NEWS


invited for a short residency at French Villa Medici Rome July 2018 
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THERE IS SOMETHING IN THE AIR


main subjects in the studio based process and for research from 2009/17 are: 

1: A KIND OF BLUE  2016/17 (work series)
on strata / geology / genealogy of history / geopolitical input

2: STRIPES 2015/16 (work series)
on the digital / the sensual / appropriation 

3: UNSETTLED LANDSCAPES 2013/15 (work series)
on landscape / the Anthropocene / conflicts on resources 

4: MARS_SPIRIT 2009/12 (work series)
on escapism /  sci-fi and narrative territories



These main subjects and its researched and worked out series of paintings and photography do act as containers of imagination of the senses with additional random or focused research input of (photographic) archives. Whether textual or personal research, that have influenced these work series, the outcome as visual and sensual information can be traced back to its original source, or it may be juxtaposed with artworks of artists belonging to different time frames and cultures. Sometimes the works do scratch only the surface of its intention, sometimes they try to dig deeper. As the cultural (western) canon of painting and photography has been of representation, of abstraction, of minimalism or of expressionism, of romantic solitude or of pop cultural heroism, here the work series and their subjects blur these (western) canonical interpretation, and do act as prototypes of dialogues to happen upon spatial exhibition, installation or juxtaposition as a continuous rolling process.

Some of the underlaying subjects can be questioned from a different point of view (perspective). They can be altered, even neglected, to open a new dialogue inside the global/local forum with multiple answers, instead of delivering one style or brand. 


The works aim for a narrative, abstract, philosophical, multilayered, associational, scientific, poetic, sensual, reflective discourse by posing questions, instead of offering answers on subjects researched and visualized. 

Thus painting and photography as fine art mediums among others, try to escape the trap of art as decoration, backdrop or speculative object, but instead do enter the process again, intended in art & science during the Renaissance. 

Its multilayered output and process can be compared to a stone in movement, a river flowing or even water evaporating as an endless process of sensual stimulation and reflection.

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 2017 / 2018


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studioview
MAY 2018









CRISPR-CAS 9
oil on canvas  90 x 140 cm
2017 / 18


a painterly reflection on the gene editing process via enzyme based slicing.

The gene editing process CRISPR-CAS 9, 
may cause mutations, due to possible edits of DNA
sequences not intended 
and in distance to intended enzyme based slicing location/helix of DNA sequence.
(based on July 2018 scientific news)





sketches 2017 / 18

possible (fake) mutations

















special edition 2017/18
CRISPR / CAS 9
15 digital prints of collages_painting_photography
each print signed on back 1 - 15
each 21 x 29,7 cm
available as edition 1/1 as boxed set
for price and how to order















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PAINTING KLAUS HU 2006 / 2017
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PAINTING KLAUS HU 2006 / 17

content: 

A KIND OF BLUE 2016 / 17
STRIPES 2015 / 16
UNSETTLED LANDSCAPES 2013 / 15
ROSETTA EARTH 2012 / 13
LES HETEROTOPIES 2011 / 12
MARS_SPIRIT 2009 / 12 
DESERT 2007 / 8 
BEACH 2006

all works & editing © STUDIO KLAUS HU 2006 / 17

music courtesy: 

Andrea Falconieri / Naples 1585 / 1656

1. Giaccona by Orazio Gentileschi

2. La Folia - by Early Music Ensemble Voices of Music
3. La Folia by Fontana di Musica
4. Giaccona by La Ritirata
5. E vivere e morire by Renata Fusco & Lorenzo Micheli
6. Folias by Accademia d´Arcadia




PAINTING 2017 / 2006 

A KIND OF BLUE. 2016/17
The title of this series is inspired by Miles Davis´ “A KIND OF BLUE” - although I mostly listened to John Coltrane, while painting this series. Photos, I shot at Bandelier National Monument and at Acoma, First Nation settlement in New Mexico, during my residency at Santa Fe Art Institute in 2013, were the basic source for the large scale work AT HOME I AM. The color blue became the dominant tone, emphasizing the mood, while remembering the vast landscapes of New Mexico. Each of the nine fields of the composition stands for the forces of nature as a living being. A kind of eternal presence and a map for storytelling as well. 

Sometimes photos of the digital canon do catch my attention. They do remind me, that time not only has a short duration, but also a long duration (in respect to Henri Bergson). Glimpses of light spaces, boxes full of light (in correlation to James Turrell) and submarines of the cold war, anchor in a harbor somewhere in Europe 
and the US for tourist attraction. 

Its never too late to make a jump cut, a time jump into another reality, while art biennales and the war in Syria is ongoing. Inside these parallel realities, deep human tragedies are lived out, conflicts for resources are stressed and power struggles are fought. In my humble studio presence, I only can filter some of these realities as contradictory cut outs and juxtapose them on the plane of the canvas. In film you would call it a plan sequence. 

STRIPES.  2015/16
To deal with images of the online archive and of colleagues as references and as citation needs a format to make it my own. This is the landscape format, which reminds to a stage set, while abstractions of these references enter the composition as stripes. They play the role of subtraction inside the additive painting process. This subtraction, appears either as the bleak canvas or as a monochrome stripe and offers the viewer to insert a new element of his own into the viewing process, of what is erased, or left out. 

UNSETTLED LANDSCAPES. 2013/15
These paintings are mostly based on the photos I shot during the residency in New Mexico at Santa Fe Art Institute in 2013. I complemented the source material with some photos by Timothy O´Sullivan (1872/74), who, as embedded photographer, documented the first geological survey and mapping expeditions towards the West in the US. These juxtapositions of historical and personal recordings do act as flashbacks towards the subjects of land exploited, the first Atomic bomb test in 1945, clashes of land-use and ongoing struggles for resources, while at the same time, the beauty of the desertlike landscape speaks for itself. 

MARS_SPIRIT.  2009/12
The Dutch conceptual artist Bas Jan Ader escaped during a sailing boat trip in 1972 and was never seen again. As I was looking around the year 2009 for a different perspective in my studio based practice, NASAs Martian rover Spirit sent high resolution images in 2D / 3D / black and white and color from Mars down to Houstons control room. I was struck by the technical achievements of humankind and science. What to do with these images? Creating a fictitious storyline? Translating the images into paintings? Looking for, what the ISS astronauts, watching mothership earth, meanwhile sent down? Or simply creating a Mars Station for future settlements?

ROSETTA EARTH.  2012/13
If only earthly problems would resolve into a meta narrative of fading languages. Seen from the future. 

LES HETEROTOPIES. 2011/12
This discrepancy of the overall now, its fading past and its focus on optimizing the future, creates spaces, that Michel Foucault speaks of as heterotopias, non spaces or spaces with multiple cultural belongings, like for example airports. The same can be said, if two or more cultures of different times meet on the plane of the canvas, creating a heterotopia of multiple cultural canons and signifiers. What would be signified, if Bellini could meet Hokusai with the aid of a time machine? This is outside of my prediction, but I guess in our digital overall now, story lines must fit into an I-phone screen instead into a 750-page book. Robert Smithson used the word “entropy” for this ever more increasing disorder and fragmentation, while our global memory gets more and more simplified of its own cultural identities. 

DESERT. 2007/8
Back to the cultural canon. Appropriation can help of highlighting moments and may exemplify re-identification with memory and experience. But appropriation cannot replace these two mental and bodily experiences. 

BEACH. 2006
At first I thought, that painting is like writing a biopic.Then I discovered, that inside the maelstrom of images, history, reflection and time itself is not a one dimensional time-box, to be filled with personal items, and then buried in the ground, re-opened centuries later. No, painting implements all sensual elements, to reflect and confront the contemporary now. How simple or complicated these reflections sometimes may be, in spite of our complicated life of political challenges, cultural changes, scientific discoveries and moral and religious believes. 













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SEPT 2017

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preview
 A KIND OF BLUE 2016 / 17





















sketches 






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JUNE 2017
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ALUMNI PAGE AT SFAI
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MAY 2017
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BLUE MESA REVIEW / LITERARY MAGAZINE FROM ALBUQUERQUE / 
UNIVERSITY OF NEW MEXICO has included one photo of BANDELIER 2013 
in the current issue NO 35 / check it out here: BLUE MESA 35 
Its in dialogue with the essay by Leeanna T. Torres  
"Hózhó" and a ride into Navajo land.
photo BANDELIER II © KLAUS HU 2013 / made possible during residency at Santa Fe Art Institute / New Mexico 2013 / archival pigment print on hahnemuehle / size variable / edition: variable



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NOV 2016 




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geological stratum
                             swapping through
               light-filled veins
                                           of dormant dreams
           and encounters
                                                        heavily remembered
                   while a dark black cloud
hovers across
                                  this tiny place, spot
                                                somewhere at the ocean
                                of time
                                                                           like a tic tac forwards
                    and a tic tac backwards
                                          a circle, a spirale drawn
                                to focus on the next step
                                                      inwards, outwards
                                                                                                       for escape



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photo by Timothy O`Sullivan 1873




Settlement: View of the White House, Ancestral Pueblo Native American (Anasazi) ruins in Canyon de Chelly, Arizona, in 1873. The cliff dwellings were built by the Anasazi more than 500 years earlier. At the bottom, men stand and pose on cliff dwellings in a niche and on ruins on the canyon floor. Climbing ropes connect the groups of men. Anthropologists and archeologists place the Anasazi peoples of Native American culture on the continent from the 12th Century BC. Their unique architecture incorporated 'Great Houses' which averaged up to 200 rooms and could take in up to 700
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AUG / OCT 2016 
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studio time

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details of new work


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MAY / JUNE 2016 


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EUROPA
continuity studio
oil on canvas 195 x 270 cm
KLAUS HU 2010/15/16


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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.

 





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juxtapositions


LES HETEROTOPIES 2011 / 12
oil on canvas
180 x 200 cm

YELLOW JAZZ 2015 / 16
oil on canvas  
140 x 240 cm diptych












 



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NOV 2015


YALE University radio interview
on UNSETTLED LANDSCAPES
with Brainard Carey and Klaus Hu














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MAY 2015



SOLO EXHIBITION 


UNSETTLED LANDSCAPES
at Somos Art Space Berlin

 8 th - 22 nd of May 2015



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WORKS 2009_16














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JUNE 2014



OPEN STUDIO 
FROM 27TH TILL 29TH OF JUNE 2014









poster,  photos, layout © Klaus Hu 2013/14
edition of 400







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SEPT 2013


BOOK  NEW MEXICAN TRAVELS
made possible during residency at Santa Fe Art Institute, NM, USA
March / April 2013
available from Sept 2013 on via BOOKS_bibliography
100 pages / 116 photos / hardcover / limited edition of 25 / signed 





all images © Klaus Hu 2013
additional image rights courtesy Derrick Velasquez
page 57, "Untitled 41, 2012"
and page 56 courtesy Georgia O`Keeffe Museum, Santa Fe, NM
& New Mexico Museum of Fine Art, Santa Fe
"The Motorbike of G O K" 














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APRIL 2013



OPEN STUDIO 
Thursday 25th of April
at SFAI / Santa Fe Art Institute
from 5.30 till 7 PM
Santa Fe, NM, US, 
1600 St Michaels Drive 





MARCH 2013


OPEN STUDIO at 28th of March 
at SFAI / Santa Fe Art Institute from 5.30 till 7 PM

http://sfai.org/march-open-studios/









March / April 2013


SANTA FE ART INSTITUTE RESIDENCY / USA 
 New Mexico 
(specific research and studio based)


Santa Fe Art Institute (SFAI) was founded in 1985 as an independent 
educational nonprofit providing unique opportunities for emerging artists to pursue brief, intense periods of study with critically acclaimed visiting artists. In 1999, the Institute moved to its nearly 17,000 square-foot facility and expanded its mission and programming to include explorations at the intersection of contemporary art and society. Bringing together prominent individuals and institutions in the arts, sciences, and humanities, SFAI provides artist residencies, lectures, workshops, publications, exhibitions, and educational outreach programming for an international audience. 





ALUMNI PAGE AT SFAI
















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