Kluenter Pause.look

8/8/2019 Kluenter Pause.look

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ROLF A. KLUENTER


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11:23PM 32-04 Urban Retreat, 2005

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Untitled, 2006


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ROLF A. KLUENTER


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WORKSBlackened Nepalese Handmade Paper

The Shanghai Works

WORKSCanvas

contents

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Preface 8 Works 56 Biography 58 Exhibitions 60

Collections 61 Bibliography 61 Imprint 64

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preface

Rolf Kluenter is an artist who is full of energy, inspiration and seemingly limitless ideas. He himself has had a wide range

of influences in his li fe. He was born in Germany and grew up there. But after Rolfs graduation, instead of going toNew York and doing what was expected of him, he chose to forge his own path and moved to Katmandu, where he

spent over 15 years. The influence that his life in Nepal has had on him is very apparent in Rolfs work, not only from

the Nepalese paper that he uses in much of his work, but also conceptually. The artist has also spent the past 7+ years

in Shanghai, where he has married a Shanghainese woman, adding even more Asian influence on the artists life. Rolf

Kluenter has spent more than half of his life in Asia, and we sometimes joke that he is now more Asian than German!

Rolf is an innovator. He is an artist who will probably never stop experimenting with new media. When visiting his studio,

one never knows what amazing inspirations Rolf will have recently had. He is not afraid and does not hesitate to try

new things, which is the mother of creativity and invention. In fact, a good artist is always looking for something new,

something different to express. And Rolf is certainly that way. For example, the artist has recently been experimenting

with using stainless steel, wires and bulbs and even womens lipstick as media for his work. Rolf is probably the first

artist to use old Nepalese black manuscripts within his artworks; he subsequently even developed the medium even

further, and it is now something unique to Rolf.

The special black paper Rolf uses is still all produced in Nepal and shipped to the artist. Rolf explains that black is the

ultimate non-colour, the ultimate void. While white is all colours combined, black indicates the absence of light, the

very thing which reflects colour in our eyes. Rolf is fascinated with the colour black, and sometimes cuts out star-like

shapes within the void to indicate the existence of the physical within the tremendous amount of nothingness that is

space. The black nothingness is also interwoven together in a kind of three-dimensional way, so that it becomes

impossible to tell the beginning or the end of the void. Clearly, this series of work indicates Rolfs deep philosophical

reflection on existence.

It is ironic that after a long career of experimenting with so many different media, Rolf has only recently, for the first time,

begun painting with the traditional medium of oil on canvas. Even the artist himself laughed at how ironic it is that he

is finally using such a normal medium. Yet the layered abstract paintings are closely related to his black paper work.

Rolfs oil paintings still balance nothingness with the physical world, as Rolf has 3-dimensionalized the canvas by paint-

ing abstract layer upon layer.

Sami Wafa


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BLACKNESS ESSENTIALLY

SUGGESTS THE ABSENCE OF

A SOURCE OF LIGHT ANDTHE NOTION OF VOID.

ITS NATURE EVOKES THE

LIMITS OF THE VISIBLE.


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Void One, 2003


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Dual System, 2005

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SOME RHYTHMS

JUST DEVELOP BECAUSE

THEY ARE A SERIESOF SINGLE STEPS.


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Untitled, 2005

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Untitled (1-6), 2004

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Phantom Exist, 2004

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BLACKENING THE PAPER

PREPARES THE GROUND

AND EMPOWERSTHE MATERIAL.


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THE COMBINATION

OF BLACKENED PAPER

WITH WHITE PIGMENTSINEXTRICABLY

INTERWEAVES

TRANSPARENCY AND COLOUR

AND FRAGILITYAND STRENGTH.


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Untitled, 2003

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Portal, 2004

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Grid, 2004

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Kafka, 2004

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The Back Room-entrance, 2004

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This current series of Rolf A. Kluenters work invites us to consider the big questions: the nature of self, the nature of

the universe in which we find ourselves, and the relationship between them. The central theme of these paintings is not

to capture some kind of abstract reality, life, as it is, but instead to explore the processes of creation and the creative

process in and of itself. Kluenter is captivated by the verb to transpire, to cause something to happen, to go beyond,to cross something, to inspire. The purpose of his work is to demonstrate or to cause some kind of tension, since this,

in his mind, will cause something to transpire. Kluenter is interested by the idea that beyond memory, there is something

more, something non-material but nevertheless, very real. It is this beyond-ness of things that his work is trying to

expose. As something happens, or transpires, it passes into our memory, where this process of creation keeps devel-

oping. Nothing is finite and nothing has an end; one event is transformed and so leads on to something else. Even as

this occurrence becomes memory, this course of transpiration continues in our minds. Kluenter talks in depth about

how, in his mind, his works have their own life force, their own independent impetus. As a temporal process, the crea-

tion of a painting takes on an autonomy that exists separate to the artists original intention. He talks about how he is

physically unable to copy one of his own paintings since he is unable to duplicate the creative process that gave birth

to the piece. The process of creation, therefore, is something that is dynamic and in itself ever-changing, as part as a

universally dynamic and ever-changing world.

Firstly, this then raises the issue of experience and assessment of that experience in the inevitably illusory and unreliable

The Shanghai Works


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nature of the sensory world. How, then, are we able to perceive and thus to comprehend our world and ourselves? To

be able to know, we must first find a way to perceive in a true and real sense that which we wish to know. As Rolf A.

Kluenter points out, in scientific theorisation, this is attempted by the application of modelling. Science puts forward

theories to explain the physical phenomenon around us, models that are then meant to be able to calculate (predict) fu-

ture configurations of said phenomena. These new forms of science that attempt this exercise, such as biotechnology,nuclear physics and nano-technology, are based entirely on secondary research. They analyse indications and prod-

ucts of these phenomenon since the matter that they are endeavouring to examine and explain, cannot be observed

by our senses. Thus, there is no true evidence for these explanations of our universe.

This endeavour began as early as the Renaissance with men trying to explain and thereby control the universe around

them through the use of models or theorization. It is the idea of the black box: we do not know what is happening

inside, we can only examine and interpret its output, and memory functions in much the same way. These paintings

are the simultaneous output of both the artists individual memory and our collective memory; tied as we are in the web

which in culture, society and the human environment.

These canvases are a picture of the world, and are gathered from the idea of the ideal world model. If the knowledge of

the material world is conjecture, conversely, knowledge of our soul and of our emotions is something that is more solid.

This leads to the conclusion that through emotion we can know ourselves.


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The tensions in Kluenters work are what drive the pieces, since this tension sparks the dynamic process. One of the

most important tensions is in his use of palate: black, white and grey. We must stop thinking of black and white in

terms of being diametrically opposing and conflicting opposites. Instead, they each are interchanging halves, each with

a common origin, each a part of this dynamic process of creation. The black webs and grids are reminiscent of his

earlier works using blackened paper. Paper represents something that is old, traditional and organic. It is associated

with ideas of communication and transmission. By extension, it is a symbol for culture and our cultural life. However,

paper is something that is fragile and easily degraded, and thus short-lived and has but a passing existence. The round

patches of white that are a new development in Kluenters work are to do with his recent experiments with using light

bulbs in his work. Light bulbs, are opposite in many respects to paper, being associated with science and technology.

The bulbs suggest light, which as we know, is a form of energy. Energy, according to Einsteins E=mc2 theory, is the

force of causation. Something is created out of where before there appeared to be nothing. This is the process of crea-

tion - the observation of what happens when something transpires, and the main pre-occupation of this current series

of work. This physical formula argues for interchangability of energy and matter, of void and material things. There is a

great amount of void in Kluenters paintings, which suggests at the great amount of void that is present in our universe.

This void, should not, however, be confused with nothing-ness. The void is in itself a force for change and a source of

matter. It is out of the void that all things come and to which all things must return.


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This idea of space and the function of space allude to the significance of the title of this series: Urban Retreat. Rolf A.

Kluenter is exceptionally humanitarian. He is concerned not with abstract theories in and of themselves, but in their rela-

tionship to and meaning for human life. The overwhelming environment that is the urban space causes him to question

what this means for the individuals that must reside within that space, at what recourse they have at their disposal to

contend with the pressures and impact of that environment. We cannot escape from material reality nor can we avoid

the necessity of having to exist within some kind of physical context. Our aim should be to find a retreat within this spa-

tial environment, instead of a removal from its confines. These paintings act as facilitators in this process and exercise

of temporary withdrawal. He does not advocate removal from this environment as a constructive solution, nor does he

suggest living apart or secluded. It is undesirable to live with a mind deluded. Instead, we must find a way to temper

our awareness of our reaction to the environment, this is to say, to find a way, whilst being among it all, and to remain

true to our truest and most inner self. First, however, we must find a means by which to know and to comprehend our

own identity and place in the external environment.

We invite you to pause for just a moment and consider the works before you in this exhibition - to seek, at least tempo-

rarily, a space for reflection and contemplation and to discover for yourself your own personal urban retreat.

-Ilse Schache


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,


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E=mc2 ,


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-


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Untitled, 2005, mix media, installation view, dimensions variable

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PARTING,

WANDERING

AND RE-ENTERINGARE MOST ESSENTIAL

MOVEMENTS.


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Urban Retreat, 2005

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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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Soul-Mates (diptych), 2005

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Third Wave, 2005

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Gridlock II (triptych), 2005

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THE ENTIRE REPERTOIRE

OF NON-REPRESENTATIONAL

FILIGREE SHAPES,AND ESSENTIALLY FREE

INTERPLAY OF ARTISTIC

ELEMENTS,

IS REMINISCENT OF,BUT NOT IDENTICAL

WITH HANDWRITING.


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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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Untitled, 2005

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ONE MUST

DO NO MORE

THAN PAUSEAND LOOK.


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2 3 11:23PM 32-04 Urban Retreat, 2005, c print 29 x 42 cm

4 Untitled, 2006, blackened Nepalese handmade paper, 12 mirrors, bird cage, dimension varies

11 Void One, 2003, blackened Nepalese handmade paper, 136 x 136 cm

12 Untitled, 2005, blackened Nepalese handmade paper, 241x 91 cm

15 Untitled, 2005, blackened Nepalese handmade paper, 240 x 240 cm

16 17 Untitled (1-6), 2004, blackened Nepalese handmade paper, pigment binder, 100 x 70 cm

18 Phantom Exist, 2004, blackened Nepalese handmade paper, pigment, binder, 200 x 220

21 Untitled, 2003, blackened Nepalese handmade paper, pigment binder, 180 x 180 cm

22 Portal, 2004, blackened Nepalese handmade paper, pigment binder, 120 x 120

23 Grid, 2004, blackened Nepalese handmade paper, 145 x 147 cm

24 25 Kafka, 2004, blackened Nepalese handmade paper, 200 x 280 cm

26 The Back Room-entrance, 2004, installation view at Art Scene Warehouse, Shanghai

28 29 The Back Room, 2004, installation views at Art Scene Warehouse, Shanghai



35 Untitled, 2005, mix media, installation view, dimensions variable

37 Urban Retreat, 2005, pigment, binder, enamel, canvas, 196x186cm

38 Untitled, 2005, pigment binder, enamel, canvas, 120x120cm39 Untitled, 2005, pigment binder, enamel, canvas, 120x120cm

40 Untitled, 2005, pigment binder, enamel, canvas, 120x120cm

41 Untitled, 2005, pigment binder, enamel, canvas, 120x120cm

43 Soul-Mates (diptych), 2005, Chinese ink, pigment, binder, canvas, 140x160cm

45 Third Wave, 2005, Chinese ink, pigment binder, enamel, canvas, 156x156cm

46 47 Gridlock II (triptych), 2005, Chinese ink, pigment, binder, canvas, 80x300cm

49 Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm

Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm


Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm


52 Untitled, 2005, Chinese ink, pigment, binder, enamel, canvas, 76 x 50 cm

Untitled, 2005, Chinese ink, pigment, binder, enamel, canvas, 76 x 50 cm

53 Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm

Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm

54 Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm

57 Apron, 2002, blackened Nepalese handmade paper, pigment binder,

62 63 1:27AM 32-04 Urban Retreat, 2005, c print 29 x 42 cm

works list


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biography

1956

Born in Buervenich near Cologne, Germany, to a family of farmers.

1976

Attended the National Academy of Fine Arts in Duesseldorf.

1980

Received a travel scholarship from the National Academy of Fine Arts,

Duesseldorf.

Decided not to go to New York as others expected; but instead he

traveled to Nepal, where he studied local ritual and tantra art.

1982

Completed degree at the National Academy of Fine Arts in Duesseldorf.

Returned to Katmandu Nepal, where he was appointed guest lecturer at

Tribhuvan University.

Painted on small paper formats, exclusively.

1983

Studied Sanskrit and classical Tibetan in Katmandu, in order to study

Buddhist text in authentic language.

Organized the first European Art Film Festival in Katmandu, in cooper-

ation with Goethe Institute and the European Foreign Missions in Nepal.

1985

Presented with a stack of old and unused black manuscripts by a

Nepalese Buddhist priest, on which he created his first painting on black

paper. Subsequently began to develop his own black hand-made paper.

Met the Tibetan Buddhist meditation master Sonam Gurme under

whose guidance he studied and practiced meditation and completed

several short retreats.

1986

Began working with clay and wood from which he created giant wall

installations.

1987

Further developed method of paper-making and began to blacken the

pulp with coal dust.

Manufactured the first large and thick handmade paper sheets with the

dimensions of 3 x 3 meters.

1988

Appointed as full term lecturer at Tribhuvan University, Campus of Fine

Arts.

First solo exhibitions of his work in Europe.

1993

Traveled to Tibet, visited several monasteries near Lhasa and completed

a short meditation retreat in Tsurphu.

1994

Resigned as lecturer at TU Campus of Fine Arts, but remained in Nepal.

Compiled by Cynthia Zhu

1997

Completed a major assignment using Indo-Tibetan, as well as Central and

South-East Asian calligraphy entitled: The Fifth Seal.

Developed the storyboard and wrote screenplay for an art movie entitled:

Total Eclipse.

1998

Traveled to Shanghai for the first time on the invitation of Liu Hai Su Museum.

1999

First solo show in Shanghai at Liu Hai Su Museum. This exhibition was a ret-

rospective entitled Pondering-Pulsating, which showed his most important

works on paper, wood and clay from the years 1988-1999 in Nepal.

Relocated from Katmandu to Shanghai, but he still maintains his Hiti Durbar

atelier in Katmandu.

2000Extensive travels in the USA and Europe.

Collaborated with American poet and writer Wayne Amtzis on publication

Flatline Witness.

2001

Married Kathy Kuai who he met in February 2000 in Shanghai.

Established his Shanghai atelier at Taikang Road within the former French

Concession area of Shanghai.

2002

Introduced stainless steel into his work for the first time with the intention to

join the most ancient of material with the most modern.

2003

Began to photo-document urban changes as viewed from his apartment and

observed during his daily walks from his apartment to his atelier in Luwan

District, Shanghai.

2004

His installation The Back Room at Art Scene Warehouse in Shanghai, il-

lustrating his understanding of urban space in the form of a room that evokes

different connotations: storage, archiving of information, a place of hidden

treasures and secrets, of fantasies and memories.

His solo-exhibition Secret Room at the National Gallery Bangkok introduced

the major works of his Black Paper Project for the first time.

2005

Began painting on canvas in his Shanghai atelier. And he created small art

pieces utilizing urban materials, such as white bulbs, wires and a variety of

industrial metals.

2006

Invited to to participate in the 6th Holland Paper Biennial, Rijkswijk Museum,

The Hague and CODA Museum, Apeldoorn, Netherlands, in the 6th Shang-

hai Biennale HyperDesign, Shanghai Art Museum and MoCA Envisage I,

Museum of Contemporary Art , Shanghai.

This chronology summarizes the principal events of Rolf Kluenters life and his 26 years in Nepal and China.


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1956

1976

1980

1982

Tribhuvan

1983

1985

Sonam Gurme

1986

1987

3m x 3m

1988

Tribhuvan

1993

TSURPHU

1994

Tribhuvan

26

1997

1998

1999

19881999

Hiti Durbar

2000

Wayne AmtzisFlatline Witness

2001

20002

2002

2003

2004

2005

2006

HagueRijkswijk and Coda


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exhibitions

Solo Exhibitions (selected)

2006 Dimensional Expression, Reed Savage Gallery, Coral Gables,

Florida, USA

Urban Retreat, Art Scene Warehouse, Shanghai, China

The Other Progression, Kunst und Wort, Frankfurt/Main,

Germany

2005 Black Box, Gallery Cornelissen, Wiesbaden, Germany

Portals of the Labyrinth, Gallery Van der Straeten, Amsterdam,

The Netherlands

2004 Secret Room, National Gallery, Bangkok, Thailand

The Back Room, Art Scene Warehouse, Shanghai, China

2003 In Search of Secret Rooms, Gallery Bastiaans, Boxmeer,

The Netherlands

traumRaum, Gallery Wuebbelt, Solingen, Germany

2002 Black Paper, Alp Galleries, New York, NY, USA

Softcore One, China Millennium Monument Museum,

Beijing, China

2001 Transit Eight, Cornelissen Gallery, Wiesbaden, German

A-worldwide, Haus Rhode, Koenigslutter, Germany

2000 Rapture in Transit, German House Gallery, New York, USA

Unaccountable Objects, Gallery Bastiaans, Boxmeer, The

Netherlands

1999 Pondering-Pulsating, Liu Hai Su Museum, Shanghai, China

Rahu, Linden Museum, Stuttgart, Germany

1998 Total Eclipse, Staedtische Galerie im Rathhauspark, Gladbeck,

Germany

1997 Gallery Wuebbelt, Solingen, Germany

1996 Gallery Herve Thiers, Antwerp, Belgium

1995 Gallery Baerbel Wieneke, Cologne, Germany

1994 Gallery Die Schneiderei, Colgne, Germany

1993 Gallery Bastiaans, Boxmeer, The Netherlands

1992 Gallery Baerbel Wieneke, Cologne, Germany1991 Gallery Inexistent, Antwerp, Belgium


Group Shows (selected)

2006 6th Shanghai Biennale, Shanghai Art Museum, China

MoCA Envisage I, Museum of Contemporary Art, Shanghai, China

6th Holland Paper Biennial, Rijswijk and CODA Museum,

The Netherlands

In the Name of Materials, Hai Shan Shang ArtCenter, Shanghai,

China

Shanghai Abstract, Mingyuan Art Center, Shanghai, China

Art Scene China , Reed Savage Gallery, Coral Gables,

Florida, USA

New Watercolor, Zhu Qi Zhan Museum, Shanghai, China

Confluence, Visual Art Gallery, Delhi, India

Confluence, Tao Gallery, Mumbai, India

2005 Refuse to Die, Propeller Center for the Visual Arts, Toronto,Canada

Ling, Kluenter, Zhou Brothers, Gallery van der Straeten,

Amsterdam, NL

written in water: Girke Kluenter Li, Mingyuan Art Center,

Shanghai, China

2004 Cohesion, Art Scene Warehouse, Shanghai, China

Shanghai Abstract, Mingyuan Art Center, Shanghai, China

2003 Shanghai Spring Art Salon, China

Museum Zuelpich, Germany

2002 Si Fang Art Center, Beijing China

Liu Hai Su Museum, Shanghai, China

2001 German House Gallery, New York, USA

Gallery Chateau Vuillierens, Lausanne, Switzerland

2000 Van der Straeten Gallery, Amsterdam, The Netherlands

1999 Linden Museum, Stuttgart, Germany

1993 Gallery Baerbel Wieneke, Cologne, Germany


1980 perspective one, Kunsthalle Duesseldorf, Germany

()

2006 Reed Savage

Kunst und Wort

2005 CornelissenWiesbaden

Van der Straeten,

2004

2003 Bastiaans Boxmeer

TraumRaumWuebbeltSolingen

2002 Alp

1 2001 8CornelissenhualangWiesbaden

AHaus RhodeKoenigslutter,

2000 German House

Bastiaans

1999

Rahu

1998 lSataedtischeGladbeck

1997 Wuebbelt Solingen

1996 Herve Thiers, Antwerp,

1995 Baerbel Wieneke, ,

1994 Die Schneiderei

1993 Bastiaans, Boxmeer,

1992 Baerbel Wieneke, ,

1991 Inexistent, Antwerp, 1988 Bastiaans, Boxmeer, The Netherlands

()

2006

:-,

Rijswijk and CODA

Reed Savage

Tao

2005 Van der Straeten

2004

2003

Zuelpich

2002

2001 German House

Chateau Vuillierens

2000 Van der Straeten Gallery

1999

1993 Baerbel Wieneke

1992 Baerbel Wieneke

1980 1 Kunsthalle Duesseldorf


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collections

Shanghai Art Museum, Shanghai, China

Cultural Foundation of the City of Beijing, China

Liu Hai Su Museum, Shanghai, China

Marilyn Berg Callander, NYC, NY, USA

b+d promotion gmbh, Cologne, Germany

DEG-Deutsche Entwicklungsgesellschaft, Cologne, Germany

Deutsche Bank AG, Shanghai Branch, China

Deutsche Bank AG, Cologne Branch, Germany

Dr. Kurt Foerster, Wiesbaden, Germany

C.L.Gerhartl, Wolfsburg, Germany

Hilton Shanghai, China

Hilton Beijing, China

Jindal Estate, New Delhi, India

Dr. Kurth Immobilien, Cologne, Germany

Lead Deutschland GmbH, Cologne, Germany

Lurgi AG, Frankfurt am Main, Germany

Madison Benefits, Group Inc, Houston Texas, USA

Montan Union, Essen, Germany

Graf and Graefin Metternich, Adelebsen, Germany

Poddar Estate, New Delhi, India

RWE Power AG, Cologne, Germany

Saraf Estate, Bombay (India), Kathmandu, (Nepal)

Shanghai Krupp Stainless, China

ThyssenKrupp (China) Ltd.

VW Haus Rhode, Koenigslutter-Rhode, Germany

bibliography

Hyperdesign, 6th Shanghai Biennale, 2006, Shanghai, China

Entry Gate: Chinese Aesthetics of Heterogeneity, 2006, MoCA Envisage

I, China

Shanghai Abstract, 2006, Ming Yuan Art Center, Shanghai, China

In The Name of Material, 2006, Hai Shang Shan Art Center, Shanghai,

China

Paper Takes Flight, 2006, Art Publishing House Mercurius Wormerveer,

The Netherlands

Urban Courtgard, 2006,Tangyun Art Museum, Hangzhou, China

Revival: New Ink Art Shanghai, 2006, Zhu Qizhan Art Museum, Shanghai

Duolun MOMA

written in water: Girke Kluenter Li, 2005, ISBN 988-98680-1-6, timezone8,

Beijing, China

Portals of the Labyrinth,2005, Gallery Van Der Straeten, Amsterdam, The

Netherlands

Secret Room, 2004, The National Gallery, Bangkok

Shanghai Abstract, 2004, Ming Yuan Art Center, Shanghai, China

Made in China, 2004, Shanghai Spring Art Salon Co. Ltd., China

Cohesion, 2004, Art Scene Warehouse, Shanghai, China

in search of secret rooms, 2003, Bastiaans Gallery, Boxmeer, The Neth-

erlands

Stationen, Staedtische Galerie im Rathhauspark, 2002, Gladbeck, Ger-

many

Aworldwide 2001, VW Haus Rhode, Koenigslutter-Rhode

Abstract Art New Century - 2002, Liu Hai Su Museum, Shanghai, China

Dialogue- Li Lei-Rolf A. Kluenter, 2001, Shanghai, China

flatLine witness Wayne Amtzis and Rolf A. Kluenter, 2000, Shanghai,

China

Unaccountable Objects, 2000, The Saraf Collection, Katmandu, Nepal

Rapture in Transit, 2000, German House Gallery, New York, USA

Pondering - Pulsating, 1999, Liu Hai Su Museum, Shanghai, China

The Fifth Seal, 1997, The Saraf Collection, Kathmandu, Nepal

Abstract Art New Century - 2002, Liu Hai Su Museum, Shanghai, China55 in 5,1992, Gallery Bastiaans, Boxmeer, The Netherlands

red t & other views, 1988, Inexitent, Anwerp, Belgium

perspektive 2, 1980, Kunsthalle Duesseldorf, Germany

KM , Vol 58, 2006, Magazine for Art & Materials, The Netherlands

ART China, 2005/3, p.52-54, Entering the Labyrinth by Christoph

Schaden

Art China, 2005/1, p.107

The Nation, No. 12, 2004, Secret Room by Thanom Chakpadee, p.62

Kunstbeeld,No.5,2004, by Wim van Beek, p. 67

art-das Kunstmagazin, No.9, 2003, p. 117

Shanghai Art Salon, 2003/7, pp.58, 59

art-das Kunstmagazin, No.1, 2003, p. 103

Art China, 5/2002, p. 111

KunstSalon, Cologne, 2001, p.39

Art World China, 11/2000, No. 127, p. 64ff

Art-nl, sep-oct 2000, Vol. 1 No. 1 p.34

Vernissage, sep-oct 2000, Vol. 7, No. 4, p.19


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Kluenter Pause.look