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Tuesday 1 January 2013

HNY from Thomas Palme in BAVARIA

Saturday 13 October 2012

Introducing Thomas Palme new works at CUT/LOG

from up to down: Amanda, Bill, Cindy, Claude, Henry, Herbert, Jessica, Ralph, Ramona, Walter, 
65 x 50 cm (unframed), red chalk on paper, 2012

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

Sunday 12 February 2012

LUCKY US! 幸运的我们!

Thomas Palme sends us greetings with his personal alive Maneki Neko.
Yes, it means fortune, fortune and more fortune.
Lucky us!

Thomas Palme发给我们他的招财猫的问候。
是的,它意味着财富,财富,更多财富。
幸运的我们!


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!

 

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