Title: Intelligentsia
Keywords: contemporary art, gallery
Description: Intelligentsia Exhibition No. 55 智先画廊 #55 It’s the sound of the future, she said Listening to the Cliquetis of the wind through the cornfield... is ranked 27653092 in the world (amongst the 40 million domains). A low-numbered rank means that this website gets lots of visitors. This site is relatively popular among users in the united states. It gets 50% of its traffic from the united states .This site is estimated to be worth $1,297. This site has a low Pagerank(0/10). It has 1 backlinks. has 43% seo score. Information

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Intelligentsia Running on Cargo 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 Hypertext 超文本 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 Intelligentsia Artists Camille Ayme 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 Interviews Interview with Wang Guangle 王光乐 Interview with Sara Ludy Interview with Aoto Oouchi Interview with Xie Molin 谢墨凛 Interview with Meng Zhigang 蒙志刚 Interview with Simona Rota Artists Works NEWNEWSPEAK 新新话 The Yellow Ones are Mine 黄色的是我的 What is Matter? 什么是物质? Twisted Modernist Fantasies 扭曲的现代主义幻想 Victory Over Nothingness 战胜虚无 Works Superfold 超折叠 Works The Map and the Territory 地图与疆域 Works Softcore 软核 Works Semiotic Preoccupations 符号学的专注 Works Critical Medium 批判媒介的相关性 Works Dialectical Territories 辩证性场域 Works Hermeneutics of a Room 房间解释学 Works Experiments on Form 形式实验 Works Intelligentsia Manifesto Supporters Past Exhibitions We Chat Intelligentsia Contact Following (1) Intelligentsia Exhibition No. 55 智先画廊 #55 It’s the sound of the future, she said Listening to the Cliquetis of the wind through the cornfields 那是未来的声音她说 聆听着风飒飒地掠过那一片玉米田地 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. 智先画廊激动呈现北京艺术家Garcia Frankowski的房间装置“这是来自未来的声音,她说。聆听着风飒飒地掠过那一片玉米田地。 展览讨论了纯粹形式的符号学、象征性、以及历史使命,回顾了关于语言缩减的途径、方法、策略的持续研究。综合概念诗歌与空间构成,“这是来自未来的声音,她说。聆听着风飒飒地掠过那一片玉米田地。”撷取第一次城市公寓展的标题,挑战装置艺术的政治。 展览旨在表达白盒子中的抽象空间构成。从荣格到维特根斯坦,装置追问纯粹形式的本质——它如何通过语言缩减的方式,试图从图像中抽取叙事、意义和意识形态关系。在这里,线、面、形状、等高线及空间成为无意义乌托邦中自我挫败的尝试。这里空无一物,只有未来之声,当她聆听着风飒飒地掠过那一片玉米田地。 AWAKENING FORM by Paula V. Alvarez (from the prologue Shapes, Islands, Text: A Garcia Frankowski Manifesto) The cultural imagery mobilized by Garcia Frankowski's work is as rich and dense in references as in its formal, plastic and technical display. Either through paintings, writings, sculpture, typography, poetry, animations, performance or by the mixture of these diverse mediums, the authors insist on one clear particular inquiry: where does the potential of art reside when approached in its purest form? Ambivalence Garcia Frankowski’s response to this question raises a new problem, since they engage with two different notions of 'form'. Their starting point are forms emphatically geometric, but the scope of their discourse moves away from purely formal issues in their more conventional meaning: “We believe that geometric forms have, in their symbolic function, the potential to communicate ideas, whether they are archetypical, in the sense given by Carl Jung in his work on the collective unconscious, or acquired within a sociocultural framework. In fact, the interest we have in geometric form is shared by the interest we have in language and the use of words as codifying elements”.1 Gestaltic and visually poignant forms allow the collective to reclaim the artistic and multidimensional potential of the construction of the communication of ideas, advancing from the strictly sensorial and perceptive to connect with the intellect and imagination of their audience. The visual impact provoked by their works immediately yields its protagonism to the relationship they establish between each other and with the physical space in which they are installed while being projected to the mental space of the viewer which in return becomes part of the work. As soon as the “purity” of the geometric form is superimposed on the implicit ambivalence of these interactions, the inquiry about the potential of art plunges into the interstitial space between artwork and thought as dynamic elements of an ongoing creative process. This liminal situation refers precisely to the crisis of the traditional concept of form in modern thought. When Garcia Frankowski rely on geometric form as the kernel of their artistic language, they do it to reach its limits, to boost the plasticity of thought. Pure geometric form turns into a threshold that leads us to the modern redefinition of form: form as an internal logic of the subjective relationship established between author and receptor in relation to a pre-established reality. The authors’ contribution lies in the fact that, despite working with the redefinition of form, they neither reject nor resign from its more traditional and canonical sense, while by contrast, they awaken it from inside its own crisis, in a sort of mise en abyme. Inside this apparent paradox, a strange loop occurs: the continuity with tradition short-circuits the domineering notion derived from the crisis of form (close with business values) that only the new goes in art; but it is exactly its crisis what provides traditional form with the critical potential that the one aiming at ‘newness’ implicitly lacks. Veilings It was by codifying communicative experiences as artistic expressions that the traditional notion of form was put in crisis by the avant-garde of the early Twentieth Century, opening an inedited opportunity for artists to experiment with the most diverse formats and mediums. Garcia Frankowski retake this exploration although reversing the pattern by codifying artistic expressions as communicative experiences. To put it in their words, their work is “based on a dialogue with the history of art, with ourselves and with whoever reads or observes us”.2 As a basis to trigger this dialogue, the artists introduce a network of references of art episodes of the Twentieth Century with which the authors enter into resonance, or on the contrary, establish dissonances. They acknowledge a special bond with El Lissitzky with whom the authors share an understanding of art as a living and inextinguishable infrastructure that provides and guarantees a space for emancipation and transformation. However, the allusions to authors like El Lissitzky, Kazimir Malevich or Ilya Chashnik go beyond the mere “reference” that pays tribute to the works that have influenced them. The authors speak explicitly about their interest in retaking and updating questions that were left unanswered.3 In this sense, by recovering and recoding references Garcia Frankowski simultaneously give support to new messages while aiming at continuing the discourses originally inscribed in the referenced works. The interweaving of these two discursive threads far from resulting in neat, identifiable, and transparent images like their pure geometric shapes, produce elaborated narratives with multiple possible meanings. Semantic density is intensified in those works that hybridize diverse and sometimes distant historical episodes, and moreover, in the recoding of various singular installations. On the other hand, Garcia Frankowski’s recoding involves ellipses and digressions; the connections they make are not perfectly sutured. If they suggest some truth it’s not openly disclosed; rather it seems to be partially covered. Semantic density, narrative parenthesis and unhitching connections are veils designed by the authors to hint at those questions which were left in abeyance, inciting others to pick them up and discover the meaning by themselves. Scenography Byung-Chul Han observes that in contemporary society cultural expressions are rapidly consumed, up to the point of erasing their cultural value in exchange of their “exhibition value”.4 This provokes a controversial overlapping of trade and communication, propaganda and ideology. It is my impression that Garcia Frankowski, as intellectuals and artists have taken the determination of recovering the cultural value of aesthetics as a productive and critical component. To do so, the artists space out signifier and meaning, by designing conceptual and physical environments to be “inhabited”, be the scenic illusions that emerge from the surface of a painting, the scenographic experiences in the gallery or the spatio-temporal dialogues performed by figures and motifs themselves. These polyvalent scenographies are crucial to the codification of artistic expressions as communicative experiences in Garcia Frankowski’s work. Scenography demands time for contemplation, delay for disclosure, slowing down to take delight. This position is indeed critical in a moment in which, following Han, hyper-communication imposes an accelerated and plain exposition of thought and ideas.5 In effect, Garcia Frankowski's work seems to be in tune with Han’s call to recovering ambivalence, scenography and distance in cultural interactions, as opposed to the lassitude of straightforward transmission.6 Removed from the dominating cultural coordinates, Gracia Frankowski develop a highly refined intellectual critique, which is not rooted in the message or the content, but in the erotic ethos of form. This is a critique that, in my opinion, not only addresses the status quo of art but also turns towards communication as well, finally offering a forceful and accurate response to the question about the potential of art in its purest form. Trackback Garcia Frankowski leave in their works a track of the process of thought, giving the reader the task of making a final link. These tracks emerge from the auditory effects of the subtle variation on persistent and precise repetitions, the nesting technique that inserts a medium inside another, the de-synchronization of reading and thought across the pages, the alteration of a work by the reminiscences of other works, the conflicts between signifiers and meanings, the use of diverse meanings that conjugate without getting changed, the title chosen for the works or the spatial dialog across them. Traces thus refer to techniques, working like "thresholds" that allow us to go over the path followed by the artists but in the reverse direction, from the sensual materiality and the plastic experience to the thought and the idea. The audience is interpellated by the purely formal and material to be brought into a constructive pattern of thoughts with a more complex form. -- 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 . 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、 上海、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。 (208 views) Filed under Garcia Frankowski Intelligentsia Gallery Beijing Installation Contemporary Art Politics of Installation Black and White Monochrome Poetry Poem Spatial Poem Whois

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