Klaus Hu


Klaus Hu works with painting and photography that penetrate and complement each other, questioning representation and its cultural codes. While the digital archive counter acts as memory and as source for some of his compositions, the recent series “UNSETTLED LANDSCAPES” 2013/15 is a real time investigation into the subject of “landscape” via photographic research and refined on the plane of the canvas. Working with subjects for a limited time-span, altering and questioning the painting process, his subjects and middle to large size paintings emphasize this contradiction of narrative representation and abstraction.
His main subjects of interest in the studio and research practice, as context and as process are:
1: strata / geology / genealogy of history
2: the digital / the sensual / appropriation
3: landscape / the Anthropocene / conflicts on resources
4: escapism / otherworldly / sci-fi and narrative territories


Invited for a SANTA FE ART INSTITUTE residency, Santa Fe, NEW MEXICO, USA in 2013 with the outcome of a photographic book: “NEW MEXICAN TRAVELS”, 100 pages, 116 photos / and works in painting dealing with the conflicts of the North American Landscape of the South West.
He received a fellowship for photography from the Berlin Senate and took part in national and international site-specific competitions like MAXXI, Rome, Sharjah Biennale and German Parliament (Marie Elisabeth Lüders competition). For curatorial / research and conference participations he compiled: “BODIES DESIRES” in 2006 for ApexArt NY, “ON MAPS AND CARTOGRAPHIES” in 2010/12 for Berlin (not realized due to funding issues) and “ON SPACE AND NARRATIVE IDENTITY” for ISEA / Singapore 2008 as artist / paper presentation / funded by IFA/Stuttgart/Germany.


LAYERS OF TIME redux 2017 / 18 preparation of a curatorial project on the layers of history and how archives interconnect with the studio based process. various artists from the US and Europe.
A KIND OF BLUE 2016 / 17, refines one color as the main subject for narrative and abstract responses on daily / subjective and on geopolitical issues (work in progress).
STRIPES 2015 / 16, a series of new paintings challenges the historical and the digital archive as source of citation as a different kind of perception and of discourse.



2015 UNSETTLED LANDSCAPES, solo exhibition at SOMOS, Berlin, Germany.

2013 Residency at SANTA FE ART INSTITUTE, Santa Fe, New Mexico, USA.
2011 Exhibition at GERMAN PARLIAMENT, participation in site-specific competition. Germany.
2009 Participation in open call MAXXI, Rome, site-specific. Italy.
2009 Participation in open call, SHARJAH BIENNALE, site-specific. UAE.
2008 Invited for ISEA SINGAPORE. Singapore.
Presented lecture  SPACE AND NARRATIVE IDENTITY. Funded by IFA, Stuttgart.


1: PAINTING KLAUS HU 2006 / 16
4: MARS_SPIRIT 2009 / 12 5: NY 92/12

Image Gallery


UNSETTLED LANDSCAPES 2013 / 15 Historical and experienced landscapes. Photographs are juxtaposed as negative b/w and digital images of the residence stay at the Santa Fe Art Institute in New Mexico in March / April 2013. The landscape of the North American South West appears as an ambient room as visual language of lived time. As visual translation, these opposites merge into a symbiosis. Do I imagine landscape or does landscape reflect on me? Is landscape a romantic topic of escape, “inspired” by infinity or is it an ecological disaster? While landscape was subject to the will and spirit of the late baroque period in European tradition and degraded to geometric alignments of the nobility, the romantic period of the 19th century projected the “soul” of the author / artist on / into the canvas, and thus into / onto the real landscape. Sometimes landscape disappeared as a longing as in Caspar David Friedrichs paintings. At the beginning of the 20th Century modernity opens the bridge to non-European traditions, without examining in detail the various notions of landscape, the self, the projection, the ritual and transformation. Only the ignition of the first Atomic bomb in 1945 in New Mexico threw an image on the dichotomy of dissolution versus unity (of the self). The result was the counter-movement and the awakening of the 60’s generation. But everything vanished into a daydream. Another 40 years later, after several financial and ecological crises and disasters, the exploitation of resources by transnational corporations, wars of intervention, after 9/11, looking at “LANDSCAPE” is probably a marginal subject. While land-art of the 60’s in America was dependent (and still is – see Michael Heizer) of immense production budgets of the Foundations, landscape submerged as backdrop into the popular context.

Additional Work


STUDIO KLAUS HU: BOOKS & editionshttp://klaushu.blogspot.de/2013/07/books-editions.htmlklaushu.blogspot.com, news, landscape, painting, site-specific, curatorial, CV/BIO/contact

Klaus Hu | Interviews from Yale University Radio WYBCX

Klaus Hu | Interviews from Yale University Radio WYBCXhttp://museumofnonvisibleart.com/interviews/klaus-huKlaus Hu works with painting and photography that penetrate and complement each other, questioning representation and its cultural codes. While the digital archive counter acts as memory and as sou…
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