Born in Göttingen in 1956, Klie was essentially influenced in his beginnings by Paul Klee, as well as Alfred Pohl’s and Horst Janssen’s graphical works. After his school-leaving examination in 1976 qualifying him for admission to university, he went to Berlin where he studied painting at the Academy of Arts (HdK) under the aegis of Prof. Herbert Kaufmann until 1982. During his studies he consciously turned into opposition to the prevailing art movements of politically-minded “critical realism” and the neo-expressionist “wild painting” (“fauvism”). The “socio-critical” diction and the “hunger for images” he opposed with the hunger for “purposeless thinking without any justification”. He was impressed by René Magritte and his writings and also got into serious contact with Ludwig Wittgenstein’s work, proceeding from Magritte’s concept of “mystery”. At the HdK, Klie became a master student in 1981.

In 1980, he was a founding member of the artists’ group “Schwertfeger” (together with Wolfgang Buchholz and Herbert Weber), which he continued being a member of until 1983. The group pursued concepts such as “perception”, “association” and “object-character”, the coincidence of theoretical perception, dadaistic-surrealistic ideas and gestalt-psychological concepts.

During the following years, his artist’s position turned more and more towards “post-modern painting”. In 1988 and in 1989, he traveled to Montreal, to a German-Canadian exchange of artists, invited by the Karl-Hofer Association and the Goethe Institute. After his return in 1989, he founded the group “Der Kongreß” (changing membership until 1993), together with the painter and action artist Martin von Ostrowski. During this experimental, intense time, he increasingly applied himself to the medium of photography, organized multimedia exhibitions, artists’ congresses and actions in the public space in Berlin for the group (e.g. “Palace of Republic – External Cleaning”).

In 1992, he received a work scholarship in graphic arts (medium photography) by the Senate of Berlin. Thereupon, the photographic collection of the Berlinische Galerie (Berlin Gallery) integrated works of his into its collection from 1993 onwards.

Between 1997 and 2001, he developed the work group “Amorphe Begriffe" (“Amorphous Concepts”), which represented an essential compendium of his reflections on picture and diction. This time also comprises his basic occupation with Friedrich Nietzsche und Gottfried Wilhelm Leibniz, resulting in the work group “Petites Perceptions” (“Small Perceptions”).

In 1998, a close co-operation with the photographer Gerhard Haug developed until 2006. Their first mutual project was the exhibition of conceptual photography “Referenz” (“Reference””) in 1998/99. It was the prelude for further projects and led to the foundation of the group “projektSTRAND.org” (www.projectSTRAND.org) in 2003. The group planned and performed fictional and real interventions in the urban space and realized actions, projects and exhibitions until 2006.

At this time, Klie also worked on the inter-cultural project “Infraestructura I – IV”, which lead him with exhibitions to Ecuador (Quito, Guayaquil and Cuenca) in 2005/2006, on account of an invitation of the Goethe Institute, the Humboldt Company and the “International Month of Photography” in Ecuador.

Simultaneously, the extensive occupation with Ludwig Wittgenstein’s late works (since 2002, Wittgenstein-Trilogy 2003/2006 and exhibition “philo so and so phie” in 2006) caused a caesura, which influenced his art from 2007 onwards. It conveyed a more “diction-performing-poetic” dimension to the prevailing rather rational-philosophical aspects of his works. Wittgenstein’s change to the theory of linguistic games in his late philosophy, made Klie perceive an analogous change of perspectives within his own work of art. The Wittgenstein phase, which he finished with the project “Hypermedia Wittgenstein” in 2008, was followed by a more liberal, less purposeful reference to his philosophical sources, thus setting new accents in his work. The paraphrasing, poetic dialogue between texts and photographs consequently became the most important feature of a still existing work phase, predominantly realized in photo-books and increasingly video works. In 2010, he compiled a selection of his texts since 2004 into a volume (“Texts and Fragments from 7 years, 2004 – 2010”).

Marche Luna, 1979Marche Luna, 1979, 120 x 120 cm


Palace of Republic – External Cleaning, 1992