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selection of works by KLAUS HU 2009 / 16

4.820 Aufrufe

Veröffentlicht am

3 work series by KLAUS HU
STRIPES 2015/16
© KLAUS HU 2016

painting / photography / site-specific / books

Veröffentlicht in: Kunst & Fotos
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selection of works by KLAUS HU 2009 / 16

  1. 1. 
 KLAUS HU WORKS / selection STRIPES 2015 / 16 UNSETTLED LANDSCAPES 2013 / 15 MARS_SPIRIT 2009 / 12
  2. 2. content book STRIPES 2015 / 16 NOT EVERY LANDSCAPE IS OF CAPITAL MEANS 2013 / 15 HOW TO TRANSCEND A POOL IN SPACE 2014 / 15 THE ROSETTA EARTH PROJECT 2012 / 13 NEW MEXICAN TRAVELS 2013 LES HETEROTOPIES 2011 / 12 NY 92 / 12 2012 MARS 2009 / 12 DESERT 2007 / 8 BEACH 2006
  3. 3. EUROPA oil on canvas 195 x 270 cm © Klaus Hu 2010 / 15 / 16
  4. 4. 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.
  5. 5. JUXTAPOSITION inside studio
 LES HETEROTOPIES I oil on canvas 180 x 200 cm © Klaus Hu 2011 / 12 YELLOW JAZZ oil on canvas 140 x 240 cm diptych © Klaus Hu 2015 / 16
  6. 6.  
 YELLOW JAZZ oil on canvas 140 x 240 cm diptych © Klaus Hu 2015 / 16
  7. 7. YELLOW JAZZ oil on canvas 140 x 240 cm diptych © Klaus Hu 2015 / 16 STUDIO VIEW
  8. 8. some random thoughts inside my studio on STRIPES KLAUS HU 2015 / 16 "The Americans" 1959 and later "The Lines of My Hands" by Robert Frank denoted the autobiographical subject view on (American) reality of the late 50´s and of the early and late 60´s.  Today, we are haunted by the digital collisions of layers of information, followed by voids of amnesia. The contemplation needed for abstraction and reflection is replaced by accelerated speed and overloads of images and gaps of white bleak time.  Stripes, lines and dots are the basic visual (and mathematical) elements, which refer to writing and drawing (at the wall of the pre-historic cave). As we dive into an overall NOW, using multiple references, instead of single signals, the digital archive seems to have replaced experience as we have known it before.  Painting with its system of reflection and debate is replaced by media statements across simultaneous channels. The painting process as contemplation is restrained by this expanded time continuum of presence and its 120 character twitter message.  Even references to writers and philosophers seem lost in the digital stream. Jasper Johns has foreseen in his White Flags series of 1969 ( a statement also against the Vietnam war ) this white field of white noise as white stripes.  Location, so much in use by Stephen Shore in his early photographs of street crossings, is replaced by empty signifiers, bubbles and hash tags.  The difference and the clash between the digital and the abstraction of the painting process is exemplified here in a series of works, that also act as empty signifiers of the art markets monetary evaluation.   work in progress
  9. 9. AIR_STRIP (deplaned after 5 PM) oil on canvas 120 x 140 cm © KLAUS HU 2015
  10. 10. SHORE_LINES (after 5 PM) oil on canvas 120 x 140 cm © KLAUS HU 2015
  11. 11. "I AM JUST TRYING TO FIND A WAY TO MAKE PICTURES" oil on canvas 120 x 140 cm © KLAUS HU 2015
  12. 12. "WE SEE, NOT CHANGE OF ASPECT, BUT CHANGE OF INTERPRETATION." oil on canvas 120 x 140 cm © KLAUS HU 2015
  13. 13. optional installation of STRIPES / studio views / work in progress
  14. 14. Unsettled Landscapes ON LANDSCAPE AND ITS CONFLICTS Research has been made possible during residency at Santa Fe Art Institute in New Mexico / USA 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 Friedrich´s paintings.  At the beginning of the 20th Century modernity opens the bridge to non- western 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. 
  15. 15. project 1 NOT EVERY LANDSCAPE IS OF CAPITAL MEANS (but without means there is no property) concept for a wall size installation photography © KLAUS HU 2013/15 As the film of John Ford "The Searchers" with its cliché of John Wayne´s male role model is still existent to some degree,! the real landscape of the American Southwest and its land-rights and property policy is still based on treaties and negotiations of the 19th century and its civil war.! How is landscape abused today with its property and sales management? How has property management failed and led financial speculation into current crisis of land, land-use and property? A photographic wall size installation of photos recorded at first nation reservation of Acoma and at the town of Madrid in New Mexico during 2013, to be installed as a wall size installation minimum 200 x 600 cm, combining pigment print on high resolution paper with projection and other materials.
  16. 16. ACOMA / PHOENIX / PARKING SPOT oil on canvas 120 x 140 cm NEW MEXICAN TRAVELS / WHITE SANDS IV oil on canvas 120 x 140 cm © KLAUS HU 2013 Driving out into the landscape,  recording the south- western landscape of New Mexico and claiming that landscape and its history are not distinct. The slow pace of the painting process interweaves objective truths and subjective narratives at the same time.  While ACOMA and its reservation in New Mexico is one of the oldest settlements in the US still inhabited, its nearby former uranium mines, hazardous waste deposits,  the town of Grants at route 66 with its current high unemployment rate due to closure of the mines, is one of the focal areas in NM, where clashes between mining,  water-resources, land-rights and poisoned waste management become visible.  Big cities like Phoenix and Las Vegas are dependent on water aquifers on distant land and via pipelines. The clashes on land and its imbalances on resources are the main underlaying subjects of these paintings. 
  17. 17. WHITE SANDS I - III 3 charcoals on Stonehenge / each 93,2 x 123,9 cm total: 297 cm x 123,9 cm © KLAUS HU 2013 based on a photographic research trip to Bandelier National Monument near the Los Alamos Labs and its nuclear testing sites and waste deposits, these charcoals reflect on landscape & geological time versus man-made disasters, that will become part of human and natures future.
  18. 18. project 2 HOW TO TRANSCEND A POOL IN SPACE oil on canvas 195 x 210 cm © KLAUS HU 2014 for spatial / site-specific installation is referring to spatiotemporal/political and economic/ecological conflicts about water-rights, that will address the future locally and globally.! “How to Transcend a Pool in Space” poses ironically the question, if economy and science with its materialistic and capitalistic approach are still capable of solving these conflicts.!Its reference to land-art projects of the 60´s and 70´s implies a permanent urgency as installation.
  19. 19. HOW TO TRANSCEND A POOL IN SPACE for spatial / site-specific installation uses multiple materials for installing a pond as a pool inside factual space. Its size is variable, but shall minimum be 6 x 6 m. As the pond, filled with water, is constantly evaporating from liquid into fog, leaving a visible trace of sand and stones behind, it will transcend its liquid state into a transcendental state, reminding to earth´s constant change and transformation. Can the vaporous water be re-collected? Will it be in a constant diffusion? As there are now enormous droughts, due to human misuse of resources, including water, water distribution became already an economic business, granting surplus profit for multinational corporations. In contrast this project requests water distribution as a transformation of local communities instead of multinational corporations. Installed inside space it will reflect on the poetic aspect of water as a substance for life cycles and the basis for the constant processes on earth. Water has been connected to the fluidity of mental processes, to libidinal energy and the sex drive and has taken in religious mythology the symbol of purification.
  20. 20. UNSETTLED LANDSCAPES oil on canvas / 200 x 140 cm
 © KLAUS HU 2014
  21. 21. UNSETTLED LANDSCAPES / oil on canvas / 200 x 140 cm © KLAUS HU 2014 This canvas juxtaposes painted archival historical photos of the American Southwest by Timothy O´Sullivan of 1872/74 with a personal! photographic research trip to "Spiral Jetty" by Robert Smithson at Salt Lake Utah in 2013. It depicts the conflict between land-rights, first-nation claims, mining, especially uranium mining till the mid 80´s,! water-rights, droughts and treatment of hazardous waste, that still drive part of the American Southwest and its economic and cultural decisions up to now.!
  22. 22. Incredible: Tents can be seen (bottom, centre) at a point known as Camp Beauty close to canyon walls in Canyon de Chelly National Monument, Arizona. Photographed i n 1 8 7 3 a n d s i t u a t e d i n northeastern Arizona, the area is one of the longest continuously inhabited landscapes in North American and holds preserved ruins of early indigenous people's such as The Anasazi and Navajo. 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 people. R o c k y : T h e s o u t h s i d e o f Inscription Rock (now El Morro National Monument), in New Mexico in 1873. The prominent feature stands near a small pool of water, and has been a resting place for travellers for centuries. Since at least the 17th century, natives, Europeans, and later American pioneers carved names and messages into the rock face as they paused. In 1906, a law was passed, prohibiting further carving. photos by © Timothy O´Sullivan 1872/74
  23. 23. BOOK © KLAUS HU 2013 a photographic research into the vast expansive landscape of New Mexico, USA, made possible during residence stay at Santa Fe Art Institute in March/April 2013. While site-specific attempts were lingering in the back of my mind, recalling Nancy Holt, Robert Smithson and Bruce Nauman, I experienced a slow, but vast expansive landscape, full of contradictions and full of colonial and cultural clashes, that emptied my mind and my eyes from pre- conceptions, making me drive out into the unknown, while on stay. What I experienced was a mix of reservations, clinging to casino build resorts for income, the hispanic community living side by side of the old spanish settlers and their decedent followers, all reclaiming own territories and land, while some towns of the 60 "s communities are driven to tourism and real estate sales. New Mexico is the state of the first atomic bomb explosion and of dry high altitude with mountains, valleys and resorts. Being on my own, I enjoyed a photographic research, that can be called an artists journey, discovering a vast expansive landscape. all photos © KLAUS HU 2013 except page 57 courtesy Derrick Velasquez and page 56 courtesy Georgia O`Keeffe Museum & New Mexico Museum Of Art “The Motorbike of Georgia O´Keeffe
  24. 24. BOOK hardcover limited edition of 25, signed 100 pages / 116 photos some full page size 8 1/2 " x 11" / 21,59 cm x 27,94 cm
  25. 25. UNSETTLED LANDSCAPES installation views at SomoS Berlin May 2015
  26. 26. UNSETTLED LANDSCAPES installation views at SomoS Berlin May 2015
  27. 27. poster ed / 400
  28. 28. MARS_SPIRIT 2009 / 12 BOOK juxtaposes archival prints with its painted translation. The data archive of NASA´s rover “Spirit” and its data transmission of martian landscape, taken as basic source, opens an escapist model of territory, resources and of economy.!It echoes site-specific attempts of the 60s. Emptied of cultural and art-historical reference, these images provide the chance to come closer to the topic!landscape!without its worn out historical signifiers. installation - research - painting - edition - model - book While questions of intellectual property and the era of financial crisis melt with strategies of survival, a recent research, based on one photographic series, shot by the Mars robot "Spirit", whose panoramic and fragmented images show empty and stony landscapes, sometimes in true colour, sometimes in false colour and sometimes in 3-D in low- and high resolution, bridges an up to 320 Million km distance of data transmission. The records distributed by NASA question intellectual property, identity, science and narrativity in current global crisis of climate and finance. They open a new challenge of perception and abstraction, referencing Robert Smithson`s research of (mythical) landscape, fiction and industrial / archival spaces of the 60's. The project researches long distance data transmission of images. One Edition of 20 images of this research is printed as digital high resolution prints, each 63 x 112 cm,!including BOOK, 52, pages, 54 photos, hardcover. all photos, works and layout BOOKS © KLAUS HU 2012 additional courtesy MARS_SPIRIT by NASA / JPL-CALTECH BOOK hardcover limited edition of 25, signed 52 pages / 54 photos some full page size 8 1/2 " x!11" / 21,59 cm x 27,94 cm 83 pages / 51 photos
  29. 29. DECELERATION / HELLO_EARTH / MARS STATION drawing / gouache / collage on Ingres / framed / set of 3 / 210 x 85 cm © KLAUS HU 2009
  30. 30. SPIRIT_S / ISSO15_2 oil on canvas / each 140 x 140 cm © KLAUS HU 2009
  31. 31. model for a MARS STATION clay approx 40 x 30 x 7 cm & size variable © KLAUS HU 2011 model spatial installation
  32. 32. MARS-SPIRIT 20 Pigment prints / 20 motifs / ed 1/1 / framed / on Hahnemuehlen Fine Art Pearl each 63 x 112 cm © KLAUS HU 2010 additional courtesy NASA/JPL CALTECH
  33. 33. KLAUS HU Studio Berlin: Wildenbruch 77 12045 Berlin / Germany tel 49.(0)30.68081524 klaushu@yahoo.de Skype: skypeklaushu WORKS http://klaushu.blogspot.com http://www.artslant.com/global/artists/show/419677-klaus-hu BOOKS http://klaushu.blogspot.de/2013/07/books-editions.html VIDEO / KEYNOTES: http://youtube.com/klaushu INTERVIEW: Yale University Radio with Brainard Carey http://museumofnonvisibleart.com/interviews/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" of 2013/14 is a real time investigation into the subject of "landscape" via photographic research and refined on the plane of the canvas. Usually 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 analytical de- construction. 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). Recently he was invited for a Santa Fe Art Institute Residency at Santa Fe, New Mexico, USA in March/April 2013. 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. online p-review: http://klaushu.blogspot.de/2011/06/curatorial-research-site-specific.html or via http://www.slideshare.net/klaushu/ documents REPRESENTED BY VG BILD-KUNST, Bonn, Germany / Steuernummer 1635562802 nach § 19 Abs 1 UStG
  34. 34. KLAUS HU / PAINTING / PHOTOGRAPHY / SITE-SPECIFIC / CURATORIAL / RESEARCH 1963 born in Heidelberg / Germany, living and working in Berlin studies / fellowships / prizes / conferences / residencies 2013 Santa Fe Art Institute Residency / New Mexico / USA http://sfai.org/march-open-studios/ http://sfai.org/april-artists-in-residence-readings-and-open-studio/ http://klaushu.blogspot.de/2011/10/unsettled-landscapes-2013-15.html 2011 curatorial training at UdK Berlin, University of the Arts, Berlin 2008 ISEA Singapore / conference / artist/paper presentation http://klaushu.blogspot.de/2011/06/curatorial-research-site-specific.html 2007 Mutamorphosis / Leonardo Forum Prague and Re-Place Berlin / conferences 1998/99 guest study in cultural studies and multimedia at Katharina Sieverding, UdK (University of the arts), Berlin 1992 given lectures in script development, UdK, Berlin 1992 fellowship for photography, Senate of Berlin, catalogue, group show at Martin Gropius Bau, Berlin 1992 special merit award JVC video festival Tokyo for the animation "STAGEBOX" 1985/91 studies in stage design, photography, video, UdK, (University of the Arts) Berlin at Achim Freyer & Marcel Odenbach 1988 assistance for Robert Wilson, stage design and directing 1982/83 studies in Anthropology, Germanic- and Romance language/literature at University Heidelberg
  35. 35. exhibitions / installations / video screenings / participation in competitions / curatorial projects / performances 2016 participation FAENA ART SPACE, site-specific call, Buenos Aires, Argentina 2015 UNSETTLED LANDSCAPES solo exhibition at SOMOS, Berlin, Germany http://www.somos-arts.org/unsettled-landscapes/ http://www.re-title.com/exhibitions/archive_somos21563.asp http://klaushu.blogspot.de/2016/08/exhibitions.html 2013 OPEN STUDIOS at Santa Fe Art Institute, Santa Fe, NM, USA http://sfai.org/april-artists-in-residence-readings-and-open-studio/ http://sfai.org/march-open-studios/ 2011 KUNST_RAUM at German Parliament, (Deutscher Bundestag, Berlin) presentation / exhibition via http://klaushu.blogspot.de/2011/06/curatorial-research-site-specific.html 2011 DIFFERENT WORLDS at Skalitzer140, Berlin, groupshow 2011 participation in site specific competition for MARIE ELISABETH LUEDERS HAUS, Berlin 2010 END OF SUMMER SHOW at Atelierhof Berlin, groupshow 2009 TRILOGY: MARS DESERT BEACH, 3 open studios, Berlin 2009 SHARJAH BIENNALE, participation in open call 2009 MAXXI, Rome, participation in site-specific competition 2008 CELESTE Kunstpreis Berlin, competition, participation, catalogue 2006 BODIES DESIRES, curatorial project for APEXART NY http://klaushu.blogspot.de/2011/06/curatorial-research-site-specific.html 2005 McCormick Freedom Museum, Chicago, competition 2005 PUBLIC ART FUND - competition, New York 2005 BUSAN BIENNAL - outdoor project, open call, Busan 2004 VENEZIA, participatIion in site-specific competition per la realizzazione di opera d #arte nella nuova Citadella 2003/4 DESTINATION, script development 2003 Arriyadh housing competition, Arriyadh, Saudi Arabia 2003 STILL RUN REMIX & NY PILOT, ART FORUM, Berlin, installation DVD 2001/3 VM. - development of architectural design. A museum 2001 collaboration with DAVID LAMELAS 1991/98 video screenings at international media- and videofestivals: Sao Paulo, Brazil, JVC Tokyo, Japan (special merit award), Cinema Arsenal, Berlin, WRO Wroclaw, Poland, EMAF Osnabrück, Germany, AVE Arnheim, Netherlands. 1992 JAHRESLABOR BERLIN, groupshow at MARTIN GROPIUS BAU / BERLIN / fellowship of Berlin Senate 1989 NEW WORKS, paintings. Gallery Deplana, Berlin. Exhibition 1989 DAILY NEWS, performance. AVE Festival, Arnhem. Netherlands 1988 EACH SENTENCE, performance. Hotel Esplanade, Berlin. Supported by EASA
  36. 36. completed videos / films via https://www.youtube.com/user/klaushu 2015 UNSETTLED LANDSCAPES keynote, 35 min keynote on land-use and resources of the North American South-West. photos / texts / editing © Klaus Hu 2015 additional courtesy: Timothy O Sullivan courtesy Library of Congress High Desert Test Site © Andrea Zittel books © the writers / authors research photos / re. uranium tailings courtesy Center For Land Use / CLUI State of Mind, New California Conceptual Art ca 1970, courtesy University of California Press, Berkeley Art Museum & Pacific Film Archive 2013 / 15 NEW MEXICAN TRAVELS 6.30 min book presentation photos / editing © Klaus Hu 2013/15 BANDELIER 4.25 min site-visit of the archeological site in New Mexico, USA near Los Alamos Labs. photos / editing © Klaus Hu 2013/15 ACOMA 4.24 min site-visit of the first nation reservation in New Mexico, USA near Grants. photos / editing © Klaus Hu 2013/15 SPIRAL JETTY 5.57 min site-visit of the iconic land-art work SPIRAL JETTY by Robert Smithson, 1969/70 at Salt Lake, near Salt Lake City, Utah, USA , 2013 photos / editing © Klaus Hu 2013/15 2009 / 12 MARS_SPIRIT 5.18 min a fictional reflection about the escapist landscape of Mars. source images courtesy NASA / JPL Caltech voiceover: Christopher Johnson text excerpt: by Peter Allen "2035" editing © Klaus Hu 2013
  37. 37. 2006 CITY HARDWARE / TRANSITION, DVD_12.30 min 1998/03 STILLRUNREMIX & NEW YORK PILOT, DVD, 90 min, installation 2001 IN SEARCH FOR J.D. video/installation, SVHS 16 min 1998 TRANSITION, SVHS, 128 min, Beta SP, pal, 8 min 1994 SENTO, 16 mm, Beta SP, pal, DVD, 7.10 min, short narrative 1992/9 P.E.N, Beta SP, pal, 11.40 min, 4 musicclips 1987/91 STILL RUN, DVD, pal, 63 min, DVD, compilation / 8 short works 1987 LA COURTE DUREE, U-matic, 58 min, exper. narrative bibliography / books p-reviews: http://klaushu.blogspot.com 2012 / 16..PAINTING 2006/16, BOOK, hardcover, ca 90 pages, 80 photos, col, 8 1/2 "x 11", limited ed …………..SPIRAL JETTY, ACOMA, MADRID, BANDELIER, BOOK, hardcover, 8 1/2 "x 11", 60 pag, 33 photos. collectors ed. …………..NEW MEXICAN TRAVELS, BOOK, hardcover, 8 1/2 "x 11", 100 pages, 116 photos, limited edition …………..MARS_SPIRIT, BOOK, hardcover, 84 pages, 51 photos, col, 8 1/2 "x 11", limited edition …………..NY 92/12, BOOK, hardcover, 74 pages, 100 photos, b / w & col, 8 1/2 "x 11", limited edition 2010…….TRILOGY MARS DESERT BEACH, 3 booklets, 2008…….ISEA Singapore, conference proceeding, pdf http://www.slideshare.net/klaushu/documents 2008…….CELESTE KUNSTPREIS BERLIN, catalogue 2005. 2001…….ARTISTSSPACE NY, onlinefile http://local-artists.org/users/klaus-hu 1992…….JAHRESLABOR BERLIN, Berlinische Galerie.Germany.groupshow.cat 1992 / 96.JVC.VIDEOFESTIVAL.TOKYO.Japan.cat 1992…….WOLKENKRATZER.Frankfurt.Germany.publication 1991…….WRO WROCLAW.Poland.cat 1988/90..AVE FESTIVAL ARNHEM, Netherlands.cat