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Sunday 8 January 2012

Palme inspires 帕尔玛的启发

After countless requests, a visitor drew a Palme-inspired Mao in our guestbook. Yes!

经过无数的请求后,一个参观者画了一张帕尔玛启发灵感的毛泽东在我们的留言本上。棒!

"Grandpa Mao, requested by (comments on) the last seven pages"

"毛爷爷,应7页前要求"

Wednesday 14 December 2011

Xiexie City Weekend! 谢谢City Weekend!

Dec. 8-21, page 23  12月8号-21号,23页

的名称叫做历史上最具有影响力的男人。而且如果在你参之前这就是所有你所得知的,那么你期待TIME杂志的展览就可以被原谅了。当然你将要经历的是完完全全的颠覆和震撼。

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。

被焊接在怪诞之上的女性身体淫秽的渲染图片是政治领袖,哲学家,作家,艺术家和科幻人物,从古代到现代。有些就像贝卢斯科尼,有着夸张的胸部;有的就像尼采,被减少了一个阴部,几乎没有其他的细节;更多的画上有着人物名字在中文的转译;剩下的则有着德国的俚语和不入流的语言。

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。

Junker敏锐的指出,用树叶来遮挡图片的某个部分,是为了响应检查员们的要求。除了这个义务之外,她感觉这也正好说道了这个展览的有机自然。同样,对于中国人物像毛泽东,老子和黄帝等的移除也是同一个原因,这样对整体展示的完整性的威胁构成不大。那些没有放上去的图片通过他们空在那里的较大间距的距离使得他们的失踪更加的明显。

这个展览说明了很多当今的意识形态,英雄崇拜,并将性别和性混为一谈。勇敢,不妥协,强有力,是这个冬季最具挑衅意味的一个展览。

“100位历史上最具影响力的男人”在候台画廊,展览直至1月8日,www.stage-back.org

Tuesday 6 December 2011

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

page 58, December 2011 Shanghai edition

58页,2011年12月,上海版 

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。"

我在想赤裸的身體是你可以畫得最有意思得事情。我不認為我的畫作是色情因為他們並不是被你用來刺激自慰的。不過我倒是挺接受,如果他們真的在這方面啟迪了某些人!

我在巴伐利亚州的南部長大,十字架這裡到處都是。基督徒們沒有對性有所反對,這是極為反常的。但如果都是性慾,那這個展覽將會非常無聊。

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?”

“我並不需要心裡學來討論我的作品,我的作品就是我的理論。”

Tuesday 29 November 2011

Bi-Ba-Best!

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

城市周报,2011年11月24日至12月7日,第20页:

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

Wednesday 23 November 2011

Hello Kittler 你好希特勒

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

Tuesday 22 November 2011

Thomas Palme opening pictures of the 100 most influential men in history, November 19 2011 2011年11月19日Thomas Palme展览“100位历史上最具影响力的男人”开幕式照片

We turned on the red lights! Thanks to all the visitors, it was a great opening! 

我们打开了红色灯光!谢谢所有的参观者,这是一个非常赞的开幕式!

 

Installation view of the 100 most influential men in history by Thomas Palme 展览“100位历史上最有影响力的男人” 场景图

Exclusive: without leafs!

独家: 没有叶子!

Susanne Junker wearing a fake hello Kitty apron. Susanne Junker穿着一个假的Hello Kitty的围裙。

Saturday 19 November 2011

So sorry, Siegmund!对不起,弗洛伊德!

i really did not want to put a leave in front of your pussy dear Sigmund!

亲爱的西格蒙德·弗洛伊德,我真的不想放一片叶子在你的阴部前面!

Friday 18 November 2011

Thomas Palme: "The 100 most influential men in history" | Nov 19 - Jan 8 2012: Hello Mr. Kitten

yeah, we had a blast putting up the show!

Thomas Palme: "The 100 most influential men in history" | Nov 19 - Jan 8 2012

Thomas Palme: "100位历史上最具影响力的男人" | 11月19日 - 1月8日 2012

Thomas Palme, Hello Mr. Kitten 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011

Thomas Palme drawings with Susanne Junker's selfdolls

Thomas Palme 的画和Susanne Junker的自我娃娃


Tuesday 15 November 2011

Thomas Palme: The 100 most influential men in history

For immediate release                                                          November 10 2011

 

Thomas Palme

The 100 most influential men in history

Works on paper

 

November 19 - January 8 2012

Opening November 19, 6-9 pm


托马斯·帕尔玛

100位历史上最有影响力的男人

铅笔画

 

20111119日至201218

开幕式  1119日, 18:00 - 21:00

 

Thomas Palme is a master of drawing. He loves and dominates the two royal disciplines of his talent alike: The portrait and the nude. In his most recent works: "the one hundred most influential men in history" Palme combines both genres in a grotesque manner. Thereby our conception and our experience of reality, sexuality and power are radically questioned.

 

Anarchists, dictators, artists, historical and fictional figures of past centuries and recent decades are combined into the paradox of a 100 most important chart.  What has the human race done with those characters since their existence? How do we treat our ancestors? Has our perception made some of them into preposterous personas automatically? Education transforms us into trained followers of  ideological believers of spreadsheets. To assemble an objective and official 100 list is a grim action in its own, desired by people who are looking for a controlled world order. Creators of 100 individuals data defend their reality and impose it on us.

 

Palme, is the author of his stroke as well as of the written word. He points out that the reality that allows such a list does not exist. "Human nature is greed", "selfdestruction of dignity", "Obama Bin Bush", "Immanuel Kant looking at Orgon man" - the idiot -,   is to be read next to nutty figures we believe  to see in a surrounding of  words, chinese characters within Christian religious suppression. This global drawing  is not objective and resembles only a fake reality, which is not an ideologically charged reality.  "Kung fu Panda" is filled with ideology and in some world an important real life celebrity.

 

Yet, reality is obscene. There are micro blogs that tell us about fathers who beget daughters with their daughters. People die live in front of a webcam and we watch it on the screen in the backseat in  our taxi. The internet would be half so powerful without those millions of clicks on pornographic websites. If our reality is obscene the Drawing is obscene, therefor the Drawing in a gallery is obscene. Art is not a "Huis Clos"that generates its own conviction of nodding people who made their  lists and cower inside an oasis of so called art. You can't escape this burden while creating an idiological reality on order to destroy others. Accept that reality is a gigantic chaos and in case of need, laugh about it.

Thomas Palme, born 1967 in Immenstadt, Germany, is a highly acclaimed German artist with numerous exhibitions world wide. At age 19 he started to study art in Munich at the class of Hans Baschang before he moved to Vienna to participate in the course of  Arnulf Rainer and graduated in Düsseldorf the masterclass of Michael Buthe. In 2010 he was honored with a Grant by the prestigious Kunsthalle Krems in Austria. "The one hundred most influential men in history" is Palmes second solo exhibition at stageBACK Shanghai.

 

托马斯·帕尔玛是个绘画高手。他热爱并支配着这两个在皇家学科:肖像和裸体方面荣获一致好评的才华。在他最近的作品“100位历史上最有影响力的男人”系列中,帕尔玛以一个怪诞的方式将两种流派相结合。从而从根本上质疑我们的概念和现实、性欲和权力。

 

无政府主义者,独裁者,艺术家们,历史和虚构的人物在过去的几个世纪和近几十年来合并成了100个最重要图表的悖论。自从在他们的存在之后人们对这些角色都做了些什么?我们又是如何对待我们的祖先的?有没有由于我们的认识将其中一些自动得变成了一个荒谬的个性?教育将人们训练成了表格式思想信徒的追随者。要有一个客观的、官方的100位的名单这本身来说就是一种严峻的行动,这正是那些控制世界秩序的人们所要的。 100位人名单的创造者们捍卫着他们自己认为的现实并将它们强加给我们。

 

帕尔玛,是他自己的笔锋以及所写文字的作者。他指出现实不应该允许这样一份名单的存在。“人类的本性是贪婪”、"贝鲁斯科尼" "本拉登布什" "康德在看着Orgon man" (Orgon man —— 莫里哀《 伪君子》中的那个“傻子”),这些可以这样理解,在有嚼头的人物旁边我们可以看到在基督教十字架的周围围绕着中文字符。这一全球性的画是不客观的,类似于一个虚假的现实。这一系列的画并不是一种思想对现实的控告。比如说“功夫熊猫”是充满了思想的,它是在某个“世界”一个重要的现实生活中的名人。

 

然而现实是可憎的。有微博报道:父亲和他们自己的女儿有了女儿;人活生生得死在了一个网络摄像头前,而我们在出租车后座上的屏幕上观看这一幕。如果没有淫秽色情网站上这数百万的点击率,因特网将变得更加的强大。既然我们的现实是如此淫秽色情,那么在画廊的画也会是淫秽色情的。艺术是不是一个“封闭的密室”(Huis Clos引自法国剧作《隔离的审讯》)那些以自己的定义制定着名单的人们在自己所谓的“艺术”的封闭的密室中畏畏缩缩。你无法逃避这方面的负担,一边在创造一个理想化的现实的同时你也在破坏别人他人的理想世界。接受吧,现实就是一个巨大的混乱。在必要的同时,嘲笑他。

 

托马斯·帕尔玛1967年出生在德国的伊门施塔特。他是一个广受赞誉在世界各地举办过无数展览的德国艺术家。 19岁时,他开始在慕尼黑Hans Baschang学院学习艺术课程,之后他移居到维也纳参加Arnulf Rainer学院的课程,并毕业于在杜塞尔多夫Michael Buthe学院的硕士课程。2010年他荣获了由著名的在奥地利克雷姆斯美术馆颁发的津贴。“100位历史上最有影响力的男人”是帕尔玛在上海候台画廊的第二次个展。

 

Artist Statement

"Years have past, decades have passed, centuries, and the Drawing is: What it is. Drawing. Muted it looks at us. We visit it at the museum. At the gallery, yes at the arts college. We look at it attentively. It speaks to us. What it says, is incomprehensible to many. It speaks of time, of space and inner qualities. Its lust seems controllable. And yet, we do not absolutely trust the drawing. There is something monstrous about it. Just as in people. There is something monstrous about people too. We often refuse to believe it, and then it strikes. It does not do it consciously, but it hurts. We are disillusioned. The drawing too disillusions us. It says for example: “Don’t drink to much” or “You better stay home today.” And it is right. It always wants our best after all. The Drawing knows what is good for us. It says: “Go here, go there, go into the woods, up to the mountain” or also: “Go to hell” But mostly it does not really mean it then seriously. Because the drawing enjoys to fib.

 

Who wants to resent that against it? In the morning when getting up, the Drawing is particularly rebellious. It often shouts out load or spits uncontrolledly on the floor. Then we turn away thinking: “If only I was a painter, if only I was a sculptor, If only I was a car mechanic. Or a dwarf.” But no one escapes the Drawings so easily. It forces us to bare its mood. And for that it grants the utmost, the indescribable. We are not yet capable to say exactly what that is. But we will find out. Despite genetic engineering, despite curse of time. People suffer. The Drawing even knows that. And so it doesn’t miss any opportunity to help us. From that, my friends, I can truly tell you a thing or two about it."



艺术家陈述

“几年过去了;几十年过去了;数百年过去了,然而画画就是画画。画,当我们在博物馆里面参观它的时候,它就静静得待在那里看着我们。在画廊,对,在艺术学院里,我们会聚精会神地来欣赏它。它向我们诉说,它在诉说什么呢?千言万语。它谈论着时间、空间以及内在的素质。它的欲望似乎是可控制的,然而我们也没有完全相信它。画画有它的邪恶之处。就拿人来说人也有他的邪恶之处。但是我们常常不愿意去相信这一点,于是当邪恶侵袭时,也许它并非出自本意但它却伤害到我们。我们觉醒了,画画会让我们觉醒更多。比如它会说:“不要再喝那么多酒了。”或者“今天你最好在家里待一天。”且它是对的。它毕竟总是为我们好,而且它也知道什么对我们有好处。它会说:“到这里来,到那里去;钻到草丛里,登上山顶上”甚至还会说:“下地狱吧”但是大部分情况下并不真的意味着这个。画享受这种调侃。

 

又有谁会感到反感而因此来反对它呢?早上当我们起床时,画画会变得非常得叛逆。它常常超负荷的叫喊着,或者毫无控制得吐在地上。然后当我们转身离开再仔细想一想:“如果我只是一位画家;如果我只是一位雕塑家;如果我只是一位汽车修理工;抑或是我只是一个侏儒。”但是没有人可以如此容易得摆脱画。它迫使我们去忍受它的情绪,它的给予极为难以形容。我们也没有能力去准确得描述到底画画到底给予了我们什么,但是我们终究会找到答案。即使是基因工程;即使是时间的诅咒;即使是人民在饱受磨难,画画它知道这些,但是它还是不想错过任何的机会来帮助我们。就从这一点来说,我亲爱的朋友,让我来真正告诉你关于画画的一些事情。”

 

 

 





Thomas Palme, Che Guevara 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011

Thomas Palme, Fu Panda 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011

Thomas Palme, Max Planck 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011

Thomas Palme, Barack Obama versus Mother Teresa 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011

Thomas Palme, Mike Hammer as a Baby - Yak - Bull 120 x 150 cm pencil on paper 2011. courtesy stage候台BACK Shanghai 2011
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