣多明哥；《Moderno Tropical》（与Laura Castro共同参展）第二十七届国家视 觉艺术双年展，现代艺术博物馆, 圣多明哥；《Under Construction: New Perspectives on Dominican Identity》，英国伦敦的William Road 画廊；《Status Quo a sample of video art》, 现 代艺术博物馆, 圣多明哥; 《On Common Ground》,美洲艺术博物馆，华盛顿；他的作品曾在 第二十七届国家视觉艺术双年展中获奖；他曾入选新兴艺术家；入选在西班牙马德里举办的 巡展项目；也曾凭借“Tropical Ghosts”项目入选“全球店面艺术与建筑”。 李亭葳 (（b.1989 烟台, 中国） 李亭葳艺术创作的媒介多种多样，包括绘画、雕塑、装置等。她曾就读于柏林艺术大学自由 艺术专业，纽约城市大学亨特学院，同济大学。近期展览包括 ”反自然“ ，Kreuzberg馆，柏 林，德国； “新意义” 文化艺术节 ，前马格德堡监狱，德国；“再想“ ，Flowers画廊，纽约，美 国；“强迫症“ ，EGG画廊，北京；“气旋栖息者“ ，应空间， 北京；“异地而生 I” ，中画廊，柏 林；“权力” ，Wals画廊，慕尼黑；“LUXUS+”，激浪美术馆，波茨坦，德国；“Physis 2013”， 歌德学院，雅典，希腊；“相遇的瞬间”，柏林孔子学院，德国；灵感来源于万国博览会英国馆 的艺术竞赛/ „Inspired by the UK“，上海 http://litingwei.de/ 吴鼎(B.1982, Shanghai, China)
Center,Beijing; The First “CAFAM Future” Exhibition, CAFA art museum Beijing; and more. Wu Ding Lives and works in Shanghai. www.wuding.name 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. Recent exhibitions include China 8 at the Folkwang Museum in Essen, Rhetorical Materialism at CCA, Twisted Modernist Fantasies at Intelligentsia Gallery and Newnewspeak at C-Space. xxart.info Garcia Frankowski (b. 1983 San Juan, Puerto Rico & b.1985 Dundee, Scotland) Garcia Frankowski is an artist collective founded by Puerto Rican artist, architect, author and theorist Cruz Garcia (b.1983, San Juan) and French-Scottish artist, architect, author and poet Nathalie Frankowski (b.1985, Dundee). Garcia & Frankowski are also co-founders of Beijing-based WAI Architecture Think Tank and founding directors, and curators of Intelligentsia Gallery a critically acclaimed independent space for the conception and diffusion of ideas and their manifestation in the realm of contemporary art. The work of Cruz Garcia and Nathalie Frankowski has been selected to be presented at the 1stChicago Architecture Biennial, the inaugural Changjian International Photography & Video Biennale, and the Venice Architecture Biennale. Their works have been exhibited in solo and group exhibitions around the world, including at the Museum of Modern Art (MoMA) in New York, the Storefront for Art and Architecture in New York, the Vitra Design Museum in Weil am Rhein, the Chongqing Changjian Museum of Contemporary Art, the Kunst-Werke KW Institute for Contemporary Art in Berlin, Intelligentsia Gallery C-Space, PIFO New Art Gallery, Star Gallery, Center for Contemporary Art, and Unicorn Center for Art in Beijing, the Centre for Chinese Contemporary Art (CFCCA) in Manchester, and in shows in Barcelona, Madrid, London, Paris, Dublin, Porto, Lisbon, Moscow, Venice, Bergen, Milan, Helsinki, Brussels, Prague, Zurich, Lausanne, Istanbul, San Juan, New York, Los Angeles, Columbus, Houston, Chicago, Guadalajara, Buenos Aires, Santiago de Chile, Montevideo, Beijing, Shanghai, Hong Kong, Tokyo, Osaka, Sydney, Melbourne and more.
吴鼎在中国美术学院跨媒体艺术学院(杭州)取得艺术硕士学位, 从上海师范大学雕塑系获得学 士学位. 他以文字,图像及视频为主要创作媒介,主要参与了针对”隐像”的发掘与实践, 他的作品主要关 注的是时间和空间的”秩序”, 他渴望去找到隐藏在世界里的可感觉到却难以描述的”内在秩序”. 他近期的展览包括个展 ”实在的维度 3”,M50,上海, 以及群展: 非形象 - 叙事的运动,上海二十一 世纪民生美术馆,”实在的维度”, M艺术空间, 上海, “暗物质试验场上集”, A01空间, 西安; “隐秘”, 那特画廊, 成都; “移动图像伊斯坦布尔”, 库雷大楼, 伊斯坦布尔; “关于物质的修辞性”,智先画廊, 北京; 寻隐者, 清影艺术空间, 杭州; Take in Nature, We Gallery, Shanghai; 相信空无一物, 天 线空间, 上海; “实在的维度”,那特画廊,成都; “实验影像展- 生成二维现实”, 蓝顶美术馆，成都; “大声展”,亮点艺术中心，北京; 首届CAFAM未来展：亚现象 - 中国青年艺术生态报告”，中央 美术学院美术馆，北京, 及其它. www.wuding.name 萧潇 (b. 1984 湖南，中国) 1984年出生于湖南的萧潇曾就读于杭州的中国美院。 在艺术家高波的工作室工作期间，他开始探索另类艺术。2010年起他的工作着重于城市形 态，个人知觉，自身建设和群体经历。她用摄影作为媒介深层次的介入艺术。受多种可能性 的激发，他的作品包括数字打印媒介和多种视觉效果巧妙处理的技术。他强烈的空间意识常 常将普通的的空间转化成抽象的场景并赋予戏剧性的悬念。 近期的参展，包括：在埃森福尔克旺博物馆的《China 8》; 在CCA的《Rhetorical Materialism》；在智先画廊的《扭曲的现代主义幻想》；和在C-Space空间的《新新话》。 xxart.info Garcia Frankowski由波多黎各艺术家、建筑师、作家和理论家Cruz Garcia（1983，圣胡 安）与法裔苏格兰艺术家、建筑师、作家和诗人Nathalie Frankowski（1985，敦提）建立。 Garcia和Frankowski同时创立了WAI建筑智囊团，也是Intelligentsia Gallery(智先画廊)的创立 人和策展人。智先画廊为先锋艺术家提供概念和创造空间，宣扬对当代艺术的批判性思考。 Cruz Garcia和Nathalie Frankowski的作品在多个重要展览中展出，包括第一届芝加哥建筑 双年展、长江国际摄影和影视双年展和威尼斯建筑双年展。他们的作品以个展和集体展的形 式在世界各地展出，包括了纽约的现代艺术博物馆（MoMA）、纽约的艺术建筑空间Storefront、法国莱茵的威达设计博物馆、重庆长江当代艺术博物馆、柏林KW当代艺术协会、智先 画廊、偏锋新艺术空间、星空间、当代艺术中心和北京的独角兽艺术中心、曼彻斯特的中国
Their theories and works have been presented in lectures in institutions in Beijing, Shanghai, Graz, Munich, Weimar, Barcelona, Madrid, Malaga, San Juan and more. Their critical texts and manifestoes have been published in journals, magazines and books around the world and have been translated to Spanish, French, Portuguese, Arabic, Chinese, Russian, German and more. Part of Garcia and Frankowski’s work includes the creation of original architecture, artist’s and children’s books. Recent publications include Shapes, Islands, Text: A Garcia Frankowski Manifesto (Sevilla: Vibok Works, 2014), Pure Hardcore Icons: A Manifesto on Pure Form in Architecture (Artifice Books on Architecture: London, 2013), the children’s book The Story of the Little Girl and The Sun, several artist books including The Book of Shapes and the self-published WAIzine What About It? , a public resource on The National Art Library of the Victoria & Albert Museum in London and part of the collection of Archizines. www.garciafrankowski.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 Jason Mena (b. 1974, Puerto Rico) Jason Mena explores the contradictions that exist within social formations, their visible and latent tendencies in both every day life and the broader economic structure. His investigation has focused mainly on the Shadow Market, its relationship with state politics, global finance, and the impact these forces have on art production. Mena was co-founder of =DESTO, an artist run space in Santurce, Puerto Rico which ran from 2005 until 2008. He has exhibited individually at Museo de Arte y Diseño Contemporáneo (MADC) in Costa Rica, Intelligentsia Gallery in Beijing, Luis Adelantado Gallery in Valencia and Mexico, Modern Art Museum in Dominican Republic, Museum of Contemporary Art in Puerto Rico. Collectively his work has been shown at Museu Mineiro in Brasil Ramapo College in New Jersey, Hessel
当代艺术中心。展出过的城市包括了巴塞罗那、马德里、伦敦、巴黎、都柏林、波尔图、里 斯本、莫斯科、威尼斯、卑尔根、米兰、赫尔辛基、布鲁塞尔、布拉格、苏黎世、洛桑、伊 斯坦布尔、圣胡安、纽约、洛杉矶、哥伦布、休士顿、芝加哥、瓜达拉哈拉、布宜诺斯艾利 斯、圣地亚哥、蒙得维的亚、北京、伤害、香港、东京、大阪、悉尼、墨尔本等等。 在各地协会机构中演示理论和设计作品，包括北京、伤害、格拉茈、慕尼黑、魏玛、巴塞罗 那、马德里、马拉加、圣胡安等。评论文章和宣言曾在世界各地学报、杂志和书籍中刊登， 并被翻译成西班牙文、法文、葡萄牙文、阿拉伯文、中文、俄文、德文等。 Garcia和Frankowski的工作也包括建筑设计和儿童艺术书籍。 近期的出版有《形状、岛屿、文字：一部Garcia Frankowski宣言》(塞维利亚:Vibok工 作室,2014)，《建筑纯形图标：一部关于纯粹形式的建筑宣言》(Artifice建筑出版社，伦 敦，2013)，一部儿童图书名为：《小女孩和太阳的故事》，几部艺术书：《形式之书》和个 人自己出版的《WAI杂志》。他们的作品在伦敦的维多利亚和阿尔伯特博物馆国家艺术馆中 成为藏品，也是世界轮回Archizine杂志展的成员之一。 www.garciafrankowski.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 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
Museum of Art, Family Business (exhibition space initiated by Maurizio Cattelan and Massimiliano Gioni) and Exit Art in New York, Museo Universitario del Chopo (UNAM), Casa del Lago San José Arreola, Museo de Arte Carrillo Gil and Ex-Teresa Arte Actual in Mexico City, Cali Cultural Center in Colombia, CCA Wattis Institute for Contemporary Arts and Queens Nails Projects in San Francisco, New Wight Biennial (UCLA) and Museum of Latin American Art in Los Angeles, National Center for Contemporary Arts in Moscow, Massachusetts Museum of Contemporary Art, Vox Populi Gallery in Philadelphia, and the San Juan Polygraphic Triennial, among others. www.jasonmena.com Ophelia S. Chan (b. 1985 Hong Kong, China) Ophelia S. Chan is a practicing artist and writer currently living between Beijing and Hong Kong. She graduated from Chelsea College of Art and Design (University of the Arts London) with a BA in Fine Art and she obtained a MA in Advance Theatre Studies from Central School of Speech and Drama (University of London). Her works have been exhibited and performed in the UK, Norway and China. She is formerly a participating artist at Parlour Collective (UK) and is currently involved in independent curatorial projects working as part of the Beijing based collective - TRIA PRIMA (CN). www.opheliaschan.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 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. Recent exhibitions include ‘Here with Me’, Ygrec, Paris; Twisted Modernist Fantasy, Intelligentsia Gallery, Beijing; The Sublime Object, Star Gallery, Beijing; Tu nais, tuning, tu meurs- Biennale International
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 Ex-Teresa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 陳秀煒（1985-，中国香港） 艺术家和作家，居住于北京和香港两地。她毕业于伦敦艺术大学的切尔西艺术与设计学院， 被授予艺术专业的文学学士学位，再于伦敦大学的中央演讲与戏剧学院并获得硕士学位。她 的艺术及表演作品曾在英国、挪威、中国展出。她曾经是Parlour Collective(UK)的制作人之 一，现在则是一个活跃于北京的艺术策展团体——三元（TRIA PRIMA ）的成员。 www.opheliaschan.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）。
Design Saint-Etienne 2015; and more. http://nimporteou.tumblr.com/ Troyka Union (Moscow, Russia) 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 Yu Bogong (b. 1970 Inner Mongolia, China) Born in Inner Mongolia, Yu Bogong currently lives and works in Beijing. Working in a wide range of mediums from the action of brewing Vodka as a point of intervention, to performance, installation and the pursue of his nomadic ways, the work of Yu Bogong aims at societal transformation by creating a temporary theater space for the involvement of a wider public. Through makeshift containers, exchange, dialogue and interaction he aims to develop open and social practices for experimentation and self-exploration. Recent solo exhibitions include Aoluguya, Magician Space, Beijing; Landing, Store & Space, Guanzghou; At This Present Moment, White Space, Beijing; Cross the Riverbed, Magician Space; Karma, China Art Archives & Warehouse, Beijing. Group exhibitions include shows at White Box Museum of Art, Beijing; Yitel 798, Beijing; Mercator Foundation, Essen; Song Zhuang Art Center, Beijing; Magician Space, Beijing; Pure Space, Beijing; Action Space, Beijing; Iberia Center for Contemporary Art, Beijing; Other Gallery, Beijing, , Chongqing Huang Jiaoping Art Museum, Chongqing; Shangpu Art Museum, Beijing; Xi’an Qujiang International Contemporary Art Festival, Qujiang Contemporary Art Center, Xi’an; Songhuang Art Museum, Beijing; The 3rd Architectural Biennale Beijing; , Tang Contemporary Art, Beijing; and more. Ren Zhitian (b. 1968 Xishui, China) Ren Zhitian is a multidisciplinary artist born in Xishui, Hubei Province. After graduating from Wuhan University in 1989, he has participated in numerous solo and group exhibitions. His works were part of the group exhibition ‘Confronting Anitya—Oriental Experience in Contemporary Art’ presented at the 55th Venice Biennale. Recent exhibitions include ‘Empty and Elegant’ and ‘Scrip and
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/ 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。 www.troykaunion.org 于伯公（1970年生于中国内蒙古） 于伯公 现居住及工作在北京,创作媒介多样, 包括酿造伏特加作为一种介入方式, 也是一种表 演, 装置, 也是他对游牧方式的追求. 于伯公通过创造临时剧场, 以使更多民众可以参与到作品 中来,以这种方式来关注社会变迁.通过制造转换容器, 交换,对话和互动, 以发展作为实验和自 我探索的社会实践.最近个展包括敖鲁古雅，魔金石空间，北京 ；登陆，杂货铺空间，广州； 此时此刻，空白空间，北京。群展包括北京白盒子艺术馆, YITEL798, 艾森 麦卡托基金会;宋 庄美术馆, 北京; 魔金石空间,北京; Pure 空间, 北京; Action空间, 北京; 伊比利亚当代艺术中 心, 北京; Other画廊, 北京; 重庆黄角坪美术馆,重庆; Shangpu美术馆,北京; 西安曲江国际当代 艺术季, 曲江现代艺术中心, 西安; 第三届建筑双年展, 北京; 当代唐人艺术中心, 北京; 及其他. 任芷田 （1968，中国湖北省浠水） 任芷田是出生于中国湖北省浠水的多学科艺术家。1989年毕业于武汉大学。他的作品曾在多 个个人及群组展览中展出。 他的作品曾作为《无常之常 – 东方经验与当代艺术》群展中的一部分参展于第55届威尼斯双 年展。 近期展览包括：《表象之轻》和《直观•物语》在上海的Art Labor画廊展出，其他展览曾展出 于Time Space, 北京Egg画廊, 北京上苑艺术馆，798艺术空间, 北京艺术通道，XY画廊, PIFO New Art画廊, re-C Art Space, 天津美术学院博物馆, Li-Space, Huantie Times艺术博物馆,
View’ solo shows at Art Labor Gallery, Shanghai, as well as shows at Time Space, Egg Gallery, Shangyuan Art Center, 798 Space, Art Channel, XYZ Gallery, PIFO New Art Gallery, re-C Art Space, the Tjianjing Academy of Fine Arts Museum, Li-Space, Huantie Times Art Museum, Museum of Contemporary Art in Shanghai, the Seoul Biennale of Calligraphy Art Exhibition, the 1st International Ink Painting Biennale in Shenzhen and the Golden Lianzhou Contemporary Art Exhibition. www.renzhitian.com Jeffrey Stephen Miller (b. 1987 Rhode Island, United States) & Thomas Schmidt (b. 1980 Alberta, Canada) Jeffrey Stephen Miller is an artist, designer and co-founder of Recycled China. He received his bachelor of fine arts from The New York State College of Ceramics at Alfred University. He has been producing work out of his Beijing studio for the past five years. Thomas Schmidt is an artist, designer and co-founder of Recycled China. He received his Masters of Fine art from The New York State College of Ceramics at Alfred University. He currently holds the position of Assistant Professor of Interdisciplinary 3D Studio and Digital Fabrication at the University of North Carolina at Charlotte. Miller and Schmidt are founders of Recycled China, a Beijing and US based team that transforms discarded ceramics and other industrial materials within China. This work is the result of an ongoing collaboration with an aluminum foundry in northern Beijing. While normally producing parts for machinery, the artists use the factory as a site for a series of material experiments. Miller and Schmidt have exhibited at the 8th Gyeonggi International Ceramic Biennale in South Korea where they were awarded the the Bronze Prize, the Arizona State University Art Museum Ceramics Research Center, Archie Bray Foundation for the Ceramic Arts where they received the director’s award, the Kirkland Arts Center where they received best in show, Beijing Design Week, Lacoste Gallery, Mathias Kueper Gallery and the Ullens Center for Contemporary Art (UCCA) in Beijing. Alena Olasyuk (b.1988 Ukraine) Alena Olasyuk was born in 1988 in a small East Russian village near Siberia. Artist and designer, Alena graduated from the Arts College of Khmelnytsky City Ukraine and from the Beijing Institute of Fashion Technology. Her work has been part of several exhibitions in Khmelnytsky and Beijing. Recent solo shows include ‘Tree Steps’ at the Beijing Institute of Fashion Technology. Her work is part of several private collections in Bulgaria, Ukraine, Russia, China, USA and France. Alena Olasyuk currently resides in Beijing where she travels to remote locations for inspiration and to study Buddhism. Meng Zhigang (Guilin, China, 1975) Meng Zhigang is an artist Born in Guilin in 1975. After graduating from the environmental Design Depart-
上海当代艺术博物馆, 展，等。
首尔书法艺术双年展,深圳第一届国际墨画双年展，金色连州当代艺术
www.renzhitian.com Jeffrey Stephen Miller (b. 1987美国罗德岛州) & Thomas Schmidt (b. 1980加拿大亚伯达省) Jeffrey Stephen Miller是一位艺术家、设计师也是Recycled China 的创始人之一。他在阿尔 弗雷德大学的纽约州立陶艺学院获得了现代艺术专业的 学士学位。在过去的五年中，他在北京的工作室创作。 Thomas Schmidt是一位艺术家、设计师也是Recycled China 的创始人之一。他在阿尔弗雷 德大学的纽约州立陶艺学院获得了现代艺术的硕士学位。现就职于北卡罗来纳大学夏洛特分 校，任跨学科3D演播室和数字制造专业的助理教授。 Miller和Schmidt共同创立了Recycled China，回收再利用中国国内的废旧陶瓷及其他工业材 料，公司的团队成员分别位于中国北京和美国。他们正在与北京的一家铝锭铸造厂建立合作 关系。使得工厂在制造机械的同时可以作为艺术家的材料试验站。 Miller和Schmidt曾参展韩国京畿道第八届陶艺展，并获得了铜奖；曾在亚利桑那州立大学陶 瓷艺术博物馆研究中心陶艺基金会，获得理事奖；在柯克兰技术中心获得最佳作品奖；作品 也曾在北京设计周、Lacoste画廊、Mathias画廊和尤伦斯当代艺术中心展出。 Alena Olasyuk （1988，乌克兰） Alena Olasyuk，艺术家和设计师。1988年出生于东俄罗斯靠近西伯利亚的一个村庄。曾就读 于乌克兰Khmelnytskyi城市艺术学院和北京服装学院。她的作品曾在多个Khmelnytskyi的展 览中展出。 近期她的《Tree Stepson》在北京服装学院展出。 她的作品在保加利亚、乌克兰、俄罗斯、中国、美国和法国曾多次被私人收藏。Alena Olasyuk现居住于给她带来灵感的远方城市—北京，并且在这里学习佛学。 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。
ment in Guilin University of Technology Meng Zhigang relocated to Beijing where 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 surrounds us, from the fictional landscapes of his early works, to the ethereal architectural interiors and Institutional Buildings scraped of context and depicted in his recent paintings. http://mengzhigang.com/ Ju Anqi (b. 1975 Urumqi, China) Ju Anqi was educated as a director at the Beijing Film Academy. He has directed several documentaries. In 2004, he changed the course of Chinese film after submitting a statement to the China Film Bureau on reforming the Chinese film industry. He did this along with six other Chinese independent filmmakers, including Jia Zhangke and Lou Ye. His work has been presented in several major international film festivals including Berlin International Film Festival; New York International Film Festival; Nyon International Documentary Film Festival - Visions du Réel; International Film Festival Rotterdam; Revelation Perth International Film Festival in Australia and Fukuoka International Film Festival. In 2013, Ju started editing his feature film Poet on a Business Trip receiving funding from IFFR’s Hubert Bals Fund. His filmography includes There’s a Strong Wind in Beijing (2000, doc), Quilts (2003, doc), Night in China (2006, doc), Happy Birthday! Mr. An (2007), Loser and Mao (2013, short), Poet on a Business Trip (2014). His works have been presented in exhibitions around the world including at the Museum of Modern Art (MoMA) in New york, and at the Centre Georges Pompiidou in Paris. http://www.juanqi.com/
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。 http://mengzhigang.com/ 雎安奇 (b. 1975 乌鲁木齐，中国) 雎安奇曾就读于北京电影学院导演系。并执导过多部纪录片。 2004年他与贾樟柯和娄烨等六位导演及中国的独立制片人共同向中国国家广电总局提交了关 于中国电影工业整改的陈述，改变了中国电影的历程。 他的作品曾在多个国际电影节中展映，包括：柏林国际电影节；纽约国际电影节；尼翁国际 纪录片电影节- Visions du Réel；鹿特丹国际电影节；澳大利亚国际电影节和福冈国际电影 节。 2013年，他的作品《诗人出差了》获得了鹿特丹国际电影节Hubert Bals基金的资助。他的电 影作品包括：《北京的风很大》（2000，纪录片）；《被子》（2003，纪录片）；《中国之 夜》（2006，纪录片）；《生日快乐，安先生》（2007）；《屌丝和毛》（2013，剧情短 片）；《诗人出差了》（2014）。 他的艺术作品也曾在世界各地展出，包括：纽约现代艺术博物馆（MOMA），巴黎蓬皮杜中 心。 http://www.juanqi.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。
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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
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