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Saturday 24 September 2011

BUY ART! 买艺术!

Rolf A. Kluenter and Susanne Junker at the Minsheng Art Museum, Shanghai

Summer 2011

Rolf A. Kluenter 和 Susanne Junker在上海民生美术馆。 2011年夏天。

Monday 8 February 2010

The Ke Luo Fu Project at lunch in Cologne

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

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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

Monday 16 March 2009

NEXUS fragility report

Rolf A. Kluenter travels the world, next stop is NEXUS fragility report - Below info about his new solo show at Backyard gallery in Copenhagen Denmark.

ROLF A. KLUENTER (DE) Solo exhibition 20. MAR – 4. APR 2009

Welcome to the opening: Friday 20. MAR 17.00 – 20.00

‘Fragility Report’ is the third cycle of Rolf A. Kluenter’s Shanghai works that he created in this Chinese Mega-Metropolis during his resident-ship since 2000. This cycle presents a range of works that acquires the density of objects without losing the free form of inwardness that paint evokes. ‘Fragility Report’ gives an insight into Kluenter’s 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 “Dynamics” of a mega-urban scenario than to the “Mighty” of Nature.

More on Backyard gallery here


Monday 9 March 2009

Hey, warum schreibst Du diesen Text

Ich fuehle mich in meinem Herzen mit grossem Reichtum beglueckt Und mit persoenlich wirtschaftlicher Armut in dieser Welt konfrontiert Ein stechender Schmerz an diesem fruehen Morgen gefuehlt Inneres Verlangen nach Harmonie bleibt unberuehrt Einsamkeit wird Programm Wollen zum Schaffen Notwendigkeit Spannungen wechseln mit Gelassenheit Rhythmus im wilden Fluss Entdeckung des Periodischen Initiiert Statistik und Koordination Hoehepunkt ein serieller Wert Wenn Libido sich blaeht Gegen die kalte Wand Mit Ruecken oder Gesicht Wer weiss was besser spricht Erleichterung in den Fingern meiner linken Hand Hey, warum schreibst Du diesen Text Nicht in den Sand die kommende Flut erfuellt sein Schicksal dann an diesem Strand R.A.Kluenter 02.09

Friday 6 March 2009

Merging Emerging Art Utopia Virtual Reality (柯罗夫项目MOCA show #1)


Related Art Event at the Museum of Conteporary Art in Shanghai
Visit the MoCA Shanghai website here

Exhibition: Merging Emerging Art Utopia Virtual Reality
Venue:
Shanghai Museum of Contemporary Art

Exhibition Period:
March 8 – May 15, 2008
柯罗夫
Rolf A. Kluenter
柯罗夫项目 Ke Luo Fu Project Installation
Chinese Title: 源点
Pinyin: Yuan Dian English Title:: Core Periphery One
Subtitle CN: “幻觉由人而生,贫道怎能解释。”
Subtitle EN: The source of illusions lies within mind.
Production period 2008/09
Installation details:
Installation multi-media interactive walk-in box
5 in-built sensors, 1 bench, 1 canvas Mirrors, 2light bulbs, mixed media objects, Wallpapers, beamer, software, whispering voice, loop
Dimensions:
370x 680 x 570 cm

Based on:
畫壁 The Painted Wall, from 聊斋志 (Liaozhai Zhiyi) - Strange Stories from a Chinese Studio, a classical novel written by蒲松龄Pu Songling during Qing Dynasty.
Performing artist: Gabriella Chen
Voice:
于烨Yu Yi

Production Team:
程智 Richard Cheng Artistic Director Creative High Tech Solutions 俞晓明 Yu Xiaoming Technology support王玉鹏Wang Yupeng Video editing 车炜奇Che Weiqi Software support
In cooperation with:
张江超艺多媒体系统有限公司Zhangjiang Leapideas Multimedia System Co.Ltd. Bodhi Bonzai Production, Shanghai
Rolf A. Kluenter
‘The Ke Luo Fu Project’ is represented by
TEAPOT Gallery,
Cologne, Germany and stage候台BACK Gallery, Shanghai, China. Teapot Gallery will exhibit Rolf A. Kluenter ‘The Ke Luo Fu Project’ in the format of 6 times ‘Jour Fix 24 Hours Events’ from July 2009 until June 2010 in Germany.

Friday 6 February 2009

Rolf A. Kluenter fragility report[柯罗夫弱報道], March 20 -April 4, 2009 Backyard Gallery Højbro Plads 21B 1200 Copenhagen Denmark


Rolf A. Kluenters
fragility report, more info here

Rolf A. Kluenter ‘Fragility Report’ Works 2006 - 2009 ‘Fragility Report’ is the third cycle of Rolf A. Kluenter’s Shanghai works that he created in this Chinese Mega-Metropolis during his resident-ship since 2000. This cycle presents a range of works that acquires the density of objects without losing the free form of inwardness that paint evokes. ‘Fragility Report’ gives an insight into Kluenter’s 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 “Dynamics” of a mega-urban scenario than to the “Mighty” of Nature. Rolf A. Kluenter looked into areas excessively and radically over-constructed by human hand and chose as his central theme an extreme of civilization-appropriation that itself in the rapidly growing Asian metropolises became reality within a very short time. He translates and captures elemental cellular patterns of growth that serializes the depth of unrestrained proliferation of over-construction. This process simultaneously happens with the de-construction of existing urbanity. In his picturesque abstractions, the aesthetics from both worlds -the Western contemporary art inventions and the Oriental artistic traditions- seem to resonate: basic geometric elements calligraphically condensed; subtle running colors casting imaginary spaces; lines and hatching; application of the brush and meander, glazes and overlapping; blank spaces and contrast. His entire repertoire of non-representational filigree shapes, an essentially free interplay of artistic elements, is reminiscent of, but not identical with, handwriting. Kluenter applies a wide range of color media (fine color pigments, nail polish from fashion trends, enamel sprays from metallurgy and Chinese ink) to the canvas whose surfaces combined with these media yield their own particular textures, inextricably interweaving transparency with color, fragility with strength and, thus creating a subtle experience of "pure materiality". All elements put together to create a melting merger atmosphere could therefore have a very well meditative balance, representing a peaceful dialogue between the various applications and media, wouldn't Kluenter have integrated some medium-seriously disruptive action: irritating dots and spots, fractures, slants and distortions. He doesn't call this particular cycle of works "fragility report" without reason, alluding thereby to the vulnerable and fragile aspects of life, a suddenly appearing catastrophe, the unexpected crisis or the abrupt obstacles which radically demonstrate that the experience of insecurity, uncertainty and impermanence are the ever-present co-emerging factors of our existence. Kluenter's ‘Fragility Report’ in this sense can be seen as an artistic answer to unforeseen encounters on a virtual map: they show the borders of the enlightened art history and refer indirectly to other human abilities: improvisation for example. Rolf A. Kluenter, an on-going experimenter in his domain, often displays his paintings in series as ever so many declinations of basic emotional positions. His works, as himself, are situated between cultures, crossing borders, intersecting at cross-cultural pathways in the concrete as well as the artistic domains.

Thursday 5 February 2009

Rolf A. Kluenters a.k.a 柯罗夫計劃2009年


sleepless nights timezone 8 ghost and demaons are afraid Ke Luo Fu works again his mind has broken the entire chain at dawn we ll see what really will be success or another
illusory bublbe

柯罗夫 Projects, please click here for more information

Tuesday 9 December 2008

CCTV9 @ Limbo Grid Rolf A. Kluenter, Video

Check out the video below, or click here

Sunday 23 November 2008

ICS TV - city beats - @ Limbo Grid


stage候台BACK had its first TV appearance last month covering Rolf A. Kluenters Limbo Grid in a 6 Minute feature. Check out the video on_site

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.

Thursday 20 November 2008

Limbo Grid Installation view

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between EXIT & PROJECTIONS - a 2009 vision

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Rolf A. Kluenter & Susanne Junker
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