6
INTELLIGENTSIA GALLERY 智先 画廊
SOFTCORE: SUBVERTED SUPERSTRUCTURE AND THE SYSTEMIC SUBLIME 软核：上层建筑的颠覆与体系的崇高性 ZHANG ZHEYI 张哲溢 ROMA MOKROV ILONA SAGAR TOM KEMP DOUBLELUCKINESS ASPARTIME XIAO QU 瞿潇 FENGYA LIU 刘风雅 ALESSANDRO ROLANDI
6
SOFTCORE: SUBVERTED SUPERSTRUCTURE AND THE SYSTEMIC SUBLIME 软核：上层建筑的颠覆与体系的崇高性 ZHANG ZHEYI 张哲溢 ROMA MOKROV ILONA SAGAR TOM KEMP DOUBLELUCKINESS ASPARTIME XIAO QU 瞿潇 FENGYA LIU 刘风雅 ALESSANDRO ROLANDI
02 August 2014 2014 年 8 月 02日
Softcore: Subverted Superstructure and the Systemic Sublime Intelligentsia Gallery is thrilled to present Softcore: Subverted Superstructure and the Systemic Sublime, a group exhibition with works by Roma Mokrov (1986, Elektrougli); Zhang Zheyi (1975, Guilin); Xiao Qu (1979, Zhejiang) & Fengya Liu ( 1985, Shandong) of Aspartime; Ilona Sagar (1985, London), Alessandro Rolandi (1971, Pavia), Doubleluckiness (1988, Athens), and Tom Kemp (1988, London). Co-curated by Sophie Salamon and Garcia Frankowski the sixth international exhibition presents photographs, new media, installation, painting, prints and videos playfully deconstructing and scrutinizing the art world’s status quo and questioning everything from medium to message in order to excavate the ‘Systemic Sublime’ within. Intelligentsia Gallery becomes an epistemological battleground, where art, artwork, artist, art space, curator, critic, public and the market are introduced into an edificatory dialogue of kynical proportions. Ideology critique becomes Subverted Superstructure, and contemporary art discourse is challenged by an enlightening cheekiness both persuasive and Softcore.
Intelligentsia Gallery
软核：上层建筑的颠覆与体系的崇高性 智先画廊激动呈现群展 软核：上层建筑的颠覆与体系的崇高性, 参展艺术家包括Roma Mokrov (1986, 埃 列克特羅烏格利); 张哲溢 (1975, 桂林); 瞿潇(1979, 浙江) & 刘风雅( 1985, 山东) of Aspartime; Ilona Sagar (1985, 伦敦), Alessandro Rolandi (1971, 帕维亚), Doubleluckiness (1988, 雅典), Tom Kemp (1988, 伦敦)。 由Sophie Salamon 与 Garcia Frankowski 联合策展，第六场国际展涵盖了摄影、新媒体、装置、绘画和 短片，戏谑地解构并细阅了艺术世界的当下，并质疑了从媒介到信息的一切，以此挖掘出其内在的“体系 性的崇高”。 智先画廊成为了认识论的战场，在这里，艺术、艺术品、艺术家、艺术空间、策展人、评论家、出版与市 场，被引向关于该有多少犬儒主义的富有启迪的对话。意识形态的批判成为被颠覆的上层建筑，当代艺术 的讨论被启发性的放肆所挑战——一种具有说服力的软核。
智先画廊
A Truth Burning in your Art Garcia Frankowski
A serious and good philosophical work could be written consisting entirely of jokes. —Ludwig Wittgenstein Here begins a laughter containing philosophical truth, which we must call to mind again if only because today everything is bent on making us forget how to laugh. –Peter Sloterdijk Like the work of a philosopher, the work of art often aims at raising questions rather than strictly looking for answers. Sometimes those questions take a twist, and sometimes they transform into provocations of thought. Philosophical questions can turn jokes or juxtaposed narratives, laughter and tears, confusion and excitement, emotions, all products of these twists and turns, into the fuel that moves the vehicle
of critical transcendence. As Diogenes deciding to reveal the experience of the corporeal in the market place for the public to see, the work of art can also provoke by revealing what is both obvious and intimate. Peter Sloterdijk argues in Critique of Cynical Reason (1983) that the friction generated by the act of exposing or publicizing something “implies the unified act of showing and generalizing (the semantic system of art is based on this)”, an act of challenging like a “cheeky neckline, which reveals naked female skin” playing with the power exerted by the rare over the commonplace. Softcore: Subversed Superstructure and the Systemic Sublime aims at exposing the artworld’s cheeky neckline, as if to inviting through the sensuous skin of self-consciousness and self criticism to publicize— that is, to reveal—discomfort with the status quo. The exhibition has Diogenisian ambitions. Half provocation, half critical statement, it presents works that through humor and irony aim at making visible what has become scarcely accessible. Projects question roles, and unmask the ideology latent in the apparatus of the status quo. Nothing is sacred in this “foretaste” of epistemological violence. The ceremonial, the quotidian, the exceptional, the commonplace, the underlying and the sublime are pulled together by exacerbating forces that won’t desist until their goal is accomplished. The goal is to reveal, to dissect. Softcore is a theoretical machine that questions and asks to be questioned by means of photographs, videos, installations, paintings, but also through texts, data and by way of the interaction between all the acting agents that constitute the event of the art exhibition. This machine is first exposed in the wedding photographs of Moscow-based artist Roma Mokrov. His photos are those of real ceremonies of real people that without any other stage than the one created for the real event, become objects of attention in the realm of aesthetics. The ceremonial ethnographic aspect comes under scrutiny, as does the public that is confronted with the possibility of reading the works as a commentary on human traditions, or as a critique of the art system that often fetishizes these very manifestations of folklore. Are his photographs critical depictions of social customs or an assault on our way to perceive them under the lens of contemporary art? Are the images critical of the subjects they presents, or with the subjects that study the object? “Put a newborn fire in your palm”, a question to be questioned. Every possible reading is valid, including that they might be just wedding photos playing with the over-intellectualizing gaze of the observer. So much is said about the content of the artwork in order to deliver a message. However, sometimes it’s where the artwork has being created which gives its critical role. An act that makes us re-think the dialectic between medium and message and between parallel contemporary histories with its frictions
and clashes, the Re-appropriation of an artwork could also carry the kynical gene. Zhang Zheyi’s, ‘Lili’s Summer’ depicts a playful double portrait of a young women sucking on a popsicle stick. However, is not the cheeky gesture and technique—one that distances from the artist’s most known oil paintings—what makes the work a kynical weapon, but the fact that it was painted on some other artist’s exhibition catalog. The sensuous lines, and erotic subtext are just the visible traits of a work far more challenging in its epistemological implications. There’s no critique of the system without self-criticism of the system. Beijing-based collective Aspartime starts by questioning what Intelligentsia Gallery represents in terms of its urban, ethnographic and spatial context. If the work of Mokrov objectifies the event, distilling the wedding into the photograph of the wedding, the work of Aspartime exists after the event, and while the event is being carried out. ‘The Outsiders’ with moving images of the hutong neighbors of the gallery exposes the self-conscious nature of the art gallery as a space that aims at nurturing the rare over the commonplace, but where the commonplace might appear rare. With its intrinsic contradictions, the gallery, far away from the art districts so common in the urban fabric of Beijing is confronted with its immediacies, with its surroundings and with the culture of the hutongs. Mokrov portraits the event, while Aspartime depicts what has been left out of them as if aiming to bring back the commonplace that has become a rarity in the art world. Continuing on the art-world commentary, Athens-based collective Doubleluckiness caricaturizes the environment of the art or business dinner by creating a banquet table of ceramic and plaster dishes. The re-creation of this tool of systematization and display of power—the dinner organized and usually paid by the powerful—redirects the attention to an act of deliberate cheekiness as if returning to Sloterdijk’s: Cheekiness from below is effective when it expresses real energies as it advances. It must consciously embody its power and alertly create a reality that can at most be resisted but not denied. When the dissatisfied “serf” jokingly picks up his master in his arms, he gives a foretaste of the violence his revolt could have. Isn’t this table a conscious embodiment of subversive cheekiness? What’s more violent as an act of submission than to force everybody into a dinner without asking the attendees what food they like? Isn’t the official dinner just another tool of psychological domination and sociological control? Aren’t social classes defined by the hierarchical composition of dinner tables? Aren’t social roles manifest by the way a table has been laid out? This conundrum is exacerbated by the proximity of the table to the work of Alessandro Rolandi. A painted rifle seems to change epistemological places with the dinner table. The rifle, a tool usually associated with violence, its turned into an exhibition piece by the acrylic paint applied on it. The rifle is a puzzling piece. Is the weapon real? Is it a painting? A sculpture? A ready-made? Has the table and the rifle switched
sides? Dinner table as weapon, riffle as aesthetic artifact? Is the act of painting the weapon an act of colonization of the art world over the objects of daily life? Or is it a manifestation of the fluxus motto: art is everywhere? Tom Kemp writes down a diary-log in the form of an excel sheet—the quintessential bureaucratic medium—to denounce the institutionalization of labor exploitation in the name of culture. Hours of stress, exhaustion, misinformation, mistreatment, and psychological submission are measured in the same way as the amount of toilet paper and milk that was taken in symbolic exchange. If the concept of “art is everywhere” is put in practice by images and objects, it can also be put forward by the process of thinking about what goes into the so called art world; its infrastructures, systems, institutions, participants, ideology. The document reveals the possibility of expanding the boundaries of the critique beyond the tangible and visual experience of the white box. Its critique goes beyond the limits of the exhibition and the curatorial project. It puts the attention back in the rarity of the “commonplace”. On the other hand, Ilona Sagar’s film Human Factors closes the exhibition by taking the rarity to the extreme. A discontinuous narrative hovers over images of a visual journey that takes the observer through architectural spaces, urban scenarios and landscapes making up a nonlinear sequence that reminds us of the power of contemporary art to displace and rearrange meaning while always reinventing the role of the artwork. The film, like an animated collage creates fragments that accentuate the microcosms of Softcore, reciting in poetic prose provocations of the thought and, through discontinuous sights of the rare and the commonplace, other forms of philosophical truths….
Softcore: Subverted Superstructure and the Systemic Sublime
软核：上层建筑的颠覆与体系的崇高性
Roma Mokrov Put a Newborn Fire in Your Hand Photography mounted on Aluminium 1000 x 670mm 2014 Courtesy of Triumph Gallery (Moscow) Fragment of exhibition in Moscow Museum of Contemporary Art with support of Triumph Gallery (Moscow)
Roma Mokrov Put a Newborn Fire in Your Hand Photography mounted on Aluminium 1000 x 670mm 2014 Courtesy of Triumph Gallery (Moscow) Fragment of exhibition in Moscow Museum of Contemporary Art with support of Triumph Gallery (Moscow)
Aspartime The Outsider——where are we going 局外人——我们去哪里 GIF File 2014
Aspartime The Outsider——contemporary 局外人——当代性 GIF File 2014
Aspartime The Outsider——art is like chess 局外人——艺术就像一盘棋 GIF File 2014
Aspartime The Outsider——the most fascinating kind of art 局外人——最迷人的艺术 GIF File 2014
Aspartime The Outsider——knock, knock 局外人——敲敲敲 GIF File 2014
Aspartime The Outsider——watermelonlism 局外人——西瓜主义 GIF File 2014
Aspartime The Outsider——yoyo 局外人——yoyo GIF File 2014
Aspartime The Outsider——another job 局外人——另一个工作 GIF File 2014
Aspartime The Outsider——go 局外人——go GIF File 2014
Aspartime The Outsider——keep climbing 局外人——爬不停 GIF File 2014
Tom Kemp Beetle in Curry Inkject on Paper 1000x700mm 2014
Doubleluckiness Serving Suggestion Ceramic, Plaster, Table Ware, Table 1150 mm Ă˜ x 1050 mm table Variable sizes 2014
Ilona Sagar Human Factors Video Duration: 9’50” minutes 2013
Alessandro Rolandi Another History Hand Painted Acrylic on XIX Century Belgian Rifle 1200 x 220 mm 2011
Zhang Zheyi 张哲溢 Lili’s Summer Oil Pen on album of paintings 420x265mm 2006
The Visual, the Image and the Other Ophelia S. Chan
Softcore: Subverted Superstructure and the Systemic Sublime comprises of a wide range of works from both Chinese and non-Chinese artists, spanning from still and moving images to sculptural and installation works. Here, “softcore” does not imply passivity or “softness” per se, but rather suggests a notion where the message within the artworks is embodied in suggestion and carried out by imagination, whereby the audience is required to be proactively engaged with what is presented in front of them, to see pass the surface and to read into what is open to interpretation. As spectators we are immediately drawn to the vivid colours and the eye-catching, perhaps overwhelming mixture of imageries, while at the same time, we are also put in the position of displacement and hence, doubt. The juxtaposition of the grotesqueness and the humble masking of elements taken from daily life, in the depiction of our neighbourhood with playful use of animated text in The Outsiders by Aspartime; a surrealist banquet as portrayed in Serving Suggestion by Doubleluckiness; candid and voyeuristic family photographs in Wedding Photos by Roma Mokrov… the exhibition welcomes us with its open arms where the cultural superstructure has seemingly been subverted into, in Marxist term – the base, or so to speak, that the superstructure is represented through the appearance of such. Ultimately, this subversion provides for us an access point into the underlying messages through the suggestive elements within the works presented – something that Jacques Rancière refers briefly to as “the Other” in The Future of the Image, where the difference between the Image and the Visual is distinguished, while the former refers to an Other, the latter refers to a notion that is devoid of content and ultimately nothing other than itself.
The Other exists in, and relies on the balancing of the dual functionality of the Image – between the visible and the invisible; an emotion or an incident and the linguistic tropes that express it; the artist’s translation and the linguistic tropes that express it; and his translation and what it transposes. By assembling words and forms, people define not merely various forms of art, but certain configurations of what can be seen and thought. While visible forms can be arranged in meaningful tropes and yield interpretable meanings, words can function as either a clarification or obscurity of an idea – they express what the eye might see, as well as what it will not, through narration and description, and by means of strength and control. In Ilona Sagar’s Human Factor, a montage of close-ups, of seemingly unrelated events and bodily movements, combining with the voice of a narrator who is neither a protagonist nor an antagonist, but something that holds all the visual fragments together, therefrom creating a sentence-image that is extended between the dialectic and the symbolic. If the dialectic aims at the secret of a heterogeneous order through the tension between unrelated elements, the symbolic would assemble elements in the form of mystery. Here, mystery does not entail any forms of enigma or mysticism, but stands as a form of aesthetic. In Softcore, the symbolist machine of mystery relates elements that are foreign to one another, and assemble them in accordance with both logic and illogic. It works to establish a familiarity, to create something common, in a sense that, instead of contrasting these collocating entities, it sets to demonstrate a more fundamental relationship of cobelonging, where the conveying and understanding the Other is made possible through the Image that is hidden within the Visual.
Sweet Under my tongue Garcia Frankowski
Like a sugar rush Tenderly melting away Offering me the perfect forgotten picture The faded polished memory That I strived to create Dissolved accuracy added fantasy Just the ideal mixture of different flavors So sweet in the mouth Taste of the Youth and of an illusory Future Vivid dreams Coated with sugar Delirious under your delight Sparkling of joy and 1 000 flavors As I dangerously let you melt too much I am left disillusioned only with the taste Of the tongue I bite
<蛋悠悠>
Chen Xi / 陈熹 去看看青青河畔草，凑过去闻闻绵绵蕾丝香吧，这里被铲掉的艺术和留下的艺术达到一种令人冥想的平 衡。作品的色彩与材质混合出幽深迷人的氛围，洋溢着比经典观念艺术更加现成的趣味。通过素颜的作品 来表达一个可读的反抗，结果常常是各自即兴发挥。从嘲笑动物园的生态系统到进入动物园，需要的风要 凄凉的，蛋蛋要软的，痛苦要孤独的，露点要向着高处的，轻肌弱骨要让自己摔碎的，感官过载到微微 红，相思物爱玲珑，如凤求凰，最终黄花比人瘦。要么奇觉要么顺服要么做局，算钱。这是一个关于对着 艺术微笑的故事，在那个故事里，微笑不能解决问题，但微笑可以解决你 。
Bio Ilona Sagar (b.1985, lives and works in London) Ilona Sagar received her BA in Fine Art from Goldsmiths College (2008) and her MFA in Sculpture from the Royal College of Art (2012). Using a diverse range of media spanning performance, film and assemblage, she has formed a body of work which responds to the social and historic context found in the public and private spaces we inhabit. Illusion and material [dis]honesty set the stage for works which seek to seduce, alluding to something familiar yet other. Recent exhibitions include Art on the Underground ArtLicks Weekend (2013), Saturated Spacecommission for the Architectural Association, UK (2013) Heart of Darkness, Le Centre national d’art contemporain, Nice FR (2012); The Visionary Trading Project, Guest Projects (2012); States of Matter, the Swiss Church (2011); and Architectural Playgrounds, Barbican Gallery (2010). During 2014 Ilona Sagar has exhibited at Art Rotterdam (NL) , Parasol Unit Foundation (UK) and at The Hayward Gallery (UK). www.ilonasagar.com Roma Mokrov (b. 1986 Elektrougli, Russia) Roma Mokrov is an artist and a photographer. He was born in 1986 in Elektrougli near Moscow. He graduated from the Moscow State Regional University, 2010 (Master of Psychology), studied in Free Workshops School for Contemporary Art at MMOMA and Institute for Contemporary Art, Moscow, 2011. In 2012 he was nominated for Innovation Contest of contemporary art with his work Endless Story and received Special prize, as well as Special mention by the jury of the international video art festival Now&After’12. He was nominated for Kandinsky Prize in “Young Artist Project of the Year” in 2012 and Kuryokhin Prize in 2013 in category “Best Media Object”. His personal exhibitions include “Notmoscow” 2012 in Moscow Museum of Contemporary Art, “Destiny of a Man” 2012 in Triumph Gallery, Moscow, “Protective Screens” in 2013 in Nina Due Gallery, Milan, “Pastorale” in 2013 in Central Exhibition Hall Manege, Moscow, “Put a newborn fire in your palm “ in 2014 in Moscow Museum of Modern Art . He also took part in a few group exhibitions in the National Centre for Contemporary Art, the Central House of Artists, the Moscow Museum of Contemporary Art, the Central Exhibitional Hall Manege and the State Tretyakov Gallery. He lives and works in Moscow and Elektrougli. www.mokrov.ru
简介 Ilona Sagar (b.1985, 居住、工作在伦敦) Ilona Sagar 于2008年在金史密斯学院获得美术学学士学位，2012年于英国皇家艺术学院获得雕塑专业硕 士学位。 通过多种媒介的表现形式、电影和组合，她的作品反映了我们生活居住的公共及私人空间中对社会及历史 的响应。 近期的作品展览包括：2013年的Art on the Underground ArtLicks Weekend；2013年英国建筑协会的 Saturated Spacecommission；2012年法国尼斯国家现代技术中心的Heart of Darkness；2012年的The Visionary Trading Project, Guest Projects；2011年瑞士教堂的States of Matter；2010年在Barbican画廊 的Architectural Playgrounds。2014年Ilona Sagar参展于鹿特丹艺术博览会，英国的Parasol Unit基金会和 英国的Hayward画廊 www.ilonasagar.com Roma Mokrov (b. 1986埃列克特罗乌格利，俄罗斯) Roma Mokrov 是一名艺术家及摄影师。1986年出生于莫斯科附近的埃列克特罗乌格利。 2010年他毕业于莫斯科国立大学（心理学硕士），2011年在莫斯科的MMOMA和当代艺术研究所进修。 2012年他的作品Endless Story在当代艺术创新大赛中获得优异奖，同时也在国际视频艺术节Now& After’ 12 中获得特别提名奖。2012年他在“年度青年艺术家”中被提名，获得Kandinsky 奖项。并在2013 “ 最佳媒体对象”中被提名，获得Kandinsky奖项。他的个人展览包括：2012年在莫斯科当代艺术博物馆 的“Notmoscow”；在莫斯科Triumph画廊的”Destiny of a Man”。2013年在米兰Nina Due 画廊的“Protective Screens”；在莫斯科中央展览厅的“Pastorale”。2014年在莫斯科现代艺术博物馆的“Put a newborn fire in your palm ”。他也曾参加了莫斯科当代艺术博物馆、the Central House of Artists、莫斯科现代艺术博物 馆、莫斯科中央展览厅和State Tretyakov画廊的一些群展。 他生活和工作在埃列克特罗乌格利、莫斯科。 www.mokrov.ru 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。
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 performance “Something on the way”. He contributes regularly to Hyperallergic Blog. www.alessandrorolandi.org Zhang Zheyi (b.1975, Guilin, China) Born in Guilin, Zhang Zheyi completed Postgraduate Studies of Prints at China Central Academy of Fine Arts (CAFA) in Beijing, after graduating from the Art Department of Guangxi Normal University. Recent solo exhibitions include “The Collection Of Pursuing Dreams”, Shanghai; “Mirrored Flowers” by Zhang Zheyi and Chen Jiaye, Red Gate Gallery, Beijing; “Relieve from Weight” at H.T. Gallery, Beijing; “Walking Insects” , “Light” and “Vows with All Beings”, Beijing. Group exhibitions include “The College Entrance Exam” , Mingtai Space; “Biennale of the Lions” ,MGM Macau; “Oh My God” at Action Space, “The 20th Anniversary Collective Exhibition of China Song Zhuang Artists”, Song Zhuang Art Center Beijing; Great Chinese Show: Made in China, OXO Gallery London; “Mercedes-Benz Art Unforbidden”, Being; Endless Emerging, Gallery Y.S.T HongKong; Shan Shui States Red Gate Gallery BeiJing; Through The Looking Glass, O Gallery 2013 BeijIng and more. Aspartime (f. 2012, Beijing) The art group Aspartime was launched by Fengya Liu and Xiao Qu in 2012. Fengya Liu was born in Shangdong Province and studied at the Chelsea College of Art and Design and at Chengdu Academy of Fine Arts.
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 张哲溢 （(b.1975, 桂林，中国) 广西师范大学艺术系获得学士学位，中央美术学院研究生班。 近期的个人展览包括：在上海的 “The Collection Of Pursuing Dreams”；在北京红门画廊展出“Mirrored Flowers”；在北京 H.T.画廊的“Relieve from Weight”；在北京展出的 “Walking Insects”； “Light” and “Vows with All Beings”。 参加的群展包括：在Mingtai 空间的的“The College Entrance Exam”； 在MGM 澳门的 “Biennale of the Lions”；在Action 空间“Oh My God”；在北京宋庄艺术区的中国宋庄艺术家二十周年集群 20周年纪念特展；在英国OXO画廊的“Great Chinese Show: Made in China”；在北京的“Mercedes-Benz Art Unforbidden”；在香港Y.S.T.画廊的“Endless Emerging”；在北京奥美O画廊的“Through The Looking Glass”，等等。 Aspartime (2012) 阿斯巴甜Aspartime是由刘风雅和瞿潇发起的独立的艺术小组，成立于2012年。 小组成员刘风雅（山东1985）毕业于四川音乐学院成都美术学院和伦敦艺术大学切尔西艺术设计学院，瞿 潇（浙江1979）毕业于中央美术学院和伦敦艺术大学伦敦切尔西艺术设计学院。近期的展览有“是什么让 今天的生活如此不同，如此富有魅力”，应空间，北京；“大声展”， 亮点设计中心，北京；“游乐场”，廊桥 艺术空间，成都。“杜撰”， 视界艺术中心，上海；“无处藏身”，星空间，北京 www.aspartime.com Doubleluckiness (f. 2012, 雅典) 从2012年起Doubleluckiness在中国代表Triantafyllidis兄弟。 Triantafyllidis Theoklitos (b. 1988, 雅典) ，他是一名来自雅典的设计师和网络艺术家。2012年毕业于雅典 国立技术大学，之后获得伊拉斯莫斯奖学金在柏林学习生活半年。目前他硕士在读于加州大学洛杉矶分校 的设计|媒体艺术专业。 Triantafyllidis Nickolas (b. 1990, 雅典) 他是一名多学科设计师，艺术家和无人机驾驶员。他在英国普利茅
Xiao Qu was born in Zhejiang Province and studied at the Chelsea College of Art and Design and at Central Academy of Fine Arts. Recent exhibitions and art projects include “What makes today’s life so different, so rich with magic?”, Yingspace, Beijing; “Get It Louder”, Beijing; “playground”, re-c art space, Chengdu; “Make up”, V art center, Shanghai; “Nowhere to live”, Star gallery, Beijing. www.aspartime.com Doubleluckiness (f. 2012, Athens) Doubleluckiness is an avatar, representing Triantafyllidis brothers in China since 2012. Triantafyllidis Theoklitos (b. 1988, Athens) is a food architect and internet artist from Greece. He got his diploma of architecture from the National Technical University of Athens, on 2012, spending a semester on TU Berlin on an Erasmus Scholarship. He is currently enrolled in Design | Media Arts MFA in UCLA. Triantafyllidis Nickolas (b. 1990, Athens) is an interdisciplinary designer, artist and drone pilot. He holds a BA in 3D Spatial Design from the University of Plymouth, UK. As doubleluckiness they have been awarded a Honorable Mention in the international architectural competition “Architecture & Food”, Russia, 2013. They have participated in various exhibitions including “GRE.A.T.” Architecture exhibition at Athens Concert Hall, “Spectrum” new media exhibition at 6dogs, Athens and the 6th Web Expo of Net Art, Hangzhou. Their work has also been exhibited in online galleries such as cloaque.org, #0000ff, painted etc. They recently participated in BYOB Beijing: Rendering and BYOB Tropical Paris. http://doubleluckiness.tumblr.com/ Tom Kemp (b. 1988, lives and works in London) Tom Kemp received his BA in Sculpture from Camberwell College, University of the Arts London(2009). Working as an animator he has worked on projects with artists Adham Faramawy, Cecile B Evans and Mat Collishaw. As a writer and designer he is developing a practice that studies the relationship between prevalent literary devices of canonicity and worldbuilding and their exogenous economic factors, producing a series of structurally compromised narrative works in prose, comic strip and moving image. His work has recently been published in Universe II (2013), and will be published serially in UNTDOUS, as of January next year.
斯大学获得3D空间设计专业的学士学位。 2013年Doubleluckiness 的作品“Architecture & Food”在俄罗斯举办的国际建筑设计大赛中获得优秀奖。 他们曾参展多个展览，包括：“GRE.A.T.”在雅典音乐大厅举办的建筑设计展；“Spectrum”在雅典6dogs的 新媒体展和杭州的第六届网络艺术博览会。他们的作品也曾在一些网络画廊中展出，例如：cloaque.org, #0000ff, painted 等。近期他们参加了BYOB北京的：Rendering and BYOB Tropical Paris. http://doubleluckiness.tumblr.com/ Tom Kemp (b. 1988, 生活、居住在伦敦) Tom Kemp 于2009年在坎伯威尔学院，伦敦艺术大学获得雕塑专业学士学位。 作为动画设计师他曾与艺术家Adham Faramawy、Cecile B Evans 和Mat Collishaw共同创作项目。 作为一名作家和设计师他在实践研究正规普遍的文学手法与世界搭建的关系，及它们的经济外因，并创作 了一系列的诗歌、连载漫画和动态影像。 他的作品被发表于2013年的Universe II，并将于明年一月起陆续在UNTDOUS上发表。
Intelligentsia Intelligentsia explores the relationship between art and life, between concepts and creation. Intelligentsia is a space for the conception and diffusion of ideas and their manifestation in the realm of contemporary art. Intelligentsia presents ideas in the form of texts, publications, images, pictures, photographs, paintings, performances, videos, objects, events. Intelligentsia offers collectible materials that communicate the ideas of artistic production. Intelligentsia creates a space for positions and oppositions, for dialogue and contradictions. Intelligentsia is a platform for converging projects, juxtaposing narratives, and conflicting art. Intelligentsia recognizes that diversity of projects create an intelligence of contemporary art. Intelligentsia is concerned with artistic production and artistic process. Intelligentsia is fueled with the intellectual discourse of art. Intelligentsia presents events as artistic production. Intelligentsia is an independent art space in Beijing. 智先 画廊 智先探索艺术与生活，观念与创作的关系。 概念在这一空间中孕育和传播，并以当代艺术的方式得以展现。 智先的思想通过文本、出版物、影像、图片、摄影、油画、表演、视频、物体、活动的形式呈现。 智先提供具有收藏意义的素材，传播艺术生产的理念。 智先的空间兼容了立场与对峙，对话与矛盾。 智先作为开放的平台，兼有趋同的项目、并置的叙事、冲突的艺术。 智先认识到当代艺术的智慧源于项目的多样性。 智先关注艺术生产及其产生过程。 智先以艺术的思辨讨论为驱动。 智先将活动作为一种艺术生产。 智先是位于北京的独立艺术空间。
www.intelligentsiagallery.com intelligentsia.gallery@gmail.com
Acknowledgements Intelligentsia Gallery would like to thank everybody involved in the realization of this exhibition. Without the enthusiasm of Michelle Garnaut, Hao Chen; Zhang Yanping; Ronald Frankowski, Joao Dias Pereira, Christian Melz, Li Shan, Amanda Zhang; Kyle Nan; Felix Cruz Marcos; Guido Tesio; Annie Yuxie Wang; Lingbo Liu; Natasha Qin ; Ophelia S. Chan; Chen Xi .
致谢 智先画廊感谢以下诸位对实现此次展览的帮助： Michelle Garnaut, 陈昊; 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz, Li Shan, 小静; 南开; Felix Cruz Marcos; Guido Tesio; Annie Yuxie Wang; 覃美律; 陈秀炜; 陈熹.
Intelligentsia Supporter:
www.intelligentsiagallery.com