PAST PROJECTS
Opening: November 19 2011 6-9 pm Thomas Palme "the one hundred most influential men in history". Works on paper. The artist will be present
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 onehundred most influential men in history" is Palmes second solo exhibition at stageBACK Shanghai.
With kind support
For more information, photos and press release please read here
Keep the fire burning - a video installation by Maximilian Moll
Opening: October 29, 6 pm - 9 pm
Keep the fire burning (2008, loop-video installation)
This impressive video installation is about the goods and bads of fire. Starting with a useful match, it shows step by step the destructive potential that lies in the fire. The cozy beginning transforms in a horror scenario, which consists of war and action movie scenes, accompanied with threatening music. Different qualities and meanings of this essential element can be experienced in that stunning installation.
Moll is born 1967 in Germany. After studying in Germany and USA he is now working as an artist in Berlin. 2010 he received the 16th Video Art Award Bremen for his work "Keep the fire burning".
Kindly supported by the Goethe Institute Shanghai
For more information, photos and press release please read here
Opening: September 6 - September 25: stage候台BACK and Eastlink gallery JOINT group show with works by Konstantin Bayer, Laurent Friquet, Li Haifeng, Thomas Palme, Lin Qing, He Saibang, Lars Wild, Qin Yifeng, Hu Zi.
Performance: Laurent Friquet, "Make Room #3. Pogonirique"
7h30 pm
Laurent Friquet is a performer. He uses his body as his subject of reflection and projection. The man without a head is one of his alter egos. It is a dream to lose its head, to be detached from our senses, our vision and our world. « Make Room # 3. POGONIRIQUE » is a costumed performance that includes a video installation, live guitar playing and obscure sounds circling around Friquet's created persona "the headless man". Artist statement: In my work, the voice is permanently in the air. Not in words, not as singing, just as the voice - as it is spoken, shouted, hummed, or whispered. The voice as fluid, continuous expression. Like a glance, a penis, excrement, and nothingness, Lacan placed it into the category of "objects to". A vast area … The source of sound – visible or invisible. These sounds and voices which are neither completely inside, nor clearly outside, are a direct influence on my shots: because maybe it is there, with these voices and sounds left roaming at the surface of an image, that the power of photographic cinema comes into play. Visualized listening. As if the voice roamed on the surface, at the same time outside and inside, struggling to find a place to settle. Especially as the body that lives within the voice has not been shown as yet. Being everywhere, seeing everything, knowing everything, being capable of everything. In other words: ubiquity. Someone passing himself off as somebody else, someone who does not say whence he speaks, pre-recorded material emerging from a mechanism. Does the voice not have a link of proximity with the soul, with the shadow, with the double, with these insubstantial replicas of the body, detachable, that survive it in death and sometimes even leave it during life? With "Make Room * 3. Pogonique" the ambiguity reaches its paroxysm: a character without head and producer of sounds…
For more information, photos and press release please read here
Lost and found
Chris Gill 李云飞 (GB), Kathryn Gohmert 宫明珠 (USA) + Xebo. W. S. (E), Laurent Friquet (F), 马良 Maleonn (CN), 唐潇雯 Tang Xiaowen (CN)
July 09 2011 – August 31 2011
What is loss, what is discovery, what is new and what is old? In the exhibition Lost & Found, to be held at stage候台BACK Gallery, a group of artists from around the world explore the issues of dislocation, re-discovery, the transient life and re-invention of objects and ideas, concepts that bring the viewer and artwork into close collaboration within the space. There is a Chinese saying, the mind of attachment to loved ones and objects is like water, the mind of hatred burns like fire, the mind of ignorance forgets what to keep and what to throw away, and abandoning one's country is the greatest Buddhists' practice. So this group of diverse and multinational artists explore these issues within their work.
Following the eviction in May 2011 of around 70 artists and galleries from Shanghai's 696 Weihai road studio complex this arts diaspora have migrated to different spaces around the city. Lost & Found is the first exhibition by stage候台BACK Gallery in its new location at M50, Shanghai. So for this exhibition, not only the artwork is Lost & Found, the gallery itself is re discovering and reinventing itself.
• As one who in his journey breaks at Noon
• Though bent on speed, so here the Archangel paus'd
• Betwixt the world destroy'd and world restor'd,
• If Adam aught perhaps might interpose;
• Then with transition sweet new Speech resumes.
• Thus thou hast seen one World begin and end;
• And Man as from a second stock proceed.
• Much thou hast yet to see, but I perceave
• Thy mortal sight to faile; objects divine
• Must needs impaire and wearie human sense:
• Henceforth what is to come I will relate,
• Thou therefore give due audience, and attend.
• This second sours of Men, while yet but few;
• And while the dread of judgement past remains
• Fresh in thir mindes, fearing the Deitie,
• With some regard to what is just and right
• Shall lead thir lives and multiplie apace.
From Milton, Paradise Lost, book 12:
Works:
Chris Gill
The corridor that leads into the exhibition is an artwork by British artist Chris Gill. This is Gill's first large scale installation and is titled "the corridor at the end of time." It not only represents metaphorical rebirth and death simultaneously, it s perceived and decided differently by the individual visitor. We get lost in the endlessness that is a frightened individual in human history as well as the beauty of a new beginning. This is enhanced during the exhibition opening with a performance of women dressed as nurses holding some of Gills small scale paintings like newborns. The corridor structure also ministers to display Gills latest paintings that host objects like found name cards on their canvases.
Maleonn
Maleonn's new works on paper show a reinvention of the medium chosen by the artist. Famous for his photography, he has found that his imagination grows further then his staged photographs in which he can enlargen his fantastic mind. He is one of Shanghai leading home grown artists and recently showed his work in the Shanghai Biennale and regulary shows his work around the world. Maleonn has come to represent the modern spirit of Shanghai.
Laurent Friquet
Laurent Friquet is a performer. He uses his body as his subject of reflection and projection. The man without a head is one of his alter egos. It is a dream to lose its head, to be detached from our senses, our vision and our world. Be blank!. Coincidentally, the fear of being beheaded and unwillingly be turned into a monster not to mention what must happen in the human mind in those last lost moments before the sword cuts the neck. Friquet plays with our dreams and fears and is suffering existentially during his live performances. Overwhelmed by his picture-perfect senses he sees the only way out is to kill himself. Death by hanging. Not suxceeding, he is determended to wander alone forever in our minds.
Tang Xiaowen(唐潇雯）
stage候台BACK is proud to present Tang Xiaowen (唐潇雯) work for the first time in Shanghai. Her delicate ink on silk paintings demonstrate lost times, portraying her family members often as children as well as a young child in her self portrait series "somewhere in time". The young Beijing artist (born 1985) indicates with her works the bittersweet nostalgia that human history can not run away from. Installed at the groupshow "Lost and Found", within her beloved found objects of personal compelling memories, she lets us be a part of her past. Ms. Tang uses traditional Gong Bi technique. Gong Bi is a ink on silk technique that was developed 2000 years ago. Since those ancient times it appears all over the history of chinese art. The canvas is a glue and alum treated silk that is made in Japan. This coating provides the ink from "running" and makes precise lines, drawn with delicate brushes, possible. Patiently Ms. Tang works about 10 days on a 100 cm x 80 cm piece. Old family photographs of periods when Ms. Tang wasn't even born yet serve as a pattern that she draws free handed. This combination of the traditional technique and the nostalgic subjects of gone by times make the beautiful and nostalgic art of this young woman so touching.
Kathrym Gohmert + Xepo. W.S.
The project URBANVIDEOSCAPESHANGHAI was originally begun in order to show a series of live painting performances made in various public locations around Shanghai using the city and its everyday scenes as inspiration. What resulted was a "real canvas" were not just the finished painting but the chaos, noise and "messiness" of the creative process - as well as the resulting audience's reaction - became the final work. URBANVIDEOSCAPESHANGHAI is a living canvas formed on the theory that the regenerative process behind art is made from the two necessary and equal parts of destruction and creation - the finished work is the reflection of this endless cycle. Destruction and creation: finding by becoming lost.
Destruction and creation: finding by becoming lost.
MYSPACE
Susanne Junker
April 30 2011 – May 20 2011
stage 候台BACK Gallery is pleased to announce founder and German artist Susanne Junker will present an exhibition entitled "MYSPACE" in the gallery, from April 30 until the gallery's closure on May 20. This will be the final installation in the stage候台BACK Weihai Road 696 space, as the Weihai Road 696 art studios are being closed on May 20, 2011.
The "MYSPACE" installation is a three dimensional portrait of the artist, and a part of Susanne Junker's bodysuit series. The exhibition theme expresses the artist's interpretation regarding herself, her body, existence, opinions and personal freedom. The work explores how some people, not only herself, are impacted by these matters. Using sex dolls, the original cast was for the Japanese market, with a functioning vagina, represents issues affecting women in modern society, such as rape, aggression and violence towards females.
As the last exhibition in the stage候台BACK space in Weihai Road, Junker also sees the installation as a silent protest against the loss of the space, and also comments on the art scene in general by creating a 'fuckable' artwork. She has commoditized her work into a three dimensional sculpture that represents herself and her own feelings of frustration and general disillusionment following the eviction of artists and galleries from the Weihai road 696 studio complex. Using a sex doll as the representation of this period of time in the development of Shanghai city and female individuals in general Junker hopes to create an iconic image of the development of the local society that gives audiences pause for thought on the various issues she would like to raise. The work is also a commentary on the growing predominance of social media globally in peoples lives.
Susanne Junker works internationally as a photographer. She has widely exhibited in Europe and the United States.
She created stage候台BACK as an artist run space to increase international dialogue and exchange in China, which she feels is still underdeveloped in Shanghai. During its short history, stage候台BACK has hosted a series of groundbreaking exhibition that have generated interest in the international art press and local media.
For more information please read here
WELTSCHMERZ
Chris Gill / Terence Lloren
December 4 2010 – January 16 2011
Having just hosted the World Expo, and with other tragedies, Shanghai is suffering Weltschmerz a kind of world weariness, a langour, a melancholy pain, indescribable, but there nonetheless.
Terence Lloren and Chris Gill, two long term Shanghai based foreign artists have created a project to address this issue, that will take visitors on a journey through their interpretation of the Shanghai psyche. Lloren has recorded several thousand hours of sound, and Gill has painted several tens of thousands of centimeters of canvas. Combined together into a unique landscape that reflects the city, with visual and sound elements that are intended to offer some insights, to meditate what it is to be in Shanghai, what it is now, and what it was before, who we are and where we are going.
As we enter this period of post expo ennui, it is a good time to rediscover the city, now all the parachutists, hustlers, diplomats, hookers, grifters and showboats have left town. There were some nice people too. Both artists, though aliens, have an ongoing conversation with the people of Shanghai. Lloren records Shanghai dialect, the sounds of the city and the changes of the seasons. Gill works mostly in visual imagery, sometimes frighteningly accurately predicting the future, and also musing the changes in people's mental and physical makeup.
Using portable recorders and sometimes elaborate on-location recording sessions, Terence LLoren creates a snapshot of the current life and reality of present day Shanghai. His personal works are more documentary than art, and can be considered as somewhat esoteric, relating specifically to Shanghainese or individuals with a particular interest in field recording and sound art. Lloren emphasizes the concept of time in his recordings, resulting in long-term projects lasting several years or months in order to capture the true candid character of a location over several seasons or events.
Lloren was born in Washington, D.C. in 1978 and studied as worked as an Architect before going back to school for audio engineering in NYC. When not working on his own projects, Lloren freelances as a sound recordist as well as an Interior Design lecturer.
The recordings for Weltschmerz are 6-hour continuous recordings made in the Shanghai municipality with hidden tape recorders randomly placed throughout town. No two days will be alike during the normal operating hours of the gallery until the end of the exhibition."
Chris Gill has a degree in Politics from the University of Newcastle upon Tyne and the People's University of China. Gill also studied and worked as a printmaker in the UK. He has developed a visual language commenting on the social environment in China since 1992, when he first established a studio at the Old Summer Palace. Since then he has exhibited widely in China, with galleries such as Red Gate Gallery, Eastlink and Shanghart, and has exhibited at Shanghai Art Museum and Duolun Art Museum. He also works as a writer, currently he is China correspondent for London based The Art Newspaper.
Gill's work has a certain resonance with people who have experienced the ongoing changes in China, to which he is bearing witness. He incorporates language (Chinese and English) a very varied mix of materials, as well as photography, sound, video, installation, and numerous other elements into his work.
For more information please read here
Barbara Anna Husar
"cord of rexa" - mixed media
September 6 2010 - October 17 2010
Barbara Husar's work is focusing on the flow of information. She owns a flock of goats in the desert of Sinai and uses the umbilical cords of the newborns as a medium for her ongoing process Data Exchange. Far away from binary realms she is collecting information strings of life.
The Austrian artist (1975) is working with different media ranging from filmmaking to installations. Basis is always pure drawing. The way to her trans media-based concepts starts here.
Award winning Barbara Husar has already had numerous international exhibitions
and is well known for her extraordinary interactions with reality.
"Xianglong zhaoi" - flying dragon, is the name scientists gave a lizard from the Cretaceous period discovered in China in 2007. The little winged reptile glided down from the trees on the hunt for insects 125 million years ago.
Unusual creatures from ancient times are found in the work of European artist Barbara Anna Husar (b. 1975, Austria). Giant lizards are born in her studio.
Mystical, archaic, and yet bright and cheerfully coloured, her living fossils are powerful ambassadors between times past and the present. For her larger-than-life acrylic paintings she employs seed and rice sacks as her canvas – a metaphor for the growth, evolution, and transformation of cultures.
Some of her creatures are hybrids between dinosaurs and architecture. "Guggosauros Bilbao Titan" is an example of this, a combination of a reptile and the Guggenheim Museum in Bilbao. Bones or stone, Husar is interested in both as the backbone and storage media for the most widely varied forms of life, as data media for genetic – biological and cultural – codes that constantly develop and yet at heart remain the same. Of all places, the exploding metropolis of Shanghai, whose transformation accelerated once again through the Expo 2010, offers numerous points of contact with its conjunction of ultramodern and traditional life.
As a magical mythical creature, the Chinese dragon is able to take on other forms. Why not that of a museum? For her artist-in-residence stay at stageBACK, Husar chooses as the first motif of her "Archisaurus" transformations the Shanghai Art Museum, a historic building near the People's Square that nowadays houses Shanghais leading museum of modern art. The latest thing need not mean the elimination of the old; what is old can be filled with new, up-to-date contents, without losing its connection to its origin. The new arises from the old: Barbara Anna Husar sees her artistic activities as an umbilical cord, as a transfer of energy between times and cultures – lizards and dragons fly on the skyline of Shanghai.
Text: Susanne Laengle, Vienna 2010
At the same time stageBACK presents the world premiere of Barbara Anna Husar's new film, "core of flock", as well as the artist's sculpture, artwork, and photography.
www.data-exchange.tk
www.husar.tk
For more information please read here
Chandler, Junker, Kluenter, Palme, Rusch
5 artists - summer 2010
August 5 - 19 September 3
For more information please read here
Thomas Rusch
Behind, Photographs
June 19 - July 18 2010
Thomas Rusch, Paris and Hamburg based photo artist, is showing BEHIND. It is a series of portaits - although the identities of the portrayed subjects are unrecognizable behind make-up, texture and material. By overlapping different layers Thomas Rusch evokes an irritating intensity of emotions. Masks are used to protect or hide but masks can also work as an intensifier or converter.. As an interface between inside and outside they enhance the possibility of increasing expression or emotions. And in many situations a mask is the medium to cross borders. Masks have their seeds in rituals. Since prehistoric times they are used for the rites of passage. They are the companion for an African boy who is about to become a man, for the shamen's trance as well as for the body's last journey. In ancient Greek theatre masks were used to intensify the actor's expression, in Beijing Opera the characters and attitudes of the protagonists are encoded in mask and colour. With BEHIND Thomas Rusch shows us archetypes of emotions: dissolution, fear, delight, anger, lust, grief, spirituality.
www.thomasrusch.org
For more information please read here
Franca Bartholomäi "BACKSTAGE CHILDREN"
WOODCUTS
MAY 15 - JUNE 13 2010
Franca Bartholomäi's woodcuts are unique within German contemporary art. In no other artistic oeuvre is the tradition and iconography of the woodcut combined with romantic and psychedelic motifs from the 19th and 20th centuries, forming images of such expressive power. The viewer feels himself involuntarily reminded of Albrecht Dürer, of the woodcut series of expressionism, of a German art tradition in the best sense of the word, which has been interiorized by Franca Bartholomäi. In her 'Night and dream pieces' the artist unfolds references to space and time, which were already incorporated into the style of the graphic genre by Dürer. Out of contrasts and contours, forms and episodes arise which open up far much more than the mere physically perceivable world to our observation. . Perhaps this is one of the components of the magic induced by these images made out of interlocking hemispheres and events, that they are cut out of one and the same wood block, from whose hatchings and notches alone their ethereal identity is drawn. There is also a second woodcut tradition, spanning from the late gothic right up to expressionism, to which Franca Bartholomäi sure-footedly connects. The traditions of so-called "black romanticism", which can be observed in the ramifications of Franz Kafka's or of the filmmaker David Lynch's work. To these Franca Bartholomäi's oeuvre is indebted, more than to the surrealistic and symbolic programs of the 20th century. Her pictures are illustrations of an imaginative tale, of an unwritten text. And in this dimension too her work is an avowal of faith towards the origins and the strangeness of the woodcut. Jacob Burckhardt says in his essay on narrative painting that: the picture "ought to induce through its artistic force such a mood from the outset that one would expect the Utmost ". Voilà! Here is an artist — she fulfills his criterion.
Text by Manon Bursian
For this project stage候台BACK has been official partner for the of Saxony-Anhalt´s presentation at the German Pavilion "balancity" during the WORLD EXPO 2010. Also sponsored by the "Abteilung für Kultur und Bildung" (Goethe Institut) Shanghai.
For more information please read here
Gordon Chandler / wear objects
sculptures
March 27 - May 09 2010
Sculpting industrial cast-offs into iconic Kimono shapes, there's a great basic tension in Gordon Chandler's work that comes from the tactile differences between his materials and subjects. The contrasts are the natural outcome of his Duchampian use of found materials. "I have a very practical bent," he says, "I use things of very little value and elevate them. I study the objects that we decorate our lives with and reconfigure them in my own language." The 55-gallon drum is a container used worldwide to deliver a wide variety of materials. They are widely recognized, ubiquitous symbols of commerce. Once delivered and emptied of their original contents, they are used for a variety of different outcomes. The discarded steel drum bears a history of wear and travel on its surface. From these containers, Chandler chooses the ones with the most intriguing composition and patinas. For him, there is often some reference to the patterned silk fabric of traditional robes. The process from here is like origami. First the barrel is cleaned. Then he cuts the two ends out, cuts it the long way and flatten the hollow cylinder. Left is a rectangle. Through a series of cuts, folds, and a little welding the garment becomes apparent.
For more information please read here
Thomas Palme / madness, booze and social phobia
drawings / works on paper
October 24 - November 29 2009
Palme’s highly prolific practice encompasses the fields of drawing, video, performance, and installation. The black and white pencil drawings, which constitute the bulk of Palme’s creative output, are produced at a minimum count of four thousand works on paper annually. Palme draws simultaneously with both his right and left hand, creating images which contain a wide spectrum of marks, energies, and references, ranging from finely rendered portraiture to chaotic abstraction.
There are multiple forces at work with each other and at odds with one another in the images Palme creates. The technique which he has adopted to make his work, drawing with both hands at once, is integral to the content of the work itself. There is always a battle taking place between that which we can comprehend or identify as a part of our history, and that which is shrouded in mystery, perhaps supernatural, and definitely powerful if not completely in control. From Palme's citations, it is evident that he is moving between and connecting the spaces of the metaphysical, the historical, the scientific, the religious, and the philosophical. In this intersection is not only a search for answers to large questions as exhaustive and epic as Palme’s practice itself, but also a space of transition which brings the viewer to the present through depicting the implications and effects of these dynamics of power and time on our lives.
This project was sponsored by the "Abteilung für Kultur und Bildung" (Goethe Institut) Shanghai)
For more information please read here
Laurent Friquet / A Trip Around
SEPTEMBER 07 – SEPTEMBER 26 2009
stage後台BACK is glad to introduce Laurent Friquets A Trip Around for the first time in Shanghai, China. The film shows Friquets recent performance that was held in the Grand Palais in Paris France for “la force de l’art” 2009. This introduction acts as a teaser for the planned performance at stage後台BACK in 2010 in Shanghai.
Please come and join us during the Shanghai art week every day from Monday September 7 – Saturday September 12, 2009 from 12h to 18h at stage後台BACK, 696 Weihai Lu by Shanxi Lu. THE BIG CHILL right next to Shanghai contemporary.
For more information please read here
Five Shanghai Germans (Groupshow) Alexander Brandt, Roland Geissel, Susanne Junker, Rolf A. Kluenter and Lothar Spree
May 16 – June 26 2009
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.
For more information please read here
Kristian von Hornsleth / Deep storage Project
May 6 2009 / 2009年5月6日
GIVE YOUR BLOOD AND LIVE FOREVER WITH HORNSLETH!
1. Give a drop-sample of one’s blood to be saved in the Deep Storage Project.
2. Sign and put another drop of your blood on a Deep Storage declaration.
3. The Declarations are signed and numbered by Hornsleth
4. The declarations are art pieces for the donor.
5. Each declaration can either be a paper certificate for free or a painting at various prices.
For more information please read here
696 open studios / Stop with your limited mind / Videos
April 18 2009
Qing Qing Yang "Make Up Shanghai", "Eat fire and spit water"
Laurent Friquet "Indoubleside"
Louis Pratt "Faust"
For more information please read here
Sylvie Tillmann / Candyfloss overboard
February 28 – April 6 2009 / 2009年2月28日至4月6日
Sylvie Tillmann whose interests are both in the understanding of the body as a projection surface as well as the meaning of the expression of her thoughts while using the bodies as the conveyor of the soul.
For more information please read here
Rolf A. Kluenter / "Limbo Grid"过渡状态 / Installation
A Limbo is a space that is between two places. It 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.
For more information please read here
Susanne Junker / Geiles Globales Gesicht
In the traditions of Chinese Opera, female characters were exclusively portrayed by male performers, the masks and painted visage irrefutably linked to dramatic personae, and narrative discourse predictable and unwavering. With “Geiles Globales Gesicht” (Grand Global Masks), a seductive counterpoint is given: the perfomer is one female, the symbolic reference of the masks sabotaged, rendered “perverse”, and visual reference one of auto-portraiture.
For more information please read here
ANDY GUHL
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.”
CHRIS GILL
Born in the UK he grew up in Johannesburg, South Africa and came to China originally to study the Chinese language.
The main theme of his current work is creating a visual diary of changing societies, using predominately painting, sculpture, and photography.
SUSANNE JUNKER
STRAFRAUM may be interpreted as an attempt to address the act of self-sabotage & loss of individuality in our mass-consumeris 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.
For more information please read here
