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The Map and the Territory: Ontological Boundaries with works by Kang Haitao, Sofia Borges, Zhou Fan, Camille Ayme, Vessna Perunovich, Troyka Union, Olga Rodina, Anasatasia Soboleva, Lena Tsibizova
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INTELLIGENTSIA GALLERY智先 画廊
THE MAP AN THE TERRITORY:ONTOLOGICAL BOUNDARIES
KANG HAITAO 康海涛 SOFIA BORGESZHOU FAN 梧州CAMILLE AYMEVESSNA PERUNOVICHTROYKA UNIONOLGA RODINAANASTASIA SOBOLEVALENA TSIBIZOVA
地图与疆域：本体论的边界
7
2014 年 10 月 18日18 October 2014
7
THE MAP AN THE TERRITORY:ONTOLOGICAL BOUNDARIES
KANG HAITAO 康海涛 SOFIA BORGESZHOU FAN 梧州CAMILLE AYMEVESSNA PERUNOVICHTROYKA UNIONOLGA RODINAANASTASIA SOBOLEVALENA TSIBIZOVA
地图与疆域：本体论的边界
Softcore: Subverted Superstructure and the Systemic Sublime
Intelligentsia Gallery is thrilled to present The Map and The Territory: Ontological Boundaries, a group exhibition with works by Sofia Borges (b. 1984 Ribeirão Preto, Brazil), Kang Haitao (b. 1976 Chongqing, China), Paul Fan(b. 1989 Wu Zhou, China), Camille Ayme (b. 1983 St. Etienne), Vessna Perunovich (b. 1960 Zaječar, Serbia), and Lena Tsibizova (b. 1988 Moscow, Russia), Olga Rodina (b. 1982 Moscow, Russia) and Anastasia Soboleva (b. 1989 Kostroma, Russia) of Troyka Union.
Recalling Jed Martin’s show in Michele Houellebecq’s novel The Map and The Territory (2012), the exhi-bition explores the concept of landscape representation and the decoding apparatus of abstract visual spaces. By means of painting, photography, video, and installation, the seventh international exhibition ventures into uncertain terrain in order to trace a pathway for our meandering understanding of territory and topography, of geographic representation and cartographic experiments.
Curated by Garcia Frankowski, the exhibition constructs an unexplored landscape with diverse pathways and turns, with alternating topographies and possible routes. Opening the 18th of October, Intelligentsia Gallery will present The Map and The Territory in order to discover uncertain terrains and cross ontologi-cal boundarie
Intelligentsia Gallery
地图与疆域：本体论的边界
智先画廊乐意呈现群展 地图与疆域：本体论的边界。参展艺术家包括Sofia Borges (b. 1984欧鲁普雷图, 巴西), 康海涛 (b. 1976 重庆, 中国), 梧州(b. 1989 梧州, 中国), Camille Ayme (b. 1983圣•艾蒂安), Vessna Perunovich (b. 1960) (扎耶查尔，塞尔维亚), Lena Tsibizova (b. 1988莫斯科, 俄罗斯)，Olga Rodina (b. 1982 莫斯科, 俄罗斯)， Anastasia Soboleva (b. 1989科斯特罗马, 俄罗斯)。
与Michele Houellebecq小说中Jed Martin的展览同名，此次展览探索了景观表现的概念，并解码了抽象视觉空间的运作方式。通过绘画、摄影、影片、装置，第七次国际展冒险进入了不确定的场域，以勾勒出我们对领土和地形、对地理再现与地图学实验蜿蜒曲折的理解。
由Garcia Frankowski策划，展览建构了一个未曾发现、具有多样性通道与回路的景观，它充满了不断变化的地形和各种可能的路径。展览将于10月18日开幕，智先画廊将通过地图与疆域来发现不确定的疆域，并跨越本体论的边界。
智先画廊
ONTOLOGICAL CARTOGRAPHIESGarcia Frankowski
The contrast was striking: while the photograph showed only a soup of more or less uniform green sprin-kled with vague blue spots, the map developed a fascinating maze of departmental and scenic roads, viewpoints, forests, lakes and cols. Above the two enlargements, in black capital letters, was the title of the exhibition: THE MAP IS MORE INTERESTING THAN THE TERRITORY.
–Michel Houellebecq, The Map and the Territory
With bewildering detachment Jed Martins, the absentminded artist centre of Michel Houellebecq’s The Map and the Territory revealed the ontological properties that give the map a critical role in our under-standing of territories with their geographical boundaries and their landscapes. His pictures of Michelin road maps, photographed with a very low camera angle, and then layered in Photoshop to blur the back-
ground and introduce a bluish effect on the horizon, created a window that allow us to look at the land-scape from a fresh perspective allowing us to ask about the fundamental nature of its tools and mediums of representation. In Houellebecq’s novel Jed Martins allowed the viewer a new form of omniscient freedom by introducing him to a new dimension beyond the predetermined representational apparatus of landscapes. By per-forming this operation, the landscape, usually sole center of attention was relegated to a secondary plane as the map acquired a new form of autonomy. Martins generated a shift of ontological tectonic plates. His photographs transformed the map into the territory. Cartography stopped being a tool of synthesis and representation. While his exhibition claimed that the map is more interesting than the territory, we dare to ask: wasn’t the map after all, the territory? The Map and the Territory: Ontological Boundaries presents photography, painting, video, mix-media, and installation venturing into the uncertain terrain opened by the aforementioned questions. The exhibition explores the relationship between the map and the territory, tracing its connections and drawing the pos-sibility of an ontology of the boundaries delimiting both concepts. In this context Sofia Borges’ work is both question and answer, both map and territory. It offers a distant look at the landscape while it closely dissects the medium used to represent it. Her picture, a photograph of a mountainous region oscillates between the master-creator view over his scale model and the digital voyeurism of the online satellite image user. Both distant and close, the image blurs towards its edges giving a mysterious feeling that is just accentuated by what can be read in capital letters at the bottom left corner of the piece: Phantom. Is the Phantom an area in South Africa or is it a reminder of the ghostly aura of the photograph? Because of the color of the mountains the picture could be an abstraction of a landscape anywhere, from peaks at the African continent, to volcanoes in Mars. There’s an esoteric feel-ing about the photograph that raises more questions and invites to read and re read the artwork. Another name is barely visible and cut incomplete at the right bottom corner of the image suggesting that the map continues, that the landscape rhythmically folds and unfolds beyond the Cartesian limits of the photo-graph, that the mountains go on and extend infinitively.The photo performs a transformation of the map into the territory, of the landscape into a map, converting the scale model into a landscape, and the photography into the topos of the artwork. Walking a distant path, Vessna Perunovich creates Rice Fields with black ink and graphite lines meticu-lously drawn over wood boards. Her take on the use of the vernacular medium of ink is adapted into an abstract reading of a rice field, of a geographical map. The sinuosity of the landscape is represented not by folding planes, but by contour lines that draw an imaginary territory yet to be explored. Perunovich’s work
transforms the topos of the landscape into the topos of the painting and drawing. The viewer is invited to wander in the curves, to guess their scale and their unreachable dimensions. Rice Fields is both landscape and abstraction, as it reminds us how all the information that could be provided with a single group of lines, and of the potential of the artwork to activate the dialectic between these two fields. Following this contention initiated in the “Dialectical Territories: Landscapes and Abstraction” show (March, 2014) Moscow-based collective Troyka Union retakes the ethnographic research and territorial exploration of this ongoing dialogue. Olga Rodina’s Karelia photograph of a monk by the lake brings glimpses of Caspar David Friedrich Monk by the Sea (1893) in its clash between the concreteness of the human figure and the abstract dematerialization of the landscape as ethereal background. In her pair of photographs the landscape stands from a contemplative distance. In on of them the human figure reminds us that insignificance of man in front of the vast and powerful landscapes. If Borges and Perunovich adopt a distant but omniscient point of view, Rodina brings back the human presence into the landscape. While her second photo displays a territory safe from a distance, the view of the conqueror of the land that approaches by the sea, reminding us that what makes this territory is that it has the potential of being conquered and explored, grasped by our curious gaze Lena Tsibizova’s presents intimate close ups from landscapes in Siberia. Like sensuous photographs of the human body, these images depict stones, and rocks, revealing in the distance an unfolding universe of blue and green hues. Her work invites to feel the humidity of the soil, to almost smell the aroma of nature. If Rodina’s photographs display the landscape from a contemplative distance, Tsibizova’s pictures put us in action, in physical exchange with the features of nature, like the Wanderer in Friedrich’s painting, like a lone hiker facing the insurmountable vastness of nature.
Kang Haitiao’s painting reflects the idea of boundaries, barriers, and visual obstruction. ‘Two Trees” dis-plays foliage in front of a yellow wall. The trees and the wall are too close for the viewer to be able discern where was this picture taken from, or what is behind the wall. Curiosity arises as the proximity to the objects of study impedes a more comprehensive reading of the context. Two Trees brings us close to the trees while at the same time distancing us from the overall image of the landscape as if the author was trying to reconstruct the scene and our understanding of how do we approach territories, and how do we create boundaries that in this case take the physical appearance of nature and that of a man-made wall. The wall stands in stark contrast with the trees. Its color accentuates the difference. However, the image dissipates the perspective, creating a form of flatness unachievable in real life. We assume the trees are trees because the title of the works suggest it. They seem to float around without any weight to anchor them, adding another layer of abstraction to the picture. Contrary to most of the works in the exhibition, there’s a generic aspect to the meticulous painting of Haitao. While most pictures display very unique landscape, at very unique moments of the day, his painting becomes hides any identifiable characteristic. The image could be anywhere, around the gallery, in Chengdu, the city where the artist hails from, a copy
from a photograph from a book, an imaginary picture. Two Trees presents a border that opens pos-sibilities while denying closer inspection. Because we cannot enter the picture, the picture allows us to enter anywhere. Anastasia Tsoboleva brings our sight back to a fleeting moment. Titled after the road that connects Moscow and Arcangelsk, her series Route M8 reminds us of the multiple ways we can approach, see and conquer territories. Route M8 perpetuates a passing moment and place on a permanent portrayal. The intermediate space is transformed in the destination. No more Arcangelsk or Moscow. Road M8 is not one nor the other, not at day, neither night. A work about transitions—either geographic or about time—Road M8 serves as a counterpoint to Camille Ayme’s video Dypthic ‘Driver / Passenger’. Two videos display on 4:3 monitors looping images of shots from car driving through the streets of Arizona. Vast landscapes blur on the horizon as we are trapped in a continuous shot of a vehicle that seems to move nowhere. Here the commonplace, the ordinary image of the common connection road is made infinite, as a car riding on a path that leads to no specific place, and that at the same time could come from anywhere. Tsoboleva’s pictures are moving images frozen in time, Camille Ayme are a fleeting moment make repetitive ad infinitum. Both artists are decided to challenge the properties of time and place, either by making them stand still, or by simulating their endless motion. To close the exhibition Zhou Fan creates a double installation. Net / Trap presents site specific struc-tures made out of wooden sticks, wires, cables and wood disks. The title suggests the merging of two concepts in one, net, as in structure, and trap, as in function. Freestanding installations of this nature when found in the naked landscape announce the presence of inhabitants or passers by. The less permanent the structure the higher the probability that its builder either will move to somewhere else eventually or has already left. Are Net / Trap also evidence of a fleeting moment in the context of the exhibition? Or are they demarking the territory of the gallery as if to create a territory within its boundaries? Is the artist creating a distraction from the surrounding landscapes? As with a hunter awaiting its prey, has the artist has set a Net / Trap targeting the audience to deposit all their effort in trying to find coherence on a group of works whose narrative power is fueled by the enigmatic mystery of the landscapes depicted? Isn’t the artist unassumingly creating a group of objects accentuating the ontological delimitation of the exhibition, serving as a contextual artifact—a point of reference where each work can reflect upon each other— to both the map, and the territory?
The Human LandscapeJacob Dreyer
Michel Houllebecq’s La Carte et La Territoire can be read as a sad elegy of the modern project. If several decades ago, structured by the logic of ideological conflict, we discussed ‘post-modernity,’ it was always a bit insecure, the manifesto of a generation insistent that their subject position was unique. Today, we can only look at the modern with nostalgia; the modern, a period in which it was believed that the human race was perfectible, and that utopia was attainable, is no more than a faint and slightly childish memory. Chateaubriand, De Maistre, Tocqueville, Retif de la Bretonne, Balzac, Hugo, and above all Proust; there was a trajectory in Houellebecq’s home country in which cartography and the literary impulse were inex-tricably intertangled, one that began with the moment of revolution and ended in solitary meditation in a cork-lined room. The numerous landscapes of the modern world: the American savages and those of the urban ghetto, the frozen canals of the totalitarian urban monument and the barricades of a great revolu-tion, the slow and tortuous voyage down the paths of the self: these, and many others, were the scenes of the modern. When Houllebecq sends a character he has named after himself to the countryside to reread Chateaubriand (and subsequently, Jed Martin to a similar ancestral terroir) he is merely describing the desire for a less overdetermined world; a landscape of purity and authenticity, in which actions have sig-nificance, a retreat into a soothing world of certainties and adventures. Today, we inhabit an urban space indistinguishable from spectacle, and that the possibility of authentic subjectivity is already past. We feel the self to be surrounded by endless layers of ultimately flimsy social matter; everywhere we look, we see our own reflection, mocking our inability to transcend selfhood, capitalism, the city, and a variety of other, synonymous conditions.
In suggesting this forgotten terroir as authentic, however, Houllebecq may be showing his own naivete. The landscape is always stitched up by our imagination, and by the structuring logics of architecture and other forms of language. After all, to perceive a landscape at all takes as its prerequisite a sense of the self as separated from earth- realized as an intellect. Rather than being a universal condition, this very peculiar state of affairs- the ability to perceive a landscape- is part of the project of modernity- there is a reason why Houllebecq turns to Chateaubriand, whose search begins with the revolution which dislodged him from his own fixed social position. The desire to identify a landscape is motivated, above all, by home-lessness; the landscape that is seen is more product of one’s desire than a real place. When, for example, Japanese intellectuals were forced to perceive their home territory as landscape for the first time, it was felt as trauma, resulting in suicide for many . (Of course, the primary reason for this discovery of the self- and the concurrent discovery of a world external, juxtaposed or even dialectically opposed to the self, was economic; in lieu of a homeland, mountains of coal, valleys suitable for traintracks, and terrains to be transformed by the logic of urban planning were seen). The result is that which we call “the built environ-ment.” The moment of alienation from our environment is the moment that, rubbing our eyes, we begin to perceive “landscape;” those architects, writers, and painters who concern themselves with landscape are, perhaps, trying to imagine the path out of themselves, and back into the fold of a collective life. Although the exhibition is not structured around China per se, our subject position makes the project of urbanization in China the ultimate context of this curatorial work. In contemporary China, where the population density even in rural areas can surpass that of Western urban areas, the extension of the map- a systematized form of rational knowledge- over the territory, is now underway. This process, the arrival of the logic of enlightenment- and the totalitarian, panoptical knowledge and surveillance that nec-essarily accompanies that logic- is where, as in Borges short story, the map is overlaid atop the territory, transforming the homeland into commodity. Philosophers of the Enlightenment from Voltaire to Hegel to Marx predicted that China would be the axle point of modernity; more recently, the Chinese city was to be the site of “overcoming modernity.” This is the context of these images of landscape: in a graying alleyway, deep in the heart of the ancient capital, surrounded by mounds of garbage, the sounds of drilling, and a sea of humanity. Meditating upon Hegel in the throes of the end of history, Kojeve commented that:If the Americans have the appearance of Sino-Soviets become wealthy, it is because the Russians and Chinese are merely Americans who are still poor- on the path, moreover, to rapid enrichment. … Man’s re-turn to animality, therefore, seemed to be longer a possibility yet to come but a certainly already present.
This “eternal present” is the one in which our search continues, albeit without the enthusiasm and bold-ness of Chateaubriand; we are the stragglers, the last men, who have somehow arrived late to the end of history; and as we watch the masses in the train stations, in the streets, on the television, it’s as though we are on the shore watching a new Noah’s Ark set sail. Jungles, towns, icebergs, nightclubs; the only landscape remaining is the human landscape, into which we would happily drown ourselves.
The Map and the Territory: Ontological Boundaries
地图与疆域：本体论的边界
Sofia BorgesPhantomPhotography on Art Paper1800 x 1200mm2014Courtesy of Sofia Borges and Galleria Millan (Sao Paulo)
Olga Rodina Troyka UnionKareliaPhotography500 x 500mm2012
Olga Rodina Troyka UnionKareliaPhotography500 x 500mm2012
Anastasia SobolevaTroyka UnionRoute M8Photography500 x 500mm2013
Anastasia SobolevaTroyka UnionRoute M8Photography500 x 500mm2013
Lena TsibizovaTroyka UnionKranoyarsk, SiberiaPhotography500 x 500mm2013
Lena TsibizovaTroyka UnionKranoyarsk, SiberiaPhotography500 x 500mm2013
Kamg Haitao 康海涛Two TreesAcrylic on Paper Board1760 x 1010mm2011Courtesy of PIFO New Art Gallery, Beijing
Camille AymeDriverVideoLoop2011
Camille AymePassengerVideoLoop2011
Vessna PerunovichRice Field 1Ink and Graphite on Wood Board450 x 290 mm2014
Vessna PerunovichRice Field 2Ink and Graphite on Wood Board450 x 290 mm2014
Zhou Fan 梧州Net / TrapWood, wire, fabric, plastic wire, wood disk1500 x 1700 x 1770 x 1500 mm2014
Stay on Your GroundGuido Tesio
As we continue to develop available geographic territories - are we going to live on Mars soon? - we have lost touch with any sense of the natural environment. Nature is not familiar anymore. Nature is holiday. Tropical screensavers remind us of our alienation.
After the disappearance of the romantic distinction between natural and artificial also the boundary be-tween reality and illusion has been blurred. With the digital revolution, reality itself has been murdered.
The disappearance of the Real - with all the self-evident and the material inertia that the concept implies - established a new era of abstraction and indifference - of definitive erasure of specificity and ultimate interchangeability - the era of the generic. “Liberated from the straitjacket of identity” , everything is reduced to communication flow. Rootlessly free to move from anywhere to anywhere. Encountering no resistance, leaving no traces.
The crime was perfect .
The seventh exhibition of Intelligentsia Gallery tackles the narrative about our detachment from Nature and Reality from different perspectives, starting from what is an archetype of Materiality, Immanence, Stability and Permanence: the ground we stand.
The exhibition oscillates between the quest for the essence of Nature, its ontology - the Territory - and the exposure of our critical understanding of it - the Map - exploring the contemporary cult of Nature and the mythology of its resurrection as well as enjoying the beauty and the pleasure of the blurring between matter and image.
Are these images an attempt to prevent our world to succumb to its reality deficit?
Bio
Sofia Borges (b. 1984 Ribeirão Preto , Brazil) Sofia Borges is a visual artist with a bachelor’s degree from the Universidade de São Paulo (Brazil). In 2008, she received four art awards, and got a scholarship for artistic research and production granted by the State of Pernambuco, Brazil. From 2009 to 2010, she held four solo shows in Brazil, was selected by Rumos Itaú Cultural, was highlighted by the Bolsa Iberê Camargo, won the Premio Porto Seguro de Fotografia and was one of the Brazilian artists nominated to the Paul Huf Award 2010 (Amsterdam, Netherlands). In 2011, she was invited to the Photography Club of the Museu de Arte Moderna (São Paulo, Brazil), held three individual shows in Brazilian state capitals and was featured in group exhibitions such as: A Nova Fotografia Bra-sileira (São Paulo), and Eu Me Desdobro em Muitos (Rio de Janeiro, Brazil). In 2012, Sofia was the youngest artist to participate in the 30th Bienal de São Paulo. In 2013, she was nominated to the BES Photo Award (Portugal), once again, to the Paul Huf Award, and was grant-ed the aquisition prize of the Programa de Fotografia do Centro Cultural São Paulo. She also held exhibi-tions in Mexico City (Mexico), Oslo (Norway), Madrid (Spain), Paris (France), São Paulo, Rio de Janeiro and Lisbon (Portugal). In 2014, she participated in shows in London (UK), Los Angeles (USA), Lyon (France), São Paulo, Doha (Qatar) and Beijing (China).http://sofiaborges.carbonmade.com/ www.galeriamillan.com.br
Vessna Perunovich (b. 1960 Zaječar, Serbia)Vessna Perunovich is an interdisciplinary Canadian artist based in Toronto. Perunovich has exhibited extensively both in Canada and abroad. She took part in a number of international exhibitions including biennials in Cuba, Albania, England, Portugal, Yugoslavia and Greece and attended the international residencies in Berlin, Bursa, Banff, New York and China. Her work is part of many collections in Canada and Europe including the US Embassy in Belgrade, Art in Embassies Col-lection, Cultural Centre of Belgrade, Serbia, Art Gallery of Hamilton, Canada and many others. She is the subject of two comprehensive monographs, (W)hole, 2004 and Emblems of the Enigma, 2008. Her interdisciplinary survey exhibitions Borderless and Emblems of Enigma have recently toured at prestigious public galleries and museums across Canada, and Europe. She is represented by Angell Gallery in Toronto, Canada.
http://www.vessnaperunovich.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 char-acters or places of study seem fixed in a moment in time.
简介
Sofia Borges （生于1984，里贝朗普雷图， 巴西）Sofia Borges是一名圣保罗大学（巴西）视觉艺术系的本科毕业生。2008年，她获得四项艺术奖，并取得伯南布哥政府的艺术研究奖学金。
自2000年至2010年，她在巴西完成四次个展，并被Rumos Itau Cultural杂志登载，获得Premio Porto Se-guro de Fotografia，并是Paul Huf 2010艺术奖（阿姆斯特丹，荷兰）提名的巴西艺术家之一。2011年，她被Museu de Arte Moderna摄影俱乐部选中在圣保罗（巴西）举办了三次个展和多次群展：其中包括A Nova Fotografia Brasileira (圣保罗)和Eu Me Desdobro em Muitos (里约热内卢, 巴西).
2012年，Sofia以最年轻的艺术家身份参加第三十届圣保罗双年展。2013年，她被提名BES摄影奖（葡萄牙），再次被提名Paul Huf奖，并被授予Programa de Fotografia do Centro Cultural São Paulo颁发的aquisition prize奖。她同时参与许多展览，包括墨西哥城（墨西哥）、奥斯陆（挪威）、马德里（西班牙）、巴黎（法国）、圣保罗、里约热内卢和里斯本（葡萄牙）。2014年，她参加了伦敦（英国）、洛杉矶（美国）、里昂（法国）、圣保罗、多哈（卡塔尔）和北京（中国）的展览。
http://sofiaborges.carbonmade.com/www.galeriamillan.com.br
Vessna Perunovich (生于 1960 扎耶查尔, 塞尔维亚)
Vessna Perunovich居住在多伦多，他是一名加拿大跨领域艺术家。
Perunovich在加拿大和境外参与众多展览。她参与了许多国际展览，包括古巴、阿尔巴尼亚、英国、葡萄牙、南斯拉夫、希腊的双年展，取得国际艺术实习机会，包括柏林、布尔萨、班芙、纽约和中国。她的许多作品被重要机构收藏，包括塞尔维亚的贝尔格莱德美国大使馆、加拿大的Hamilton艺廊等等。两部个人专辑：《(W)hole》，2004和《Emblems of the Enigma》，2008。她的跨领域研究展览《Borderless and Emblems of Enigma》目前正在加拿大和欧洲著名的公共艺廊和博物馆中迅游展览。她由加拿大多伦多的Angell艺廊代表。
http://www.vessnaperunovich.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。
In 2010, her collaboration with the TV series Skins in New York led her to rethink the notions of charac-ters, 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.http://nimporteou.tumblr.com/
Troyka Union (Moscow, Russia)Troyka is a creative union formed in 2012 by artists Olga Rodina (Moscow, Russia, 1982), Anastasia Sobole-va (Kostroma, Russia, 1989), and Elena Tsibizova (Moscow, Russia, 1988). Recent exhibitions include Dialectical Territories: Landscapes and Abstraction at Intelligentsia Gallery, 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
Kang Haitao (b. 1976 Chongqing, China)Born in 1976, Kang Haitao is an artist based in Chengdu. Graduated from the Sichuan Fine Art Institute in 2000 his work has been exhibited in solo and group exhibitions in China and internationally. His meticulous landscape paintings have been exhibited in solo exhibitions at Minsheng Art Museum in Shanghai, PIFO New Art Gallery in Beijing and VA Gallery in Hong Kong. His work has been included in group exhibitions at the Nanjing Arts Institute and Museum of Art, Nanjing; The Sixth Chengdu Biennale, Chengdu; New Art from China , Zhong Gallery, Berlin; The Fifth Shanghai Duolun Young Art Ex-hibition, Duolun Art Museum, Shanghai; Today Art Museum , Beijing; Wuhan Art Museum, Hubei; Opening Vision — China Contemporary Art Exhibition, The Czech National Gallery, Prague ; China Central Academy of Fine Arts (CAFA), Beijing; and Watergate Gallery, Seoul.
Zhou Fan (b. 1989 Wuzhou, China)Zhou Fan is a multimedia artist working on a wide range of formats. Graduated from Guangxi Normal University in Guilin, recent exhibitions include ‘Net Past Error’ at the Art Museum of Guangxi Normal University. His work include installation, sculpture, painting, and mix-media.
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
Kang Haitao (生于 1976 重庆, 中国)
1976年出生的Kang Haitao目前居住于成都。2000年自四川艺术学院毕业。他的作品在中国和境外参加个人和群体展览。
他在上海Minsheng艺术博物馆、北京偏锋新艺廊和香港VA艺廊举办个展。他的景观油画在许多地方参加群展：南京艺术中心和艺术博物馆、成都第六届双年展、柏林的Zhong画廊、上海第五届Duolun年轻艺术家展览、北京今日美术馆、武汉艺术博物馆、Opening Vision-中国当代艺术展、布拉格Czech国家美术馆、中央美术学院和首尔的Watergate画廊。
梧州 (生于 1989 梧州,中国)
梧州 是一名多媒体艺术家。他的作品包含了许多不同形式。毕业于广西师范大学。他最近参加的展览包括广西师范大学美术馆的《Net Past Error》。他的作品包括雕塑、油画和多媒体。
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。
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.
致谢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; Zhang Yanping / 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz; Li Shan / 小静, Amanda Zhang / 小静; Kai Nan / 南开; Celyn Bricker; Guido Tesio; Annie Wang; Lingbo Liu; Natasha Qin / 覃美律; Jacob Dreyer, Xu Ruiyu / 徐瑞钰
AcknowledgementsIntelligentsia Gallery would like to thank everybody involved in the realization of this exhibition. Without the enthusiasm of Michelle Garnaut; Geisel Cabrera; Hao Chen / 陈昊; Zhang Yanping / 张燕平; Ronald Frankowski, Joao Dias Pereira, Christian Melz; Li Shan / 小静, Amanda Zhang / 小静; Kai Nan / 南开; Celyn Bricker; Guido Tesio; Annie Wang; Lingbo Liu; Natasha Qin / 覃美律; Jacob Dreyer, Xu Ruiyu / 徐瑞钰
Intelligentsia Supporter:
www.intelligentsiagallery.com
