December 12, 2008
December 11, 2008
Geiles Globales Gesicht - Susanne Junker - Soloshow - September 8 - 28 2008 " 個人表演 "
An essentially untranslatable term, “Geiles”, either grand or aroused by desire, has been coined by Susanne Junker for her most recent photographic series. 12 images of the artist transformed after painstaking applications of facial paint confront spectators with a work constituent of anonymity, cultural associations & iconography as well as silent protest. 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 performer is one female, the symbolic reference of the masks sabotaged, rendered “perverse”, and visual reference one of auto-portraiture. For those familiar with Susanne Junker, this versatile artist/conceptual photographer is not adverse to challenging either gender portrayal, sexual iconography or to employ role-reversal as a means of visual subterfuge. The use of the masked figures is a conscious attempt to address specific social constraints and paradoxical elements in the visual vocabulary of the people of the PRC, the voyeurism of the nations’ expatriate audience and community. The faces are silent, the facial details entirely submerged in centuries old practice of multiple layers of grease paint, mouths obscured, and save for one image, reminiscent of the European Harlequin (yet, derived from a traditional character of Chinese Opera), reflect upon the inherent associations of the art form and its transformation. The “Harlequin” poses an interesting jest, as the character itself plays against cultural monogamy and symbol: an image shared by radically different cultural histories and traditions ridicules us with a sad air as part of the exhibition.
In contemplation of the use of the mask not only as a cultural icon or metaphorical device for whatever proposed allegory, we need to recall the significance and conscious/unconscious associations in our collective visual experience. A central vehicle for dramatic anonymity, as well as character portrayal, the mask today symbolizes what aspect of our society? The stage of today, inundated with virtual and artificially manipulable digital sequencing and projections has near abandoned the craft of the mask, yet their appearance is evocative nonetheless.
This work well reflects Barthes associative logic of the photographic moment with that of “death”. Times passage demands the re-analysis of form & & psychological association, history reminds of our changing perceptions of what constitutes cultural symbols & technological advent and innovation now demands we challenge aspects of our cultural heritage. Fascination and voyeurism are doubtlessly aspects of the human condition which have been amplified, and the artist transfixes the stage in mute protest. For Barthes, this suggests that photography creates the conditions for a profound loss of meaning, an absence in which referentiality is removed although we still understand what we see.
In contrast, Jacques Lacan's psychoanalytic theories on photography explain a moment of perception which exceeds the normal boundaries of the everyday. This excess is at one and the same time an encounter with the self and with history. It moves the activity of viewing from a transparent relationship of meaning and expression to a level in which meaning seems to be there without the presence of subjectivity. It is as if the photograph brings out the unconscious, is also a representation of the unconscious and at the same time denies all of these relations of meaning. Junker has undoubtedly redoubled the examination of these two contrastive theories, the loss of meaning is observed, in a relational sense, yet, by the incorporation of more sublime elements rather than a clearly defined "studium" and "punctum", she delivers a visual experience which is highly evocative, more akin to a Lacanian analysis of the medium.To graft the mask from the dramatic arts and make it a central component of conceptual photography, to transform the characters associated with each specific folkloric character (in this case those immediately recognizable from either Jinju or Kunju Opera) as an extension of an artist's adopted psyche- a precarious venture which Susanne Junker has attempted in multiple previous experiments- is no small task. A new representation of an object already categorical & representational, embodiments of narrative fictions to be performed onstage and now suspended in a silent two-dimensional vortex, specters of themselves cast upon the visage of the artist at work in an indivisible act of auto-portraiture, leads to an annihilation of the former and enlivening to the latter. In her work, the artist has afforded new life, and in doing, contrast socio-cultural parallels with her own personal inclinations to provoke the unthinking mechanisms and latency of our image ridden society. Ours is a visual culture, her attempts reminds us that we need constantly analyze and re-analyze the immediacy of our visual environment, and equally, that this auto-reflex has become a part of our post-industrial, ultra-technological society...we are made dependent on the same devices which we have created towards an actual liberalization from the past and former bastions of cultural and societal "advance", now, defunct. While the sincerity of the artist is undoubtable, her personal situational "flux", (from her former series attempting to transgress the field of vision from her experience as a model to that of photographer, from a past of the fashion industry to that of conceptual or fine art...) has led to a body of work which signals diversity and boldness. The current series, while aesthetically and technically more mature leaves one with a sense of greater coherency than several of the series of experiments by the artist of past years, yet the depth of examination is somewhat lacking. While having consciously decided on 12 faces/masks and there presentation is remarkable, within the sphere of cultural reference & social commentary, there remains an understatement in content & manner. Would it not be in order to cross-reference the function of the mask and its use in photography ? A similar re-examination of those faces of antiquity well known and understood in the Italian traditions of Dell'Arte, the Medieval traditions of the Mime and later comic characters of the popular drama's and repertoires of North American film, television and theatre may have a direct trans-cultural impact for the audiences of Chinese origin? For a similar lack of full comprehension and a similar field of misinterpretation exists in visual translations from the Occidental to Oriental vocabulary. We may anticipate an extenuation of the Geiles Globales Gesicht in new applications of form and content in the near future with an emphasis on the Global. To bridge the representational is perhaps to command or control the representational, and while the Geiles Globales Gesicht manifests as a travesty of the transformations behind a medium from one iconographic reference (whether contemporary or traditional) and to another symbolism a minor note of detraction exists in her derisive mirror of the sublime and the crass. It is one where the most neglected audience is denied a role of similar contrastive analysis as the artist, while in a full enthusiasm and passion towards the act of auto-portraiture and individual transformations of the representative icon, has overlooked the importance of the signifier of the "Other" beyond the Euro-Centric errors of both the past and present, and has forgotten the importance Sino-Centric errors of the interpretation of cultural symbols in balance. Nonetheless, a stark commentary is inherent in the message itself & as an emergent series, proves to be confrontational and engaging.
R A Suri
In contemplation of the use of the mask not only as a cultural icon or metaphorical device for whatever proposed allegory, we need to recall the significance and conscious/unconscious associations in our collective visual experience. A central vehicle for dramatic anonymity, as well as character portrayal, the mask today symbolizes what aspect of our society? The stage of today, inundated with virtual and artificially manipulable digital sequencing and projections has near abandoned the craft of the mask, yet their appearance is evocative nonetheless.
This work well reflects Barthes associative logic of the photographic moment with that of “death”. Times passage demands the re-analysis of form & & psychological association, history reminds of our changing perceptions of what constitutes cultural symbols & technological advent and innovation now demands we challenge aspects of our cultural heritage. Fascination and voyeurism are doubtlessly aspects of the human condition which have been amplified, and the artist transfixes the stage in mute protest. For Barthes, this suggests that photography creates the conditions for a profound loss of meaning, an absence in which referentiality is removed although we still understand what we see.
In contrast, Jacques Lacan's psychoanalytic theories on photography explain a moment of perception which exceeds the normal boundaries of the everyday. This excess is at one and the same time an encounter with the self and with history. It moves the activity of viewing from a transparent relationship of meaning and expression to a level in which meaning seems to be there without the presence of subjectivity. It is as if the photograph brings out the unconscious, is also a representation of the unconscious and at the same time denies all of these relations of meaning. Junker has undoubtedly redoubled the examination of these two contrastive theories, the loss of meaning is observed, in a relational sense, yet, by the incorporation of more sublime elements rather than a clearly defined "studium" and "punctum", she delivers a visual experience which is highly evocative, more akin to a Lacanian analysis of the medium.To graft the mask from the dramatic arts and make it a central component of conceptual photography, to transform the characters associated with each specific folkloric character (in this case those immediately recognizable from either Jinju or Kunju Opera) as an extension of an artist's adopted psyche- a precarious venture which Susanne Junker has attempted in multiple previous experiments- is no small task. A new representation of an object already categorical & representational, embodiments of narrative fictions to be performed onstage and now suspended in a silent two-dimensional vortex, specters of themselves cast upon the visage of the artist at work in an indivisible act of auto-portraiture, leads to an annihilation of the former and enlivening to the latter. In her work, the artist has afforded new life, and in doing, contrast socio-cultural parallels with her own personal inclinations to provoke the unthinking mechanisms and latency of our image ridden society. Ours is a visual culture, her attempts reminds us that we need constantly analyze and re-analyze the immediacy of our visual environment, and equally, that this auto-reflex has become a part of our post-industrial, ultra-technological society...we are made dependent on the same devices which we have created towards an actual liberalization from the past and former bastions of cultural and societal "advance", now, defunct. While the sincerity of the artist is undoubtable, her personal situational "flux", (from her former series attempting to transgress the field of vision from her experience as a model to that of photographer, from a past of the fashion industry to that of conceptual or fine art...) has led to a body of work which signals diversity and boldness. The current series, while aesthetically and technically more mature leaves one with a sense of greater coherency than several of the series of experiments by the artist of past years, yet the depth of examination is somewhat lacking. While having consciously decided on 12 faces/masks and there presentation is remarkable, within the sphere of cultural reference & social commentary, there remains an understatement in content & manner. Would it not be in order to cross-reference the function of the mask and its use in photography ? A similar re-examination of those faces of antiquity well known and understood in the Italian traditions of Dell'Arte, the Medieval traditions of the Mime and later comic characters of the popular drama's and repertoires of North American film, television and theatre may have a direct trans-cultural impact for the audiences of Chinese origin? For a similar lack of full comprehension and a similar field of misinterpretation exists in visual translations from the Occidental to Oriental vocabulary. We may anticipate an extenuation of the Geiles Globales Gesicht in new applications of form and content in the near future with an emphasis on the Global. To bridge the representational is perhaps to command or control the representational, and while the Geiles Globales Gesicht manifests as a travesty of the transformations behind a medium from one iconographic reference (whether contemporary or traditional) and to another symbolism a minor note of detraction exists in her derisive mirror of the sublime and the crass. It is one where the most neglected audience is denied a role of similar contrastive analysis as the artist, while in a full enthusiasm and passion towards the act of auto-portraiture and individual transformations of the representative icon, has overlooked the importance of the signifier of the "Other" beyond the Euro-Centric errors of both the past and present, and has forgotten the importance Sino-Centric errors of the interpretation of cultural symbols in balance. Nonetheless, a stark commentary is inherent in the message itself & as an emergent series, proves to be confrontational and engaging.
R A Suri
After a long summer break we got ready for the Shanghai "art month" September that featured 2 art fairs, the Shanghai Biennale and about 80 gallery openings in one week. Jam! I hung my newest series "Geiles Globales Gesicht". Take a look on the piece I done, you can find it here.
等到很長的暑假我們準備趕上上海 “藝術月” 9月兩個藝術務，Shanghai Biennale 還有80多哥艺术家的开幕式在同一周. Jam! 我吧我的最新的个作品瓜 " Geiles Globales Gesicht". 情到这里看 GoSee
stage候台BACK - the outside space “ 外面的風景 ”
Photo by www.frfrfrfr.com
Big city - big lights, our terrace and view on downtown Shanghai
一個打城市 -散光的燈, 我們的平台風光和上海鬧區
Smart Shanghai on stage候台BACK " 新聞界 "
Installation view #0 " 安裝觀點 “
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
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。
Andy Guhl live at stage候台BACK #0 －淄博
Check out Andy Guhl Live performance on 'youtube' below.
Some photos from stage後台BACK gallery..
Sound Artist Andy Guhl “ 聲藝術家 ”
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。”
April 19 2008 - December 10 2008 -A lot to catch up! 多要趕上！
2008 was the birth year of stage候台BACK Shanghai, an artspace from an artist for artists. The first event happened on April 19th 2009 together with the yearly "open door" event at 696 Weihai Lu. I wrote back then:
I proudly announce the opening of stage候台BACK gallery, a space from an artist for artists in Shanghai, China.We had our #0 opening last Saturday and it was a big success, thanks to all of you who came by.
And:
The idea to open an art space blossomed in the fall of 2007 with the wish to be a part of Shanghais fast growing urban culture. Especially in our days, cultural and intellectual exchange between the West and the East are of great importance.This is what this space stands for: FREEDOM - ART - PARTY.
And:
The idea to open an art space blossomed in the fall of 2007 with the wish to be a part of Shanghais fast growing urban culture. Especially in our days, cultural and intellectual exchange between the West and the East are of great importance.This is what this space stands for: FREEDOM - ART - PARTY.
stage候台BACK decided to go "online" on December 10 2008, finally!
亲爱的朋友们，
我荣幸的向你们宣布一个好消息：“候台”艺术廊，作为上海一个面向艺术家们的全新艺术空间已正式对外开放。上周六举办的开幕会取得了很大成功，特别感谢各位的到场支持。
我在上海创办一个艺术空间的想法始于2007年秋，当时的愿望就是能有幸融入上海迅速发展的城市文化。在当今社会，东西方的文化交流和思想碰撞显得尤为重要。这个艺术空间创办的理念正代表了这种潮流：自由-艺术-聚会 “候台”坐落于威海路696号，曾是一个广为人知的鸦片烟窟，艺术家占用了这座位于市中心的仓储进行创作。之后，个人空间开始逐渐修缮起来，一个个小艺术工作室如雨后春笋般不断涌现，我们也在通过加大投资为我们的工作室和爱好艺术的来访者不断改善环境。现今已有约40个艺术工作室和画廊正式入驻威海路696号。
stage後台BACK 中意 “線上” 在 12月10日08年！
696 entrance
Photos by www.frfrfrfr.com
Introduction
stage候台BACK is an art space from an artist for artists and was founded by German artist Susanne Junker in April 2008 in Shanghai, China. Susanne has been traveling to China for the last past 5 years and observed the growing urban culture in Shanghai as well as the fast forward moving Chinese art scene. Her believe is grounded in cultural and intellectual exchange between the East and the West, which can offer new territories and outlooks for both sides.
Apart from the great importance of education, the program concentrates on knowledgeable discoveries as well as surprising, even shocking displays to create strong reactions from the visiting audience. Reaching the status of difference in selection and presentation is one of the goals to achieve in China on many levels. stage候台BACK makes its first steps towards individuality in art and culture.
stage候台BACK will collaborate with artists of all mediums from abroad as well as local based artists. Cultural institutions should have their place at stage候台BACK as well as private owned galleries who are looking for an exchange.
stage候台BACK is located in the center of Shanghai in "the newish underground artist enclave at 696 Weihai Lu", an old building that at one time was an opium den build in the 30ties of last century and most recently an auto parts warehouse. About 40 artist studios are located in 696 Weihai Lu as well as a handful new and emerging galleries.
stage候台BACK is looking forward to up and coming projects spreading until spring 2009 that includes artists from Germany, France and Cameron and further on the collaboration between stage候台BACK and TEAPOT Gallery from Cologne/ Germany.
画廊简介：
2008年四月，德国艺术家 Susanne Junker 在中国上海创立stage候台BACK，这是她用一人之力开创给众多艺术家的艺术空间。
在近五年的时间里，Susanne一直在中国各地游历，亲睹了上海城市文化的兴起，并深刻地体会到中国艺术场所的快速发展。
她坚信中外文艺的交融会为东西方世界认知拓展更宽的领域，并带来新的前景。
没有更多的说教，我们更关注对知识的发现，同时努力推出惊奇的、甚至令人震撼的作品，以此激起观众的强烈反响。我们追求的目标之一，就是要实现选材和展示的多样化，让中国各阶层获得对艺术的理解。 stage候台BACK向文化与艺术的个性化迈出了第一步。
stage候台BACK愿意与来自国外和本土的不同流派的艺术家共同合作。stage候台BACK不仅可以为文化社团提供展示的场所，同时也可以为私人画廊创造交流的通道。
stage候台BACK 坐落于上海的中心“威海路696号新式地下艺术家的聚居区”，这里曾经是上世纪30年代加工海洛因的工厂，近代又成为了存储汽车配件的库房。威海路696号,不仅有近40个艺术画廊选址于此，还有更多新兴的画室定址这里。
stage候台BACK希望在2009年春天之前有更多的德国，法国，卡梅隆的艺术家会在我处展出更多富有活力的作品，并希望架起同德国科隆的TEAPOT（茶壶）画廊合作的桥梁。
我荣幸的向你们宣布一个好消息：“候台”艺术廊，作为上海一个面向艺术家们的全新艺术空间已正式对外开放。上周六举办的开幕会取得了很大成功，特别感谢各位的到场支持。
我在上海创办一个艺术空间的想法始于2007年秋，当时的愿望就是能有幸融入上海迅速发展的城市文化。在当今社会，东西方的文化交流和思想碰撞显得尤为重要。这个艺术空间创办的理念正代表了这种潮流：自由-艺术-聚会 “候台”坐落于威海路696号，曾是一个广为人知的鸦片烟窟，艺术家占用了这座位于市中心的仓储进行创作。之后，个人空间开始逐渐修缮起来，一个个小艺术工作室如雨后春笋般不断涌现，我们也在通过加大投资为我们的工作室和爱好艺术的来访者不断改善环境。现今已有约40个艺术工作室和画廊正式入驻威海路696号。
stage後台BACK 中意 “線上” 在 12月10日08年！
696 entrance
Photos by www.frfrfrfr.com
Introduction
stage候台BACK is an art space from an artist for artists and was founded by German artist Susanne Junker in April 2008 in Shanghai, China. Susanne has been traveling to China for the last past 5 years and observed the growing urban culture in Shanghai as well as the fast forward moving Chinese art scene. Her believe is grounded in cultural and intellectual exchange between the East and the West, which can offer new territories and outlooks for both sides.
Apart from the great importance of education, the program concentrates on knowledgeable discoveries as well as surprising, even shocking displays to create strong reactions from the visiting audience. Reaching the status of difference in selection and presentation is one of the goals to achieve in China on many levels. stage候台BACK makes its first steps towards individuality in art and culture.
stage候台BACK will collaborate with artists of all mediums from abroad as well as local based artists. Cultural institutions should have their place at stage候台BACK as well as private owned galleries who are looking for an exchange.
stage候台BACK is located in the center of Shanghai in "the newish underground artist enclave at 696 Weihai Lu", an old building that at one time was an opium den build in the 30ties of last century and most recently an auto parts warehouse. About 40 artist studios are located in 696 Weihai Lu as well as a handful new and emerging galleries.
stage候台BACK is looking forward to up and coming projects spreading until spring 2009 that includes artists from Germany, France and Cameron and further on the collaboration between stage候台BACK and TEAPOT Gallery from Cologne/ Germany.
画廊简介：
2008年四月，德国艺术家 Susanne Junker 在中国上海创立stage候台BACK，这是她用一人之力开创给众多艺术家的艺术空间。
在近五年的时间里，Susanne一直在中国各地游历，亲睹了上海城市文化的兴起，并深刻地体会到中国艺术场所的快速发展。
她坚信中外文艺的交融会为东西方世界认知拓展更宽的领域，并带来新的前景。
没有更多的说教，我们更关注对知识的发现，同时努力推出惊奇的、甚至令人震撼的作品，以此激起观众的强烈反响。我们追求的目标之一，就是要实现选材和展示的多样化，让中国各阶层获得对艺术的理解。 stage候台BACK向文化与艺术的个性化迈出了第一步。
stage候台BACK愿意与来自国外和本土的不同流派的艺术家共同合作。stage候台BACK不仅可以为文化社团提供展示的场所，同时也可以为私人画廊创造交流的通道。
stage候台BACK 坐落于上海的中心“威海路696号新式地下艺术家的聚居区”，这里曾经是上世纪30年代加工海洛因的工厂，近代又成为了存储汽车配件的库房。威海路696号,不仅有近40个艺术画廊选址于此，还有更多新兴的画室定址这里。
stage候台BACK希望在2009年春天之前有更多的德国，法国，卡梅隆的艺术家会在我处展出更多富有活力的作品，并希望架起同德国科隆的TEAPOT（茶壶）画廊合作的桥梁。
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