HAPPY BIRTHDAY stage候台BACK !
2
YEARS!
Tag - stageback 0 event -696 open studio 2008
Thursday 13 November 2008
Installation view #0 " 安裝觀點 “
By stageback on Thursday 13 November 2008, 00:00
Strafraum, installation by Susanne Junker, plastic panels, paper dolls and photograph, "figure for the base of a crucifixion #19".STRAFRAUM may be interpreted as an attempt to address the act of self-sabotage & loss of individuality in our mass-consumerist era. Corporal puppets branded with multiple prints are strewn in a circle beneath an intimidating framed “Kagemusha” figure, an omniscient sentinel of a forbearing presence. The soft-sculptures are piled upon one another, at random, an orgiastic scene of identical beings merging as one extenuated self, a poignant display of the multiplicity of the “one” and the confused identification with the “other”. Susanne Junker has consciously sought to surpass the previous limitations of two dimensional photographic artworks, individually applying prints in countless layers across the haphazard life-size figures, and the juxtaposition with the bold & framed Lord reminiscent of the atypical Warrior of the East in popular iconography suggests something latent, violent and a deliberate suspense is lent to the installation. The work itself contained by industrial standard "Caution: Wet Floor" signs sheds light on the artists' characteristic humor, both an alarm to the immediacy of her work and a concrete echo of the "MYSPACE" insignia which label the otherwise anonymous bodies. STRAFRAUM is the first public presentation of this provocative German photographer’s spatial creations, the installations title in translation “Penal Room” is a proclamation against the domination of the individual/individuality and subjugation of the self within the blind machinations of the market-centric, consumerist society of today.
惩罚区域 苏珊娜·容克 “惩罚区域”可以看作是一种意在解决大众消费时代的自我戕害和个性沦丧问题的行为艺术尝试。令人生畏的影子武士屹立中间，下面则布满了排列成圈状的真人道具，他们身上都印有多重图案。影子武士代表了无所不在的武士道和忍者精神，而这些柔软的真人道具被随意而凌乱地摞起来，这样一种对比表现出在集体放纵的时代，个体的趋同和融合造就了一个“被削弱的自我”，这是对“自我”的多重性和与“他人”身份认同的混乱性的讽刺展现。苏珊娜·容克的艺术思路是要摆脱二维摄影艺术的局限性。她运用了真人道具，故意采用非常凌乱的摆放方式，在他们身上印满无数层图案，而且用现代流行的符号学去浓缩和表现英勇无畏的非传统东方武士形象。这样其作品中就有了一种潜在的，暴力的意味，营造出了一种人为的悬念感。而作品身上出现了“小心地滑”这样代表了工业标准的字眼显示出艺术家独特的幽默感，既能让人们感受到作品的感染力，同时这也是对“我的空间”概念的具体响应，把自己同周围默默无闻的大众区别开来。“惩罚区域”是德国先锋女摄影家苏珊娜·张克空间艺术创作（行为艺术）的首次公开亮相演出。 它首次抨击了个人主义的盛行，是对当今以市场为中心的消费型社会对个体的盲目误导和奴役的宣战。
Wednesday 12 November 2008
Andy Guhl live at stage候台BACK #0 －淄博
By stageback on Wednesday 12 November 2008, 17:40
Check out Andy Guhl Live performance on 'youtube'
below.
Sound Artist Andy Guhl “ 聲藝術家 ”
By stageback on Wednesday 12 November 2008, 17:30
Andy Guhl (*1952, St. Gallen, Switzerland) is a pioneer sound artist and one of the fathers of European electronic experimental music.
As part of the music formation Voice Crack and Poire_Z, he has strongly influenced multiple generations of musicians and artists of the international underground and noise movements. With over 30 released albums as well as performances and exhibitions in over 20 countries, Andy Guhl continues his prolific artistic production despite a widely publicized split from partner Norbert Möslang in 2002.Andy Guhl started his career in 1972 in improvisational free jazz together with Norbert Möslang. In 1983 they started cracking daily electronics and developed it to the cracked everyday electronics. By manipulating these objects to produce sounds, they broke down the traditional barrier between daily items and musical instruments and their acoustic perception. In the1990s the duo expanded their reach into visual representation of acoustic phenomena with several installations, including the "Sound Shifting" installation they presented at the Venice Biennial 2001 upon invitation of the Swiss Art Council. Since 2002 Andy Guhl has branched out on his own with ever more innovative installations using audio-visual feedback in analogue electronic systems which he calls “The Instrument”, the expanded cracked everyday electronics. "For me physics is a musical building block," says Andy Guhl, "to allow you to also see what you're hearing."
安迪·盖尔（Andy
Guhl），先锋声音艺术家，1952年出生于瑞士的圣加仑，是欧洲电子实验音乐的发起者之一。
作为瑞士传奇噪音乐队Voice Crack 和Poire_Z乐队的成员，他深刻地影响了一代代致力于国际地下/噪音音乐运动的音乐家和艺术家。安迪·盖尔至今发行了30余张专辑，曾在20多个国家进行演出和展览。尽管与前乐队合作者诺伯特·莫斯朗（Norbert Möslang）于2002年公开分道扬镳，他至今仍活跃在其丰富而多产的艺术创作中。安迪·盖尔的艺术生涯始于1972年，当时主要是与诺伯特·莫斯朗一起即兴创作自由爵士乐。1983年两人开始尝试改造日常电器，最后把它们发展成今天演奏使用的电子设备，即“经改装的日常电器-乐器”，这种做法打破了传统意义上日常电器和乐器以及声音概念之间的鸿沟。20世纪90年代二人组合采取了一些新装置，将声音现象的表达方式扩展到视觉领域，其中包括应瑞士艺术委员会之邀出席2001年威尼斯双年展时展出的“声音转换”装置。2002年，安迪·盖尔又将视听结合的反馈噪音应用到他称之为“乐器”的类电子系统装置上（此装置是广义上“经改装日常电器-乐器”的一种）。这项具有超越性的创新之举为此后他的艺术创作开创了更广阔的视野和发展空间。“我认为物理学是音乐的基石，”安迪·盖尔说，“它能让你在听的同时看到你所听的东西。”
作为瑞士传奇噪音乐队Voice Crack 和Poire_Z乐队的成员，他深刻地影响了一代代致力于国际地下/噪音音乐运动的音乐家和艺术家。安迪·盖尔至今发行了30余张专辑，曾在20多个国家进行演出和展览。尽管与前乐队合作者诺伯特·莫斯朗（Norbert Möslang）于2002年公开分道扬镳，他至今仍活跃在其丰富而多产的艺术创作中。安迪·盖尔的艺术生涯始于1972年，当时主要是与诺伯特·莫斯朗一起即兴创作自由爵士乐。1983年两人开始尝试改造日常电器，最后把它们发展成今天演奏使用的电子设备，即“经改装的日常电器-乐器”，这种做法打破了传统意义上日常电器和乐器以及声音概念之间的鸿沟。20世纪90年代二人组合采取了一些新装置，将声音现象的表达方式扩展到视觉领域，其中包括应瑞士艺术委员会之邀出席2001年威尼斯双年展时展出的“声音转换”装置。2002年，安迪·盖尔又将视听结合的反馈噪音应用到他称之为“乐器”的类电子系统装置上（此装置是广义上“经改装日常电器-乐器”的一种）。这项具有超越性的创新之举为此后他的艺术创作开创了更广阔的视野和发展空间。“我认为物理学是音乐的基石，”安迪·盖尔说，“它能让你在听的同时看到你所听的东西。”
# 0 Poster －海報
By stageback on Wednesday 12 November 2008, 17:20
