“Amorphous Concepts” or: The Laws of Knowledge
Between 1997 and 2001, Klie worked on the art group “Amorphe Begriffe" (“Amorphous Concepts”) – a substantial serial of conceptual photography, representing a compendium of his previous reflections on picture and diction or language. Serial tableaux, organized photographs, clearly composed in diagrams, were combined with graphic structures, words, letters or figures, technically mostly on the basis of sandwich procedure or of multiple exposure during the positive processing.
The title “Amorphous Concepts” is related to a paradox: The deeper we look into the substance, the more we want to fix our gaze on to it, the more the tiny parts of elements blur in front of our eyes. By doing so, it gets impossible to predict conditions or to distinguish between cause and effect.
Is that also true for our sight and thinking in images and words?
If you part of the conception that photography contains a documentary defining truth, the supposedly exact concepts of pictures become amorphous and lose their dogmatic attitude,” Klie wrote for an exhibition with the same title (1998).
Consequently, serial structures illustrate the life of concepts and their destiny in Klie’s works – there is the continually repeating genesis from something special to the common, consolidating each concept in the course of life and simultaneously destroying its capability of reference. Thus, Klie’s “Amorphous Concepts” represented a request for deconstruction, in reality, tending to dissolve fixed meanings. Here Klie found back to his origins again, for – according to Magritte, not quoting him – it was important “to keep thinking alive”.
The recipient is “dis-illusioned” in two senses. First, what he meant to have understood was illusion and secondly, this becomes visible as an illusion. Presence and absence of truth become visible by the fact that something is perceived, whereas something different is excluded from sight and this exclusion itself is visible.
In 1998, a close co-operation with the photographer Gerhard Haug started and existed until 2006. The first project of exhibition “Referenz“ (“Reference”, conceptual photography in 1998/99, together with Akinbode Akinbiyi) was focused on the reference function of the photography. In the digital era, photography produces more virtual worlds than ever. “Today we partly live in a world which has already become virtual in its substance, so that primary experiences in the virtual sphere replace the ‘everyday experience’” (Klie). This background was the starting-point for a game among different virtual levels. The “game” could represent how we self-evidently handle pictures without understanding them. “Reference” was the impetus for further mutual activities.
During the exhibition project “Überindividuell 1–2“ (“Over Individual 1 – 2”, in Berlin and in Mannheim (together with M. v. Ostrowski, M. Stoll, T. Wirthmüller), staged with space related, multi-media installations, statements and glossaries to the environment of the artist, works and his respective “Life Art”, Klie exhibited the original form of his “Wittgenstein – Trilogy” for the first time.
In 2003, Haug and Klie founded the art initiative “projectSTRAND.org” (www.projectSTRAND.org). A central part of the group work constitutes fictional and real interventions in the urban space which were realized in actions, projects and exhibitions (until 2006, changing membership: K.W. Eisenlohr, W. Fehse, etc.). The occupation with the urban space, the realization of artistic projects in and nearby the street was accomplished in temporarily used project spaces (e.g. “Street-lounge – street/city/identity”). With the medium of film Klie step by step developed his thoughts and illustrated his “Philosophie der Straße“ (“Philosophy of the Street”). Almost as a quintessence of the art initiative “projectSTRAND.org”, Haug and Klie developed “Street-User-Interfaces” (ground show-cases in the street space with reference to the past, present and future of the street) as a contribution to the competition “Art Installations on the Potsdam Street”.