Reflection on Media and Photography: Serial Pictures and Lines of Thoughts

In 1988 and 1989, Klie was invited to a German-Canadian exchange of artists. There he became acquainted with the painter and action artist Martin von Ostrowski with whom he founded the group ”Der Kongreß” (“The Congress”), after returning to Germany. This union of artists, working rather differently, linked by a relationship to the post-modern style, i.e. a “level of up-to-datereflection”, was a strong impulse for his work. Apart from the realization of exhibition projects, actions in the public space (e.g. “Palace of the Republic – External Cleaning”) and artists’ congresses (in Cologne and Berlin among others), the discussion, overlapping the different movements, was an important concern of the group.

Part of the group strategy was the ironical focus on the “operating system of art”, consequently, the partly subversive works of the group were designated as “fun-guerilla-art” by the established critics and experts on art. The nucleus of all the actions and activities of the group, however, was to examine the system of art and to reflect on it, thus, for instance, in the postcard-action in 1990: “The German Artists’ Club is dissolved!”
In 1992, Klie wrote: ”While reflecting on what I believe in, it strikes me that it starts becoming artificial, as soon as you talk about it. It is much easier to ponder and to work on what you do not believe in, it only requires some recklessness. This recklessness, this in-consideration is needed in the fine arts. Recklessness towards things, no delicacy, no gentleness, no regard – to incorporate everything that is repugnant and irritating.”
The project space “Simultan in die Zukunft” (“Simultaneously into the Future”, 1992/93) illustrated the direction of impact of the group most significantly and formed an end of the co-operation as well. On the opening evening, the audience experienced a cacophony of simultaneous multi-media actions for four hours, ending in deconstructive, destructive chaos. Afterwards, the action’s remains of the evening constituted the real exhibition – the catalogue, however, presented the situation of the active “simultaneous space”.

During this experimental, intensive time, Klie progressively developed into a conceptual direction, while he emphasized on photography and objectinstallation as media. Additionally, he started to write more intensively.

The touring exhibition “Belgischer Granit" (“Belgium Granite”, 1994, together with T. Wirthmüller and H. Pieler) in Antwerp, Brussels, St. Niklaas, Kortrijk and Berlin was exemplary for this fact. He developed his object- and photo installations directly for the halls of exhibition and modified them adequately; in Belgium, they were also seen as reference to René Magritte, with a twinkle in the eye.
At that time, Klie discovered the “law of series” for himself. Different to the serial structure of Pop Art, for him the series were not repetition but production of simultaneity with different media.

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