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Published on


all photos/ layout © KLAUS HU 2013

Book by KLAUS HU
made possible during residency at Santa Fe Art Institute, NM, USA
March / April 2013
all images © Klaus Hu 2013

additional image rights courtesy Derrick Velasquez,
page 57, "Untitled 41, 2012"

and courtesy Georgia O`Keeffe Museum, Santa Fe, NM
New Mexico Museum of Fine Art, Santa Fe
"The Motorbike of G O K " on page 56

available as print on demand from Sept 2013 on
100 pages / 116 photos / hardcover / limited edition

how to order print version:

Published in: Art & Photos, Travel, Technology
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  2. 2. New Mexican travels © KLAUS HU 2013
  3. 3. new mexican travels © KLAUS HU 2013
  4. 4. ACOMA 1 th / 2 nd of April. Cloud - and rainmaking song. Driving out to Acoma / high Mesa / oldest american town alive / sometimes its better just to drive out / "Dakota", our tour guide insists, that solar energy is against "our" religious believes / never heard of that...on my question why still using propane gas for heating / the night before, I find a last section of route 66 / take an overnight at "Grants" / an old uranium mining town / the main street / rotten stores and motels / in the background / undiscovered for the visitor / the pub of town / and everyone is dining at 5 PM / behind closed window panes / / hidden fences
  5. 5. ARRIVAL IN SANTA FE 28 th of Feb
  6. 6. ARCHITECTURE A coyote crossed the Campus last night, while heading to Meowulf
  8. 8. downtown santa fe
  9. 9. I found my hat at Suzy ´s at railyard
  10. 10. courtesy Georgia o´keeffe Museum & New mexico Museum Of art, Santa Fe, NM
  11. 11. Courtesy of derrick velasquez
  12. 12. STAGES
  13. 13. BANDELIER 17 th of March Following my intuition. At Anasazi land. Driving up a long and winding road to the "Enemy- ancestors", which the Navajo would call Anaasází. Passing by Pojoaque and its Casino build resort the rocky volcano made land - tuff - compressed by million of years - older than you can imagine - land, that makes you feel young again
  14. 14. We pass by White Rock and some labs of Los Alamos. White Rock is a quickly set up town for the employees. Probably
  15. 15. After some miles of a curvy and cliffy road, we reach the National Monument Park and the tourist information center for instructions
  16. 16. First it had been a cloudy day. Now it clears up, becoming the blueish New Mexican sky
  17. 17. We follow the path along the excavated ruins along the former communal round house, climb up stairs, while the lungs are already exhausted by altitude pressure
  18. 18. As wind moves through emptied space along the canyon, it fills the silence with A sound made by gods, reminding to cars passing by on a distant highway
  19. 19. The caves, small in size, nearly indistinguishable from the wind and water made cracks and voids inside the cliffs are looking like a Swiss cheese
  20. 20. taking snapshots like tourists, we end up hiking at the ceremonial cave, where, in fact of erosion, we have to catch multiple erect ladders
  21. 21. In vain. I´m exhausted, and enjoy the silence only haunted by the soft howling of the wind
  22. 22. riding out to Madrid 26th of March riding out to Madrid. the wide open landscape in front of my eyes. Galisteo and the vast expansive desert. A school bus driver shows me the way. You cannot get lost. But found. I imagine, why Bruce Nauman, Lucy Lippard and Nancy Holt have their homes here.
  23. 23. What brought you here? 1. The invitation onMaps and mapping and my previous work, I guess. My interest in Robert Smithson since 2001 and his obsession with landscape, fiction and industrial ruins .... and his collected appendix of fiction / nonfiction, he collected in his library. How was your relation to him? 2. Robert Smithson seemed to be all the time "ON- LINE". His imagination along his projects seemed borderless, sometimes correlating, sometimes confronting my female perspective on things. It has been like a "RUN-THROUGH" or constant "RUN- DOWN", like one of his projects. Always imagining structures of existing and non-existing relations between constellations and landscape and the books he was reading meanwhile. And he needed that perspective as well.
  24. 24. 3. Did he imagine his projects to be seen by alien visitors in a far future distance, who discover the left-overs of humankind, wondering about the mysterious ruins of a species long ago having faded?
  25. 25. 4. May-be yes and no. He didn´t care much about reception and critical feedback - he cared about conflict of being - and how calculus would interact - and then project his ideas of unforeseen re- combinations onto it. I don t ́think, he cared much about alien visitors, although he liked science-fiction. In books and in films. 5. Did you have to emancipate from his visions, or has it been more like a collaboration? What was your role in it? And what was your favorite book you had in common with him?
  26. 26. 6. Referencing Michael Heizer, for example, who blew up the idea of land-art, of site, and of territory into a gigantic sculpture with enormous funding. land-art has developed as a negative aspect of american spirit. In contrast, James Turrell, who also realized his dream of Roden Crater, always returned to either "light spaces" for museums or to small scale projects for commissions A fictitious dialogue with Nancy Holt in Galisteo
  27. 27. WHITE SANDS I/ II/ III charcoal / oil on Stonehenge each 36,7” x 48,8” 93,2 x 123,9 cm © KLAUS HU 2013
  28. 28. KLAUS HU STUDIO BERLIN REPRESENTED BY VG-BILD KUNST BONN - Germany contact & links HTTP://KLAUSHU.BLOGSPOT.COM HTTP://ARTNEWS.ORG/KLAUSHU all images © klaus Hu 2013 residency at Santa Fe Art Institute Santa Fe, NM, US except: Page 58 courtesy Derrick Velaszquez Untitled 41, 2012 Vinyl, cherry 67 x 60 x 1.25 inches Courtesy of the artist page 57 courtesy Georgia O`keeffe Museum & New mexico Museum Of art The motorbike of Georgia O ́Keeffe