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Wednesday 23 November 2011

Hello Kittler 你好希特勒

"Hello Kittler", photograph, 80 cm x 60 cm, courtesy of stage候台BACK Shanghai, 2011. 
“你好 希特勒”, 摄影, 80 cm x 60 cm, 图片惠允上海候台画廊 2011

Thursday 25 November 2010

For Immediate release / 可直接发表 WELTSCHMERZ

For Immediate release / 可直接发表

 

WELTSCHMERZ

Chris Gill & Terence Lloren

Mixed media 混合材料

 

December 4  2010 – January 16 2011 / 1204 - 01162011

 

We cordially invite you to join us at the opening of WELTSCHMERZ on December 4, 2010 from 4 pm - 8 pm! WELTSCHMERZ  is a cooperation between painter Chris Gill and sound artist Terence lloren and includes an installation and a live performance by Terence lloren held at 7 pm during the opening.
The exhibition will be closed during December 22 and December 26.
Having just hosted the World Expo, and with other tragedies, Shanghai is suffering Weltschmerz a kind of world weariness, a langour, a melancholy pain, indescribable, but there nonetheless.
Terence Lloren and Chris Gill, two long term Shanghai based foreign artists have created a project to address this issue, that will take visitors on a journey through their interpretation of the Shanghai psyche. Lloren has recorded several thousand hours of sound, and Gill has painted several tens of thousands of centimeters of canvas. Combined together into a unique landscape that reflects the city, with visual and sound elements that are intended to offer some insights, to meditate what it is to be in Shanghai, what it is now, and what it was before, who we are and where we are going.
As we enter this period of post expo ennui, it is a good time to rediscover the city, now all the parachutists, hustlers, diplomats, hookers, grifters and showboats have left town. There were some nice people too. Both artists, though aliens, have an ongoing conversation with the people of Shanghai. Lloren records Shanghai dialect, the sounds of the city and the changes of the seasons. Gill works mostly in visual imagery, sometimes frighteningly accurately predicting the future, and also musing the changes in people’s mental and physical makeup.
Using portable recorders and sometimes elaborate on-location recording sessions, Terence LLoren creates a snapshot of the current life and reality of present day Shanghai. His personal works are more documentary than art, and can be considered as somewhat esoteric, relating specifically to Shanghainese or individuals with a particular interest in field recording and sound art. Lloren emphasizes the concept of time in his recordings, resulting in long-term projects lasting several years or months in order to capture the true candid character of a location over several seasons or events.
Lloren was born in Washington, D.C. in 1978 and studied as worked as an Architect before going back to school for audio engineering in NYC. When not working on his own projects, Lloren freelances as a sound recordist as well as an Interior Design lecturer.
The recordings for Weltschmerz are 6-hour continuous recordings made in the Shanghai municipality with hidden tape recorders randomly placed throughout town. No two days will be alike during the normal operating hours of the gallery until the end of the exhibition."
Chris Gill has a degree in Politics from the University of Newcastle upon Tyne and the People’s University of China. Gill also studied and worked as a printmaker in the UK. He has developed a visual language commenting on the social environment in China since 1992, when he first established a studio at the Old Summer Palace.  Since then he has exhibited widely in China, with galleries such as Red Gate Gallery, Eastlink and Shanghart, and has exhibited at Shanghai Art Museum and Duolun Art Museum. He also works as a writer, currently he is China correspondent for London based The Art Newspaper. 
Gill’s work has a certain resonance with people who have experienced the ongoing changes in China, to which he is bearing witness. He incorporates language (Chinese and English) a very varied mix of materials, as well as photography, sound,  video, installation, and numerous other elements into his work.   
我们诚挚邀请您参加WELTSCHMERZ 的开幕酒会——124日下午4点至8点。WELTSCHMERZ是画家李云飞与声音艺术家罗天瑞一起合作,此外,罗天瑞在7点做现场声音表演。
展览在1222日至1226日之间关闭。
       举办完世博,以及其它的悲剧,上海正在遭受 Weltschmerz 这样一种世界的伤感,一种倦怠,一种忧郁的疼痛,虽然难以言说,却真的存在。
罗天瑞和李云飞,两位长期居住上海的外国艺术家关于此创造着一个项目——它引领参观者进入他们视界里的心理层面的上海的一场旅行。罗天瑞在上海纪录了几千个小时的声音,李云飞在这里画了几万厘米的油画。他们一起试图在用一种特殊的景观方式去组合他们各自的画面与声音元素,去内省/冥想——‘在上海’是什么样?现在是什么样?以前是什么样?我们是谁以及我们去往哪里?
当我们沉浸在后世博的缺失感里,在所有的观光客,诡辩者,交际花,妓女,骗子和游船都离开后,我们是时间重新审视这个城市了。当然那也有些不错的人。
两位艺术家,虽然海报里看去像外星人,他们一直以各自方式与同样生活在这个城市的人们对话。罗天瑞纪录巷弄里上海话的对话,城市的声音,季节的声音。李云飞更多在他的绘画想象世界里创作,有时会恐惧真的预见未来,仍然在不断感受到灵感来自这里的人们无论精神或物理层面的表现。
      天瑞合运用了小型随身音机和其他合来捕捉上海的代生活奏和真上海一日。他的作品与其艺术品其更接近作品。作品用声音记载了参与被访者和上海都市的一些化。土生土的上海人音和声音艺术有兴趣的朋友作品更有共时间天瑞在作品中重点强的一个概念。  个概念作者用了几个月甚至几年的季节时间迁移来捕捉一个地点的最真的特点。
       天瑞于1978年出生于美国特区。原主修建筑设计后来在纽约半工半完成了音响工程的程。在逐步完成此作品的同他也是自由和室内设计大学
     Weltschmerz音作品是6断的音。作者把备隐藏在上海每个行政区里的不同地点。作品想要表达的概念是城市每天每秒的声音都是独特的因此在本空间的展出时间内没有任何一天的声音会重复播放。
 
       李云飞毕业于英国卡斯尔大学并在中国人民大学学中文及东亚政治。曾在英国从事设计及配色工作。自从1992年在明园安下第一个画室以来其作品主意在造一部展中国社会化的视觉。在各地多次举办个展及与当地艺术家合作的群展包括在门画廊艺术香格画廊以及上海美术馆和多伦现代美术馆的展出。除作画外李云亦是一位目前为伦敦The Art Newspaper的中国者。
     李云的作品见证了中国近年来的并令经历其中的人得到共。他的作并用英文与中文且混合不同材料音像影像
installation等多种元素。



Monday 6 September 2010

CORD OF REXA 恐龙之链 POSTER!

Tuesday 20 October 2009

Poster 海報

. . . here it is - Palme  OVERSIZED!

Sunday 10 May 2009

Five Shanghai Germans (Group Show)

Dear stage候台BACK friends,

We are pleased to invite you for the opening reception ( 开幕接待 ) of Five Shanghai Germans -Group Show

Date: May 16 2009.

Time: 6pm - 10 pm at stage候台BACK Gallery.

We hope to see you.

Susanne Junker & Amandy Chien


Five Shanghai Germans

Alexander Brandt, Roland Geissel, Susanne Junker, Rolf A. Kluenter and Lothar Spree

Group Show


May 16 – June 26 2009 / 2009516日至626

Opening reception: May 16 2009. 6pm - 10 pm at stage候台BACK Gallery.

开幕接待: 2009516 1800-22: 00 stage候台BACK艺术画廊

TIMELINE:May 16 – June 26 2009 / 2009年5月16日至6月26日

stage 候台BACK Shanghai is delighted to present‘Five Shanghai Germans’, a group show of recent works by Alexander Brandt, Roland Geissel, Susanne Junker, Rolf A. Kluenter and Lothar Spree. The exhibition offers a look through the eyes of 5 German artists who have been living and working in Shanghai during the past 3 – 10 years. Shanghai, the trend-setting metropolis with a capitalistically characterized dynamic, has been challenging their artistic practices and exploration into new or different ways of expression. The show is curated by Ke Luo Fu, Shanghai ‘Five Shanghai Germans’ will be exhibited at Bridge Gallery, 798, Beijing in November-December 2009, at K GALLERY, Chengdu in the first half of 2010 and at TEAPOT, Cologne in the first half of 2011. The Catalog is edited by Ke Luo Fu and published by stage候台BACK and Ke Luo Fu, in cooperation with timezone 8, soft cover, 88 pages, color plates

stage 候台BACK荣幸呈现“上海五德”联展,届时五位德国艺术家 飞苹果(Alexander Brandt),葛若朗(Roland Geissel),云筱苏 (Susanne Junker), 柯罗夫 (Rolf A. Kluenter)和 洛塔 斯普瑞(Lothar Spree) 将联合展出其最新艺术作品。 “上海五德”通过五位长居上海的德国艺术家的独特视角,展现他们在过去3-10年间与上海这座独特城市交融迸发的艺术作品。上海一向以“小资”著称,这座 大都市如今正以其独特的活力走向现代潮流的最前端,这强烈撞击着艺术家们的艺术创作,激发他们探索各种新的艺术表达方式 艺术联展由科罗夫策展。 “上海五德”将于2009年12月在北京798桥舍画廊做第一次联展,接下来将于2010上半年和2011年上半年分别在四川成都K GALLERY和德国科隆Teapot艺术廊做巡回联展。 艺术画册由柯罗夫编辑, stage候台BACK 和柯罗夫联合发行,软封,88页,彩板

More link:

facebook

cityweekend

synotrip

urbanotomy

shmag

china-daily

shanghaistuff

For further information contact:

Amandy Chien (Mandy) cell: 135-01717-590

email: stageback696@gmail.com


P R E S S R E L E A S E stage候台BACK 696 Weihai Shanghai is delighted to present ‘Five Shanghai Germans’, a group show of recent works by Alexander Brandt, Roland Geissel, Susanne Junker, Rolf A. Kluenter and Lothar Spree. The exhibition offers a look through the eyes of 5 German artists who have been living and working in Shanghai during the past 3 – 10 years. Shanghai, the trend-setting metropolis with a capitalistically characterized dynamic, has been challenging their artistic practices and exploration into new or different ways of expression. Alexander Brandt states in the context of his ‘ephemeral structures’, 4 times photography in c-print:: From a personal, purely esthetic point of view, most of Shanghai's new high rising buildings are visually more interesting during their construction phase than after their completion. This state is temporary; in a month's time, what was captured in the image doesn't exist anymore. At the same time, because Shanghai's construction sites are omnipresent, the presence of these ephemeral structures also has something permanent.” Roland Geissel’s work “melusine – xujing’ includes photography and an object. ‘A Spatial Drawing is the interior of a Melusine’...... a series begun in 1997. Melusine is the collective title of all worksbelonging to a group whose design always follows the same basic principles, leadinghowever to a unique result each time. The Melusines are corporealobjects, occupying the borderlands between painting and sculpture. .... the Spatial Drawings are site-specific and have so far been temporary, documentation is necessary. However the photos Roland Geissel takes, on 5x4” film, using a large-format camera, transcend the purely documentary function and assume the nature of works themselves. The photographs do not only succeed in translating the space via perspective onto the two-dimensional plane of film, much more than this they lead to an alteration in our perception. Our spatial perception as a whole shifts towards the visualization of flatter, graphic formations seen in the background, and optical effects are created which evoke a space other than the real one; new, unreal spaces are created. [johannes kögler-“journeys into space - roland geissel’s spatial drawings”, exhibition catalog, 2007] Susanne Junker presents her photographic series “ - - - id - - -identity- - - - work in progress”. R A Suri writes about her work: “Essentially, the photographic work of Susanne Junker is cathartic, humorous and violent in effect. Her trajectory is one wherein the role of subject/object, identity and transfiguration of medium revolve, intertwine and are re-cast in a conscious manner. Unfortunately, while the pivotal device of oscillating to and from established or fixed visual iconography-which she has sought to challenge- of women, embodying the same formal vocabulary in her staged self-portraiture, one might evaluate that rather than a rupture with the perversion and vulgarity of the portrayal or women by mass-media and the "victimization" of the fashion world in real terms on both the physical and psychological landscape of women, conversely, her work is somewhere testament to the legacy of that sphere upon contemporary photographic art. [R. A. Suri “Globales Geiles Gesicht”, guest contribution / essay / KUNST BLOG / (http://kunst-blog.com/2009/03/leerer_eintrag.php) Rolf A. Kluenter’s mix media installation ‘st.st.not.that.not.this.six steps registration overkill’ shows canvases, a stencil, rubberstamps, a 2 minute video, a photo and text. Ilse Schache comments: “…the nature of self, the nature of the environment in which we find ourselves, and the relationship between them. The central theme of these works is not to capture some kind of abstract reality, life, as it 'is', but instead to explore the processes of creation and the creative process in and of itself. Kluenter is captivated by the verb 'to transpire', to cause something to happen, to go beyond, to cross something, to inspire. The purpose of his work is to demonstrate or to cause some kind of tension, since this, in his mind, will cause something to transpire. Kluenter is interested by the idea that beyond memory, there is something more, something non-material but nevertheless, very real. It is this 'beyond-ness' of things that his work is trying to expose. As something happens, or transpires, it passes into our memory, where this process of creation keeps developing. Nothing is finite and nothing has an end; one event is transformed and so leads on to something else.” [Ilse Schache “rolf a. kluenter – recent works, 2009] Lothar Spree makes a very distinct statement in the context of his 2 simultaneously running films, title: ‘ shanghai passage voyage / dissolve’: “understanding media as a tool of exploration - zooming out the panoramic views of satellites and into microscopic close-ups of the psyche of people // although a filmmaker at heart, media art has become my main interest in the context of chinese art education // shanghai is a maze of media art reflections // here the two terms ‘media’ and ‘art’ carry both a certain acute urgency – they are terms of our times that signify essential demands and developments for global society/ visible in the cityscape of shanghai // under the term media we see our world transferring itself increasingly into the visualizing media/ not only because of the intensification of global communication and exchange -- more so because of the great virtualization of our life // formative events are not anymore happening in real life but in media only/ and more and more of human life takes place in the realm of virtuality // to work -- and live -- in the field of media/ especially in shanghai/ means dealing with the issues of humanity/ society and the ‘essence of life’ -- finding/defining/refining rules of changing reality before the media world forgets its humanity // art provokes the new and evokes the old/ reminding of the essence of the strife for progress // art is breaking the rules in order to liberate/ and challenging in order to define a next necessary step // making and braking the rules - art is the realization of both these impossible attempts // understanding media as a tool of exploration - to move out to the panoramic views of satellites and to return to microscopic close-ups of the psyche of people.” The show is curated by Ke Luo Fu, Shanghai ‘Five Shanghai Germans’ will be exhibited at Brige Gallery, 798, Beijing in November-December 2009, at K GALLERY, Chengdu in the first half of 2010 and at TEAPOT, Cologne in the first half of 2011. Catalog, published and edited by Ke Luo Fu & stageBACK, Shanghai, soft cover, 88 pages, color plates

Tuesday 14 April 2009

STOP WITH YOUR LIMITED MIND

Artists on view 藝術家: Laurent Friquet (F) (Video) Louis Pratt (AUS) (Video)Yang Qing Qing(CN ) (Video)


"STOP WITH YOUR LIMITED MIND"
is sponsored by medientech Shanghai Co. Ltd.
感謝medientech Shanghai Co. Ltd.

Saturday 11 April 2009

696 puts its dress on!!! 六九六一藝術工作室.

"we" are getting all fancy and ready for the big open door weekend on April 18th and 19th 2009.

”我們“ 已經準備也很高興等到這週末得 六九六一藝術工作室 18日~19日.09年.

"stop with your limited mind"
is
stage候台BACK'S contribution to this jour fixe event.
 

Saturday 4 April 2009

696 Event Map! 事件地圖

Please click on picture to enlarge it!

Here’s the final version of the map for the open studios event at Weihai Road 696 art studios, electronic version… to be used for the event on April 18-19. A documentary team are also making a film about the event.

這是最終版本的地圖開放工作室活動在 696威海路藝術家,電子版... 用在18日~19日的活動。紀錄片團隊也拍電影的活動。
Thanks !!! shanghaieye

Monday 2 March 2009

Tillmann with Tillmann

stageback preperty

Saturday 24 January 2009

Happy Chinese Niü Year 2009

stageback property design by. amandy chien

B
est Wishes,
Susanne Junker & Amandy Chien.

Saturday 22 November 2008

Rolf A. Kluenter, Limbo Grid, mixed media + film, 2008 A site-specific installation created for stage候台BACK, Shanghai, October 30 – December 7, 2008

stageback property
Limbo Grid provides an insight into Kluenter’s cosmology and his observation of urbanity as an awe-inspiring reality. These aspects of Kluenter’s aesthetics might bear strong reminiscences of scenes and atmospheres of 19th century Romanticism. In contrast, however, his recourses and references rather relate to the “Darkness” of a mega-urban scenario than to the “Mighty of Nature”. In his installation, a multi-layered net-like structure metaphorically plays the central role. The net-like structure is made of fragile blackened Nepalese handmade paper. It hangs down from the ceiling and divides the space into two rooms. As a contra-point to the dominant black paper-structure, a film projection is set on the opposite wall. The short film is based on a variety of nightshift scenes which Kluenter filmed during the past years at one of central Shanghai’s many construction sites. The film music is composed of several commonly known sound-fragments that Kluenter has re-arranged and re-mixed to enhance the scenes of the film. Tiny objects that are attached to the lower and upper ends of the blackened paper grid further alienate the work. A very small staircase made of Lego-toys comes forth from the lower end and reaches to the ground where small plastic toy-puppets stand to welcome the descendants. A welcome banner reads: “Welcome back from Limbo. Welcome to our brave new world”. From the upper end of the paper-grid, joined plastic drinking straws emerge and extend into space as a loop. Attached to the plastic drinking straw structure, black scrolls are hanging down on which a variety of statements are written that relate to the term “heaven”. During the exhibition period until December 7, Kluenter will be adding one statement on “heaven” on each day. Since the installation and film figuratively evoke a state of non-resolution and uncertainty, the connotation of a “Limbo”, a term that has been frequently used in literature, becomes obvious. Limbo is a place or state of oblivion to which persons or things are regarded as being relegated when cast aside, forgotten, past, or out of date. Spiritually and in scholastic theology, limbo is an extramundane region where certain classes of souls were supposed to await their judgment. Blackened Nepalese paper has been the primary ground and substance of Rolf A. Kluenter’s work for the past years. Blackness essentially suggests the absence of a source of light and the notion of void. Its nature evokes the limits of the visible. The hand-made structures of the blackened Nepalese net-like paper object show an excessive load of irregularities. Like an ongoing experiment, Kluenter’s approach is to display his works in series as ever so many declinations of basic emotional positions. Life and art are situated between cultures, crossing borders, intersecting at cross-cultural pathways: process of change, fluctuation and spatial-geographic traceless-ness, interdisciplinary paradoxes, wordless and non-conceptual messages simulating unlimited virtual variety.

Wednesday 12 November 2008

# 0 Poster -海報


















Thanks to(感謝) Chris Gill, Andy Guhl, DJ Didjelirium & DJ Xeum & yours SJ.