托马斯·帕尔玛是个绘画高手。他热爱并支配着这两个在皇家学科：肖像和裸体方面荣获一致好评的才华。在他最近的作品"100位历史上最有影响力的男人"系列中，帕尔玛以一个怪诞的方式将两种流派相结合。从而从根本上质疑我们的概念和现实、性欲和权力。

无政府主义者，独裁者，艺术家们，历史和虚构的人物在过去的几个世纪和近几十年来合并成了100个最重要图表的悖论。自从在他们的存在之后人们对这些角色都做了些什么？我们又是如何对待我们的祖先的？有没有由于我们的认识将其中一些自动得变成了一个荒谬的个性？教育将人们训练成了表格式思想信徒的追随者。要有一个客观的、官方的100位的名单这本身来说就是一种严峻的行动，这正是那些控制世界秩序的人们所要的。100位人名单的创造者们捍卫着他们自己认为的现实并将它们强加给我们。

帕尔玛，是他自己的笔锋以及所写文字的作者。他指出现实不应该允许这样一份名单的存在。"人类的本性是贪婪"、"贝鲁斯科尼"、 "本拉登布什"、 "康德在看着Orgon man" (Orgon man —— 莫里哀《 伪君子》中的那个"傻子")，这些可以这样理解，在有嚼头的人物旁边我们可以看到在基督教十字架的周围围绕着中文字符。这一全球性的画是不客观的，类似于一个虚假的现实。这一系列的画并不是一种思想对现实的控告。比如说"功夫熊猫"是充满了思想的，它是在某个"世界"一个重要的现实生活中的名人。

然而现实是可憎的。有微博报道：父亲和他们自己的女儿有了女儿；人活生生得死在了一个网络摄像头前，而我们在出租车后座上的屏幕上观看这一幕。如果没有淫秽色情网站上这数百万的点击率，因特网将变得更加的强大。既然我们的现实是如此淫秽色情，那么在画廊的画也会是淫秽色情的。艺术不是一个"封闭的密室"（Huis Clos引自法国剧作《隔离的审讯》）那些以自己的定义制定着名单的人们在自己所谓的"艺术"的封闭的密室中畏畏缩缩。你无法逃避这方面的负担，一边在创造一个理想化的现实的同时你也在破坏别人他人的理想世界。接受吧，现实就是一个巨大的混乱。在必要的同时，嘲笑他。

托马斯·帕尔玛1967年出生在德国的伊门施塔特。他是一个广受赞誉在世界各地举办过无数展览的德国艺术家。19岁时，他开始在慕尼黑Hans Baschang学院学习艺术课程，之后他移居到维也纳参加Arnulf Rainer学院的课程，并毕业于在杜塞尔多夫Michael Buthe学院的硕士课程。2010年他荣获了由著名的在奥地利克雷姆斯美术馆颁发的津贴。"100位历史上最有影响力的男人"是帕尔玛在上海候台画廊的第二次个展。

Thomas Palme is a master of drawing. He loves and dominates the two royal disciplines of his talent alike: The portrait and the nude. In his most recent works: "the one hundred most influential men in history" Palme combines both genres in a grotesque manner. Thereby our conception and our experience of reality, sexuality and power are radically questioned.

Anarchists, dictators, artists, historical and fictional figures of past centuries and recent decades are combined into the paradox of a 100 most important chart. What has the human race done with those characters since their existence? How do we treat our ancestors? Has our perception made some of them into preposterous personas automatically? Education transforms us into trained followers of ideological believers of spreadsheets To assemble an objective and official 100 list is a grim action in its own, desired by people who are looking for a controlled world order. Creators of 100 individuals data defend their reality and impose it on us.

Palme is the author of his stroke as well as of the written word. He points out that the reality that allows such a list does not exist. "Human nature is greed", "selfdestruction of dignity", "Obama Bin Bush", "Immanuel Kant looking at Orgon man" - the idiot -, is to be read next to nutty figures we believe to see in a surrounding of words, chinese characters within Christian religious suppression. This global drawing is not objective and resembles only a fake reality, which is not an ideologically charged reality. "Kung fu Panda" is filled with ideology and in some world an important real life celebrity.

Yet, reality is obscene. There are micro blogs that tell us about fathers who beget daughters with their daughters. People die live in front of a webcam and we watch it on the screen in the backseat in our taxi The internet would be half so powerful without those millions of clicks on pornographic websites. If our reality is obscene the Drawing is obscene, therefor the Drawing in a gallery is obscene. Art is not a "Huis Clos" that generates its own conviction of nodding people who made their lists and cower inside an oasis of so called art. You can't escape this burden while creating an idiological reality on order to destroy others. Accept that reality is a gigantic chaos and in case of need, laugh about it.

Thomas Palme, born 1967 in Immenstadt, Germany, is a highly acclaimed German artist with numerous exhibitions world wide. At age 19 he started to study art in Munich at the class of Hans Baschang before he moved to Vienna to participate in the course of Arnulf Rainer and graduated in Düsseldorf the masterclass of Michael Buthe. In 2010 he was honored with a Grant by the prestigious Kunsthalle Krems in Austria. "The one hundred most influential men in history" is Palmes second solo exhibition at stageBACK Shanghai.