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

柯罗夫

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 contents
目录

WORKS 10
Blackened Nepalese Handmade Paper
作 品 10
尼泊尔手工制黑纸

The Shanghai Works 27

上海作品 27

WORKS 36
Canvas
作 品 36
布上

Preface 8 Works 56 Biography 58 Exhibitions 60

Collections 61 Bibliography 61 Imprint 64
前言 8 作品 56 生平 58 展览 60
收藏 61 备注 61 版本说明 64
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preface
Sami Wafa

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 life. He was born in Germany and grew up there. But after Rolf’s graduation, instead of going to
New 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 Rolf’s 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 artist’s 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 women’s 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 Rolf’s 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.
Rolf’s oil paintings still balance nothingness with the physical world, as Rolf has 3-dimensionalized the canvas by paint-
ing abstract layer upon layer.
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 前 言
萨　　　米

柯罗夫是一个充满活力，灵感不断的艺术家，他似乎总有无限的奇思妙想。他的人生也因这样的特质而与众不
同。他出生于德国并在那里长大。但在毕业后，所有人都期待他去纽约时，他却选择去了加德满都。在那里他度
过了15年的时光。这15年对他的影响在其作品中得以十分明显地体现。不仅仅因为他很多作品中运用的尼泊尔纸
张，同时也是概念意义上的体现。在过去的7年多艺术家一直生活在上海，在那里他与一个上海女子结为连理。在
他的生命中，亚洲给予他更多影响。柯罗夫的大半生都在这里度过，我们有的时候会开玩笑说现在的他更象是亚
洲人而不是德国人。

柯罗夫是一个改革者。他可能永远都不会停止对于新媒介的实验。拜访他的工作室时，你可能永远都想不到他最
近又有了什么灵感。他敢于并且从不迟疑地尝试新事物，这恰恰是创造力和发明的源泉。事实上，一个好的艺术
家总是在寻找一些新颖，特别的东西来表达。柯罗夫便是如此。例如最近，他在实验用不锈钢，电线和电灯，甚
至是唇膏作为作品的材料。同时他可能是第一个在作品中使用古老的尼泊尔黑纸的艺术家。他甚至更加发展和改
良了这种材质，现在这种独一无二的纸张成为了柯罗夫的标记。

柯罗夫使用的这种特别的黑纸是完全在尼泊尔加工制造然后运给艺术家的。他解释说黑色是一种绝对的“无”。
白色是其他所有色彩的集合，黑色暗示了光的缺失，光是将色彩反射于我们眼睛的唯一介质。柯罗夫为黑这
种“颜色”而深深着迷，有时候他在空间中切割出星星的形状来暗示物质存在于大量的空间中。黑色所代表
的“无”同时相互交织在立体的空间中，很难去分辨这种“空”，或说是虚无的始终。显然，这一系列的作品暗
示了柯罗夫对于存在的深刻哲学意识。

有趣的是在他对于多种媒介的长时间的实验后，柯罗夫最近才刚刚开始运用最传统的媒介创作，即布面油画。甚
至艺术家自己都说这是多么的“讽刺”他开始运用了如此正常的材质。但是这些富有层次的抽象画与他的黑纸作
品又密切相关。柯罗夫因着他层叠错落的立体油画在现实世界和虚无中取得了平衡。
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BLACKNESS ESSENTIALLY
SUGGESTS THE ABSENCE OF
A SOURCE OF LIGHT AND
THE 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 SERIES
OF 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 EMPOWERS
THE MATERIAL.

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THE COMBINATION
OF BLACKENED PAPER
WITH WHITE PIGMENTS
INEXTRICABLY
INTERWEAVES
TRANSPARENCY AND COLOUR
AND FRAGILITY
AND 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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 The Shanghai Works

This current series of Rolf A. Kluenter’s 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 artist’s 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
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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 artist’s 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 Kluenter’s 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 Kluenter’s 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 Einstein’s 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 Kluenter’s 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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 上海作品

柯罗夫的这一系列作品邀请诸位来共同思索一些重要的问题：自身的天性，我们身处其中并发现自己的宇宙的天性，以及两者的
关系。这些画作的主旨并不在于捕捉某种抽象化的现实和生活，并将其本身表现出来，而是探索创作的过程和隐藏于生活之中或
者属于生活本省的创造性的过程。柯罗夫被“突现”这个动词所吸引，使某件事发生，进而超越，透过一些事，去启发。他作品
的目的是去解构，或是造成某种张力，因为这在他的思想中会带来某件事情的突现。柯罗夫对于一种观念很感兴趣，这就是有一
些东西是超越记忆的，这种非物质性的东西同时却也是真实的。这种事物的超越性，恰恰也是他的作品试图去展示的。当某件事
发生，或是说突然产生、出现, 它进入我们的记忆，在那里这一创作的过程得以延续。没有什么是被限定的，万物也无穷尽。一
个事物潜移默化从而变成了其他。正如现在发生的事情变成回忆，这一发生的过程也在我们的思维中得以延续。柯罗夫深入地阐
述了在他的思想中他的作品是如何具有了自己的生命力，他们独立的内在动力。作为一个短暂性过程，一幅画的创作具有其自主
性，这种自主性相对于艺术家的原始动机而独立存在。阐述他无法复制自己的任意一幅作品，因为他无法复制给予这件作品生命
的这一创造性过程。因此这个过程是动态的并且其自身，作为万化千变的宇宙的一部分，也在不断的变化中。

首先，这提出了在不可避免的虚幻和不可靠的感官世界的自然属性中有关经历和对经历的评价的问题。那么我们如何可以感知，
从而理解我们的身处的世界和自身？要能够“知道”，我们必须首先找到一种通过真实的感觉去感知我们希望了解的事物的方
法，正如柯罗夫指出的：在科学的理论化中，科学家们尝试通过模型的应用来解决这个问题。科学家提出理论来解释发生在我们
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周围的物理现象。模型则被设置来计算（或预测）上述现象的预期构造。这些尝试这种方法的新兴科学，比如生物科技，核物理
学以及纳米科技， 都完全地建立在辅助研究的基础上。他们分析这些现象以及产物，因为他们努力去检查和解释的这些事实，
并能用我们的感觉去观察。对我们宇宙的这些解释并不存在确实的证据去证明。

这些努力始于文艺复兴时期，人们试图通过运用模型或者理论化的方法去解释从而控制环绕他们的宇宙。这是黑匣子理论：我们
不知道其内部发生了什么，我们只能检验和解释其输出。记忆也是以同样的方式发生作用。这些画作是艺术家自身的记忆和受众
集体的记忆同时输出的产物。他们相互联系就像我们身处于文化，社会和人文环境相互交织的网络中。

这些作品是一幅世界的画卷，是关于理想世界模型的想法的集大成。如果关于物质世界的知识是猜想的话，恰恰相反，关于我们
灵魂和感情的知识则更加可靠。这就使我们得出了这样的结论：我们可以通过情感来了解自身。

柯罗夫作品中的张力使引导画作的驱动力，因为张力引发了整个动态过程。最重要的张力之一是他对于色彩的运用：黑，白和
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灰。黑色编织的网格让人联想到他较早作品中对于手工制黑纸的运用。纸代表了古老，传统和有机的东西。它与沟通和传播的理
念相联系。从外延的含义上说，它是一种文化和我们文化生活的象征。然而，纸也是脆弱并且容易老化的。因此它只能短暂的，
惟余一个处在消失过程中的存在。柯罗夫作品中新出现的白色圆形斑点与他近期在作品中运用灯泡的实验有关。灯泡在许多方面
于纸张截然相反，它与科技相关联。灯泡代表光，我们都知道，是一种形式的能源。能源，根据爱因斯坦E=mc2 的理论, 是产生
力的原因。某些事物从看来什么都没有的地方被创造出来。这是创造的过程。对于正在发生的事件的观察，和对于现在这一系列
作品的预先使用。这一物理学方程支持能量和物体，物质和空间之间的相互转换的能力。在柯罗夫的画作中有大量地留白，这暗
示了广泛存在于我们的宇宙中的虚空。然而这种虚空并不等同绝对的虚无。虚空本身即是一种改变的力量和事件的来源。万物从
虚空中诞生又归于虚空。

这种关于空间及空间作用的观念影射了这一系列的题目的意义：大隐于市。柯罗夫是特别的人道主义者。他并不关心属于并存在
于他们自身的抽象理论，而关注他们的关系和对于人类生活的意义。都市空间是一个压倒性的环境，这导致了他置疑这一空间对
于个人的意义，人必须要居住于那个空间中，以及他们通过什么样的方式来和外在的压力和环境的冲击。我们不能够从物质世界
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的现实中逃脱也不可避免的会在某种物理范围中存在。我们的目的应当是在这样的空间环境中寻找一个隐居之所。而不是迁移出
它的范围。这些画是这一过程的促进和暂时退隐的尝试。他并没有鼓吹将从这种环境中撤离作为一种建设性的解决方案。他也没
有建议一种游离物外或者隐退的生活方式。怅惘迷惑的生活并非我们所需。相反的，我们必须寻找一种方式来调节我们对周遭反
映的认识，这就是说，来寻找一种方式，在置身其中的同时，来保持最真实和最内在的自己。然而首先，我们必须要寻求一种方
式，通过这种方式来知道并且理解我们自己的身份和在外部环境中的位置。

我们邀请您在这个展览之前放慢脚步并且思考这些作品，来寻找，或至少暂时地寻找一个空间来沉思或者反思，去发现自身以及
个人的大隐于市。
- 叶蓓
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Untitled, 2005, mix media, installation view, dimensions variable
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PARTING,
WANDERING
AND RE-ENTERING
ARE MOST ESSENTIAL
MOVEMENTS.

36
Urban Retreat, 2005
37
Untitled, 2005
38
Untitled, 2005
39
Untitled, 2005
40
Untitled, 2005
41
LIFE SEEMS TO BE
A CONTINUOUS
EXPERIENCE
OF THE PROCESS
OF CHANGE
AND FLUCTUATION.

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Soul-Mates (diptych), 2005
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44
Third Wave, 2005
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46
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.

48
Untitled, 2005
49
Untitled, 2005
50
Untitled, 2005
51
Untitled, 2005
52
Untitled, 2005
53
Untitled, 2005
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 ONE MUST
DO NO MORE
THAN PAUSE
AND LOOK.

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works list

23 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
30 32 The Back Room, 2004, installation views at Art Scene Warehouse, Shanghai
33 34 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, 120x120cm
39 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
50 Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm
Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm
51 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

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Apron, 2002
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biography
Compiled by Cynthia Zhu
This chronology summarizes the principal events of Rolf Kluenter’s life and his 26 years in Nepal and China.
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.
58
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.
2000
Extensive 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.
 大事记
朱倩　翻译整理

这份年表简述了柯罗夫生命中的重要事件以及他与中国和尼泊尔长达26年的关联。

1956 1997
生于德国科隆附近的布埃芬尼黑，家庭经营农场。 用印度－藏语及中亚和东南亚书法作为关键元素创作了 “第五封印”系
列作品。
1976 继续发展情节串连图板并为一部艺术电影写作剧本，题为“全蚀”。
被位于杜塞尔多夫的国立美术学院录取。
1998
1980 应刘海粟美术馆邀请第一次到上海旅行。
在国立美术学院获得旅行奖学金，并未遵从师意去纽约，而是旅行去了
尼泊尔，在那里学习当地的宗教仪式和密教艺术。 1999
在刘海粟美术馆举行第一次上海个展。这次展览是一次回顾展，题为“静
思传动－观想东方”，展示了他1988－1999年最重要的纸上，木制及粘土
1982
作品。
完成杜塞尔多夫国立美术学院的学习取得学位。
从加德满都移居上海。但仍保留了自己的 Hiti Durbar工作室。
他返回尼泊尔的加德满都。在当地的Tribhuvan大学艺术学院任客座讲
师。
2000
进行小型纸上绘画。
广游美欧。
与美国诗人及作家Wayne Amtzis合作发表“Flatline Witness”。
1983
学习梵语及正统藏语，研习梵语及藏语佛经。 2001
与歌德学院及欧洲驻尼泊尔外使团合作，在加德满都组织第一次“欧洲 与在2000年2月遇见并相恋的蒯瑾结婚。
艺术电影节”。 在旧时法租界上海卢湾区泰康路建立了自己的工作室。

1985 2002
一个尼泊尔佛教大师向他展示了一些古老且未使用过的黑色手稿。 首次在作品中使用不锈钢，意在“连接最古老和最现代的材料”。
他创作了他的第一张在黑纸上绘制的画作，在黑色的手工制纸上画了一
条红色的曲流。随后，开始发展他自己手工制作的黑纸。 2003
遇见了藏传佛教冥想大师Sonam Gurme，在他的指导下开始学习和练习冥 照片记录开始了都市化的改变，以自己的住所为视角拍摄并在日常的来往
想并且进行了几次短暂的静修。 于住所和工作室的行走中观察。

1986 2004
开始用粘土和木进行创作。以不同的尺寸创作多个巨墙装置。 他的装置“后室”在上海艺术景中心展出，展示了他对于都市空间以一种
引起不同内涵的房间形式存在的理解：储藏，获得信息，一个藏有宝藏和
1987 幻想及回忆的秘密之地。他将一些上海的地图经过电脑处理与其他图像叠
继续发展自己的手工造纸方法，开始用煤灰染黑纸浆。 加处理后贴在窗上，隐藏外面的世界。与此同时，图片的内容又联系后室
的微观世界和巨大城市的宏观世界。
制造了第一张3m x 3m大而厚的手工制纸张。
个展“密室”在曼谷国家美术馆展示，第一次在当地展出了他黑纸系列中
的许多重要的作品。
1988
在Tribhuvan大学美术学院作为全职讲师继续授课。
2005
在欧洲举办第一次个展。
于上海工作室开始创作布面作品。结合了一些来源于他邻近的都市环境的
材料，如灯泡，电线，及各式的工业材料创作了一些小型作品。
1993
去西藏旅游，拜访了拉萨周围的多所寺庙。在TSURPHU进行了一次短暂 2006
的冥想静修。 受邀参加荷兰Hague的Rijkswijk and Coda美术馆举办的第六届纸上作品
双年展。
1994 受邀参加第六届上海双年展，展区位于上海美术馆。
辞去Tribhuvan大学美术学院讲师一职，但仍居留于尼泊尔。 受邀参加上海当代艺术馆文献展－入境中国美学。
59
exhibitions

Solo Exhibitions (selected) 个展(部分)

2006 “Dimensional Expression”, Reed Savage Gallery, Coral Gables, 2006 空间表达，Reed Savage 画廊，珊瑚顶市，佛罗里达，美国
Florida, USA 大隐于市，艺术景中心，上海，中国
“Urban Retreat”, Art Scene Warehouse, Shanghai, China
“The Other Progression“, Kunst und Wort, Frankfurt/Main, 另类级数，Kunst und Wort，法兰克福，德国
Germany 2005 黑匣子， 德国Cornelissen画廊，Wiesbaden，德国
2005 “Black Box”, Gallery Cornelissen, Wiesbaden, Germany 迷宫之门，Van der Straeten, 阿姆斯特丹，荷兰
“Portals of the Labyrinth”, Gallery Van der Straeten, Amsterdam, 2004 密室，国家美术馆，曼谷，泰国
The Netherlands
2004 “Secret Room”, National Gallery, Bangkok, Thailand 后室，艺术景中心，上海，中国
“The Back Room”, Art Scene Warehouse, Shanghai, China 2003 寻找密室，Bastiaans Boxmeer 画廊，荷兰
2003 “In Search of Secret Rooms”, Gallery Bastiaans, Boxmeer, TraumRaum，Wuebbelt画廊，Solingen，德国
The Netherlands 2002 黑纸， Alp画廊，纽约，美国
“traumRaum”, Gallery Wuebbelt, Solingen, Germany
2002 “Black Paper”, Alp Galleries, New York, NY, USA 软核 1， 中华世纪坛美术馆，北京，中国
“Softcore One”, China Millennium Monument Museum, 2001 中天 8，Cornelissenhualang，Wiesbaden，德国
Beijing, China A－全世界，Haus Rhode，Koenigslutter, 德国
2001 “Transit Eight”, Cornelissen Gallery, Wiesbaden, German 2000 凝神中天，German House 画廊， 纽约，美国
“A-worldwide”, Haus Rhode, Koenigslutter, Germany
2000 “Rapture in Transit”, German House Gallery, New York, USA 无法解释的物体，Bastiaans画廊，斯图加特，德国
“Unaccountable Objects”, Gallery Bastiaans, Boxmeer, The 1999 静思传动－观想东方，刘海粟美术馆，上海，中国
Netherlands Rahu，林德美术馆，斯图加特，德国
1999 “Pondering-Pulsating”, Liu Hai Su Museum, Shanghai, China 1998 全蚀 l，Sataedtische画廊，Gladbeck，德国
“Rahu”, Linden Museum, Stuttgart, Germany
1998 “Total Eclipse”, Staedtische Galerie im Rathhauspark, Gladbeck, 1997 个展，Wuebbelt 画廊，Solingen，德国
Germany 1996 个展，Herve Thiers画廊, Antwerp, 比利时
1997 Gallery Wuebbelt, Solingen, Germany 1995 Baerbel Wieneke画廊, 科隆, 德国
1996 Gallery Herve Thiers, Antwerp, Belgium 1994 个展，Die Schneiderei画廊，科隆，德国
1995 Gallery Baerbel Wieneke, Cologne, Germany
1994 Gallery Die Schneiderei, Colgne, Germany 1993 Bastiaans画廊, Boxmeer, 荷兰
1993 Gallery Bastiaans, Boxmeer, The Netherlands 1992 Baerbel Wieneke画廊, 科隆, 德国
1992 Gallery Baerbel Wieneke, Cologne, Germany 1991 Inexistent画廊, Antwerp, 比利时
1991 Gallery Inexistent, Antwerp, Belgium 1988 Bastiaans画廊, Boxmeer, The Netherlands
1988 Gallery Bastiaans, Boxmeer, The Netherlands

Group Shows (selected) 群展(部分)

2006 6th Shanghai Biennale, Shanghai Art Museum, China 2006 第六届上海双年展，上海美术馆，中国
MoCA Envisage I, Museum of Contemporary Art, Shanghai, China 入境:中国美学-上海当代艺术馆文献展,上海当代艺术馆，
6th Holland Paper Biennial, Rijswijk and CODA Museum, 上海，中国
The Netherlands 第六届荷兰纸上作品双年展，Rijswijk and CODA博物馆，
In the Name of Materials, Hai Shan Shang ArtCenter, Shanghai, 荷兰
China
以物之名，海上山艺术中心，上海，中国
“Shanghai Abstract”, Mingyuan Art Center, Shanghai, China
“Art Scene China “, Reed Savage Gallery, Coral Gables, 上海抽象，明园艺术中心，上海，中国
Florida, USA 艺术景，Reed Savage 画廊，珊瑚顶市，佛罗里达，美国
“New Watercolor”, Zhu Qi Zhan Museum, Shanghai, China 新水彩，朱屺瞻艺术馆，上海，中国
“Confluence”, Visual Art Gallery, Delhi, India 汇合，视觉艺术画廊，新德里，印度
“Confluence”, Tao Gallery, Mumbai, India 汇合，Tao画廊，孟买， 印度
2005 “Refuse to Die”, Propeller Center for the Visual Arts, Toronto, 2005 拒绝死亡，视觉艺术推进者中心，多伦多，加拿大
Canada 凌，柯罗夫，周氏兄弟，Van der Straeten画廊，阿姆斯
“Ling, Kluenter, Zhou Brothers”, Gallery van der Straeten, 特丹，荷兰
Amsterdam, NL
流，葛尔克，柯罗夫，李磊，明园艺术中心，上海，中国
“written in water: Girke Kluenter Li”, Mingyuan Art Center,
2004 凝聚，艺术景中心，上海，中国
Shanghai, China
2004 “Cohesion”, Art Scene Warehouse, Shanghai, China 上海抽象，明园艺术中心，上海，中国
“Shanghai Abstract”, Mingyuan Art Center, Shanghai, China 2003 上海春季艺术沙龙，中国
2003 Shanghai Spring Art Salon, China Zuelpich美术馆，德国
Museum Zuelpich, Germany 2002 群展，四方艺术中心，北京，中国
2002 Si Fang Art Center, Beijing China 群展，刘海粟美术馆，上海，中国
Liu Hai Su Museum, Shanghai, China 2001 German House画廊，纽约，美国
2001 German House Gallery, New York, USA 群展，Chateau Vuillierens画廊，洛桑，瑞士
Gallery Chateau Vuillierens, Lausanne, Switzerland
2000 群展，Van der Straeten Gallery，阿姆斯特丹，荷兰
2000 Van der Straeten Gallery, Amsterdam, The Netherlands
1999 佛的时代，林德美术馆，斯图加特，德国
1999 Linden Museum, Stuttgart, Germany
1993 Gallery Baerbel Wieneke, Cologne, Germany 1993 群展，Baerbel Wieneke，科隆，德国
1992 Gallery Bastiaans, Boxmeer, The Netherlands 1992 个展，Baerbel Wieneke，科隆，德国
1980 “perspective one”, Kunsthalle Duesseldorf, Germany 1980 观点 1， Kunsthalle Duesseldorf，德国

60
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, China
55 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
61
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1:27AM 32-04 Urban Retreat, 2005
63
imprint

Publisher Art Scene China and Reed Savage Gallery

Designer Robenz Liu

Photographer Chen Long

Translator Cynthia Zhu

©2006 Art Work: Rolf Kluenter

©2006 This Edition: Reed Savage Gallery and Art Scene China
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