Intelligentsia Gallery is thrilled to present ‘Phantom Bodies’, an exhibition of new work by Ophelia S. Chan.
Following previous discursive explorations by integrating mix media and interactive, story-telling interfaces, the exhibition investigates the social, psychological and conceptual repercussions of repurposing mutilated bodies.
Exploring the intimate dimensions of the white cube, a series of site-specific devices invite to closely immerse in sensorial encounters that aim to reveal relationships of power, codes of aesthetic values, and the always switching roles of perception and dominance as a result of personal stigmas.
Using both original material and found footage, the exhibition questions the ethical and aesthetic imperatives of still and moving images that reclaim disassembled organs ranging from cut-off tree branches to hyper-sexualized limbs in order to reassembled them into the enigmatic domain of ‘Phantom Bodies’.
Ophelia S. Chan (b. 1985 Hong Kong, China) is a practicing artist currently based in Beijing. She has a BA in Fine Art and a MA in Theatre. Her works have been exhibited and performed in the UK, Norway and China.
Her earlier works consisted of interviews, home videos and photographs, exploring the idea of fiction in everyday life - romanticised storytelling, the performance of self, and the interpretation of truth. While she continues to explore ideas related to social participation and human interaction in her recent works, she focuses more on the issues concerning the physicality of video works: her installation works present time-based materials in a way that requires the active participation of the spectator, as opposed to the passive consumption of moving image and sound that we are used to.
She examines the border between still and moving image through emphasising the stillness of images by re-materialising them into objects, and through repetition in video-loops. She creates a sense of reinforcement in her works, and establishes a somewhat hypnotic connection with the consumer, whereby certain information could be communicated and emotions could be evoked.
It’s the sound of the future, she said. Listening to the Cliquetis of the wind through the cornfields
Intelligentsia Gallery is thrilled to present ‘It’s the sound of the future, she said. Listening to the Cliquetis of the wind through the cornfields’, a room installation by Beijing-based collective Garcia Frankowski.
Dealing with the semiotic, symbolic, and historical imperatives of pure form, the exhibition retakes an ongoing exploration on the means, methods and strategies of language reduction. Equal parts conceptual poem and spatial composition, ‘It’s the sound of the future, she said. Listening to the Cliquetis of the wind through the cornfields’ takes its title from the collective’s first iteration inside a modern urban apartment aiming to confront the politics of installation.
Aiming to articulate nonobjective spatial compositions in the white cube, the installation raises quintessential questions on pure form going from Jung to Wittgenstein, as language reduction articulates historical attempts at withdrawing narratives, meaning, and the ideological relationships of images. Lines, planes, shapes, contours and space form part of a self-defeating attempt at a meaningless utopia, in which nothing remains while all that could be hear is the sound of the future, as she listens to the Cliquetis of the wind through the cornfields.
Garcia Frankowski is an artist collective founded by artist, architect, author and theorist Cruz Garcia (b.1983, San Juan) and 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, an alternative 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 1st Chicago Architecture Biennial, the inaugural Changjian International Photography & Video Biennale, the Shenzhen / Hong Kong Urbanism and Architecture Bi-City 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, PIFO New Art Gallery 偏锋新艺术空间, Star Gallery 星空间, Center for Contemporary Art, C-Space, Ying Space, Beijing Culture and Art Center, and Unicorn Center for Art in Beijing, BANK in Shanghai, the Centre for Chinese Contemporary Art (CFCCA) in Manchester, and in shows in Barcelona, Madrid, London, Dusseldorf, Paris, Dublin, Porto, Lisbon, Moscow, Venice, Bergen, Milan, Helsinki, Brussels, Prague, Zurich, Lausanne, Istanbul, San Juan, New York, Los Angeles, Columbus, Houston, Chicago, Guadalajara, Mexico City, 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 .