NEWNEWSPEAK

THE COLLECTIVE 小组GARCIA FRANKOWSKISARA LUDYXIAO XIAO 萧潇OLIVER HAIDUTSCHEKJU ANQI 雎安奇REN ZHITIAN 任芷田WU JUEHUI吴珏辉 WILLIAM LEE

新新话

INTELLIGENTSIA GALLERY智先 画廊

2015 年 07 月 25日25 July 2015

INTELLIGENTSIA GALLERY

First Presented at C-Space

智先 画廊

NEWNEWSPEAK

THE COLLECTIVE 小组GARCIA FRANKOWSKISARA LUDYXIAO XIAO 萧潇OLIVER HAIDUTSCHEKJU ANQI 雎安奇REN ZHITIAN 任芷田WU JUEHUI吴珏辉 WILLIAM LEE

新新话

NEWNEWSPEAK

C-Space in collaboration with Intelligentsia Gallery is thrilled to present NEWNEWSPEAK, a group exhibi-tion with works by Sara Ludy (b. 1980, Californa, USA), Ren Zhitian (b. 1968 Xishui, China), Oliver Haid-utschek (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, NEWNEW-SPEAK 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, con-solidate 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 hermeneuti-cal 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 significa-tion. 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.

Intelligentsia Gallery

新新话

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。

智先画廊

Politics and the English LanguageChristopher 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.

Rules and Exceptions of Hegemonic Structures of LanguageGarcia 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

IUtopia 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 dis-course. Everybody speaking the same words.

IINewspeak 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.

IIIHistory 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 lan-guage. 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 im-plemented 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. New-speak can only be implemented in its totality. Half Newspeak is no Newspeak at all.

IVThe 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. Abstrac-tion and repetition became manifested as language reduction was tested and implemented. Methods, processes, footprints, plans, solutions, schools and circles became instruments of conceptual coloniza-tion. 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 anar-chism 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 Hard-core Modernism. Modernism is Newspeak. Newspeak is the language of the commons.

VSuprematism 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.

VIIt 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, market-ing and advertisement. In the idealized lifestyle, and venerated pictures actively implemented and pas-sively 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 insa-tiable vortex, Newnewspeak makes impossible the idea of exclusion. Newnewspeak is reduction as com-plete 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 posi-tion 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. Newnew-speak is automatically updated with every project created, with every image, symbol, concept produced.

VIINot only can Newnewspeak subsist as contradiction, it performs optimally in this state. Like the New-speakean concept of Doublethink (a word employed meaning its absolute opposite achieved by the com-plete 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.

VIIINewnewspeak 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, Newnew-speak turns language reduction into a sales devise.

IXThe 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 sup-porting 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.

XAgainst 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.

NEWNEWSPEAK新新话

Ren Zhitian 任芷田20140624Ink and Car Exhaust Residue on Silk225 x 300cm2015

Oliver HaidutschekTrue / Falsepolyurethane, steel, spray paint, silicon 120x50x50cm2015

Ju Anqi 雎安奇对对对对对LED Sign Display180x40x10cm2015

Xiao Xiao 萧潇Rational Reality: Cloud SeriesPigment Print on Paper, Artist’s Frame110 x137cm2013-15

Xiao Xiao 萧潇Rational Reality: Cloud SeriesPigment Print on Paper, Artist’s Frame137 x110cm2013-15

Xiao Xiao 萧潇Rational Reality: Cloud SeriesPigment Print on Paper, Artist’s Frame137 x110cm2013-15

William LeeUn Año de Amor / The Crying GameDouble Channel Video installation92x150x27.5cm2015

Sara LudyDream HouseSingle Channel Video, Stereo Sound10’00”2014

Oliver HaidutschekWith the Back Against the Wall Pigment print on canvas, LED, Alumini-umPigment Print on Canvas, Backlit ten-sion Fabric Display, Aluminium frame, LED light system-160x250x8cm2015

Oliver HaidutschekWith the Back Against the Wall Pigment print on canvas, LED, Alumini-umPigment Print on Canvas, Backlit ten-sion Fabric Display, Aluminium frame, LED light system-160x250x8cm2015

Garcia FrankowskiWall CompositionAcrylic on Canvas350 x 200cm (total dimensions, four parts 10x200cm, 10x200cm, 150x100cm, 150x100cm)2015

Garcia FrankowskiFloor CompositionOil and Acrylic on Wood900x 600 x 10cm2014-15

Wu Juehui 吴珏辉Organs ProjectWiFi camera, 3D printed structure, video camera, solenoid, tablet, control system, wearable systemsize variable2014

The CollectiveStay HydratedSingle Channel Video, Sound6’07”2015

The CollectiveAvant GardePigment Print on Canvas, Backlit tension Fabric Display, Aluminium frame, LED light system200x150x8cm2015

The CollectiveTen Black FlagsSatin, Nylon Strap, Wood, Paint110 x 45 x 45cm2015

I am a byproduct of a technology that virtually guarantees to the hundredth-percent the desired sex of your offspring, which virtually exceeds the mere sixty percent that sperm-sorting techniques could offer before, and exceeded the more or less fifty percent chance that I was expected to have the desired chromosome, even though my hosts were virtually satisfaction guaranteed. My being was carefully or-chestrated. The sperms provided were used to fertilize the extracted eggs in a lab, and when embryos were developed, their genetic structure were examined and screened for diseases such as, Adrenoleu-kodystrophy, Cystic Fibrosis, Gardener Syndrome, Hemophilia and Prostate Cancer. I was one of the healthy embryos with the requested sex that was implanted in the mother. I was the promised product. And yet, I never perceived my physical being as sexed, intersexed, androgynous or ambiguous, but split in the middle, appearing one sex on one side and another sex on the other. I am no fantasy being. I am, just like the rest of my species, in a constant state of flux on a spectrum between binaries, fall-ing into one category and sub-category or another, all predetermined by common agreement. And so out of free will, with my meticulously planned existence aside, I chose not to be confined by the social constructions of “he” and “she”. I was thus forced into the “it” category along with many other animals, due to the lack of a gender-neutral pronoun. However, I prefer to be referred to as “they”.

William Lee

THE COLLECTIVE MANIFESTO

The Collective is a group of artists based in Beijing who decided to collaborate in the production of new intellectual and artistic positions under a mutual name. The Collective aims to produce art which would bring yet un- raised questions into light, regardless of any geopolitical or sociocultural barriers. The Collective works are continuously fueled with reflections on our time, which conducts in a per-petually flux towards a transcendent creative freedom. The Collective works through different mediums, which are constantly pushing towards new incisive experiments and critical explorations. The Collective believes that by connivance of individual artists, a more complex and authentic body of work can consequently emerge, persistently questioning the limits of the field.

Interview with Sara Ludy

Garcia Frankowski: Could you give us a brief introduction about your background and your interest in exploring digital mediums of art production and representation?

Sara Ludy: I grew up in Bluemont, Virginia, a small rural town in the Blue Ridge Mountains. I spent much of my youth painting landscapes en plein air and it awarded me a scholarship to SAIC. During my first semester I learned about video and sound art. Living in an isolated area, I only knew about painting and sculpture so I was completely blindsided in the best way possible. I immediately ditched painting and began working in new media. I floated between the video, sound and art and technology departments making green screen animations and electronic instruments. After I graduated I worked as a video editor and interior designer, leaving little room for anything else. I quit my job in 2008 and began a full time art practice. The first couple years I was mostly experimenting with tools and ideas to get back into an art making headspace. It wasn’t until I began using photography as a medium where my interests began to crystalize. I started taking photos of everything with my iPhone, including my computer screen and began making comparisons between physical space and virtual space. This is most prevalent in my Second Life project, Projection Monitor.

Space seems to be a recurrent topic or medium in your work, either in the construction of idealized spaces (as in Dream House, House on Fire, Rooms ) or in the use of space as a medium (as with some of your recent environmental or fractal works). What role does architecture, or space in general play in your practice?

My practice explores the nature of immateriality and space as a medium. Digital tools allow me to give form to the intangible without the form becoming physical. I like that I can represent a presence with digital dust. I find that to be beautiful. I’m interested in the fluidity of spaces such as digital, dream, intui-tive, psychological, emotional, psychic and spiritual; how their formal qualities, stories and ghosts move between each other and leave imprints.

Up to what point does the unconscious influence your work? Does it have philosophical foundations? Is the work closely related to personal interests, or are they investigations related to the history of art?

The unconscious influences my process quite a bit. I let intuition guide me through explorations of space. For instance, I have this series Sets where I reconfigure a 3D space until a composition appears that I find interesting, usually in its peculiar sense of familiarity. I will upload one of these images to Google Images where their algorithm spits out dozens of images relating to the vibe of mine. This path leads me to the bowels of Google Images where hazy cell photos and cached thumbnails live. I will choose a selection of the image results and recombine them into a fictional place for my series Postcards. In this process, my subconscious activates an algorithm giving birth to a new space and story.

Architecture, as it relates to the unconscious through its poetics and ability to shape our experiences, is a form I repeatedly use. I’ve represented it as something physical and every day, intangible, sacred, dehumanized, ubiquitous, uncanny, as a body, a vessel and an entity; among other things. When I’m not working, I spend time visiting abandoned and haunted places, attempting to access history through clair senses. I’m interested in how information from past events resides in space; where land and architecture becomes a memory bank.

Recently you have been working with fractal generators to work with large scale installations. Moving away from depictions of architecture, your work seems to venture into more abstract terrain (or deeper into the non-figurative unconscious). From digital constructions of avatars of modern architecture, the new works suggest to reference questions that are more related to the investigations initiated by the Romantics. Have your interests, questions or mediums evolved? If so, in what sense? Could you talk to us about this transition?

My interests and questions are always evolving. My Instagram account reflects that in some ways. I have

been working a lot with abstraction this year, primarily in preparation for the Wallpapers show at the Vancouver Art Gallery. The series I created refer to qualities of space and points to sublime investigations found in Romantic painting. This new cloud series was a step up from the first series I made in 2012. I found new ways of making them and through experimentation they began echoing painting in interest-ing ways. I pushed the painterly qualities and created a series of toxic clouds referencing environmental decay. Even though my recent works have been more abstract, I’m still working with architecture. Dream House is continually under construction as a 100 acre island.

Going back to your points of reference, and focusing in that oscillation between digital platforms (as in Google Images) and physical ones with your research on physical spaces (including abandoned and haunted places), your works also seem to be based on that dichotomy between digital mediums and physical methods of representation (and presentation). Do you see your practice more focused on the possibility on working with and pushing the limits of new technologies (google, Instagram, etc.), or are the mediums just a way to dig into more permanent, fundamental questions that might not necessarily be related to technological developments? Is there something specific you are looking for with your works or with the mediums of representation employed? Also, do you find any specific possibilities of limitations of digital platforms versus conventional spaces for art presentation (galleries, museums etc.)?

I would think most artists who are interested in “crafting” their own work find ways to personalize and push the tools their working with. I use a lot of the same software and platforms many other creative people use and attempt to find ways around defaults. I don’t specifically think of myself to be pushing limits of new technologies as much as I use them to explore questions of immateriality and space through a subjective lens.

Ideally, a house may be the closest archetype to a concrete representation of the self. In the context of Newnewspeak ( a concept we borrowed from Orwell’s reductive language) exhibition, we were looking for works that could potentially deal with forms of language reduction and consolidation, or better said, how artists use tools to create and define ways of thinking through art; how to present a specific world-view through art language. In your work several of the videos, specifically Dream House seem to play with the language of architecture in a deliberate way, as if you were presenting a form of guided tour to the architecture of your mind. Up to what point are you trying to create a form of self-representation in the form of art as language? How do you understand the relationship between the ideas you are trying to explore, and the audiovisual vocabulary you have been developing?

Dream House is self-representative since it’s modeled after lucid dreams I’ve experienced. These dreams impacted my life in such a way at the time that they made me question the nature of reality. The first scenes in Dream House are inspired from the first lucid dream I had in 2001.

It was Sunday morning around 9:30 when the sun woke me up. As my eyes began to focus I realized I was not in my bedroom. There were stacks of books aligning the perimeter of the room. The titles unfamiliar. I got out of bed, having no memory of how I got there. I walked over to the windows to see if I could recognize where I was. There was a vast lush green landscape that extended forever and nothing else. I looked over to the right and saw a bathroom. It was darker and colder. There was a pedestal sink with a large round vanity mirror above. As I moved closer to the mirror a force slammed me against the wall opposite to it. Something wasn’t allowing me to see my reflection.

I woke up terrified, convinced I was somewhere else and not in a dream. This experience eventually be-came the catalyst for Dream House. Even though it was some years later when I began modeling the dream space in 3D I was able to remember every detail. During the modeling process I realized other dream spaces I had experienced seemed to be architecturally connected to that first one. I decided to develop Dream House into a hybrid dream space, connecting multiple dreams into an ongoing labyrinth. Using the promotional and visual language of real estate the project presents itself as a premiere vacation

destination, embedded with elements from the dreams. Rather than alienating the viewer from a purely subjective experience, this context allows easier access to the work. It brings forth questions of place, ownership and near future escapism. Below is a short descriptive text that was released with the first Dream House video.

{This secluded 100-acre island gem is found resting on the center coordinates from a 3 second transport time. Surrounded by void, this island is a timeless wonder; featuring Dream House, the primary memory palace experience.

The north side of the premise includes a 9-plug waking pad equipped with sustainable primitives and reli-able access. Just west of the waking pad is a uniquely tiered water feature overlooking space in a remark-able scene. On the southeast coordinates, between the lush eastern hills and the arid south basin, resides the shapeshifting Dream House; a domestic labyrinth built with familiar geometries and sacred details.Created during the 1st period, Dream House is known as “the palace of dreams”. This hybrid dream archi-tecture includes 3 lucid dream spaces precisely constructed utilizing genuine memories, native textures and brilliant moonlight. The house is furnished with premier animistics; Transport Bed, Stack of Books, Vanity Mirror, Floating Mirror, Floor Curves, Disc, Entity Bust, Sun Disc and Fountain Pad. All animistics are full automated and activated by proximity.

Dream House comfortably accommodates multiple embeds, providing an ideal platform for remote expe-riences. Dream House is the traveler’s perfect destination for exploring authentic dreams embedded in time, space and structure.}

Do you see your practice as a way of thinking and producing art related to a specific historical context? Does your work respond to broader questions anchored in the production of contemporary phenomena beyond art history, theory and criticism? Do you see your work in a framework of personal exploration, social awareness or disciplinary dialogue?

I don’t find it necessary to position myself in a specific historical context. I’ll let time do that while I focus on making work. I see my practice moving fluidly through different interests at different times, from per-sonal to cultural to social. I try to balance the intuitive choices with conceptual interests, not wanting to be completely absorbed in my own world and not wanting to only make conceptually driven work.

How do you see your practice progressing in the future? Will Dream House be in construction ad infinitum?Dream House will develop indefinitely or until I find a closure to the project. It’s as much a personal de-velopment as it is an art project, which I like. I have a long list of installation and sculpture ideas I would like to produce and see myself working more with physical space. I look forward to making these works and whatever the future may bring.

Bio

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 Gal-lery, Vancouver; Rooms/Phantom Horizons, Window at Kuenstlerhaus Bethanien, Berlin; Place, http://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 Sas-soon 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.

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 - Vi-sions du Réel; International Film Festival Rotterdam; Revelation Perth International Film Festival in Aus-tralia 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).

简介

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, http://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WALLPA-PERS 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 Mu-seum of Contemporary Art, Boulder;等等

www.saraludy.com

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。

http://www.juanqi.com/

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.

http://www.juanqi.com/

The CollectiveThe 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 Col-lective 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.

William Lee (b.1985 Beijing, China)William Lee graduated from London College of Communication (LCC) in 2008, with diplomas in Photogra-phy 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.

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 Gal-lery’, 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.

The CollectiveThe 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。

William Lee (b.1985 北京, 中国)William Lee 2008年毕业于伦敦传媒大学（LCC）的摄影和电视、电影创作专业。他的艺术实践主要是关于性别的感知和行为。他目前工作和生活在北京和伦敦。

Oliver Haidutschek (b. 1976 维也纳，奥地利)Oliver Haidutschek曾就读于维也纳艺术学院。

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 Dis-tance 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

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

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.

xxart.info

Ren Zhitian (b. 1968 Xishui, China)Ren Zhitian is a multidisciplinary artist born in Xishui, Hubei Province. After graduating from Wuhan Uni-versity 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.

画廊的《扭曲的现代主义幻想》；和在C-Space空间的《新新话》。

xxart.info

任芷田 （1968，中国湖北省浠水）任芷田是出生于中国湖北省浠水的多学科艺术家。1989年毕业于武汉大学。他的作品曾在多个个人及群组展览中展出。

他的作品曾作为《无常之常 – 东方经验与当代艺术》群展中的一部分参展于第55届威尼斯双年展。近期展览包括：《表象之轻》和《直观•物语》在上海的Art Labor画廊展出，其他展览曾展出于Time Space, 北京Egg画廊, 北京上苑艺术馆，798艺术空间, 北京艺术通道，XY画廊, PIFO New Art画廊, re-C Art Space, 天津美术学院博物馆, Li-Space, Huantie Times艺术博物馆,上海当代艺术博物馆, 首尔书法艺术双年展,深圳第一届国际墨画双年展，金色连州当代艺术展，等。

www.renzhitian.com’

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.

www.intelligentsiagallery.comintelligentsia.gallery@gmail.com

Intelligentsia Supporter:

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

Editors: Cruz Garcia & Nathalie FrankowskiDesign: Cruz Garcia & Nathalie Frankowski

First Published in 2015 in Beijing by Intelligentsia Gallery 智先 画廊 on the occasion of the exhibition NEWNEWSPEAK 新新话 at C-Space.

Intelligentsia Gallery 智先 画廊

Dong Wang Hutong #11 Dong Cheng DistrictBeijing

东旺胡同11昊北京

www.intelligentsiagallery.com