Intelligentsia catalog 47

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26 July 2015 2015 年 07 月 26日

THE YELLOW ONES ARE MINE Intelligentsia Gallery is pleased to present ‘The Yellow Ones are Mine’, a group exhibition with works by Elsie Yi Shen (b. 1974, Jiaxing, China) , Engel Leonardo (b. 1977 Bani, Dominican Republic), Sonia & Mark Whitesnow (b. 1986 Kirov, Russia), Jade Townsend (b. 1986 Wanganui, New Zealand), and Zhang Xuerui (b. 1979 Shanxi, China) Borrowing its title from an eponymous piece by Elsie Yi Shen, ‘The Yellow Ones are Mine’ explores aesthetic strategies and conceptual bridges employed to transform and reclaim bodies, objects, mediums, thought-figures and processes. Through grasping gaze and alchemistic power, each of the works in the exhibition executes a conceptual transformation, from the extraction of commonplace objects and phrases, to the manipulation of images of the corporeal, from time-based painting of geometric colour fields, to performative selection of all the yellow balloons and painting the remaining ones as an act of conceptual appropriation. Curated by Garcia Frankowski, the forty seventh international exhibition presents photography, artifacts, and painting to dissect the processes of accumulation, repetition, transformation and documentation inherent to the production and realization of everyday (or non-everyday) projects, as everything is transformed, reticulated and painted in order to declare ‘The Yellow Ones are Mine’. Intelligentsia Gallery

黄色的是我的 智先画廊荣幸呈现群展“黄色的是我的”,参展艺术家包括沈怡 (1974, 嘉兴,中国) , Engel Leonardo (1977 ,巴尼, 多米尼加共和国), Sonia & Mark Whitesnow (1986,基洛夫,俄罗斯), Jade Townsend (1986, 旺加努伊, 新西兰), 张雪瑞 (1979陕西,中国) 展览标题借用沈怡的同名作品“黄色的是我的”,通过图形与过程,探索在身体、物体、媒介的转变与改造 中所采取的美学策略与概念纽带。通过攫取注视和炼金术般的力量,展览中的每件作品都在执行一种概念 的转变:从提取日常物体和短语,到对人体图像的操作,从具有时间元素的几何色域绘画,到选择所有黄 气球并对绘制剩余气球作为概念层面的挪用行为。 由Garcia Frankowski策划,第四十七届国际展结合摄影、人造物、绘画,剖析了日常(或非日常)项目的 生产与实现中所固有的积聚、重复、转变与纪录过程;如同一切都在转变、链接、被绘制,并宣布“黄色 的是我的”。


The Yellow Ones are by the Artist Garcia Frankowski

The work of the curator consists of placing artworks in the exhibition space. This is what differentiates the curator from the artist, as the artist has the privilege to exhibit objects which have not already been elevated to the status of artworks. –Boris Groys, The Curator as Iconoclast A man goes through the task of separating a conglomerate of balloons into yellow and colored ones. Once all the yellow ones have been grouped together, he proceeds to cover the remaining balloons with yellow paint. Conceptual appropriation is the magic trick of contemporary art. Take this or that object, paint it yellow, make it yours. Painting the balloons is what differentiates the artist from the curator. The curator can show the balloons the artist has painted. The artist has the power to paint them. Unlike the curator who only has the capacity to show works of art, the artist possesses the alchemistic gift to transform, to make all the colour balloons, so to speak, yellow. With ‘The Yellow Ones are Mine’ Elsie Yi Shen sheds light on a fundamental issue about the understanding of contemporary art, and how it is presented, exhibited, understood. Not only does the art-

ists wants the balloons to be hers, she wants the balloons to be yellow too. The art project consists in fitting and developing narratives, concepts, arguments and forms that respond to the aesthetic requirements of the artist. Sometimes the artists sets form-based rules. Sometimes the aim is shifted towards process. Zhang Xuerui’s blueprint consists on a juxtaposition of these two concepts. Laying out a set of Cartesian guidelines, a meticulous grid reveals a gradient of shapes and hues. If the balloons were seized by the violence of the painting act, painting is now employed through mathematical compositions and combinations of triangles and quadrilaterals swiftly oscillating from yellow tones, to turquoise and fuchsia. The man sequestering the balloons has been substituted for an almost automated time-based process in which the production of the artwork is as important as the experience of the viewer when confronted with its visual structures. Like the canvas and the balloons, bodies, commonplace objects and phrases are part of the archaeological territory to be excavated by the artist. Sonia & Mark Whitesnow work with transformations in the domain of the human body. Their repertoire consists of body features, through the lens of fashion photography and the multiple array of tools for their manipulation. ‘Regina Hair’ displays an alteration of the female body through digital filters and effects. The work addresses in its explicit fictitiousness the role of computer manipulation of the female body, an issue critical for understanding the language of mass media and advertising. The work questions our relationship with representations of the body using as framework the rules in which fashion and cosmetic institutions harvest the ideology behind desired aesthetic values. A naked body washed in floods of milky light exposes how digital manipulation deals with issues related to the body, gender and sexuality while simultaneously challenging the idea of photography as a tool for legitimate and accurate anatomical depiction. Engel Leonardo and Jade Townsend’s works prioritize on the power of reclamation by ways of reinterpretation of commonplace objects in the first, and conceptual phrases in the second. For Leonardo vernacular architecture elements are referenced in Feijacun 1 and Feijacun 2, as two objects—fence and pedestal—are recreated in abstract geometrical manifestations. A circle-fence and a pyramidal pedestal bring the visual experience of his context into the exhibition space. The fence, the element of separation is stripped of its original capacity and is instead turned into a wall object, a sculpture of sorts, while the pedestal works as an installation redirecting the view from the object to the environment in which it has been situated. In similar fashion, Townsend presents 进化 (JinHua/Evolution) in bold letters. The metal LED display plays around catch phrases and slogans, of the propaganda used by advertising to sell products, lifestyles, and vague ideas. The multiple meanings of 进化 that go from evolution to progress, advancement and growth take the reader to the field of political language, where the power of concepts and their representation is exacerbated through the manipulation of its thought figures. In the context of making art, narratives are started by ambiguous readings that like colour balloons are left to be painted. The exhibition reflects on the polyvalent dimension in which art is created by reclamation, appropriation, manipulation, reinterpretation, by bringing items of common life to the exhibition space, highlighting the unreachable ambitions of computer aided manipulations of the corporeal, setting blueprints for processes and outcomes, and underlying phrases that either evolving or progressing, leads us to the ultimate conquest by claiming ‘the yellow ones are mine.’

Poem in Parts Vlad Philips

I see myself, I see you, I see me. In these works my desire, my ambition is casted. I believed in what you told me. I made your slogans my ethos. I took you out of obsolescence in to the irrefutable space of light. Here you cannot die because here you were not meant to be alive. I counted all the possibilities and took them all. I took you, your body, your smell, you hair. Because of me, you exist. Before me you were you. Now, you are what I made. In this act of selfishness, I declare to have the power to determine your fate. I write your destiny. You are my intentions. I extrapolate your signification, draw your essence, unleash your aura. You are in parts.


Zhang Xuerui 张雪瑞 225x2 Acrylic on Canvas 150 x 150 cm 2014

Elsie Yi Shen 沈怡 The Yellow Ones are Mine 黄色的是我的 Pigment Print on Paper 48 x 80cm 2012

Sonia & Mark Whitesnow Regina Hair #2 Pigment Print on Paper 80 x 80cm 2014

Jade Townsend JinHua/Evolution Stainless steel, Opal acrylic, LED 50 x 25 x 9cm 2014

Engel Leonardo Feijacun 1 Steel, Paint 33 x 33 x 35 x 20cm 2015

Engel Leonardo Feijacun 2 Steel, Paint 90cm Ă˜ 2015

Bio Elsie Yi Shen (b. 1974, Jiaxing, China) Elsie Yi Shen received a MFA Degree from the Central Academy of Fine Arts in Beijing, and a BA in liberal arts from Wesleyan University in Illinois. Selected solo exhibitions include Expired Landscape Solo Exhibition, French Cultural Center, Beijing; and The Blue Book, Pingyao International Photo Festival, Shanxi, China. Selected exhibitions include DongXiThings Contemporary Chinese Art Show, Kunstverein Baden Art Center, Austria; Share and Remixed- Creative Commons Art Exhibition, Ying Gallery, Beijing; Revealing Common Territories, Palacio Consistorial, Cartegena, Spain; and Dreamscape, Ofoto Gallery, Shanghai. 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. Jade Townsend (b. 1986 Wanganui, New Zealand) Jade Townsend graduated with Fine Art Hons Manchester Metropolitan University in 2009. Her work investigates modern trends in consumerism relating to imitation and authenticity. She attempts to reclassify the constructs of ‘luxury’ and ‘beauty’ through the use of ‘lo-fi’ methods and materials such as hand-cut vinyl floor works designed to deteriorate over time, to her recent ‘luxury’ LED street signage works commissioned by Comme Des Garcon for I.T. Beijing Market. Jade Townsend often employs the seductive techniques used within opulent high fashion boutiques to challenge the prevailing hierarchy concerning common and mass produced objects. She often presents

简介 沈怡 (b. 1974, 中国嘉兴) 沈怡曾就读于中央美术学院并获得美术硕士学位,在伊利诺斯州卫斯理大学获得人文科学学士学位。巡展 包括:《过期的风景》北京,法国文化中心;《蓝皮书》平遥摄影节个人作品展;参展的还包括:在奥地 利, Kunstverein Baden艺术中心的DongXi-Thing当代中国艺术展;Share and Remixed- Creative Commons 艺术展,北京颖画廊;《梦景》 上海全摄影画廊。 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”。 Jade Townsend (b. 1986 旺格努伊, 新西兰) Jade Townsend 于2009年在曼彻斯特城市大学获得现代艺术学士学位。 她调查研究与消费主义相关的模仿和真实性的现代趋势。她通过使用“低保真”的方法和材料尝试重新定义“ 奢侈”和“美”,例如,近期她受, 川久保玲品牌委托为I.T Beijing Market四层艺术长廊打造的刻花聚乙烯地板 和“奢侈”LED街标。 Jade Townsend经常采用引人注意的技术,并将其融入到丰富的高级时尚元素中,用以挑战那些流行的 大规模生产的物品的层次结构。她经常将大理石油毡、乙烯基、磁带和金属海绵等多种材料融入到漆画的 创作中。她的作品曾呈现在 IT Beijing Market, Pataka Art + 博物馆;新西兰现代艺术学院;Enjoy画廊和 30Upstairs画廊。Jade 曾为爱马仕, 川久保玲, Casely-Hayford,等诸多大品牌和威塔工作室及Te Papa博物 馆做过设计。

painted works alongside those made from marbled linoleum, vinyl, tape and metallic sponges. She has exhibited with ITBeijing Market, Pataka Art + Museum, New Zealand Fine Arts Academy, Enjoy Gallery and 30Upstairs Gallery. Jade has created work for Hermes, Comme Des Garcon, Casely-Hayford, WETA workshop and Te Papa Museum, among others. Zhang Xuerui (b.1979 Shanxi, China) Zhang Xuerui is an artist working with painting and installation. Currently living and working in Beijing, she graduated from the Central Academy of Fine Arts (CAFA) with a Bachelor’s Degree of Fine Arts. Her work explores time consuming gradations of colour fields and Cartesian grids, and reconstructed memories on carefully executed textile deconstructions. Recent solo exhibitions include Alienated Substance at Mao Space in Shanghai; Zhang Xuerui at Gallery 604 J in Busan; Stitch—Zhang Xuerui & Cho Sohee at Space Can in Beijing and group shows at C-Space, PIFO New Art Gallery, HDM Gallery, and Linda Gallery in Beijing, the First Xinjiang Biennale, Hong Kong Contemporary Art Museum in Guangzhou, Long Museum in Shanghai, Shi Fang Fine Art in Düsseldorf and more. Sonia and Mark Whitesnow (b. 1986 Kirov, Russia) Sonia and Mark Whitesnow are multifaceted artists, who work and live in Russia. Born in 1986 in a small town in Kirov, Russia, they have degrees in psychology and Biology. Their work mixes natural materials with modern technologies. Recent exhibitions include ‘The Kandy-Kolored Tangerine-Flake Streamline Baby’, at Grinberg Gallery in Moscow; ‘Am I Beautiful’ at RTR Gallery, Paris; as well as at Moscow Photographic Salon, Gridchinhall in Moscow and Startart in Perm. Their work have been featured in publications around the world including J People, The Calvert Journal and Interview Magazine.

张雪瑞 (b.1979 中国山西) 张雪瑞是一位绘画和装置艺术家,目前生活、工作于北京,她曾就读于中央美术学院并获得了现代艺术专 业的学士学位。她的作品探索了耗时的渐变色彩和笛卡尔网络,及致力于在纺织结构上重建记忆。 近期的个展包括:《疏离之物》,上海的MAO空间;“张雪瑞个展” 604画廊 釜山 韩国;Stitch—Zhang Xuerui & Cho Sohee , Space Can,北京;参加的群展包括:在北京的C-Space,偏锋新艺术空间,HDM 画廊,Linda画廊的展览;以及“中国新疆首届当代艺术双年展” ;广州的香港当代艺术博物馆;上海的龙美 术馆;德国杜塞尔多夫的Shi Fang现代艺术,等等。 Sonia and Mark Whitesnow (b. 1986 基洛夫,俄罗斯) Sonia 和Mark Whitesnow是多层面的艺术家,现工作并生活于俄罗斯。他们1986年出生在基洛夫的一个小 镇,并分别获得心理学和生物学的学位。 他们的作品将天然材料与现代科技相结合。 近期的展览包括:《The Kandy-Kolored Tangerine-Flake Streamline Baby》,Grinberg 画廊,莫斯科; 《Am I Beautiful》,RTR画廊,巴黎;《Gridchinhall in Moscow and Startart in Perm》,莫斯科摄影沙 龙。 他们的作品也曾发表在世界各地的出版物中,例如:《J People》,《The Calvert Journal》和《Interview Magazine》。

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。

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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