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

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Thursday 6 June 2013


German ART Magazine picked up my project ID-Identity and wrote some words, see below the German version
and the english translation follows by the screenshots. 

Original link HERE

The women who respond to a short online ad “Women sought for art project” are invited by Susanne Junker to come along to a photo shoot in her Shanghai studio. She asks the women to make themselves up – blind. Instead of sitting in front of a mirror, they sit in front of a camera. Without any further instruction or explanation, the women dive into the make-up. They have agreed to be observed during that intimate and private moment of making themselves beautiful. Clearly, Susanne Junker’s project is no glamorous fashion shoot. Applying the make-up is not a particularly delicate or flattering process. At times it is almost brutal to see how they treat their faces – coating, powdering and painting their skin; pulling, deforming and colouring their lips, lids and lashes.   

The women reveal a great deal about themselves.  Forbidden to check the colours and their handiwork in the mirror, they sit in front of Junker’s camera lens. It takes a certain courage to accept the imperfect, the strange and the ugly.

Yet, at the same time, this deviation from the everyday ritual seems to have a surprisingly liberating and inspiring effect on many of the women. They really come out of themselves and it is clear to what extent they associate fantasy, frustration, dislike, convention or freedom with the act of applying make-up.

One woman uses nothing but white cosmetics; another only wants to wear gold make-up. Many of the women reach for the black lipstick and choose unusual and strong colours to apply to their eyelids. They really immerse themselves in the artistic experiment of applying make-up blind. They play with their possibilities and push the boundaries of the activity. And it is all done with great seriousness, concentration and a challenging self-confidence.  There is hardly a silly or embarrassed grin to be seen in any of the photos.

 Susanne Junker has long been interested in the issue of how people view their bodies, in beauty and the search for identity. She has herself worked as a model and consequently spent much of her time being made-up. She found it was a process that could often be painful and rough, leading her muse on the fact that the “in-between” moment can be quite ugly. One of the first photos she took was of herself, using a remote shutter release. After a shoot, she stands naked in the shower with mascara running down her cheeks. She found that this reduction to externals that was part of her work stood in stark contrast to the profound feelings within her.    

Susanne Junker seeks that vulnerable, intimate moment of transition, the moment of adapting to ideals of beauty. Her volunteer models are not sitting stiff and immobile in order to have their portraits taken. They have come along to put on make-up, and the photographer captures the moment “when something happens”. She chooses one picture from the series of photos that she takes of each woman.  She is waiting for an unpredictable, unforeseeable moment. For her, it’s all about the expression. Junker’s portraits emanate a spontaneous, free and radical openness and strength. In their uncontrolled imperfection they radiate their own beauty and inimitable aesthetic.   

by Eike Stratmann, May 2013

Tuesday 22 January 2013

ARTINFO on the LOVE book

mentioned our LOVE book on their website, click HERE to read the full article

Thursday 25 October 2012

Check out the Bili Bidjocka exhibition reveiw in Smart Shanghai...."not to be missed"...the exhibition is on until the 18th of November come and experience it for yourself

查看Smart Shanghai 关于Bili Bidjocka的个展的报道“不容错过”展览持续到118号,赶快来亲自体验一下吧


这不是我的身体@ stage候台BACK

Friday 14 September 2012

Our LOVE show featured in Oriental Art Master Magazine

Who doesn't love magazines? Especially the brand-new-freshly-unwrapped kind, delivered straight to your door. Our favorites are the Art type, glossy pages filled with gorgeous, inspiring images and thoughtful essays. Much to our delight Oriental Art Master Magazine has chosen to review our "Why don't you love me?" exhibition in a double page spread for it's September edition. On shelves now!


Wednesday 5 September 2012

what's on?

this is on.

the secret 7!

source: smart shanghai

Thursday 9 August 2012

enthusiasm, grace, conviction …

Alice Papin from 24/7 came by the show the other day and had a few questions to ask:

SH247: You describe “Why don’t you love me anymore” as a ‘recommendation exhibition.’ Can you explain us what this is and how it works? 

I was asking people - friends, academics, socialites, people in the art world - to recommend me artists. First I approached the recommenders with this question: “why don’t you love me anymore?” There was an immediate reaction: from that moment we were like a couple figuring out if we could work together.

That was the first step. There were some people who were not into it, you have to deal with being rejected. Like love, rejection happens all the time. It turned to be a big exhibition however: now we have 20 artists exhibiting.

The exhibition is not only about love, it’s about society, it’s about being rejected. It’s also about the art world: you can be a star one day and then the next day you’re gone.

It’s all about changing, ending and having a new start. That’s why I found that wonderful sentence of TS Eliot to illustrate the exhibition:  “What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.”


SH247: Why did you choose that theme?

I needed a red line. I was searching for something that concerns everybody: Chinese, not Chinese, it doesn’t matter, love concerns everybody.

Moreover, the whole idea of romance in China is something that everybody has to deal with. It is also changing the society in China step by step. I found it particularly interesting to do that exhibition now. The title “Why don’t you love me anymore”, taking you to a negative place, gives a reaction to people: it’s not cold, it shows all the love and passion bitterness, I was looking for that.

Now, I am very satisfied with the variety of the artworks in the "LOVE" show. The aim was to not only talk about love in the context of a couple: (Li Zhixiong 李志雄  , Tao Damin 陶大珉) but also in the context of family: (Yilan Yuan  袁綺蘭  ) , friends: (Maleonn 马良  ), sexuality: ( Hu Zi 胡子 , Liu Min 刘敏  ), forgotten and rejected people: ( Shen Shaomin 沈少民, Feng Yan    ), self destruction: ( Zhe Chen  陈哲 ), consumer society ( Mathieu Borysevicz) and the harsh reasons why we don't love anymore ( Secret 7 秘密  7) - to name a few.

SH247: You’re the director of the gallery and also a photographer. Can you tell us more about your background? 

I was born in Germany and I worked as a model in Paris in the 90's, started self-portraits and some fashion and still life work but always focusing on photography art work.

Currently, I’m busy working on new project called ‘ID’ whenever I can make time for it. The concept is that I want to capture women while they are putting make up on their face. I realized a few years ago that we make ourselves "ugly" in order to look beautiful or whatever the society thinks is beautiful.

I want to document the “in between” that is invisible in our society, in a world of photo-retouched beauty.

The catch is that the model is not using a mirror while she is applying the make-up, so my camera is the "invisible" mirror. The model can choose whatever she wants to do. It is totally individual. The shots are not retouched after, it is pure reality. 


SH247: Which other artists in Shanghai inspire you particularly at the moment?   

Chris Gill, [Chinese name Li Yunfei李云  ].  We exhibited his works at stageBACK gallery. The last exhibition was “Chris Gill – works on paper” earlier this year.


This artist, originally from the UK, lives in China since more than 20 years: he is an observer of the changes that has happened in China in the last past 20 years and he conducts extensive research into Asian societies. . He expresses this in his city scape Shanghai paintings for example.


SH247: Why did you want to open a gallery in Shanghai? What does the future hold for stageBACK gallery?


I would never think about opening an art gallery in Europe but here, I felt that we needed a place to bring artists together.

Now, I’m trying to continue the exhibitions following those three words that are hanging in my office: “enthusiasm”, “grace”, “conviction”…

Click HERE for the original URL and a slight show of the exhibition.

Friday 1 June 2012

some observations on our scene in Shanghai 我们上海的场景的一些观察

by Susie Gordon

Sunday 25 March 2012

Flying Thai Airways

Flying Thai? 

Eike Stratmann does, writing about the Shanghai Art scene for their in-plane-travel Magazine.

So, fasten your seat belt!

Wednesday 14 December 2011

Xiexie City Weekend! 谢谢City Weekend!

Dec. 8-21, page 23  12月8号-21号,23页


和stageBACK候台画廊的白色墙面形成鲜明对比的是巨幅画着以各种姿态的赤裸的女人的铅笔画。进一步审查发现,每一个女性都拥有着男人的身体。并且每一个男人都是历史上重要的人物。在这些惊艳的画作背后的是艺术家Thomas Palme,一位极具天赋的专画丰富的女性裸体的肖像家。


根据策展人Susanne Junker所说,这个展览是用来批评这个名单存在的意识形态;“当信息和名人盈余或多余的时候,我们都采用这种创作名单的做法以此来将这种嘈杂变得更加合理。”Thomas针对这些汇编这些名单的愚蠢的行为,通过减少伟人的这种闹剧来讽刺我们当中竟有人有如此能力和远见来决定谁是我们之中最伟大的人。




Tuesday 6 December 2011

Thomas Palme is Time Out! Thomas Palme 在 Time Out 杂志上啦!

page 58, December 2011 Shanghai edition


巴伐利亞州的藝術家 Thomas Palme 已經創作了“100位歷史上最具影響力”系列畫作,特別的是圖片例如薩尔瓦多達利在他的觸手的另外一端是泰山的陰道。他告訴 Sam Gaskin更多。

“我第一次來上海是在2009年為了我的“瘋狂, 痛飲和社會變態性恐懼”展覽。這場展覽的想法是為了做一些和毛澤東有關的作品,但是Susanne Junker (stageBACK後台畫廊的經營者)告訴我說展現他的裸體會是非常困難的。所以我揪想到了如果我畫這100位歷史上最有影響力的男人”那麼官方來決定他應該被列為不重要呢?還是被列為重要而展示裸體呢?

於是我找到了由Michael H Hart 所寫的被叫做《100排名 :歷史上最有影響力的人》。但是我不喜歡他的名單因為裡面大部人我都不認識。於是我用流行的動漫人物做了自己的名單,我認為他們所有人都是非常重要的。即使是功夫熊貓。

我還把科學怪人和Hello Kitty 列入了名單,並將他們畫得更加荒唐,來表達人們不應該指定這樣得名單得觀點。我覺得說“這個歷史上有100位最重要的人”的這種說法有點兒獨斷和理想化。如果你把人物加在這種荒唐的虛構的名單上,那就說明你的現實是被構建出來的.

"Michael Hart的名單上是有女性的,但是我只畫男人。我喜歡畫裸體和歷史人物肖像。並且將他們混這畫。黨你將兩者結合在一起之後,這結果是非常grotesque和荒唐的。我的意圖並非是創作一些古怪的東西。它只是自然而然的產生了。"



最近在巴黎人們想要關閉我的展覽。我會非常喜歡聽到人們說“這個男人太 變態。”或者“他發甚麼神經了?”


Tuesday 29 November 2011


City Weekend, Nov 24 - Dec 7 2011, Page 20:


Thomas Palme, Barack Obama versus Mother Teresa, 150 cm x 120 cm, pencil on paper, 2011

Thursday 20 October 2011

CUT/LOG start

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