stage候台BACK is an art space for artists dedicated to experimental projects in Shanghai, China

wear objects are going - backstage children are coming. stage候台BACK is in transition to be ready for tomorrows opening.

‘着物’结束了～‘后台孩童’要开始～
stage候台BACK正在为明天的开展准备着！

Thanks to inspiration lounge to post about Gordon Chandlers work: (in german only)

Gordon Chandler – eine Liebesbeziehung...

... Ölfässer sind Maultiere die eine schlierende, stinkende Substanz transportieren. Kimonos sind Zauberhaftigkeiten, die Frauenkörper einhüllen. Doch eigentlich sind Ölfässer Kimonos. Das ist ganz normal. Eine Realität, die viele Menschen mit ihren eigenen Augen nicht erfassen können. Doch als Sehhilfe gibt es Künstler in unserer Welt.

Read HERE for more

Gordon Chandler‘着物’展览的开幕派对

谢谢大家昨晚来我们的开幕派对玩！

Thanks to everybody for coming to our opening last night!

Yesterday we followed Gordon to Eastgate factory in Minhang where he 
set himself up a workspace. Locally found oil barrels and other sort of metal cut outs are waiting 
to be transformed under his hands.  9 days away from the opening things are looking up smoothly.

Thanks  Gordon, we loved those sparks!

昨天，我们跟随Gordon去了位于闵行的Eastgate工厂，他在那里设置一个他的工作空间。

在本地随处可找到的汽油桶，以及各种材质的铁躺在那里等待他的手来将它们变形。
虽然离开幕酒会只有9天，但一切都看上去进展地很顺利。谢谢Gordon!我们超级爱那些火花！

Sculpting industrial cast-offs into iconic Kimono shapes, there's a great basic tension in Gordon Chandler's work that comes from the tactile differences between his materials and subjects. The contrasts are the natural outcome of his Duchampian use of found materials. "I have a very practical bent," he says, "I use things of very little value and elevate them. I study the objects that we decorate our lives with and reconfigure them in my own language." The 55-gallon drum is a container used worldwide to deliver a wide variety of materials. They are widely recognized, ubiquitous symbols of commerce. Once delivered and emptied of their original contents, they are used for a variety of different outcomes. The discarded steel drum bears a history of wear and travel on its surface. From these containers, I choose the ones with the most intriguing composition and patinas. For me, there is often some reference to the patterned silk fabric of traditional robes. The process from here is like origami. First the barrel is cleaned. Then I cut the two ends out, cut it the long way and flatten the hollow cylinder. I am left with a rectangle. Through a series of cuts, folds, and a little welding the garment becomes apparent.