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Thursday 6 June 2013

ART

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

Wednesday 24 April 2013

to face or not to face

Tuesday 26 March 2013

BLUE Saturday

this Saturday, March 30, come and join us at the new secret 7 show 

"BLUE" 

in our club house.

Opening 6 - 9 pm.

English address:

No 48, Lane 248 Taikang Lu, near Sinan Lu, Huangpu district

 

Chinese address:

黄浦区泰康路248弄48号,近瑞金

 

Thursday 1 November 2012

the beauty of disappearance 逝去的美好

SEE YA!再见!

Monday 17 September 2012

Culture Collide China - Panel in Stadtgarten in Cologne

I was invited to participate in a conversation about culture, art and actively working in this field in China - Culture Collide China - in Cologne.

Organized by  

c/o pop Festival & C'n'B Convention.

www.c-o-pop.de

participated:

Stefanie Thiedig 由甲

Kulturgut 文化财富 

Stephanie, Li Zhenhua and me

Miao Wong, B6, DJ Wash and Ralph Christoph in a conversation about the electronic music scene in China

Sunday 9 September 2012

SmartShanghai features stage候台BACK's Susanne Junker on "My Weekender"!

Check out Susanne's article in SmartShanghai as she takes us through her weekend, talking about alternative gallery spaces, Secret7 at YY's and the crazy Shanghai Art Week that has been.

http://www.smartshanghai.com/myweekender/susanne-junker2012-09-07 

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.

Wednesday 1 August 2012

First photo shoot of ID project

Today, we began our ID project photo shoot! Kathryn was our first model, and it was lots of fun :) 

You can also click HERE to visit Kathryn's website.

今天,我们开始了第一位模特的拍摄。很好玩,很有趣。如果想了解更多的模特儿的信息可以到他的网页去看看。

Tuesday 5 June 2012

pictures of the opening BODY NOISES - last Sunday (身体噪音开幕式照片 - 上个周日)

with Yu Hong

Liu Yanan performing

Liu Yanan performing

Liu Yanan performing

Liu Yanan performing

Liu Yanan performing

Liu Yanan performing

Liu Yanan performing

body crack!

Yu Hong

self doll(s)

installation view

self doll

Palme

Palme and people

installation view

exhibition 身体噪音 BODY NOISES

身体噪音 时代之异

 

人类延绵至今,最让人困惑的恐怕就是身体。围绕着身体而展开了一部惊天地泣鬼神的历史,举凡有历史遗存的地方,无不以身体的形象为主,身体既有被崇拜的时候,也有被否定的时候。身体看似个体所有,实际上是历史产物和社会共有,看似是一具皮囊,实际上是一种信仰与观念的聚集。身体之存在成为社会存在价值的显现,有问题思考深入的地方必有身体在场与确证。

 

这就是身体的命题,以及身体在今天显现其意义的前提。身体成为噪音,是因为身体依然被纠结不清,这个社会依然围绕身体而展开一切社会行为。从生命的开始,从身体到意识,我们既有的一切既已被社会化、被政治化;身体的规定性先于我们的肉身而存在,生老命死的一切活动都已被规定和编码,结果是随着我们身体的降生与成长,开始了一场与身体肉身的被规训博弈的人生之路。

 

有的人穷其一生,尚不知此生与自身为何物,看似人生显赫、宝马裘衣,实乃灵魂不再,徒具皮囊之有;有的人甘愿孤寂与清贫,只为肉身的超越与人生意义的确证,这在信仰者尤为突出,而社会发展到现代,又以艺术的自觉表达与行动突出身体的奇异和矛盾。进入当代,身体在艺术中的表现一再地成为实验场域,从艺术的行为实施到展示视觉的结果,都内在地以身体的在场为目的,而艺术给予人启示的,是如何将身体去媚化,如何将肉身复活为精神的存在,直指身体的复杂化和肉身的堕落。身体并不因为物质世界的繁华而变得更加自由,相反,对身体的警惕却更加密集,监视之眼无处不在,身体无处可遁。

 

在此之所以对身体的规训更加强大,是因为我们没有信仰,所以我们才惧怕于身体,才对身体抱以恐惧之情状,欲灭之而后快;而艺术于身体的同构,则体现了灵魂对肉身的救赎和颠覆。本次展览显现了这样的一个姿态,由行为表演到身体雕塑到身体的录像景观再到身体与生命体的变异,都显示了不同艺术家的身体之思——从而印证着身体是艺术的核心,无论在场与否。从他们的作品,我们可以强烈地感受到身体作为主体与客体的双重对立,艺术家以艺术的方式在陈述身体的现状,也以行为的方式在袒露身体的灵性之在,特别是以自我否定的言说方式来质疑身体的物质性和现世的分裂与荒诞。

 

正因为身体产生噪音,才让人有些感动和浮想,才由身体而及于世界的彼岸,也才在那些伪饰的浮躁艺术中突出了作为价值的东西。今天不缺乏艺术和艺术的观念,但缺乏对人的基本肯定和检讨,所以从身体开始,发现其存在的谬误与冲突,才能提醒我们不要麻木于我们的身体——它本该是我们的灵性之所,也本该是我们的价值来源,当人性不再时,身体何在?当肌体健在而灵魂腐烂时,肉身何为?当艺术无意义时,艺术家何以成立?

 

这是今天的人类必须自我反思与回应的,欲消解身体的噪音,必先消除社会的溃疡。这也是艺术作为一种行动方式所能做到的事情,这也是今天的时代赋予给艺术的一种功能,在此,艺术家作为反思者和解剖者理应当仁不让。

 

 

 

王春辰

2012527日 于北京中央美术学院


Body Noise is Epochal Alienation

 

The mankind lasts today, and what perplexes the mankind the most perhaps is their body. All the vicissitudes involve with body. Where there remains history, the image of body dominates. Body is to be admired while also be denied at certain moment. On the surface, body seems to be owned by an individual, but actually it is the result of history and together possessed by society. It looks like a physical outfit, but it culminates with religion and concept. The existence of body reveals the existing social value. When questions are ponders, there must be an on-site body to confirm.

 

This is the theme of body and the pre-requisite for the expression of body today. When body produces noises, it is because of the entanglement of itself. The society conducts a series of social behavior under body, from birth to life, from body to potentiality. What all we have has been socialized, been politicalized. The limits of body exist before we were born. Birth and death have already been coded. Naturally the birth of our body and ripen of our body begins with the struggle between our body and what it already has been tamed and trained.

 

Through his entire life, some can never find the meaning of self. It might appear a wealthy life with fur-coat and BMW, but his soul has already gone, leaving only a physical outfit. While someone is willing to receive all the solitude and poverty just to confirm the meaning of life beyond body especially among those believers. With the development of society, the active expression and the action to distinguish body in art are quite bizarre and contradictory. In contemporary art, body is repeatedly used as an expression for experiment. The implementation of artistic behavior and the visual effect all cater for the purpose of an on-site body. Art inspires the mankind how to de-kitsch, how to re-live the body as a spiritual existence to against decaying. Body doesn’t become more free under a more prosperous material world. On the contrary, it alerts the body with inspection ubiquitously. There is nowhere for body to escape.

 

Thus the taming and training of body become stronger, as we don’t have religion. That’s why we are afraid of our body and want to destroy it.  The same structure in art expresses the soul’s salvation and turnover to body. This exhibition reflects such an attitude, the variation of body is seen through performing art to video. From their artworks, we could deeply experience the dual confrontation of body as a subject and object. The artists describe the condition of body through an artistic mode and reveal the soul of body through their behavior. In particular, the self-denial as a narration questions the physical trait of body, the oddness and separation of the existing world.

 

It is because body produces noises that we are moved and try to imagine. We start to think of our body and the world. We recognize those valuable things among the fake and impulsive art scene. Today we don’t lack any art concept, but we are short of the basic recognition and review towards humans. Starting from body, we find the existing error and conflict which remind us not being numb to our body that nurtures our soul. This is the origin of our value. When all these disappear, where is our body? When a healthy body exists and a soul decays, what is the use of body? When art becomes meaningless, how artists could be called artists.

 

Today this is what we should respond and consider. In order to quiet the noise inside our body, we need to erase the “canker” in society which is also one of the function of art that endowed by the present epoch. This is what we as artists should take.

 

 

Wang Chunchen

May 27, 2012


Selected works:


Deng Biwen, "the mechanical pleasure of youth", mechanical installation, 70x70x25 cm, 2012

Liu Yanan, "fade", video, 2010

Wang Yuhong, "Expired exhibition dates", installation, 2012

Wang Yuhong, "Expired exhibition dates", installation, 2012

Laomean, "copy from orgasm - longevity", HD digital video, 2010

Susanne Junker, "self doll is floating at Grand Hyatt Hotel Hong Kong during HK art fair after party 2011", photograph, 30 x 40 cm , lambda print, 2011

Susanne Junker, "self doll is flying at YY's Shanghai", photograph, 30 x 40 cm , lambda print, 2011

Lui Yanan, video

Chen Yongwei, "vacancy of no. 17 seat on the train series NO.3, paper and crayons, 60 x 80 cm, 2008

Xu Shijun, "a bookmark", inkjet print, 60 x 90 cm, 2012


Xu Shijun, "Fulcrum NO.2", inkjet print, 60 x 90 cm, 2012


Xu Shijun, "Fulcrum NO.1", inkjet print, 60 x 90 cm, 2012




Sunday 3 June 2012

body noises preps - self dolls are coming alive 身体噪音(准备中)- 自相娃娃要复活了

Wednesday 30 May 2012

âpres minuit ce la nuit

spooky stage候台BACK - after midnight is when the real collectors come out....

易惊的候台 - 到了午夜后,真正的收藏家才会出现










sound: sun ra


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