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WORKS / selection
STRIPES 2015 / 16
UNSETTLED LANDSCAPES 2013 / 15
MARS_SPIRIT 2009 / 12
STRIPES 2015 / 16
NOT EVERY LANDSCAPE IS OF CAPITAL MEANS 2013 / 15
HOW TO TRANSCEND A POOL IN SPACE 2014 / 15
THE ROSETTA EARTH PROJECT 2012 / 13
NEW MEXICAN TRAVELS 2013
LES HETEROTOPIES 2011 / 12
NY 92 / 12 2012
MARS 2009 / 12
DESERT 2007 / 8
The colored squares of EUROPA
Memory and matter. Site and territory. Identity and reﬂection. Political clashes and imbalances.
Immigration and rising new nationalisms. Color ﬁeld painting has not the intention to reﬂect on
political issues, the same can be said about representational painting. Digital acceleration forces
painting into a mere backdrop of decoration. Subjects, whether as reﬂection on the painting process,
whether as philosophical or/and political reﬂection seem to be anachronistic in the fast pace of the
market place. The squared territory. No media news cover currently, what is happening from its
neighbors perspective within. EUROPA as a map is intended as a zone of free economic trade,
without empathy of diﬀerences and imbalances. EUROPA as a mental map of memory and of its
contemporary history simpliﬁes the current situation. The Sublime as color on the canvas here refers
in its duration to its own cause.
Die eingefärbten Gebiete von EUROPA
Gedächtnis und Materie. Ort und Territorium. Identität und Reﬂexion. Politische
Auseinandersetzungen und Ungleichgewichte. Immigration und aufkommende neue Nationalismen.
Farbfeldmalerei hat nicht die Absicht über politische Themen zu reﬂektieren. Das Gleiche kann auch
über die gegenständliche Malerei gesagt werden. Digitale Beschleunigungskräfte zwingen die
Malerei in eine bloße Kulisse der Dekoration. Themen, seien es Reﬂexionen über den Malprozess,
seien es philosophische oder / und politische Reﬂexionen, scheinen im schnellen Lauf des
Marktplatzes anachronistisch zu sein. Das geteilte Gebiet. Keine Medien Nachrichten berichten
derzeit, was aus der Perspektive seiner Nachbarn geschieht. EUROPA als Karte, ist als Zone des
freien Wirtschaftshandels geplant, ohne Empathie für die Unterschiede und Ungleichgewichte (ihrer
Protagonisten). EUROPA als mentale Karte des Gedächtnisses und der Zeitgeschichte vereinfacht
die gegenwärtige Situation. Das Erhabene als Farbe auf der Leinwand bezieht sich hier in seiner
Dauer auf seine eigene Ursache.
some random thoughts inside my studio on STRIPES
KLAUS HU 2015 / 16
"The Americans" 1959 and later "The Lines of My Hands" by Robert Frank denoted the autobiographical subject
view on (American) reality of the late 50´s and of the early and late 60´s.
Today, we are haunted by the digital collisions of layers of information, followed by voids of amnesia. The
contemplation needed for abstraction and reﬂection is replaced by accelerated speed and overloads of images
and gaps of white bleak time.
Stripes, lines and dots are the basic visual (and mathematical) elements, which refer to writing and drawing (at
the wall of the pre-historic cave). As we dive into an overall NOW, using multiple references, instead of single
signals, the digital archive seems to have replaced experience as we have known it before.
Painting with its system of reﬂection and debate is replaced by media statements across simultaneous channels.
The painting process as contemplation is restrained by this expanded time continuum of presence and its 120
character twitter message.
Even references to writers and philosophers seem lost in the digital stream. Jasper Johns has foreseen in his
White Flags series of 1969 ( a statement also against the Vietnam war ) this white ﬁeld of white noise as white
Location, so much in use by Stephen Shore in his early photographs of street crossings, is replaced by empty
signiﬁers, bubbles and hash tags.
The diﬀerence and the clash between the digital and the abstraction of the painting process is exempliﬁed here
in a series of works, that also act as empty signiﬁers of the art markets monetary evaluation.
work in progress
optional installation of STRIPES /
studio views / work in progress
ON LANDSCAPE AND ITS CONFLICTS
Research has been made possible during residency at Santa Fe Art Institute in New Mexico / USA
in March / April 2013.
The landscape of the North American South West appears as an ambient room as visual language
of lived time. As visual translation, these opposites merge into a symbiosis. Do I imagine landscape
or does landscape reﬂect on me? Is landscape a romantic topic of escape, "inspired" by inﬁnity or is
it an ecological disaster? While landscape was subject to the will and spirit of the late baroque
period in European tradition and degraded to geometric alignments of the nobility, the romantic
period of the 19th century projected the "soul" of the author / artist on / into the canvas, and thus
into / onto the real landscape. Sometimes landscape disappeared as a longing as in Caspar David
Friedrich´s paintings. At the beginning of the 20th Century modernity opens the bridge to non-
western traditions, without examining in detail the various notions of landscape, the self, the
projection, the ritual and transformation. Only the ignition of the ﬁrst Atomic bomb in 1945 in New
Mexico threw an image on the dichotomy of dissolution versus unity (of the self). The result was the
counter-movement and the awakening of the 60's generation. But everything vanished into a
daydream. Another 40 years later, after several ﬁnancial and ecological crises and disasters, the
exploitation of resources by transnational corporations, wars of intervention, after 9/11, looking at
"LANDSCAPE" is probably a marginal subject. While land-art of the 60's in America was dependent
(and still is - see Michael Heizer) of immense production budgets of the Foundations, landscape
submerged as backdrop into the popular context.
HOW TO TRANSCEND A POOL IN SPACE
for spatial / site-speciﬁc installation
uses multiple materials for installing a pond as a pool inside factual space.
Its size is variable, but shall minimum be 6 x 6 m.
As the pond, ﬁlled with water, is constantly evaporating from liquid into fog, leaving a visible trace of
sand and stones behind, it will transcend its liquid state into a transcendental state, reminding
to earth´s constant change and transformation.
Can the vaporous water be re-collected? Will it be in a constant diffusion?
As there are now enormous droughts, due to human misuse of resources, including water,
water distribution became already an economic business, granting surplus proﬁt for multinational
In contrast this project requests water distribution as a transformation of local communities instead
of multinational corporations.
Installed inside space it will reﬂect on the poetic aspect of water as a substance for life cycles and
the basis for the constant processes on earth.
Water has been connected to the ﬂuidity of mental processes, to libidinal energy and the sex drive
and has taken in religious mythology the symbol of puriﬁcation.
Studio Berlin: Wildenbruch 77
12045 Berlin / Germany
VIDEO / KEYNOTES: http://youtube.com/klaushu
INTERVIEW: Yale University Radio with Brainard Carey http://museumofnonvisibleart.com/interviews/klaus-hu
KLAUS HU works with painting and photography that penetrate and complement each other, questioning representation and its
cultural codes. While the digital archive counter acts as memory and as source for some of his compositions, the recent series
"UNSETTLED LANDSCAPES" of 2013/14 is a real time investigation into the subject of "landscape" via photographic research and
reﬁned on the plane of the canvas. Usually working with subjects for a limited time-span, altering and questioning the painting
process, his subjects and middle to large size paintings emphasize this contradiction of narrative representation and analytical de-
He received a fellowship for photography from the Berlin Senate and took part in national and international site-speciﬁc
competitions like MAXXI Rome, Sharjah Biennale and German Parliament (Marie Elisabeth Lüders competition).
Recently he was invited for a Santa Fe Art Institute Residency at Santa Fe, New Mexico, USA in March/April 2013.
For curatorial / research and conference participations he compiled: "Bodies Desires" in 2006 for ApexArt NY
"On Maps and Cartographies" in 2010/12 for Berlin (not realized due to funding issues) and "On Space and Narrative Identity" for
ISEA / Singapore 2008 as artist / paper presentation / funded by IFA / Stuttgart/Germany.
online p-review: http://klaushu.blogspot.de/2011/06/curatorial-research-site-speciﬁc.html or via http://www.slideshare.net/klaushu/
REPRESENTED BY VG BILD-KUNST, Bonn, Germany / Steuernummer 1635562802 nach § 19 Abs 1 UStG
KLAUS HU / PAINTING / PHOTOGRAPHY / SITE-SPECIFIC / CURATORIAL / RESEARCH
1963 born in Heidelberg / Germany, living and working in Berlin
studies / fellowships / prizes / conferences / residencies
2013 Santa Fe Art Institute Residency / New Mexico / USA
2011 curatorial training at UdK Berlin, University of the Arts, Berlin
2008 ISEA Singapore / conference / artist/paper presentation
2007 Mutamorphosis / Leonardo Forum Prague and Re-Place Berlin / conferences
1998/99 guest study in cultural studies and multimedia at Katharina Sieverding, UdK (University of the arts), Berlin
1992 given lectures in script development, UdK, Berlin
1992 fellowship for photography, Senate of Berlin, catalogue, group show at Martin Gropius Bau, Berlin
1992 special merit award JVC video festival Tokyo for the animation "STAGEBOX"
1985/91 studies in stage design, photography, video, UdK, (University of the Arts) Berlin
at Achim Freyer & Marcel Odenbach
1988 assistance for Robert Wilson, stage design and directing
1982/83 studies in Anthropology, Germanic- and Romance language/literature at University Heidelberg
exhibitions / installations / video screenings / participation in competitions /
curatorial projects / performances
2016 participation FAENA ART SPACE, site-speciﬁc call, Buenos Aires, Argentina
2015 UNSETTLED LANDSCAPES solo exhibition at SOMOS, Berlin, Germany
2013 OPEN STUDIOS at Santa Fe Art Institute, Santa Fe, NM, USA
2011 KUNST_RAUM at German Parliament, (Deutscher Bundestag, Berlin)
presentation / exhibition via http://klaushu.blogspot.de/2011/06/curatorial-research-site-speciﬁc.html
2011 DIFFERENT WORLDS at Skalitzer140, Berlin, groupshow
2011 participation in site speciﬁc competition for MARIE ELISABETH LUEDERS HAUS, Berlin
2010 END OF SUMMER SHOW at Atelierhof Berlin, groupshow
2009 TRILOGY: MARS DESERT BEACH, 3 open studios, Berlin
2009 SHARJAH BIENNALE, participation in open call
2009 MAXXI, Rome, participation in site-speciﬁc competition
2008 CELESTE Kunstpreis Berlin, competition, participation, catalogue
2006 BODIES DESIRES, curatorial project for APEXART NY
2005 McCormick Freedom Museum, Chicago, competition
2005 PUBLIC ART FUND - competition, New York
2005 BUSAN BIENNAL - outdoor project, open call, Busan
2004 VENEZIA, participatIion in site-speciﬁc competition per la realizzazione di opera d #arte nella nuova Citadella
2003/4 DESTINATION, script development
2003 Arriyadh housing competition, Arriyadh, Saudi Arabia
2003 STILL RUN REMIX & NY PILOT, ART FORUM, Berlin, installation DVD
2001/3 VM. - development of architectural design. A museum
2001 collaboration with DAVID LAMELAS
1991/98 video screenings at international media- and videofestivals:
Sao Paulo, Brazil, JVC Tokyo, Japan (special merit award), Cinema Arsenal, Berlin,
WRO Wroclaw, Poland, EMAF Osnabrück, Germany, AVE Arnheim, Netherlands.
1992 JAHRESLABOR BERLIN, groupshow at MARTIN GROPIUS BAU / BERLIN / fellowship of Berlin Senate
1989 NEW WORKS, paintings. Gallery Deplana, Berlin. Exhibition
1989 DAILY NEWS, performance. AVE Festival, Arnhem. Netherlands
1988 EACH SENTENCE, performance. Hotel Esplanade, Berlin. Supported by EASA