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Thursday 20 September 2012

For Immediate release 即将开幕 BILI BIDJOCKA

For Immediate release 即将开幕

Bili Bidjocka « …Do Not Take It, Do Not Eat It, This Is Not My Body… »

Bili Bidjocka 《......不要碰它,不要吃它,这不是我的身体......》

Solo Exhibition by Bili Bidjocka 个展

October 6 - November 18 2012 2012年10月6日 – 11月18日

Opening October 6 from 5 pm - 9 pm 开幕式:10月6日,下午17:00点-21:00点

For the occation of the Shanghai Biennale, stage候台BACK is pleased to announce the first solo exhibition of Bili Bidjocka in mainland China. This exhibition includes performance, installation, video works, drawing and sculptures.

For over two thousand years, many artists have been inspired by The Last Supper, Christ's last meal during which the son of God delivered his testament. There are thirteen people at the table, as if in a perfectly staged play. With " …Do Not Take It, Do Not Eat It, This Is Not My Body… " , the Cameroon artist is showing us some sort of anti-Last Supper. A secular proposal in which God, in his Judeo-Christian conception, is absent. The event, it is best to that expression than the word "show", which doesn't correspond to the theme at all, takes place in two stages. We could describe it as a diptych. On the one hand, it is a purely formal element: a bead curtain which, borrowing from the Leonard de Vinci painting, represents a sketch, an abstract projection, presenting us with an empty table. Christ and his apostles appear to have deserted their places and we are left to wonder if it is not primarily a temporal experience that we are facing. The table is empty as if it is enough in itself. As if it doesn't matter if the meal took place before or after. It is up to us to fill the haunted void. This void, which we know represents the very essence of all spirituality: the omnipresence of absence. Absence as an impossible idealisation, absence as a grip that is lost forever and which will remain nothing but a memory. A naturally truncated memory since only our despairing determination convinces us that there is something to see. Absence as the symbol of a new epiphany.

Goodman_Gallery_in_Cape_Town_in_2009_Fiction_1

This tableau's counterpart is a lively and carnal scene (the word is used deliberately). A moment of physical presence, which the spectator is invited to look at. In this lively tableau, it is the meal, and not its abstraction, which marks the curtain's counterpoint. The curtain, in its primary function, is reduced to a decorative element. A decorative element overdetermining that the performance will try to contradict by playing, not on the reference but on its contestation. The human becomes the centre of any possible realisation, and the display as a whole represents this part of the painting, which is so dear to the artist. Again, the meal itself is not the goal. Everything lies in the process. The long road leading to the final supper. There may be no supper. As in the curtain, we could have been invited to imagine the time before and the time afterwards. However, since the performance is the aesthetic and conceptual contradiction of the curtain, the spectator has the privilege of seeing that which cannot normally be seen, and will later say, as Rimbaud did, that they have seen, some times, that which man believes he has seen. This carnal moment, this moment of life, in the very sense of the term, undoubtedly holds the key to the riddle presented by the title of this moment. It depicts the age-old battle between God and humans.

This ontological experience, which combines the secular and the sacred whilst humanising concepts that have been lost, by dint of its meaning being mechanically repeated, reminds us that sharing, in its simplicity and spontaneity, is what makes humanity. A reminder which is greatly appreciated in these troubled times. Written by Simon Njami, Paris 2012

Goodman_Gallery_in_Cape_Town_in_2009_Fiction_1

Bili Bidjocka has attended numerous collectives and he has shown in the Biennale of Johannesburg (1997), Havana (1997), Biennale Dakar (2000), Taipei (2004) and Venice Biennale (inside Check List - Luanda Pop, 2007 curated by Fernando Alvim and Simon Njami); he has exhibited his works in the New Museum of Contemporary Art of New York and in the exposition Africa Remix (Düsseldorf, London, Paris, Tokyo, Johannesburg, 2005–2007). He founded and directed the contemporary Art Center Matrix Art Project in Brussels.

He lives and works in Paris, France

候台画廊很高兴地宣布Bili Bidjocka在中国大陆的第一次个展即将开幕。 此次个展包括有表演、视频作

品展示、绘画以及雕塑。

两千多年以来,许许多多的艺术家都曾从耶稣最后的晚餐中获得灵感。在这最后的晚餐上,上帝之子留下 了他的遗言。当时,13人共进晚餐,如同一出精心设计的戏剧。然而,喀麦隆艺术家正向我们展示的是名为《 ......不要碰它,不要吃它,这不是我的身体......》的“反最后的晚餐”的展览。在艺术家世俗化的理念中 ,在他的犹太基督教构想中,没有了上帝。

此次活动,或者我们最好说此次“表演”和原本的宗教主题相差甚远,分成两部分进行,像一幅双联画的 两部分。一方面,这里有纯粹形式化的元素:一幅珠帘画,取材于莱昂纳尔•达芬奇的名作,一张空空如也的桌 子呈现了一个场景,一个抽象的投射。耶稣和门徒们似乎抛弃了他们的座次,剩下我们不禁在想,这是不是短 暂的幻觉。桌子是空的,仿佛只要有这个桌子就够了,似乎这时晚餐是否已经结束或者尚未开始一点都不重要 。全在于我们,如何去填补着挥之不去的空白,如你我所知,这空白是所有灵性的实质:即无所不在的缺失。 一种像是不可能实现的理想化的缺失,一种像是永远不抹去的精神压迫的缺失,这种缺失将永远像回忆那样存 在。它是一段被删减的回忆,那样的自然,因为唯有我们绝望的决心才能让我们相信这儿有值得看得东西。这 一缺失象征着新的主显节(每年一月六日纪念耶稣显灵的节日)。

与这幅画相对应的是一个真实的、肉体的场景(有意使用“肉体”一词)。 观众被邀请来观察,这一刻的实际存在。在这活生生的真人画面里,这就是晚餐,这不是抽象,因而成为珠帘 画的对照。而这时,珠帘的作用被简化成一种装饰性元素。这副装饰画由多个因素构成,它呈现出来的内容则 通过冲突,而不是参照,与之冲突。人成为了一切可能实现的中心,画上人物形象和空间的布置对于艺术家来 说都显得十分珍贵。除此之外,这样的一桌饭局并不是最终的目标。一切都在进展之中。这条长路将人引向了 最后的晚餐,也许并没有最后的进餐。就如在珠帘画中,我们可以想象画上反映的是晚餐之前抑或是晚餐之后 。然而,由于真人表演与珠帘画在审美和构思上是对立的,观众便能看到正常情况下可能看不到的东西,或者 如兰波所说,很多时候,人们见过那些他们相信自己看见过的东西。这样世俗的时刻,对大多数人而言,生命 毫无疑问地在这一刻抓住了解开“此刻”之谜的关键。它展现了千年来人与上帝之间的对立。 这一本体论的体验融合了那些已丢失的世俗以及融合了人文主义的宗教观念。通过机械地、不断地重复它 们的深层含义,我们回忆起分享,在它简单和自发之中,造就了人性。在这多事之秋,这一人性的召唤来得正是时候。

Simon Njami于2012年写于巴黎

Bili Bidjocka加入过很多艺术团体,出现在很多双年展上:1997年南非约翰内斯堡双年展、1997年古巴哈瓦那、 2000年塞内加尔达喀尔、2004年台北和威尼斯双年展。他的作品曾在纽约新当代艺术博物馆和《非洲混音》展 览中展出。(《非洲混音》于2005-2007年在杜塞尔多夫、伦敦、巴黎、东京和约翰尼内斯堡巡回展览)。他曾 在布鲁塞尔主导当代艺术中心“矩阵艺术计划”项目。Bili目前在法国巴黎居住和从事艺术创作。

敬请马上刊发

Wednesday 29 August 2012

SECRET 7 @ YY's!

秘密7

展览时间:201296日-99

开幕式:201296日,20:00 - 24:00 pm

场馆开饭时间;18:00 pm – 6:00 am

 

在上海艺术国际博览会国际当代艺术馆, stage候台BACK很高兴推出“秘密7”展览,时间是96- 99日,展览地点位于传说中的轮回酒吧。轮回酒吧作为上海的一个公共机构,在这4天里将变做一个展览空间, 届时将邀请7位现居上海的艺术家。

 

什么是“秘密7”项目?

 

我们生活在一个充满未知可能性的世界。人类的潜能的再造在上海很受重视, 上海是一个巨大的城市,有很多不为人知的事情。它给所有知名的或尚未成名的艺术家们提供了一个机会,在一个非传统的环境中展示他们的作品的机会。

 

《秘密7》最初是一本儿童读物,作者是伊妮德布莱顿,故事讲的是七个主角在围坐在他们的秘密总部,一边吃饼干喝茶一边计划着解决犯罪案。本次项主要是选择展出一小部分作品,这些作品要么来自现居上海的不知名艺术家,要么是已成名艺术家的非典型的作品

展览场馆轮回酒吧本身也正在经历一场的重建,这个城市的混乱终于赶上了它,就在本次展览的当晚,它不得不关闭已经开了15年的酒吧二楼。在这漫长的时间里,轮回酒吧一直是旅居上海的艺术家、作家、电影人和音乐人热爱的一个场所。如果要打比方的话,等于失去上海的“毒蛇屋”。但它不是完全消失了,它正处于再造过程的开始。

 

所有此次展览的艺术家们也同样正在经历的一个对自己的作品进行革新和重新审视的过程。

 

位于艺术实验智力前沿的stage候台BACK很高兴呈现这个项目。

SECRET 7 @ YY's!

Secret 7秘密7

Duration: September  6 – September 9 2012

Opening: September  6 2012, 8 pm – late

Venue Opening : 6 pm – 6 am

 

 

For the occasion of the SH contemporary, stage候台BACK  is pleased to present the "7 secret" artists from September  6 - September  9 in the legendary rooms of YY's. YY's, a Shanghai Institution, serves as an exhibition space during those 4 days, inviting 7 artists who are living and working currently in Shanghai.

 

What is the Secret 7 project?

 

We live in a world of unknown possibilities. The human potential for reinvention is highlighted in Shanghai, a vast city of unknown things. It provides an opportunity for some artists, unknown and known, to show some of their work in an unconventional setting.

 

The Secret 7 originally was a children's book, written by Enid Blyton, whereby the seven protagonists sat around in their secret headquarters eating biscuits and drinking tea while planning to solve crimes. This edition focus is showing a small selection of works that are either by unknown or atypical work by better known artists, living in Shanghai.

 

The venue itself is undergoing a reinvention of itself as the chaos of the city has finally caught up with it and it has had to close its upstairs venue on the very night of the exhibition, after being open for 15 years. YYs has been a popular spot for visiting people working in the areas of arts, literature, film and music over this long period. In the world of metaphor it is akin to losing Shanghai’s Viper room. But it is not totally gone and is now beginning the process of reinvention.

 

All the artists represented in this group are also similarly going through a process of renewal and re-understanding of their own work.

 

On the intellectual front lines of artistic experimentation stage候台BACK is happy to present this project.

 

Sunday 10 June 2012

for immediate release, opening is July 7


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.” T.S. Eliot
“我们叫做开始的往往就是结束。而宣告结束也就是着手开始。终点是我们出发的地方。”
T.S.艾略特

Why don’t you love me anymore?

为什么你不再爱我?
一个推介群展

stageBACK is pleased to announce "Why don't you love me anymore?" - a recommendation exhibition that will
include approximately 20 artists, presenting all current media. The recommenders who will choose the
participants are artists themselves as well as writers, curators, collectors, socialites, academics and friends.

stage候台BACK非常高兴地宣布即将举办“为什么你不再爱我?”群展。大约20名艺术家将在这一推介展中通
过各类艺术形式展示他们的作品。评选参展者的推介者本身就是艺术家、作家、展览馆长、收藏家、社交名流、
学者和好友。


This exhibition celebrates the moment of transition which is liberating but also initiates grief. Spotting the title
"Why don't you love me anymore?" triggers an immediate overwhelming and often bleak emotion in most people.
Memory awakens. This feared situation of speaking or hearing it: "Why don't you love me anymore?", provokes
anger, disappointment, hopelessness, emptiness, sadness and renunciation. Just a few of the dark emotional
holes a human mind can fall into. It’s about a process or something that developed or something that just
suddenly happened. These are feelings that everyone understands. This is global and cuts across all cultures.
No one stays unaffected.


展览要讲述的是一个摆脱束缚同时又令人痛苦的过渡时期。 大多数人看到“为什么你不再爱我”这个题目,
都会在内心产生一种无法抵抗、甚至忧郁的情绪。回忆醒过来了。提到或是听到“为什么你不再爱
我?”令人恐惧,会引发愤怒、失望、绝望、空虚、悲伤和自暴自弃,人的心冷如同掉进一个黑暗的情
感空洞。这是一个过程,一些事情慢慢地发生,而另一些则一些突然降临。这是所有人都能感同身受的
情绪,在全世界,不同文化终都会存在,没有人可以置身事外。


"Why don't you love me anymore?" is not necessarilily about one person’s feelings or about two lovers. It is a
declaration that demonstrates societal transformation, and can act as a reminder of historical changes during
political circumstances.
"Why don't you love me anymore?" is a symbolic codification that can express itself in
art, pop culture and even the market economy. However, convictions are changing rapidly with the growth of
new generations. Brutally, the past has taught us: What is ideal today won't be ideal tomorrow.


“为什么你不再爱我?”并非一定是关于一个人的感受或是两个恋人。它也可能宣告了一种社会转变,
是特定政治环境中重大变化的标记。“为什么你不再爱我?”是一种象征性代码,可以通过艺术、流行
文化甚至市场经济得以表达。但是,人们的信念随着新生代的成长在快速变化。过去的经验残酷地教会
我们,适合今天的不一定适合明天。


In countries with strong traditional values, love is often considered as a constructed alliance between a man and
a woman. Until present times, an autonomous and independent subjectivity of partnership, especially for women,
was not possible in many places. Nor was ending a relationship a realistic option. But with the rise of modernity
and the development of a modern urban culture where romance can be celebrated (dance halls, public spaces,
cafes, etc) a self-confident romanticism has developed.


某些有着强烈传统价值观念的国家,爱情经常被看作一种男人与女人之间建立的联盟。 直到今天,自由地选择
爱人在很多地方仍然是不可能的,尤其是对女人,而结束一段关系也难以实现。但随着现代化的兴起以及现代城
市文化的发展,人们能够在舞厅、公共场合、咖啡厅等场所公开庆祝浪漫关系。一种自信的浪漫主义正在形成。


“Why don’t you love me anymore?”, describes a change, from loving to not loving but also a leaving behind and letting go. Moving on and growing up. It is a strong notion to understand that we are able to openly accept others close to us and experience an affirmation of love. In art this is a manner of constant re-creation, a process of coming to terms with one's past and future. It is the understanding and confirmation of what we are deeply involved in and love. Knowing it will challenge the Recommender and his/her Selected Person. To choose and to be chosen. To start and stop. To laugh and to cry. To fly high and to fall deep. To fall in and out of love with the temporal. The emotional roller coaster of life. This is love. This is art.

“为什么你不再爱我?”描述了一种变化,从爱着到不爱,放下和释怀,向前看和成长。能够让他人走
进我们的内心并体验真爱,这是一种强大的信念。在艺术世界,一种不断创作,一个与自己过去和对未
来的展望相融合,对与我们息息相关和爱着的事物的理解和肯定,都将是推荐人和他/她挑选的艺术家
的一个挑战。选择和被选择、开始和结束、笑和哭、高飞和坠落:这就是爱情和艺术,一种情感的过山
车。




Thursday 13 October 2011

CUTLOG press release

 

For Immediate release  及时发布                                                                                     

stage候台BACK  Gallery curatorial direction for Cut/Log 2011

 

The curatorial direction for stageBACK’s first participation at an art fair in Europe revolves around globalism societal and cultural exchanges. German owned and Shanghai located, stageBACK has concentrated on these zeitgeist facts since its inauguration in 2008 and has been working with various international and Chinese artists.

The artworks presented at the cutlog art fair break the rule that separates western art and Chinese art. What exactly is Chinese contemporary art? Is it a specification because the artist holds a Chinese passport? Or is there room for consideration to name a British born artist  living and working in China since 20 years a Chinese artist (Yunfei  Li 李云飞)? The so called western artists who have traveled to China and often stay to work, pick up Asian influences that appear in their works and show how the Chinese society is perceived by foreign eyes (Gordon Chandler, Thomas Palme). In this rapidly changing society and fast traveling times the difference becomes blurry and Western elements blent easily within the surroundings of Shanghai.

 American artist Terence Lloren's mission is to complete an entire sound collection of constantly changing Shanghai and the noises that come with it. Visitors at stageBACK's booth are invited to tag a 2D barcode with their smartphone  that will upload a webpage with additional info about the booth and different recordings made in public spaces in Shanghai. This interactive technology makes it possible for the visitor to listen to the sounds of this never sleeping metropolis.

Further on, stageBACK’s interest is to identify young local talents and is proud to present 26 year old Xiaowen Tang’s 2000 year old technique "Gong Bi" paintings for the first time in Europe.


stage候台BACK的策展方向第一次来到欧洲艺术博览会,参与了围绕全球主义的社会和文化的交流。被德国人拥有却位于上海的stage候台BACK集中关注于时代精神的事实。自2008年成立以来,已经于众多来自国际和中国的艺术家相互合作。

在cutlog艺术博览会上展出的艺术作品们打破了西方艺术和中国艺术分隔的规则。中国当代艺术究竟施什么?难道它只是一个 艺术家持有中国护照的规范?又或者是它给了出生于英国,却生活和工作在中国将近20年的中国画家李云飞(Yunfei Li)一个空间?那些不远万里来到中国,并常常熬夜工作的所谓的西方艺术家们,将亚洲对他们的影响放在了他们的作品之中,来展现在外国人的视角里中国社会是如何被感知的(还包括艺术家Gordon Chandler和Thomas Palme)。在这个瞬息万变和快速行驶的社会差异越来越模糊,西方元素也越来越容易混合入上海的环境中。

美国艺术家Terence Lloren的使命是完成一个整个的对不断变化的上海的声音以及随之而变的噪音的采集工作。来到stage候台BACK的展台参观者都将被邀请来标记他们智能手机的二维条码,将其上传至网页就将获得有关展位以及在上海不同的公共场所的不同录音的其他信息。这种互动技术可以让参观者们来聆听来自这个不夜城大都市的声音。

不仅如此,stage候台BACK也致力于找到年轻的本地充满灵气的艺术家非常感兴趣。所以在此我们也非常自豪的首次在欧洲展示年仅26岁唐潇雯2000年的传统技艺“工笔”画作。



Ar
tist represented at the booth 展台代表的艺术家:

- Gordon Chandler (sculpture)

- Yunfei  Li 李云飞 (sculpture and painting)

- Terence Lloren 罗天瑞 (sound)

- Thomas Palme (works on paper)

- Xiaowen Tang 唐潇雯 (painting)



Friday 24 June 2011

Lost and found

For Immediate release / 可直接发表                                                                                             

June 25 2011                                                                                                                          

2011625

OPENING RECEPTION: July 9, 6 pm - 9 pm

Lost and found 轮回

What is loss, what is discovery, what is new and what is old? In the exhibition Lost & Found, to be held at stage候台BACK Gallery, a group of artists from around the world explore the issues of dislocation, re-discovery, the transient life and re-invention of objects and ideas, concepts that bring the viewer and artwork into close collaboration within the space. There is a Chinese saying, the mind of attachment to loved ones and objects is like water, the mind of hatred burns like fire, the mind of ignorance forgets what to keep and what to throw away, and abandoning one’s country is the greatest Buddhists’ practice. So this group of diverse and multinational artists explore these issues within their work.

Following the eviction in May 2011 of around 70 artists and galleries from Shanghai’s 696 Weihai road studio complex, this arts diaspora have migrated to different spaces around the city. Lost & Found is the first exhibition by stage候台BACK Gallery in its new location at M50, Shanghai. So for this exhibition, not only the artwork is Lost & Found, the gallery itself is re discovering and reinventing itself.

 

•  As one who in his journey breaks at Noon,

•  Though bent on speed, so here the Archangel paus'd

•  Betwixt the world destroy'd and world restor'd,

•  If Adam aught perhaps might interpose;

•  Then with transition sweet new Speech resumes.

•  Thus thou hast seen one World begin and end;

•  And Man as from a second stock proceed.

•  Much thou hast yet to see, but I perceave

•  Thy mortal sight to faile; objects divine

•  Must needs impaire and wearie human sense:

•  Henceforth what is to come I will relate,

•  Thou therefore give due audience, and attend.

•  This second sours of Men, while yet but few;

•  And while the dread of judgement past remains

•  Fresh in thir mindes, fearing the Deitie,

•  With some regard to what is just and right

•  Shall lead thir lives and multiplie apace.

 

From Milton, Paradise Lost, book 12:

 

Lost and found 轮回

 

什么是失去,什么是发现,什么是新鲜而什么又是陈旧。

 

佛说,親方貪心如水蕩,怨方瞋心似火燃; 取拾皆忘癡黑暗,拋棄故鄉佛子行。在群展轮回之中,来自各国的艺术家将在stage候台BACK画廊的空间里与观众共同探寻物件,客体,构想,理念的转瞬即逝与重生的历程。

 

20115月威海路696弄艺术区被拆迁之后,70多位艺术家和画廊被迫散居到了城市的各个角落。群展轮回是stage候台BACK迁入M50新址后的第一个展览。此次展览之于艺术家们和候台画廊都是一次重新发现与塑造的历程。

 

 

•  像一个行色匆匆的路人中午休息,

•  暂时停歇脚步,大天使在讲到毁了的

•  世界和恢复了的世界之间时暂作停息,

•  看亚当是否要插话;

•  然后高兴地转换话题,又开始讲开了:

•   “这样,你看到了一个

•  世界的开始和结束,

•  又从第二个始祖开始繁衍;

•  你还可以看到更多更多的事,

•  但我认为你们人的视力变得越来越差了;

•  神灵有意损害并减弱人的知觉。

•  从此,我要讲一些未来的事,

•  你必须好好听,并加以警戒。

•  这人类的第二源头,人数还少,

•  他们的心里还残留着过去审判的

•  恐怖他们敬畏神,小心谨慎地

•  用正义引导他们过好日子

 

弥尔顿 <失乐园> 第12卷

 


Thursday 28 April 2011

MYSPACE 我的空间

MYSPACE

我的空间

Susanne Junker 

Mixed media 混合材料

April 30 2011 – May 20 2011 / 2011430 - 520

Opening reception April 30, 6 pm - 9 pm

开幕酒会:2011430日晚上6点至9



stage 候台BACK Gallery is pleased to announce founder and German artist Susanne Junker will present an exhibition entitled "MYSPACE" in the gallery, from April 30 until the gallery's closure on May 20. This will be the final installation in the stage候台BACK Weihai Road 696 space, as the Weihai Road 696 art studios are being closed on May 20, 2011.

stage 候台BACK画廊很高兴地向您宣布:画廊创立者和德国艺术家的Susanne Junker将在这里展示一个名为‘我的空间’的展览。展览时间从430日开始直至696关闭的520日止。这将成为 stage 候台BACK在威海路696的最后一场展览,因为整个威海路696艺术区将在2011520日结束。

The "MYSPACE" installation is a three dimensional portrait of the artist, and a part of Susanne Junker's bodysuit series. The exhibition theme expresses the artist's interpretation regarding herself, her body, existence, opinions and personal freedom. The work explores how some people, not only herself, are impacted by these matters. Using sex dolls, the original cast was for the Japanese market, with a functioning vagina, represents issues affecting women in modern society, such as rape, aggression and violence towards females.

“我的空间”装置是艺术家自我映射的一个三维物体,也是她身体系列的作品。这个展览主题也是艺术家试图对她自己的身体、存在、想法和个人自由进行一种求解。这个作品也试图探索——除了她个体以外——其他一些人如何面对这些命题。性爱娃娃最初在日本市场上的使用和其功用性的阴道,某种程度反映女性在现代社会遭遇的一系列问题,比如对女性的强奸、性侵和暴力。



As the last exhibition in the stage候台BACK space in Weihai Road, Junker also sees the installation as a silent protest against the loss of the space, and also comments on the art scene in general by creating a 'fuckable' artwork. She has commoditized her work into a three dimensional sculpture that represents herself and her own feelings of frustration and general disillusionment following the eviction of artists and galleries from the Weihai road 696 studio complex. Using a sex doll as the representation of this period of time in the development of Shanghai city and female individuals in general Junker hopes to create an iconic image of the development of the local society that gives audiences pause for thought on the various issues she would like to raise. The work is also a commentary on the growing predominance of social media globally in peoples lives.

作为stage候台BACK空间在威海路最后一个展览,Junker同时也把这一装置作为对失去这个空间的一个静默抗议姿势。创造一个可供性爱的艺术品也暗自为一般意义上的艺术场景作了一个批注。她商品化她的作品为三维雕塑来表达她自己和她对于艺术家们被驱赶出威海路696这一事件的挫败和幻灭的感受。使用性爱娃娃这一表现手法,在对于这一时期上海都市发展和女性普遍意义的境遇上,Junker意在创造一个标志性的形象让观者停下来一起思考她在这其中提出的问题。此外,这个作品也是对全球媒体对人类生活不断施加的支配力作了她个人的评价。



Susanne Junker works internationally as a photographer. She has widely exhibited in Europe and the United States.

Susanne Junker是一名国际化的摄影师。她的艺术广泛地在欧洲和美国展览过。

She created stage候台BACK as an artist run space to increase international dialogue and exchange in China, which she feels is still underdeveloped in Shanghai. During its short history, stage候台BACK has hosted a series of groundbreaking exhibition that have generated interest in the international art press and local media.

她创造 stage候台BACK这一艺术家管理的空间以增加在中国更多艺术上的国际性对话和交流(她个人觉得上海在这一领域尚未发展成熟)。 在它短暂的历史里,stage候台BACK举办了一系列的前所未有的独特展览,也引起国际媒体和本地媒体的兴趣。

Text: Chris Gill

文字:李云飞

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。



Saturday 4 September 2010

For Immediate release / 可直接发表

Barbara Anna Husar CORD OF REXA 

Mixed media 混合材料 September 6 – October 17 2010 / 0906 - 10172010

我们诚挚邀请您参加Barara Husar的展览开幕酒会(201096日晚5—9点)。

"恐龙之链"与第四届上海艺博会同时发生。自96日至912日,

stage候台BACK将延长开放时间为大众见证

Barbara Husar在中国上海的新环境里进行她奇特的创造工作。

 

       赵氏翔龙”——飞翔的龙,是科学家给在中国白垩纪早期出现的一种滑翔蜥蜴的命名。125百万年前,那些有着小双翼的爬行生物从树上滑下捕捉昆虫。

 

        而如此不寻常的东方古生物在欧洲艺术家Barbara Anna Husar1975年出生于奥地利)的作品里出现了。巨型蜥蜴在她的工作室诞生。

 

        神秘古老,色彩却又那般明亮和愉悦,她的活的化石不正是联系远古与将来的使者吗。在尺寸远远大于实物的丙烯酸绘画上,她尝试使用种子和米袋作为画布来进行一场关于文化的成长、革命、变形的实验隐喻。

 

        其中一些她的创造物来自恐龙与建筑的合体。"Guggosauros Bilbao Titan"就是一个这样例子,它是一个爬行生物和位于Bilbao城市Guggenheim博物馆的合体。骨头或是石头?Husar所关注的是它们作为创造最广泛形式生命的骨架和载体。又或,作为基因(生物学上的和文化学上的)转化的数据载体,在生命源头不变的条件下永久成长。同时,联系我们所处的大都市上海,在诸如2010世博等条件下加速变形,却又在超现代形态与传统形态之间千丝万缕。

 

        作为一个魔幻的神话的创造物,中国龙也可以作这样变形……为什么不能是一个美术馆?在她驻stage候台BACK创作期间,Husar选择了上海美术馆作为她"Archisaurus"概念的母题。上海美术馆,一个古老的同时在今日又领引着上海当代艺术的博物馆建筑。最新并不意味着对古老的吞噬;古老可以在充入新鲜血液同时又不迷失了它的源头。从古老中诞生新体:Barbara Anna Husar把她的艺术活动比喻为脐带,作为时间和文化的能量传输——蜥蜴和龙可以飞翔于上海的天际!

文:Susanne Laengle, 2010年维也纳。

同时, stage候台BACK将首映Barbara Anna Husar的新的电影作品——"Core of Flock"。此外,还有艺术家在建筑和摄影上的创作。

We cordially invite you to join us at the opening of Barbara Husar's exhibition on September 6, 2010 from 5 pm - 9 pm! "CORD OF REXA" is a artist in residence exhibition that runs parallel during the 4th SH-Contemporary art fair in Shanghai. From the 6th and the 12th of September, stage候台BACK will be open for extended hours to the public to witness Barbara Husar working in for her new environment of China.

"Xianglong zhaoi" - flying dragon, is the name scientists gave a lizard from the 

Cretaceous period discovered in China in 2007.

The little winged reptile glided down from the trees on the hunt for insects 125 million 

years ago. Unusual creatures from ancient times are found in the work of European artist Barbara Anna Husar  (b. 1975, Austria). Giant lizards are born in her studio. 

Mystical, archaic, and yet bright and cheerfully coloured, 

her living fossils are powerful ambassadors between times past and the present.  For her larger-than-life acrylic paintings she employs seed and rice sacks as her canvas – 

a metaphor for the growth, evolution, and transformation of cultures.

Some of her creatures are hybrids between dinosaurs and architecture. "Guggosauros Bilbao Titan" is an example of this, a combination of a reptile and the Guggenheim Museum in Bilbao. Bones or stone, Husar is interested in both as the backbone and storage media for the most widely varied forms of life, as data media for genetic – biological and cultural – codes that constantly develop and yet at heart remain the same. Of all places, the exploding metropolis of Shanghai, whose transformation accelerated once again through the Expo 2010, offers numerous points of contact with its conjunction of ultramodern and traditional life.

As a magical mythical creature, the Chinese dragon is able to take on other forms. Why not that of a museum? For her artist-in-residence stay at stageBACK, Husar chooses as the first motif of her "Archisaurus" transformations the Shanghai Art Museum, a historic building near the People's Square that nowadays houses Shanghais leading museum of modern art. The latest thing need not mean the elimination of the old; what is old can be filled with new, up-to-date contents, without losing its connection to its origin. The new arises from the old: Barbara Anna Husar sees her artistic activities as an umbilical cord, as a transfer of energy between times and cultures – lizards and dragons fly on the skyline of Shanghai.

Text: Susanne Laengle, Vienna 2010

At the same time stageBACK presents the world premiere of Barbara Anna Husar's new film, "core of flock", as well as the artist's sculpture, artwork, and photography.

Friday 30 April 2010

For Immediate release / 可直接发表 Franca Bartholomäi "BACKSTAGE CHILDREN" “候台- 孩童” WOODCUTS 木刻,

 MAY 15 - JUNE 13 2010 / 0515 - 06132010

Opening reception: May 15 2010. 5pm - 9pm at stage候台BACK.

开幕酒会:2010515日晚上5--9点,stage候台BACK.



Franca Bartholomäi‘s woodcuts are unique within German contemporary art. In no other artistic oeuvre isthe tradition and iconography of the woodcut combined with romantic and psychedelic motifs from the 19thand 20th centuries, forming images of such expressive power. The viewer feels himself involuntarilyreminded of Albrecht Dürer, of the woodcut series of expressionism, of a German art tradition in the bestsense of the word, which has been interiorized by Franca Bartholomäi. In her ‘Night and dream pieces’ theartist unfolds references to space and time, which were already incorporated into the style of the graphicgenre by Dürer. Out of contrasts and contours, forms and episodes arise which open up far much more than themere physically perceivable world to our observation. . Perhaps this is one of the components of the magicinduced by these images made out of interlocking hemispheres and events, that they are cut out of one andthe same wood block, from whose hatchings and notches alone their ethereal identity is drawn.

 

There is also a second woodcut tradition, spanning from the late gothic right up to expressionism, to whichFranca Bartholomäi sure-footedly connects. The traditions of so-called “black romanticism”, whichcan be observed in the ramifications of Franz Kafka’s or of the filmmaker David Lynch’s work. To theseFranca Bartholomäi’s oeuvre is indebted, more than to the surrealistic and symbolic programs of the 20thcentury. Her pictures are illustrations of an imaginative tale, of an unwritten text. And in this dimension too  her work is an avowal of faith towards the origins and the strangeness of the woodcut.

 

Jacob Burckhardt says in his essay on narrative painting that: the picture “ought to induce through its artisticforce such a mood from the outset that one would expect the Utmost “. Voilà! Here is an artist — shefulfills his criterion.

 

Text by Manon Bursian


在德国当代艺术领域中,法兰卡巴塞洛缪洛梅的作品可谓是一枝独秀。木版画的传统与1920世纪浪漫迷幻的艺术元素天衣无缝地结合在了一起,呈现出众多富有表现力的图画,这在其他艺术作品集中是极少出现的。看到它们,观者就不禁会想起阿尔布雷希特丢勒,想起木版画表现主义系列作品,以及德国艺术的一大传统。她的作品《夜与梦的片段》表现出一种时间与空间的关系,这种手法最初是由丢勒带到版画艺术中的,法兰卡则把这种手法演绎得淋漓尽致。通过对比和色调明暗的表现,一个个人们平时可感知但却无法用眼睛看见的轮廓、形象和情节就跃然而出了。仅仅只是一块木板,仅仅只是凹痕和阴影,却能将错综复杂的故事和犹抱琵琶半遮面的形象完整地刻画出来,或许这就是法兰卡版画作品的神奇之所在。

 

同样,法兰卡巴尔托洛梅还是承继哥特式晚期到表现主义初期的版画艺术第二大传统的当之无愧的代表。如果要追问究竟是什么对弗兰卡的作品影响至深,答案并不是20世纪的超现实主义和象征主义,而是弗兰茨卡夫卡或是电影导演大卫林奇的黑色浪漫主义作品。她的版画是对一则富于想象力的故事、一段未写成的文字的图解。就这一层面而言,她的作品也可以说是对于木版画本源和特色的一种注解。

 

雅各布布尔克哈特在他的一篇论叙述性绘画的文章中说道,图画必须通过它的艺术力量在观者心中激发出如此这般一种情绪,使他们从一开始就相信它具有最崇高的含义。瞧,这不就有一位女艺术家达到了他的标准吗?

 

作者:曼侬博思安

 

法兰卡巴塞洛个人简历:

Sunday 10 January 2010

on my own behalf - Vomiting world -

Planned since a good while, now almost here, (my) vomiting world at Teapot Gallery in Cologne Germany. The opening is on January 16th at 18h.
Below pix and links and Teapots press release (only in German). A big thanks to Chris, leTAPIR who has been blogging some vomiting wor(l)d(s) already. And to repeat him:
es lebe die allgäuer-schwäbisch-pfälzisch-shanghaische interkultur-Kooperative (aspsiK)
and of course the Dom in Cologne!



http://inspirationlounge.de/vomiting-world/

http://inspirationlounge.de/susanne-junker-vomiting-world/

Sehr geehrte Damen und Herren,

unter dem Titel „Vomiting World“ präsentiert die Galerie TEAPOT vom 16. Januar bis 06.Februar 2010 Fotografien der Künstlerin Susanne Junker.  
Zur Vernissage am Samstag, den 16. Januar 2010 von 18.00 - 22.00 Uhr möchten wir Sie herzlichen einladen.

Susanne Junker, 1973 in Deutschland geboren, lebt und arbeitet in Shanghai und Paris. Seit einiger Zeit hat Susanne Junker die andere Seite auch besetzt: Als Model vor der Kamera gestartet, ist es ihr gelungen nicht nur die Art ihrer Inszenierung zu wechseln, sondern nun auch selber zur  inszenieren. Sie ist die Frau vor und hinter der Kamera.  In ihren seriellen Farbfotografien spielt Susanne Junker viele Rollen um sich mit der Situation der Frau in verschiedenen Gesellschaften auseinander zu setzen. Ob es dabei um die in einigen Schichten und Gruppen noch lange nicht angekommene Emanzipation oder die streng choreographierten – eigentlich männlichen -  Charaktere der Peking-Oper geht, immer setzt sie sich mit viel Humor und dabei doch bitterböse pointiert ins rechte Licht. Das diese Art der Selbstinszenierung nicht nur Freude und Freunde macht ist klar, vielmehr scheint es sich um eine Katharsis zu handeln, die ohne Rücksicht auf Markt und Käufer auskommt.  
 
Die aus vielen Bildern sprechende Aggression ist nur Reaktion auf unsere aggressive Gesellschaft, die aus den Verdrängungswettkämpfen auf allen Ebenen ihre Kraft  und Energie zieht. Das Susanne Junker dabei eigene Erfahrungen aus einer der schnelllebigsten und unmenschlichsten Branchen mitbringt, dürfte sie bei ihrer Arbeit eher fördern als beschneiden und vielleicht sogar ein Grund für ihren künstlerischen Ausdruckswillen sein.  
 
Mit den Serien „Figures for the base of a Crucifixion“(2008) und „Me You Sex Friend Want“ (2007) arbeitet Susanne Junker sich in kruder Form an den Themen Unterdrückung, Machtlosigkeit und der Frau als Sexsymbol in Werbung und Alltag ab. In ihrer neuesten Serie „Geiles Globales Gesicht“ (2008) schlüpft sie in verschiedene Rollenbilder der traditionellen Peking Oper. Die klar strukturierten Frontalportraits zeigen Susanne Junkers beinahe unkenntliches Gesicht unter einer dicken Schicht Theaterschminke  in - verschiedenen Charakteren vorbehaltenen – klassischen Masken.  
 
Das alle Rollen in der traditionellen Peking Oper nur von Männern gespielt werden, zeigt einmal mehr den Willen der Künstlerin, eine Gegenwart zu schaffen, die mit Unterdrückung – auch in subtiler Form – aufräumt und ein selbstbestimmtes Leben möglich macht.  

Wir würden uns sehr freuen, Sie vor Ort begrüßen zu dürfen.

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:

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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

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