We are proud to present CORD OF REXAS's catalog that documents the work in progress of Barbara Anna Husar during her residency at stage候台BACK Shanghai. The catalog measures 24 x 18 cm, contains 30 pages and is a edition of 100.



Every catalog has its individual rice bag cover that was part of Huasrs video installation.

Here my text in the book:

CORD OF REXA 

THIS IS a(rt) RICE BAG 

While preparing and monitoring words for this text, implanted images of CORD OF REXA visualized and created phrases that kept saying: “This is a regular rice bag, is it not?” “This is not a dispensable rice bag, is it?” “This is not an art book, this is a rice bag!” And clearly: “This rice bag is the skin of CORD OF REXA!”* 

Barbara Anna Husar is an ambassador of cultures. As stage候台BACK‘s first artist in residence, it was sure that she will create a melt down of different approaches and life forms. Her yearly trip to the Beduin tribes in the Sinai dessert gives distinction to the source of her creating and artistic appearance. 

Her first proposition to the Chinese audience, the movie CORE OF FLOCK was shown within a Chinese rice bag installation, sown and prepared as a tent the same way as Beduin women create living space in the “public space” of their wild landscape. “Living” and “public space” a modern Chinese theme, has been addressed and widely discussed especially during the world expo year 2010 in Shanghai. Through CORE OF FLOCK, a bridge between this generally unknown and quiet civilization finds its way from North Africa via Europe to over populated China. 

Shanghai is a spoiled town with anything and everything under the sun, towered over by its gigantic monumental skyscrapers kissing almost the fire ball. In 2010 and ongoing, the biggest, fastest, tallest, most, best, better ... are familiar words that lurked behind all street corners in the city. Husar’s interpretation to this certain madness became a perfect marriage of the prehistoric and futuristic, animal life and human built. Gigantic canvases as rice bag tents serve as a barn for the new herd of Shanghai dinosaurs and EXPO FLOCKS. Shanghai’s “better city, better life” is an animal farm with fluorescent colors and sarcastic pop art dinosaurs titled PUDONGO SAURUS. 

A contemporary “Atlas Shrugged*”, carrying the new weight of modernization, is visible thoroughly her drawings and acrylic dragons that got rendered within an intense manifest at Husar’s first visit to China. 

Susanne Junker, artist and founder of stage候台BACK Shanghai, December 2010. 

*Every catalog in this limited edition has a unique rice bag cover that was part of Husars video installation. 

*Atlas Shrugged by Ayn Rand. 



如此骄傲地向您呈现BARBARA ANNA HUSAR在上海stage候台BACK驻留项目——纪录画册。这个画册尺寸24x18cm,包括30个内



每一个画册的封面是HUSAR电影装置的真实米袋制成。

以下是我在这本书里的文字:

恐龙之链 

这是一个艺术米袋 

当我在准备这篇文章时,恐龙之链在我脑海中形成图案,并不断反复一些语句:“这只是普通的米袋,不是吗?”“这不是个廉价的米袋,不是吗?”“这不是一本艺术图书,这是一个米袋!”更清晰的是:“这些米袋就是恐龙之链*的皮肤!” 

Barbara Anna Husar是一位文化的使节。作为stage候台BACK第一位在空间驻留工作的艺术家,她必定会创造不同的方式和现场形式。她年复一年在北非西奈沙漠贝都因游牧部落的私人生活体验也让她的创造思维与作品表现在本质上区别于其他艺术家。 

H usar对中国观众首映的电影《CORE OF FLOCK》的荧幕就是装置在中国的米袋子里。我们缝制和搭建帐篷的方式就一如贝都因妇女在她们粗旷的“公共空间”里创造私人的居住空间。而“居住”与“公共空间”这两个现代中文词汇,在2010年上海世博会期间被极大程度地放大和讨论。《CORE OF FLOCK》像一座桥梁,由那片鲜为人知的北非文明穿过欧洲来到人口密集的中国寻找一种路径。 

上海这座都市一向娇纵地在阳光下曝露她的一切,她的那些耸立的摩天大楼几近要触摸到火球。在2010年又或一直以来,最大,最块,最高,最好⋯⋯倾泻于这个城市的街头巷尾。 

Husar对这种疯狂的私人的解读正好联姻了史前与未来,动物生命和人类建筑。在米袋帐篷上巨大的绘画形成了上海恐龙和EXPO FLOCK。上海的“Better city better life“变形成一个色彩斑斓的动物农场,以及被命名为PUDONGO SAURUS那具有讽刺意味的波谱艺术恐龙。 

在Husar第一次中国行里,她创造的当代“耸肩的阿特拉斯*“担负着一种新鲜文明通过绘画尤其是她画的龙完成了一项激烈的隐喻。

Susanne Junker, stage候台BACK创始人和艺术家,2010年12月上海

图书限量。每一册的封面米袋,当时曾真实用于Husar的电影放映装置

《耸肩的阿特拉斯》是安.兰德的作品