February 25, 2009
February 24, 2009
Candyfloss Overboard [opening reception:28 February 09/開幕式:02月28日09年] by. Sylvie Tillmann
Finally what we all have been waiting for,
stage候台BACK Upcoming Exhibition !!
Date: Sunday, 22nd Feb 09
Notes: Sylvie Tillmann arrival. Its her 1st visit to China, Shanghai.
Date: Monday, 23rd Feb 09
Notes: No excuse for 'Jet lag' . Event Poster done.
We are pleased to invite you for the opening reception of CANDYFLOSS OVERBOARD on February 28th. 2009 @ 6PM 'til 10PM.
We hope to see you.
We hope to see you.
February 28 – April 6 2009
Opening reception February 28 2008. 6pm - 10 pm at stage候台BACK Gallery.
Artist ( 艺术大师 ): Sylvie Tillmann
Event ( 节目 ): Candyfloss Overboard Photographs
Exhibition Period ( 时间 ): 2009年02月28日～2009年04月06日
Venue ( 地点 ): stage侯台BACK (696 威海路.) 中国上海市威海路696号3楼310室(靠近陕西南路)
Contact ( 赐复 ): 135 0 1717 590 Mandy 英语.汉语 / 150 2100 5047 Susanne 英语
report by. aMANDY cHIEN
February 5, 2009
@ stage候台BACK SOON!
Sylvie Tillmann
candyfloss overboard
Photographs / 摄影
February 28 – April 6 2009 / 2009年2月28日至4月6日
Opening reception: February 28 2009. 6pm - 10 pm at stage候台BACK Gallery.
开幕接待 2009年2月28日 18：00 - 22: 00 stage候台BACK艺术画廊
stage 候台BACK Gallery and TEAPOT Gallery (Cologne/Germany) are pleased to announce their collaboration on an exhibition of new works by Sylvie Tillmann. The exhibition will run from the 28th of February through the 6th of April 2009 at stage候台BACK Gallery, located at Room 301, 3F, Building 11, 696 Weihai Lu near Shaanxi Lu, Shanghai China.
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. Both aspects concentrate themselves on the fact, that there is only a frightening little space for our commonly held beliefs of beauty. In her photographs we see humans who do not identify themselves with these paradigms. Unadorned and combined with eccentric accessories, they lead the viewer towards the fact that the boundaries of the aesthetics have room for expansion. Candyfloss overboard is Tillmanns first exhibithion on Mainland China. She lives and works in Cologne / Germany.
For this occasion an exhibition catalogue will be published by stage候台BACK Gallery Shanghai and TEAPOT Gallery (Cologne/Germany)
For this occasion an exhibition catalogue will be published by stage候台BACK Gallery Shanghai and TEAPOT Gallery (Cologne/Germany)
stage 候台BACK 艺术画廊与德国科隆TEAPOT艺术馆荣幸发布将合作举办德国艺术家Sylvie Tillmann新摄影作品展.该作品展将于2009年2月28日盛大开幕,持续至4月6日,展出地点为中国上海市威海路696号3楼310stage候 台BACK 艺术画廊.
艺术家Sylvie Tillmann将人体理解为一个表面,一个投射的表层，又试图通过身体这个灵魂载体去解读其背后传达的思想内涵。
Sylvie Tillmann艺术表达中的这两个维度集中体现的一个事实就是,人们所普遍持有的对美的信仰只局限在一个令人吃惊的狭小空间之中.在她的作品中,我们看 到的人物并未认同这些传统范式,他们或不加任何修饰,或配以各种古怪的装饰物,让人们感受到原来美学的界限可以这样被延展. Candyfloss overboard(棉花糖越界)是Tillmanns在中国大陆的首次作品展, 艺术家现居住于德国科隆。
艺术展作品目录将由stage候台BACK 艺术画廊 与TEAPOT艺术馆(德国科隆)联合发布
艺术家Sylvie Tillmann将人体理解为一个表面,一个投射的表层，又试图通过身体这个灵魂载体去解读其背后传达的思想内涵。
Sylvie Tillmann艺术表达中的这两个维度集中体现的一个事实就是,人们所普遍持有的对美的信仰只局限在一个令人吃惊的狭小空间之中.在她的作品中,我们看 到的人物并未认同这些传统范式,他们或不加任何修饰,或配以各种古怪的装饰物,让人们感受到原来美学的界限可以这样被延展. Candyfloss overboard(棉花糖越界)是Tillmanns在中国大陆的首次作品展, 艺术家现居住于德国科隆。
艺术展作品目录将由stage候台BACK 艺术画廊 与TEAPOT艺术馆(德国科隆)联合发布
The catalogue will be launched at the opening reception on February 28, 2009.
stage候台BACK Gallery is happy to announce the "candyfloss overboard" after party will be held y TARA 57, starting at 11pm on February 28 2009.
TARA 57 2/F, 57 Fuxing Xi Lu, Xuhui near Yongfu Lu, Metro Line 1 Changshu Lu Station 复兴西路57号2楼 近永福路,地铁1号线常熟路站 6431-7027
stage候台BACK Gallery is happy to announce the "candyfloss overboard" after party will be held y TARA 57, starting at 11pm on February 28 2009.
TARA 57 2/F, 57 Fuxing Xi Lu, Xuhui near Yongfu Lu, Metro Line 1 Changshu Lu Station 复兴西路57号2楼 近永福路,地铁1号线常熟路站 6431-7027
Rolf A. Kluenter fragility report［柯罗夫弱報道］, March 20 -April 4, 2009 Backyard Gallery Højbro Plads 21B 1200 Copenhagen Denmark
Rolf A. Kluenters fragility report, more info hereRolf A. Kluenter ‘Fragility Report’ Works 2006 - 2009
‘Fragility Report’ is the third cycle of Rolf A. Kluenter’s Shanghai works that he created in this Chinese Mega-Metropolis during his resident-ship since 2000. This cycle presents a range of works that acquires the density of objects without losing the free form of inwardness that paint evokes. ‘Fragility Report’ gives an insight into Kluenter’s observation of urbanity as an awe-inspiring reality. These aspects of Kluenter’s aesthetics might bear strong reminiscences of scenes and atmospheres of 19th century Romanticism. In contrast, however, his recourses and references rather relate to the “Dynamics” of a mega-urban scenario than to the “Mighty” of Nature.
Rolf A. Kluenter looked into areas excessively and radically over-constructed by human hand and chose as his central theme an extreme of civilization-appropriation that itself in the rapidly growing Asian metropolises became reality within a very short time. He translates and captures elemental cellular patterns of growth that serializes the depth of unrestrained proliferation of over-construction. This process simultaneously happens with the de-construction of existing urbanity.
In his picturesque abstractions, the aesthetics from both worlds -the Western contemporary art inventions and the Oriental artistic traditions- seem to resonate: basic geometric elements calligraphically condensed; subtle running colors casting imaginary spaces; lines and hatching; application of the brush and meander, glazes and overlapping; blank spaces and contrast. His entire repertoire of non-representational filigree shapes, an essentially free interplay of artistic elements, is reminiscent of, but not identical with, handwriting.
Kluenter applies a wide range of color media (fine color pigments, nail polish from fashion trends, enamel sprays from metallurgy and Chinese ink) to the canvas whose surfaces combined with these media yield their own particular textures, inextricably interweaving transparency with color, fragility with strength and, thus creating a subtle experience of "pure materiality".
All elements put together to create a melting merger atmosphere could therefore have a very well meditative balance, representing a peaceful dialogue between the various applications and media, wouldn't Kluenter have integrated some medium-seriously disruptive action: irritating dots and spots, fractures, slants and distortions. He doesn't call this particular cycle of works "fragility report" without reason, alluding thereby to the vulnerable and fragile aspects of life, a suddenly appearing catastrophe, the unexpected crisis or the abrupt obstacles which radically demonstrate that the experience of insecurity, uncertainty and impermanence are the ever-present co-emerging factors of our existence. Kluenter's ‘Fragility Report’ in this sense can be seen as an artistic answer to unforeseen encounters on a virtual map: they show the borders of the enlightened art history and refer indirectly to other human abilities: improvisation for example.
Rolf A. Kluenter, an on-going experimenter in his domain, often displays his paintings in series as ever so many declinations of basic emotional positions. His works, as himself, are situated between cultures, crossing borders, intersecting at cross-cultural pathways in the concrete as well as the artistic domains.
‘Fragility Report’ is the third cycle of Rolf A. Kluenter’s Shanghai works that he created in this Chinese Mega-Metropolis during his resident-ship since 2000. This cycle presents a range of works that acquires the density of objects without losing the free form of inwardness that paint evokes. ‘Fragility Report’ gives an insight into Kluenter’s observation of urbanity as an awe-inspiring reality. These aspects of Kluenter’s aesthetics might bear strong reminiscences of scenes and atmospheres of 19th century Romanticism. In contrast, however, his recourses and references rather relate to the “Dynamics” of a mega-urban scenario than to the “Mighty” of Nature.
Rolf A. Kluenter looked into areas excessively and radically over-constructed by human hand and chose as his central theme an extreme of civilization-appropriation that itself in the rapidly growing Asian metropolises became reality within a very short time. He translates and captures elemental cellular patterns of growth that serializes the depth of unrestrained proliferation of over-construction. This process simultaneously happens with the de-construction of existing urbanity.
In his picturesque abstractions, the aesthetics from both worlds -the Western contemporary art inventions and the Oriental artistic traditions- seem to resonate: basic geometric elements calligraphically condensed; subtle running colors casting imaginary spaces; lines and hatching; application of the brush and meander, glazes and overlapping; blank spaces and contrast. His entire repertoire of non-representational filigree shapes, an essentially free interplay of artistic elements, is reminiscent of, but not identical with, handwriting.
Kluenter applies a wide range of color media (fine color pigments, nail polish from fashion trends, enamel sprays from metallurgy and Chinese ink) to the canvas whose surfaces combined with these media yield their own particular textures, inextricably interweaving transparency with color, fragility with strength and, thus creating a subtle experience of "pure materiality".
All elements put together to create a melting merger atmosphere could therefore have a very well meditative balance, representing a peaceful dialogue between the various applications and media, wouldn't Kluenter have integrated some medium-seriously disruptive action: irritating dots and spots, fractures, slants and distortions. He doesn't call this particular cycle of works "fragility report" without reason, alluding thereby to the vulnerable and fragile aspects of life, a suddenly appearing catastrophe, the unexpected crisis or the abrupt obstacles which radically demonstrate that the experience of insecurity, uncertainty and impermanence are the ever-present co-emerging factors of our existence. Kluenter's ‘Fragility Report’ in this sense can be seen as an artistic answer to unforeseen encounters on a virtual map: they show the borders of the enlightened art history and refer indirectly to other human abilities: improvisation for example.
Rolf A. Kluenter, an on-going experimenter in his domain, often displays his paintings in series as ever so many declinations of basic emotional positions. His works, as himself, are situated between cultures, crossing borders, intersecting at cross-cultural pathways in the concrete as well as the artistic domains.
Rolf A. Kluenters a.k.a 柯罗夫計劃2009年
sleepless nights
timezone 8
ghost and demaons are afraid
Ke Luo Fu works again
his mind has broken the entire chain
at dawn we ll see
what really will be
success or another
illusory bublbe
柯罗夫 Projects, please click here for more information
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