The Materialist Postscript
Galerie Philine Cremer GmbH
Saturday, January 15, 2016 to March 15, 2016
Part of the fifth edition of the Duesseldorf Photo Weekend, February 12-14, 2016
Düsseldorf, Germany

Galerie Philine Cremer (Düsseldorf) in collaboration with Intelligentsia Gallery (Beijing) is thrilled to present The Materialist Postscript, a group exhibition with works by Jason Mena (1974, lives and works in Mexico City), Ju Anqi (1975 Urumqi), Ren Zhitian (1968 Xishui), Xiao Xiao (1984 Hunan), Oliver Haidutschek (1976 Vienna), William Lee (1985 Beijing), Camille Ayme (1983 St-Etienne), Garcia Frankowski (1983 San Juan & 1985 Dundee) and Lena Tsibizova (1988 Moscow), Olga Rodina (1982 Moscow) and Anastasia Soboleva (1989 Kostroma) of Troyka Union (Moscow).

With the re-appropriation by mass and social media of strategies and models previously associated with conceptual art, the perception of life has been reduced to the representational language of an artistic project. Materialism, the theory of the continuous flow and exchange of matter and its lingering ideological disputes has found a parallel allegory in the production and consumption of contemporary art. An ever expanding array of images propelled by technological and communication advancements seems poised to fulfill the philosophical promise of an aesthetic state ruled by the power of language.

The Materialist Postscript retakes Boris Groy’s thesis of a regime of linguistic bonds cementing a societal union and reformulates the question from the point of view of a contemporary theory of representation as objects, signs and symbols are subjects of matter exchange.

Revolving around semiotic preoccupations, the exhibition aims to reveal latent conflicts within and against ideological models of representation. Abstract codes of signification, symbolic avatars of culture and identity, paraphernalia of the victories, downfalls and suspended projects of dialectical materialism, and the visual codes of the world as matter exchange challenge preconceptions about the fundamental principles of language engagement in networks of global visibility, creating the template of a Materialist Postscript.

The Materialist Postscript presents works that through photography, moving image, painting, and installation re-develop a theory of language and representation in a globalized world.

A Great Event is in the Making. But No One has Noticed
Co-curated by Hao Chen
Intelligentsia Gallery
Sunday, January 10, 2016
Beijing, China

Artists: Engel Leonardo (b. 1977 Bani, Dominican Republic), Li Tingwei??? (b.1989 Yantai, China), Jeff Miller (b. 1987 Rhode Island, USA) and Thomas Schmidt (b. 1980 Alberta, Canada), Ada Sokó? (b.1994 Wroc?aw, Poland), Pussykrew, William Lee (b.1985 Beijing, China), Shao Yinong (b. 1970 Qinghai, China), Alena Olasyuk (b. 1988 Ukraine), Ju Anqi ??? (b. 1975 Urumqi, China), Matjaž Tan?i? (b. 1982 Ljubljana, Slovenia ), Alessandro Rolandi (b. 1971 Pavia, Italy) Meng Zhigang ??? (b. 1975 Guilin, China ), Yu Bogong (b.1970 Inner Mongolia), Wu Ding (b. 1982, Shanghai), Jason Mena (1975, Lives and works in Mexico City), Lena Tsibizova (b. 1988 Moscow), Olga Rodina (b. 1982 Moscow) and Anastasia Soboleva (b. 1989 Kostroma) of Troyka Union (Moscow), Garcia Frankowski (b. 1983 San Juan, b. 1985 Dundee), Oliver Haidutschek (b. 1976, Vienna) Ophelia S. Chan (b. 1985, Hong Kong), Ren Zhitian (b. 1968, Xishui), Xiao Xiao (b. 1984 Hunan), The Collective (Beijing), Camille Ayme (b. 1983, St Etienne) and Chen Xi (b. 1985 Wuhan).

In a “room filled with the radiance of festive illumination and the assembled company”, a sense of anesthetizing detachment kept the ruling class from perceiving an upcoming substantial event in Robert Musil’s The Man without Qualities. With a title eponymous to the last chapter of his unfinished novel, the exhibition explores the role played by the gathering of parallel stories unfolding while the establishment overlooks a looming threat. Away from the hegemonic constructions of market-oriented, nationalistic and academic imperatives, all-encompassing narratives, and opportunistic discourses, ‘A Great Event is in the Making. But No One has Noticed’, reclaims the vital ethos of enthusiasm and alertness, and proposes the underground space as conceptual incubator for the gestation of positions, discourses, ideologies, projects, discrepancies, disconnections, agencies, aspirations, performances and executions.

In occasion of its second anniversary, ‘A Great Event is in the Making. But No One has Noticed’ features 24 artistic positions in representation of each of the months since the foundation of Intelligentsia Gallery. Co-curated by Hao Chen, the gathering of works as a total installation proposes the exacerbation of the exhibition space as both container and action, contemplating a great event in the making, while no one else notices.

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