Temporary Residence Permit II

         --Living Elsewhere & Together

Exposition: 30/05/2015—06/07/2015

Opening: 16:00 30/05/2015
Curator: Manman CHENG
Artists :
Alessandro Rolandi , Garcia Frankowski (Cruz Garcia,Nathalie Frankowski)
Niko De La Faye ,Léa Pagès, Alina Polents,  Daniel Stubenvoll,Oliver Haidutschek, Megumi Shimizu

Chief Advisor: Zhijie QIU 
Producer: Ningya WU   Ga YANG

Unicorn Centre for Art
ADD: Red No.1-A, Caochangdi Chaoyang District, Beijing, 100015, China


Niko is a French visual artist born in 1978 in Brest. He creates photos, kinetic sculptures, videos, costumes and dresses. To do so, he works with a large variety of tools and materials.

After his studies in France, he moved to San Francisco. Between 2003 and 2005 he worked with a great range of local artists. He designed costumes, choreographed shows, and participated in local TV shows and films.

“ In August 2007 i was inspired to paint and excited about experimenting on canvases, especially on a large scale. Although, this was pricy and it would have quickly required fair amount of space, so it didn’t seem to be the best option at this point.Eventually the idea of painting on fac- es came to me almost immediately. I didn’t need a canvas, and furthermore I was intrigued by the idea of adding shapes and colours to the existing landscape of the human face. I would also integrate living eyes within the canvas. This way i could give an in- teresting dimension to an image that would be a mix between painting and photography.A few days later i went in search of makeup paint. i did the first test on my arm (picture #1) and then a few attempts on my face (pictures #3 and #4)Between August 2007 and September 2008, i took the first fifteen painted images of volunteer models and of myself.In total, seventy five models had their faces painted for this project. A collection of ten nationalities - Chinese, French, indian, American, English, irish, Hungarian, Dutch, Rus- sian, and Belgian - ranging from 11 to 82 years old.”  — Niko De la Faye


Studied Chemistry, Experimental Theatre and film-making ,History of Art .
He has been living and working in Beijing since 2003, as a multimedia and performance artist, director, curator, researcher, writer and lecturer. His work focuses on social intervention and relational dynamics to expand the notion of art practice beyond existing structures, spaces and hierarchies and engage directly with reality in multiple ways.
He is the founder and director of the Social Sensibility Research & Development Department at Bernard Controls Asia in 2011, currently ongoing.
His work has been shown, among other venues at:
Venice Biennale2005 and 2011, WRO Wroclav Biennale 2011,
CCD Photofestival Beijing 2009,-2010-2011, Museo Pecci, Milano 2011,
MCAF Gent-CAAW Beijing 2008/2009, Asia Panic, Gwangju Biennale 2009, FUSO VideoArt Lisbon 2012, Under the subway, New York 2012-2014,
Get It Louder Beijing-Shanghai 2011, UCCA Beijing, 2012, Fringe Festival Beijing 2012, Beijing Design Week 2012, MACT/CACT Ticino Bellinzona, 2013,
EXIN China Independent film festival Nanjing-Beijing 2012-2013,
OCAT Xian 2014, Homeshop 2010-2014, Action Space, 2014,
Institute For Provocation 2014 Beijing, The Gallery Apart, Roma 2014
Maxxi Roma 2014, Savvy Contemporary, Berlin 2014, PACE BeijingOCT Shenzhen, AOTU space, Beijing, Action Space, Beijing, ACMI Australian Center For Moving Image, Jiali Gallery 2014-2015


    Participatory performance

I have selected a part of Pericles” Oratio Funebris, speech written by Tucydides and delivered by Pericles to the Athenians after an important defeat against Sparta. Reacting to the understandable desire to become defensive and closing up to the external world, Pericles delivers instead a speech that celebrates the openness, the quality of life, the spirit and the progressiveness of the Athenians.
These words that come from long time ago, still resonate today, in a time of crisis and suspect when many countries prefer to close their doors and protect themselves instead of engaging with complex socio-economical and political problems that belong to all humanity and of which we are all in part responsible.
The real Athens was not a perfect place and it is not something we should idealize with a wrong sense of nostalgia and sentimentalism.
Nevertheless these words, written and pronounced more than 2000 years ago, stand for a high civil sense and tolerance and beside the notion of democratic government, they express the one of the “polis”, of the enlightened city where civilization is enriched by diversity and acceptance and fear is never embraced nor as an excuse for implementing external violence neither as a tool to educate and control the people internally. They seem to be written to help us to maintain our spirit clear and our mind open while dealing with today’s fragile, fast and frightened world. WORDS is a sharing moment in which I make available, for all people who are interested, this ancient text in different languages and I ask the participants to read it more times, one after the other, at few lines of distance, creating a cacophony of voices and languages inside which powerful words echoes each other and spread in the space like a sound waterfall. It is about a certain intensity of energy and the healing power of the words, sculpting the space, the minds and the senses with their invisible power.



The video uses the situations and the rhytms of the golden era of mute cinema, Buster Keaton, Charlie CHaplin, etcc., to build a contemporary ironical sketch on the topic of religion and spirituality.
The character, wearing a mental institution suit, (also a prison suite or old-fashioned bathhouse one), is creating the three symbols of the Christian, the Muslim and the Jewish religion.
The word Allah is made with azime bread.
The Star of David is made with Christian Ostias bread
The Cross is made with Arab Pitta Bread
In all religions bread is the simplest and most important food; all religions are considered "nourishement for the spirit" and often use bread as the key food for rituals. 
The character operates a presumably "naive" action, playing with the symbols and the types of bread; it's like if he wanted to feed on all of them and at the same time it is as if he was asking himself the question : are they really different? Why? How?. After drawing the symbols with the bread, he starts dancing around them and eating them, in a sort of euphoria. 
During this process he sees the symbols mixing one into another and in a demi-consciussness status, he creates a new image, a landscape with a mountain and a house; then he simply look at it and comfortably lays down inside the house of bread and sleep.



For two years and a half I have developed a project with students of different countries in an International School, aged between 8-9 years old and 17-18 years old.
I have given them a different word every week and asked them to create a very quick sketch to turn their comprehension of the word into an image.
I insisted in drawing without skills, but simply to transform a word into an image showing conceptual thinking and freshness.
I have chosen words such as : authority, autonomy, border, boundary, transformation, desire, fear, society, individual, online-offline and let the students free to do whatever they wanted.
I gave them only 30 minutes to do this each time.
My purpose was to confront the students with difficult topics in a way that did not demand traditional learning, but instead, some straightforward intuition and capacity to accept the clumsy aesthetic of a no skill-sketch. During these two years I also tried the same exercise with managers in companies, students of an academy of fine arts and random people.
My purpose was to collect and compare all these visual interpretations of very important concepts in society and in daily life.
With the students, after the words project, we also did a research based on the Chinese dazibao;
adding more colors in the choice of inks (not only black and red) I asked them to express freely their concerns about today’s life, education, pop culture, etc..in a demo-serious way and without limitations. Their reaction was interesting once more time and they created pieces full of dark humor and twisted meaning, using both Chinese, English, Korean and other languages.
When we showed these pieces on the walls of the International School, both the foreigner and the Chinese sides of the administration thought that they were too irregular, aesthetically not appealing and from the point of view of the language, too vulgar or stupid or with silly words.
In the same way, the drawings about the words were also seen as not pleasing enough, not beautiful enough, not positive enough. Often the kids themselves, although they enjoyed doing these exercises, thought that these were not valuable artistic research but just “whatever”.
If they show them to their parents even more, they would come back and tell me that it was fun doing this, but it is not really art. I was also told that it was questionable to ask children to deal with “negative” or sensitive topics and that they should just do “happy things”.
Feeling the incredible value of these spontaneous drawings, their force and freshness and the pleasure, courage and fun the kids put into them, I felt longtime frustrated by the impossibility to explain and valorize their works.
And mostly I felt like I have betrayed them by encouraging them to let go and express their feelings and their ideas about uneasy things without being scared to be judged and then let them see that in fact their drawings were judged and dismissed. 
I believe the new generations are facing immense challenges in this contemporary world, but after seeing these drawings and how honestly they have been in expressing their fears and anxiety, I had grown respect and confidence in them. They are in fact aware of the challenges and scared but they admit it and engage with their fears, which are the fears of everyone of us;
they do it with the frankness and the wittiness that only children and teen agers can have once they are “allowed to”. I did allow them, but then the institution in which we were turned its side to them and so what should they think? A clumsy artist teacher told me that to express myself is important and interesting but the institution that pays the teacher thinks this is embarrassing…..what is the message? Express yourself…or express yourself “well” or in “the right way”…and what is the right way?
I came across an old Mexican proverb saying “They wanted to bury us: they did not know we were seeds” and it suggested me that these clumsy no-skills drawings are like precious seeds that have been thrown away and hidden deliberately, because they are not “beautiful” “right” “correct” or “happy”. What made me sad is the fact that most people did not recognized their value, did not see that they were seeds. When I was invited to this show I saw the opportunity for the seeds to grow out of the dirt where they had been buried and fill up all the space they could take. 
In this work I am just an initiator and a witness of something that goes beyond myself.

Garcia Frankowski (Cruz Garcia,Nathalie Frankowski)

Garcia Frankowski is a Beijing-based art collective founded by artist, architect, author and theorist Cruz Garcia ( b. 1983 San Juan, Puerto Rico) and artist, architect, poet and theorist Nathalie Frankowski (Dundee, Scotland, 1985). Garcia Frankowski co founded Intelligentsia Gallery, an independent contemporary art space in Beijing. Their work includes painting, video, collages, performance, installations, publications and more.
The works of Cruz Garcia and Nathalie Frankowski have been exhibited in solo and group exhibitions around the world, including at the Museum of Modern Art (MoMA)
in New York, the Vitra Design Museum in Weil am Rhein, Intelligentsia Gallery and Pifo New Art in Beijing, the Centre for Chinese Contemporary Art (CFCCA) in Manchester and in shows in Barcelona, Basel, Lausanne, Zurich, Berlin, Madrid, London, Beijing, Paris, San Juan, Porto, Lisbon, Tokyo, Osaka, Melbourne, Sydney, Shanghai, Helsinki, Chicago, Buenos Aires, Santiago de Chile, Montevideo, Prague, Bratislava, Milan, Guada- lajara, Zurich, Los Angeles and more.
1) Wall Composition 2015
Acrylic on canvas  Total dimension 300 x 200 cm (four pieces) x3
2) Untitled  2014
Oil, Oil stick, acrylic on wood  32.5 cm x 36 (35 piece)
Acrylic on wood  15 x 5.5 x 3 cm  40 x 10 x 5 cm
3)Floor Composition  2015
Acrylic on wood  470 x 90 cm (6 piece)
4)Architecton Beta  2015
Acrylic and wood   30x30 cm (Edition of 10)

Daniel Stubenvoll Lives ans works in Kassel and Frankfurt am Main
Honor Student/Meisterschüler of Johanna Schaffer (Department of Philosophy in Practice) at School of Arts and Design Kassel 2013–2014
Student of Bernhard Prinz (Despartment of Photography), Bjørn Melhus (Department of Video Art and Virtual Reality) and Florian Slotawa (Department of Sculpture)
at School of Arts and Design Kassel 2007–2013

A car, two labels and a text force the viewer to create his own narration.
The objects shown in the exhibition I: Cowboy connect to certain American stereotypes and topoi. The Jeep and the cowboy are highly loaded images evoking stories of freedom, manhood, and the open country. Yet, the context and the background of the works stay in the shadows. Through the entire exhibition, the artist plays with the images, triggering clues just to challenge these at the same time and leaving them in a vague and mysterious state.
Willfully displacing objects soaked with America in the environment of I: project space, makes the viewer wonder: Why does the cowboy end up in the center of Beijing?

Oliver Haidutschek,
Born 1976, Villach, Austria. Currently lives and works in Beijing, China
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.

Alina Polents, 
Alina Polents, 26 years old, born in Russia. Firstly studied paintings, but later switched to photography. After Russia have been moving around Asia taking photos and finally found herself in Beijing where shaded hutong walls, the air pollution haze recalls the greyness of St.Petersburg in a mystical way.

The city i live in is big buzzing with groaning engines. furious horns piercing screams of kids, twentieth hand heavy machinery crushing paving stones, loud speakers pouring ruthless announcements to exhausted travellers in crowded train stations, three square dance groups dancing on the same square, three strays breathing heavily in the summer heat. the distant chatters from a flow of customers after the second turning from a street of free market or smart shops or restaurants.

each is different yet all become indistinguishable, like dusts after rain, ink washed by tears.
they merge into a mass of haze, shades of grey. a haze formed by particles of time. a haze that survived an ageing city. a haze concluded by the steps of cobble stones and the absence of calendar pages.
through the haze a perspective is born, in which the wildest differences beat with the same ache, sour with the same smile, weep with the same bliss
and walk.

Léa Pagès

Febuary 27th 1988, Toulouse, France.

De manière générale mon travail est influencé par ma vie quotidienne. Actuellement, cela fait plus de trois ans que je vis et mène une recherche artistique en Chine, ainsi le travail présenté dans cette exposition résulte de mon expérience de vie au contact de la culture chinoise.

Artiste chercheur à l’Académie des Arts de Hangzhou, j’ai pu constater que la calligraphie et la peinture chinoise occupaitent une place importante dans l’enseignement de l’art. D’abord étrangère à ces pratiques qui me semblaient réservées aux érudis, j’ai finalement choisi de les aborder sans complexe au delà des règles et des codes de représentation. En assumant mon incompetence, mon approche primaire de la peinture a l’encre de Chine : dessin de points et de lignes sur papier de riz, a pris sens dans la representation de constellation d’étoiles réelles et imaginaire. Ces motifs sont ensuite devenus des outils pour dévier des standarts de représentation habituels sur divers supports traditionnellement utilisés en peinture chinoise.

1)Coincidence drawing, 78 x 200 cm , chinese ink on rice paper, 2015

2)Sky Legendary  drawing,  320 x 32 cm,chinese ink on rice paper 2015
3)3D sky drawing, 74.5 x 200 cm,hinese ink on rice paper 2015
4)Untitled  drawing 39 x 194 cm x 2, 40.5 x 194 cm x 2,  chinese ink on rice paper, 2015
5) Zodiacs drawing 140 x 200 cm , chinese ink on rice paper 2015
Double click here to add text

Megumi Shimizu

Megumi Shimizu / Japanese ( living in Beijing) A bachelor of Japanese painting / A master of photographyShe came to Hangzhou in 2001 , then moved to Beijing in late 2002. Performance (live art) / drawing / installation.  She is interested on comparing a relation of the nature and human origin  in culture. Because her identity and that she can speak two languages, She knows subtle differences of understanding of East Asia / Southeast Asia culture.

1) A video as a birthday present  2015年
This video is a birthday present that was made by Liu Wei and Ba Zai.
 ( They made and gifted it before I went to Japan for that my mother watch it)
Sometime they asked me to do something, sometime they just documented me, sometime interviewed me.
We enjoyed to live together at same area, shared many things for each other, then naturally they start to make this
Documentary as a birthday present for me, and for my mother.
I am sure that our communication was not as “foreigner”. It is just very simple way of communication for face to face.
I think it is kind of important way for making communication of art.

Maybe people will think “why is it in gallery?” ..That’s what I want to say.
                                                                                                                     —— Megumi Shimizu

2)  A story about a tea bottle cover _tribute to john Baldessari 2012年
I had seen some tea bottole covers long time ago in China.
I wanted to have it, and I decide to wait when an old Chinese woman give me a handmade one.
I had wait to get it and finally my friend’s mother gave me in the spring festival 2012.
I’m not sure, but I think that this has something to do with live art.