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Intelligentsia 智先画廊
 * Exhibitions
   * Listening to the Cliquetis of the wind through the cornfields
   * Phantom Bodies 幻体
   * Existential Crisis 存在主义危机
   * Form is a Habit-Forming Drug 形式是易上瘾的药
   * OOO
   * A Great Event 一个重大事件正在酝酿
   * Pavilion of Comrades 同志之亭
   * Not a State, but an Artists’ Colony 一个不是政府, 而是艺术家的,领地
   * The Yellow Ones are Mine 黄色的是我的
   * What Is Matter 什么是物质
   * Live At 活的
   * Twisted Modernist Fantasies 扭曲的现代主义幻想
   * Victory Over Nothingness 战胜虚无
   * Superfold 超折叠
   * The Map and the Territory 地图与疆域
   * Softcore 软核
   * Semiotic Preoccupations 符号学的专注
   * Critical Medium 批判媒介的相关性
   * Dialectical Territories 辩证性场域
   * Hermeneutics of a Room 房间解释学
   * Experiments on Form 形式实验
 * Off-Site Projects
   * You really know where you are
   * Hypertext 超文本
   * Since each of us was several
   * The Materialist Postscript
   * Superfetish 超恋物
   * Embassies Refugees Manifestoes
   * 0.10
   * NewNewspeak 新新话
   * Rhetorical Materialism 关于物质性的修辞
   * The Sublime Object 崇高客体
   * It's the sound of the future 这是来自未来的声音
   * It's the sound of the future.
 * Academic Exhibitions
   * Space is Fluid
 * Intelligentsia Artists
   * Camille Ayme
   * Christopher Rey Perez
   * Garcia Frankowski
   * Oliver Haidutschek
   * Ophelia S Chan
   * Troyka Union
   * Xiao Xiao
 * Publications
   * Intelligentsia Zine 2
   * Intelligentsia Zine 1
   * Super Fetish Catalog
   * Newnewspeak Catalog
   * Rhetorical Materialism Catalog
   * Sublime Object Catalog
   * Exhibition Catalog 50
   * Exhibition Catalog 49
   * Exhibition Catalog 48
   * Exhibition Catalog 47
   * Exhibition Catalog 46
   * Exhibition Catalog 10
   * Exhibition Catalog 9
   * Exhibition Catalog 8
   * Exhibition Catalog 7
   * Exhibition Catalog 6
   * Exhibition Catalog 5
   * Exhibition Catalog 4
   * Exhibition Catalog 3
   * Exhibition Catalog 2
   * Exhibition Catalog 1
 * Exhibitions
 * Artists
 * Artsy
 * Intelligentsia Manifesto
 * What is Intelligentsia?
 * Supporters
 * Artists
 * Past Exhibitions
 * Contact

Following (1)
NEWNEWSPEAK
新新话
C-Space



C-Space in collaboration with Intelligentsia Gallery is thrilled to present
NEWNEWSPEAK, a group exhibition with works by Sara Ludy (b. 1980, Californa,
USA), Ren Zhitian (b. 1968 Xishui, China), Oliver Haidutschek (b. 1976, Vienna,
Austria), Xiao Xiao (b. 1984 Hunan, China), Ju Anqi (b. 1975 Urumqi, China), The
Collective (Beijing, China), Wu Juehui (b.1980 Hangzhou, China), William Lee
(b.1985 Beijing, China) Garcia Frankowski (b. 1983 San Juan, Puerto Rico &
b.1985 Dundee, Scotland).

NEWNEWSPEAK is the ultimate form of language reduction. A constriction of the
worldview, NEWNEWSPEAK delimits the capacity of generating concepts to the
repertoire of thought-figures inscribed in its lexicon. Reflecting Ludwig
Wittgenstein’s aphorism ‘the limits of my language mean the limits of my world’,
ruthless aesthetico-political regimes have recurred to diverse forms of Newspeak
to create, consolidate and defend absolutist values. Art, architecture, design,
music, performance, literature, fashion are just some of the means used to
infiltrate Newspeak in every sphere of life.

Eponymous to the language spoken and written in George Orwell’s novel 1984,
Newspeak remains as relevant today as it was when the novel was first published
in 1949 (the year of the foundation of the PRC). NEWNEWSPEAK is the way in which
materialist, spiritual, phenomenological, empirical and hermeneutical approaches
disguise social, economic and political interests behind aesthetic screens.

Through painting, installation, video, photography, and mixed media, NEWNEWSPEAK
explores language reduction and its role in defining and cementing codes of
visual acceptance, and socio-political signification. Reflecting both its
capacity as vehicle for the consolidation of collective aesthetic values and as
a radical tool of resistance and subversion, the exhibition deals with language
reduction in paradoxical states as abstraction and censorship, material fetish
and technological nostalgia attempt to erase, reveal and exacerbate dreams,
fears, the unconscious and the sublime within and against NEWNEWSPEAK.

C-空间很高兴与智先画廊协同呈现群展——《新新话》，参展艺术家包括The Collective小组（中国北京）、Garcia
Frankowski（1983，波多黎各圣胡安／1985，苏格兰敦提）、Oliver
Haidutschek（1976，奥地利维也纳）、雎安奇（1975，中国乌鲁木齐）、William Lee（1985，中国北京）、Sara
Ludy（1980，美国加州）、任芷田（1968，中国习水）、吴珏辉（1980，中国杭州）和萧潇（1984，中国湖南）。

新新话是根本的语言规约，一种世界观的压缩。新新话划定在它的辞汇中所生成的概念及归纳的思想人物。反映路德维希·维特根斯坦的格言：“我的语言限制代表着我世界的限制”，无情的审美政治制度在不同形式的“新话”反复重现，从而创造、巩固及防护绝对主义的价值。艺术、建筑、设计、音乐、表演、文学及时尚只是用于使新话渗入生活中的各个层面的部分媒介。

采取自乔治·奥威尔的小说《1984》中的话语和文字，“新话”在今天的语境里依然与在1949年小说出版的时候（亦是中华人民共和国成立的那一年）一样有意义。新新话是以物质主义的、精神的、现象的、经验的和解释学的方式掩饰在审美的背后对于社会、经济和政治的探讨。

新新话通过绘画、装置、录像、摄影及综合媒体等媒介，
探讨语言规约及它在定义审美价值和社会政治意义的角色。反应了它既是巩固集体审美价值的媒介，同时也是用于抵抗和颠覆的根本工具。这次展览在矛盾中探讨语言规约，运用抽象与审查、唯物主义的迷信及对科技的怀旧试图删除、揭露和强化在对抗，同时在新新话其中的梦想、恐惧、无意识，以及崇高。
Address:
C-SPACE
Red No.1 - F, Caochangdi Chaoyang District
Beijing 100015, China
北京市朝阳区机场辅路草场地红一号院F座
邮编：100015
TEL: +86 10 51273248/51273249

www.c-spacebeijing.com
info@c-spacebeijing.com




Rules and Exceptions of Hegemonic Structures of Language
by Garcia Frankowski

The Purpose of Newspeak was not only to provide a medium of expression for the
world—view and mental habits proper to the devotees of Ingsoc, but to make all
other modes of thought impossible.
--George Orwell, The Principles of Newspeak

I
Utopia could only be possible in a place where everybody agrees on the
definition of the word ‘utopia’. In a state uniformly representing the same
political apparatus, in which all flags wave to the same ideological wind. In
such a place the notes of music, the space of architecture, the fabric of the
city and the style of fashion will unanimously represent a unitary form of
collective subjectivity. Utopia could only be possible in a total artistic
dictatorship. A holistic mental choreography implies everybody following the
same discourse. Everybody speaking the same words.


II
Newspeak is an utopian language. Orwell’s depiction of a plan for the control of
the mind through the subtraction of ideas works like a mental barricade drawn
out of Wittgenstein’s Tractatus to delimit the new limits of the world. Newspeak
has been equals part Nazi and Communist, Fascist but also neoliberal Capitalism
and radical avant-garde. Newspeak is Nihilistic Blackness, and red wedges
beating the whites. Newspeak is institutional kitsch, parades, monuments and
icons, but also commonplace aesthetics, and the banality of institutionalized
‘othernesses. Newspeak is the complete unobstructed rule of art over the
everyday. Since the concept of utopia will be unimaginable in the linguistic
kingdom of Newspeak, Newspeak implies that utopia will cease to exist. Newspeak
proves that being defeats aspiration. To have no ambition is perhaps the final
and definite stage of accomplishment. Newspeak melts utopia into air.



III
History is replete with attempts at imposing linguistic regimes. The ultimate
form of socio-political cleansing and hegemonic control consists on the
enforcement of this or that predetermined form of language. Like every political
claim to power, every philosophical and artistic movement have announced—in more
abstract or concrete terms— to have deciphered the definitive lexicon. Mayans
and Egyptians implemented more or less successfully a rule of language
controlled by artistic manifestations. Like them, spiritual regimes followed
with the implementation of total art in the elimination of any form of
difference and in the incorporation of resisting and potentially subversive
elements in spoken, written, architectural, urban, visual and musical language.
Sometimes loosely, other times with tight militaristic and economic grip, these
regimes find consolidation through the use of absolute coercion and complete
force. Newspeak can only be implemented in its totality. Half Newspeak is no
Newspeak at all.

IV
The 20th Century saw the birth, climax and collapse of several manifestations of
Newspeak. With songs of cataclysm whistling in the air, in this period of total
transformation art flirted with pure political power and politics used art to
infiltrate in all spheres of life. Modernism with its unquenchable thirst for
radical transformation, drove artistic projects to push humanity to the brink of
complete obliteration. Abstraction and repetition became manifested as language
reduction was tested and implemented. Methods, processes, footprints, plans,
solutions, schools and circles became instruments of conceptual colonization.
The avant-garde, a branch once thought to be isolated from mainstream political
movements, found itself at the conceptual core of Fascism and the Bolshevik
revolution. Black flags of nihilism and anarchism waved to the rhythm of
imminent war. Either consciously or unintentionally, radical militancy and
propagandistic paraphernalia ended up as blueprints of Newspeak. Ideological
opposites found common resistance and mutual reverberation. Clashing
ideologically, Malevich’s Non-objectivity and El Lissitzsky’s guide for
socialist design found equal Stalinist objection and reciprocal acceptance as
keywords of Hardcore Modernism. Modernism is Newspeak. Newspeak is the language
of the commons.

V
Suprematism and Stalinism may not have been so contradictory after all. Both
wanted to obliterate the actual world order. Both used language to create a new,
ideal society. Both were radical transformations of the ruling world view. Black
Square was an aberration, not unlike Socialist Realism. Like Stalin’s USSR, Nazi
Germany also developed a similar strategy of total art as total war. Everything
from the use of spoken and written German, to the slick uniforms, to the anthems
of Wagner, and the plans of Speer worked as a series of codes for the final
visual project: aesthetics as the ultimate sublime. Newspeak was pushed to new
lengths. Just like Christianism was implemented with the enforcement of Spanish
and Portuguese as official language in the Americas, Communism and Nazism
flourished with the implementation of politics as a language.

VI
It would be tempting to stop the genealogy of Newspeak with the fall of the
berlin wall. To declare the end of history as the end of Newspeak in a
Fukuyamaesque rush of naïve nostalgia. However, it’s the advanced version of
Newspeak that might be ruling today, not only in the blatant manifestations of a
global network safeguarded by an industrial-military complex, but in the
subtleties of a culture of the spectacle, marketing and advertisement. In the
idealized lifestyle, and venerated pictures actively implemented and passively
consumed. Global capitalism with its capacity to absorb, transform, mutate seems
to have outpaced even its most averse resistance in the 20th century. By
swallowing every image of contradiction in its insatiable vortex, Newnewspeak
makes impossible the idea of exclusion. Newnewspeak is reduction as complete
expansionism. Newnewspeak is a game of words and a serious consolidation of
specific concepts that like political language can give an appearance of
“solidity to pure wind”. Like doubleplusgood in the official reductionist
lexicon, Newnewspeak makes emphasis on the ‘novelty’ of the new. Always evolving
and in constant transformation, the cleansing of concepts in Newnewspeak never
ends. With every position manifested and discourse developed, new forms of
potential newspeak are created. Newnewspeak reflects on the artwork as reduction
and as a critical reflection of the minimization of language. Newnewspeak is
automatically updated with every project created, with every image, symbol,
concept produced.

VII
Not only can Newnewspeak subsist as contradiction, it performs optimally in this
state. Like the Newspeakean concept of Doublethink (a word employed meaning its
absolute opposite achieved by the complete surrender of critical criteria),
political art becomes the least political of the arts while terms like free,
critical, and subversive are transformed into their complete antonym.
Criticality floats in anesthetizing amniotic fluid, responding to opportunist
scrutiny, while a new jargon of empty words –post-internet, post-humanist,
non-profit, Chinese, African, South American, avant-garde, tropical, outsider,
emerging—are employed loosely trying to include in the twofold operation of
reduction as amplification, the positions (or lack thereof) and articulations of
a broader economic infrastructure responding directly to the demands of
capitalism.

VIII
Newnewspeak is a theory of the not-so-obvious political role of art as language,
and the transformation of language as part of an ideological project. It
explains the political use of non-political art, and describes how the tight
grip of a ruthless regime employs art as language outlining concepts and
perspectives by turning art once meant to be indifferent, subversive or, at
least, free, into appendixes of its own ambitions and desires. Newnewspeak
explains the ultimate reduction not only of art production, but of its
narratives, discourses, systems into a codex of abstract propositions ready to
enhance market transactions that like stocks rise and fall out of speculative
value. When the market is everything and everywhere, Newnewspeak turns language
reduction into a sales devise.

IX
The questions that remains is, if everything (images, lifestyles, positions, and
critiques) could potentially be Newnewspeak, how can any position, discourse or
work present a challenge or at least place a form of opposition to it. Because
no system is perfect, Newnewspeak also faces a series of challenges. The total
acceleration of its expansionist and reductive impulse could lead to the
complete collapse of its supporting structures. When there’s nothing else to
suppress, and nothing else can be absorbed, the system with its ideological
superstructure and speculative-materialistic infrastructure will come to a halt;
to the ultimate stop. A loss of momentum will lead to its contraction, and
eventually to its collapse. Like a star that burned itself into a black hole,
accelerationism will only lead to the ultimate deceleration. The final victory
of Newnewspeak will imply its own demise.

X
Against the acceleration of reduction, the only remaining hope will be to
operate fueled by detachment, neutrality; meaninglessness and absurdity. Under
the volatile nature of subversion, irony and provocation, art can aim to
withstand one ultimate battle in front of hegemonic discourses that look to
inject specific meaning behind Newnewspeak and infiltrate with it every aspect
of life. To remain detached from an ever consuming idea of ideas and its set
implications, to dig deep into the unconscious and avoid looking for answers; to
speculate on the perversity of narratives, geopolitical stances, aesthetic codes
and accepted social roles, to battle against the tradition of the old and the
tradition of the need to pretend to be new, to laugh in front of the seriousness
of political correctness and established discourses, is today perhaps the
ultimate form of idealism.

It might take continuous exercises of extreme futility. We could end up waking
up inside fictional dreams, launching mental Molotovs against walls of orthodox
brick, lying a simulated death in front of the systemic tanks, walking barefoot
in a field of ideological landmines, becoming invisible in a laser field, or we
could take a Diogenesian piss against the ideological wind to detach ourselves
from the omnipresent orthodoxy of Newnewspeak.

There is a chance that this form of naive idealism might provide with the only
way out (if only momentarily) of Newnewspeak under its current circumstances.
And, if what’s going to take to resist the unbearable pull of Newnewspeak is to
create a new form of Newnewspeak, then we will have to be ready to articulate
unrecognizable gibberish because when nobody can understand what’s being said,
it would be impossible for all to agree on the definition of the word utopia.



Garcia Frankowski 'Wall Composition', Garcia Frankowski 'Floor Composition',
Xiao Xiao 'Rational Reality Series: Clouds'


Ren Zhitian '20140624', Oliver Haidutschek 'True/False', Ju Anqi 雎安奇 '对对对对对'




Garcia Frankowski 'Floor Composition', Xiao Xiao 'Rational Series: Clouds',
Oliver Haidutschek 'With the Back Against the Wall ', William Lee 'Un Año de
Amor / The Crying Game '


William Lee 'Un Año de Amor / The Crying Game ' , Garcia Frankowski 'Wall
Composition', Garcia Frankowski 'Floor Composition'



Politics and the English Language
Christopher Rey Perez


To imagine a language means to imagine a form of life.

The previous sentence quotes Wittgenstein.

In the sentence after it, which is the previous sentence, I point to something
outside it and am reduced to a redacted beginning.

That’s how I think about Wittgenstein and language.

In this sentence I will punctuate my thought.

I will begin again and say I’ve never been to China and am writing about art in
order to realize the body politic that may exist among people from different
nations.

It’s easy to imagine how language is erasing this.

A verbality in which language reveals not a life imagined but one not lived

—I would say that’s class interest but some call it agency.

You read, “Sometimes I’m in the year 1984 and sometimes it’s 2015 reduced to a
redacted beginning.”

And according to Orwell, all this political signification with all these words
is all the latest fashion because fashion is of course Latin.

See how in the previous sentence I pointed to something outside it?

That is, Orwell’s famous essay Politics and the English Language.

My poem’s also titled Politics and the English Language because I’m writing in
English and that’s political.

I’m also writing about George Orwell and Wittgenstein in Latin and that’s
political.

I’m writing for a show in Beijing at C-Space called NEWNEWSPEAK and that’s
political.

Avant Garde; Stay Hydrated!; Ten Black Flags; Wall Composition; With the Back
Against the Wall; True/False; 20140624; Dream House; Un Año de Amor/The Crying
Game; 对对对对; Organs Project; Rational Reality: Clouds 2; Rational Reality: Clouds
5; Rational Reality: Clouds 6.

(The previous sentence is written in the spirit of thinking of the sentence as a
beginning unit of political thought.)

(...and it’s easy to imagine how language is erasing this.)

You read, “Probably it is better to put off using words as long as possible and
get one’s meaning as clear as one can through pictures and sensations.”

But I imagine the language of pictures and sensations can also be reduced to a
redacted beginning.

Earlier, in a prior sentence, I wrote, “(The previous sentence is written in the
spirit of thinking of the sentence as a beginning unit of political thought)”
when my intention was to write, “I wrote the previous sentence in the spirit of
thinking of the sentence as the beginning unit of political thought.”

In that prior sentence, which I included in the previous sentence, I was reduced
to a redacted beginning that was a beginning unit of political thought.

I did not imagine a form of life and it was not lived.

And in this sentence I will now punctuate my thought and do so politically.

I will begin again and say my favorite flower is the banana flower.

Banana flowers are commonly used as vegetables for cooking in countries such as
Laos, India, Thailand, China, Burma, Philippines, Sri Lanka, and Vietnam, where
the recipe below originates.

It’s outside this sentence and that’s political.


William Lee


Ju Anqi 雎安奇 '对对对对对'


William Leee 'Un Año de Amor / The Crying Game'


Oliver Haidutschek 'With the Back Against the Wall', Sara Ludy 'Dream House'


(L-R) Xiao Xiao 'Rational Reality: Clouds',The Collective 'Stay Hydrated', 'Ten
Black Flags' , Wu Juehui 'Organs Project', 'Avant Garde'


Garcia Frankowski for The Collective 'Avant Garde', 'Ten Black Flags'





Xiao Xiao 'Rational Reality: Clouds', The Collective 'Ten Black Flags', The
Collective 'Stay Hydrated'


Wu Juehui '离线眼球 / WiFi 器官 | Offline Eye / WiFi Organs'




Sara Ludy 'Dream House'

Sara Ludy (b. 1980 California, USA)
Living and working everywhere, Sara Ludy is an artist and musician whose work
explores the convergence of virtual and real environments. She holds a BFA in
New Media from The School of the Art Institute of Chicago.

She is a member of the online art collective Computers Club, WALLPAPERS and the
band Tremblexy.

Solo shows include 015 - Beyond the Trees: Wallpapers in Dialogue with Emily
Carr at Vancouver Art Gallery, Vancouver; Rooms/Phantom Horizons, Window at
Kuenstlerhaus Bethanien, Berlin; Place, https://room.thecomposingrooms.com;
Dream House at Ditch Projects, Springfield; SPHERES 1-20 at Klaus von
Nichtssagend Gallery, New York; WALLPAPERS at The Sunday Painter, London; Sara
Ludy + Nicolas Sassoon at Lossless Gallery, Calgary; Rooms at klausgallery.net;
Diaporamas at Hex Gallery, Kansas City; WALLPAPERS, 319 Scholes, Brooklyn;
Walkthroughs at bubblebyte.org. Her work has been featured in group exhibitions
at Smart Objects, Los Angeles; Initial Gallery, Vancouver; Musée d'art
contemporain de Montréal, Montréal; Bronx Art Space, New York; Carroll Fletcher,
London; Interstate Projects, Brooklyn; Western Front, Vancouver; Boulder Museum
of Contemporary Art, Boulder; and more.

Sara Ludy (b. 1980 加利福尼亚，美国)
Sara Ludy 是一位游走于世界各地的艺术家和音乐家，他的作品涵盖了虚拟和真实的环境。她在芝加哥艺术学院获得了新媒体专业的学士学位。

她是网络在线艺术Computers Club, WALLPAPERS 和the band Tremblexy的成员之一。

个展包括：在温哥华艺术画廊的015 - Beyond the Trees: Wallpapers in Dialogue with Emily
Carr；在柏林的Rooms/Phantom Horizons, Place,
https://room.thecomposingrooms.com;在斯普林菲尔德的Dream House at Ditch Projects,
在纽约Nichtssagend画廊的, SPHERES 1-20 at Klaus von ；在伦敦WALLPAPERS at The Sunday
Painter；在卡尔加里Lossless 画廊Sara Ludy + Nicolas Sassoon；在klausgallery.net
网站展出的Rooms; 在堪萨斯城Hex画廊的Diaporamas；在布鲁克林的WALLPAPERS, 319 Scholes；在 bubblebyte.org
网站展出的Walkthroughs；她参加的群展包括：Smart Objects, 洛杉矶；Bronx Art Space, 纽约; Carroll
Fletcher, 伦敦; Interstate Projects, 布鲁克林; Western Front, 温哥华; Boulder Museum of
Contemporary Art, Boulder;等等

www.saraludy.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.

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。

https://www.juanqi.com/


Oliver Haidutschek for The Collective 'Stay Hydrated'

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 智先画廊, 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.

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



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 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



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.

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



Wu Juehui (b. 1980 Hangzhou, China)
Wu Juehui is a new media artist currently living and working in Hangzhou. His
work, focuses on cross-border-amalgamation, concerning interactive art, bio-art,
intermedia theater etc. to show the plurality of art creation.

Recipient of the TASML | Carroll Fletcher Residency Award in recent years, he
focuses on the “potential interface” between art and science, between body and
media in collaboration with institutes such as Tsinghua University, Swiss
Federal Institute of Technology, Hangzhou Dianzi University. In 2009, Wu Juehui,
in collaboration with TASML, started the long-term art project “Brain Station”
based on BCI (Brain-Computer Interface) technology while in 2014 he started
using comprehensive media to simulate the deviations during the procedure of
creating, resulting in a series of creatures of meaningless, namely the “Mistake
Creature”.


In 2010, Wu Juehui and Shao Ding founded the art group “MeatMedia”, focusing on
the “Emotional Interface” in an attempt to find a balance between the“Dry
media”and the“Wet media”. Wu Juehui is also a co-founder of “UFO media lab” –
the leading new media artist collective in China that focuses on the social
application of new media art.


He has participated in several national and international media art exhibitions
and festivals, such as “ZERO1 Biennial”, Silicon Valley; “Translife –
International Triennial of New Media Art and “Synthetic Times – Media Art China
2008″ ”, National Art Museum of China, Beijing; “Creators Project 2012” , Ullens
Centre for Contemporary Art (UCCA), Beijing; “SHIFT- Electronic Arts Festival”,
Basel; “Boundless Fantasy: Media Art from East Asia”, Charles B. Wang Center,
Stony Brook University, New York; “Eyebeam 2014 Annual Showcase”, Eyebeam
Institute, New York; and more.


媒体艺术家
任教于中国美术学院跨媒体艺术学院具体媒介工作室 TASML | Carroll Fletcher 艺术家 EYEBEAM 驻留奖获得者
清华大学神经工程实验室驻留艺术家

吴珏辉，生于1980年，作为新媒体艺术的青年艺术家，其创作轨迹呈现出跨界融合的多元面貌，触及互动艺术、生物艺术、媒体剧场等。“艺术作为科技的反物质”这一基本态度体现了他对两者关系的思考和探索。从2009年开始，吴珏辉的“器官计划”试图将流行科技作为外来基因，侵入与再造肉体感官，先后完成“延时
/ USB器官”、“离线眼球 / Wi-Fi器官”、“鸟嘴 /
蓝牙器官”等系列作品，其2014年开展的“错造物系列”则利用多种媒介模拟造物过程中出现的偏差，并生成一系列无意义的存在。

在跨界创作方面，吴珏辉与清华大学、瑞士联邦理工学院、杭州电子科技大学等机构展开密切合作。从2009年开始，与清华大学神经工程实验室合作，进行一项基于脑机接口
(Brain-Computer Interface)的长期艺术项目——脑电站 (Brain Station)。

吴珏辉曾多次参加国内外代表性的新媒体艺术展和艺术节，如“EYEBEAM
2014年度展”、“ZERO1双年展”、“延展生命－国际新媒体艺术三年展”、“合成时代-媒体中国2008”、“创想计划2012”、“SHIFT电子艺术节”等。

wwww.io



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 智先 画廊, 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 智先 画廊, C-Space,
PIFO New Art Gallery 偏锋新艺术空间, Star Gallery 星空间, 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.

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.

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



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.



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.

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。

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NEWNEWSPEAK from Intelligentsia on Vimeo.













(19,796 views) Filed under NewNewspeak 新新话 Ju Anqi 雎安奇 Ren Zhitian 任芷田 Sara Ludy
Oliver Haidutschek Xiao Xiao 和萧潇 Aoto Oouchi Garcia Frankowski Wu Juehui 吴珏辉
William Lee The Collective Cruz Garcia Nathalie Frankowski