ROLF A.

KLUENTER

11:23PM 32-04 Urban Retreat, 2005

3

Untitled, 2006
4

ROLF A. KLUENTER

contents

WORKS 10

Blackened Nepalese Handmade Paper

10

The Shanghai Works

27

27

WORKS 36
Canvas

36

Preface 8 Works 56 Biography 58 Exhibitions 60

Collections 61 Bibliography 61 Imprint 64
8

56
58
60
61
61
64
7

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 inuences in his life. He was born in Germany and grew up there. But after Rolfs 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 inuence 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 inuence 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 rst
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 reects 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
reection on existence.
It is ironic that after a long career of experimenting with so many different media, Rolf has only recently, for the rst time,
begun painting with the traditional medium of oil on canvas. Even the artist himself laughed at how ironic it is that he
is nally 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 painting abstract layer upon layer.
8

1515
7

BLACKNESS ESSENTIALLY
SUGGESTS THE ABSENCE OF
A SOURCE OF LIGHT AND
THE NOTION OF VOID.
ITS NATURE EVOKES THE
LIMITS OF THE VISIBLE.

10

Void One, 2003

11

Dual System, 2005

12

SOME RHYTHMS
JUST DEVELOP BECAUSE
THEY ARE A SERIES
OF SINGLE STEPS.

13

14

Untitled, 2005
15

16

Untitled (1-6), 2004

17
17

Phantom Exist, 2004

18
18

BLACKENING THE PAPER

PREPARES THE GROUND
AND EMPOWERS
THE MATERIAL.

19

THE COMBINATION
OF BLACKENED PAPER
WITH WHITE PIGMENTS
INEXTRICABLY
INTERWEAVES
TRANSPARENCY AND COLOUR
AND FRAGILITY
AND STRENGTH.

20

Untitled, 2003
21
21

Portal, 2004
22

Grid, 2004
23

24

Kafka, 2004
25

The Back Room-entrance, 2004

26

The Shanghai Works

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 nd 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 developing. Nothing is nite 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 creation 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
27

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 rst nd a way to perceive in a true and real sense that which we wish to know. As Rolf A.
Kluenter points out, in scientic 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) future congurations 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 products 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.
28

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 conicting 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 creation - 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.
29

This idea of space and the function of space allude to the signicance 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 relationship 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 nd a retreat within this spatial environment, instead of a removal from its connes. 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 nd a way to temper
our awareness of our reaction to the environment, this is to say, to nd a way, whilst being among it all, and to remain
true to our truest and most inner self. First, however, we must nd 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 temporarily, a space for reection and contemplation and to discover for yourself your own personal urban retreat.
-Ilse Schache
30

31

32

E=mc2 ,

33

-
34

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

35

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.

42

Soul-Mates (diptych), 2005

43

44

Third Wave, 2005

45

46

Gridlock II (triptych), 2005

47

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
54

ONE MUST
DO NO MORE
THAN PAUSE
AND LOOK.

55

works list

23
4
11
12
15
16 17
18
21
22
23
24 25
26
28 29
30 32
33 34
35
37
38
39
40
41
43
45
46 47
49
50
51
52
53
54
57
62 63
56

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

Untitled, 2006, blackened Nepalese handmade paper, 12 mirrors, bird cage, dimension varies
Void One, 2003, blackened Nepalese handmade paper, 136 x 136 cm
Untitled, 2005, blackened Nepalese handmade paper, 241x 91 cm
Untitled, 2005, blackened Nepalese handmade paper, 240 x 240 cm
Untitled (1-6), 2004, blackened Nepalese handmade paper, pigment binder, 100 x 70 cm
Phantom Exist, 2004, blackened Nepalese handmade paper, pigment, binder, 200 x 220
Untitled, 2003, blackened Nepalese handmade paper, pigment binder, 180 x 180 cm
Portal, 2004, blackened Nepalese handmade paper, pigment binder, 120 x 120
Grid, 2004, blackened Nepalese handmade paper, 145 x 147 cm
Kafka, 2004, blackened Nepalese handmade paper, 200 x 280 cm
The Back Room-entrance, 2004, installation view at Art Scene Warehouse, Shanghai
The Back Room, 2004, installation views at Art Scene Warehouse, Shanghai
The Back Room, 2004, installation views at Art Scene Warehouse, Shanghai
The Back Room, 2004, installation views at Art Scene Warehouse, Shanghai
Untitled, 2005, mix media, installation view, dimensions variable
Urban Retreat, 2005, pigment, binder, enamel, canvas, 196x186cm
Untitled, 2005, pigment binder, enamel, canvas, 120x120cm
Untitled, 2005, pigment binder, enamel, canvas, 120x120cm
Untitled, 2005, pigment binder, enamel, canvas, 120x120cm
Untitled, 2005, pigment binder, enamel, canvas, 120x120cm
Soul-Mates (diptych), 2005, Chinese ink, pigment, binder, canvas, 140x160cm
Third Wave, 2005, Chinese ink, pigment binder, enamel, canvas, 156x156cm
Gridlock II (triptych), 2005, Chinese ink, pigment, binder, canvas, 80x300cm
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
Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm
Untitled, 2005, pigment binder, enamel, canvas, 70 x 50cm
Untitled, 2005, Chinese ink, pigment, binder, enamel, canvas, 76 x 50 cm
Untitled, 2005, Chinese ink, pigment, binder, enamel, canvas, 76 x 50 cm
Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm
Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm
Untitled, 2005, pigment, binder, enamel, canvas, 76 x 50 cm
Apron, 2002, blackened Nepalese handmade paper, pigment binder,
1:27AM 32-04 Urban Retreat, 2005, c print 29 x 42 cm

Apron, 2002
57

biography
Compiled by Cynthia Zhu

This chronology summarizes the principal events of Rolf Kluenters 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 rst European Art Film Festival in Katmandu, in cooperation 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 rst 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 rst 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 rst time on the invitation of Liu Hai Su Museum.
1999
First solo show in Shanghai at Liu Hai Su Museum. This exhibition was a retrospective 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 rst 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, illustrating 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 rst 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 Shanghai Biennale HyperDesign, Shanghai Art Museum and MoCA Envisage I,
Museum of Contemporary Art , Shanghai.

26

1956

1976

1980

1982

Tribhuvan

1983

1997

1998

1999

19881999

Hiti Durbar
2000

Wayne AmtzisFlatline Witness

2001
20002

1985

Sonam Gurme

2002

1986

2004

1987

3m x 3m
1988
Tribhuvan

1993
TSURPHU

1994
Tribhuvan

2003

2005

2006
HagueRijkswijk and Coda

59

exhibitions

Solo Exhibitions (selected)

()

2006

2006

2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
1993
1992
1991
1988

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
Black Box, Gallery Cornelissen, Wiesbaden, Germany
Portals of the Labyrinth, Gallery Van der Straeten, Amsterdam,
The Netherlands
Secret Room, National Gallery, Bangkok, Thailand
The Back Room, Art Scene Warehouse, Shanghai, China
In Search of Secret Rooms, Gallery Bastiaans, Boxmeer,
The Netherlands
traumRaum, Gallery Wuebbelt, Solingen, Germany
Black Paper, Alp Galleries, New York, NY, USA
Softcore One, China Millennium Monument Museum,
Beijing, China
Transit Eight, Cornelissen Gallery, Wiesbaden, German
A-worldwide, Haus Rhode, Koenigslutter, Germany
Rapture in Transit, German House Gallery, New York, USA
Unaccountable Objects, Gallery Bastiaans, Boxmeer, The
Netherlands
Pondering-Pulsating, Liu Hai Su Museum, Shanghai, China
Rahu, Linden Museum, Stuttgart, Germany
Total Eclipse, Staedtische Galerie im Rathhauspark, Gladbeck,
Germany
Gallery Wuebbelt, Solingen, Germany
Gallery Herve Thiers, Antwerp, Belgium
Gallery Baerbel Wieneke, Cologne, Germany
Gallery Die Schneiderei, Colgne, Germany
Gallery Bastiaans, Boxmeer, The Netherlands
Gallery Baerbel Wieneke, Cologne, Germany
Gallery Inexistent, Antwerp, Belgium
Gallery Bastiaans, Boxmeer, The Netherlands

2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
1993
1992
1991
1988

Group Shows (selected)

()

2006

2006

2005

2004
2003
2002
2001
2000
1999
1993
1992
1980
60

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
Conuence, Visual Art Gallery, Delhi, India
Conuence, Tao Gallery, Mumbai, India
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
Cohesion, Art Scene Warehouse, Shanghai, China
Shanghai Abstract, Mingyuan Art Center, Shanghai, China
Shanghai Spring Art Salon, China
Museum Zuelpich, Germany
Si Fang Art Center, Beijing China
Liu Hai Su Museum, Shanghai, China
German House Gallery, New York, USA
Gallery Chateau Vuillierens, Lausanne, Switzerland
Van der Straeten Gallery, Amsterdam, The Netherlands
Linden Museum, Stuttgart, Germany
Gallery Baerbel Wieneke, Cologne, Germany
Gallery Bastiaans, Boxmeer, The Netherlands
perspective one, Kunsthalle Duesseldorf, Germany

2005

2004
2003
2002
2001
2000
1999
1993
1992
1980

Reed Savage

Kunst und Wort

CornelissenWiesbaden
Van der Straeten,

Bastiaans Boxmeer
TraumRaumWuebbeltSolingen
Alp
1
8CornelissenhualangWiesbaden
AHaus RhodeKoenigslutter,
German House
Bastiaans

Rahu
lSataedtischeGladbeck
Wuebbelt Solingen
Herve Thiers, Antwerp,
Baerbel Wieneke, ,
Die Schneiderei
Bastiaans, Boxmeer,
Baerbel Wieneke, ,
Inexistent, Antwerp,
Bastiaans, Boxmeer, The Netherlands

:-,

Rijswijk and CODA

Reed Savage

Tao

Van der Straeten

Zuelpich

German House
Chateau Vuillierens
Van der Straeten Gallery

Baerbel Wieneke
Baerbel Wieneke
1 Kunsthalle Duesseldorf

collections

bibliography

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 Benets, Group Inc, Houston Texas, USA
Montan Union, Essen, Germany
Graf and Graen 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

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 Netherlands
Stationen, Staedtische Galerie im Rathhauspark, 2002, Gladbeck, Germany
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
atLine 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

62

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
64