Melissa Gordon, Martin Klimas, Stefan Sehler, Sara Sizer.
In Soundworks, Klimas continues to explore the question, "What does sound look like?", translating sound to a single moment that we can actually see. In SONIC , he uses well-known songs by musicians such as Miles Davis or Daft Punk. In Sound Explosions , Klimas uses original compositions. In collaboration with several musicians, Klimas asked that they create "patches" of sound using analogue synthesizers. The synthesizers—made between 1930 and 1990—are presented as to prologue the intricate vibrations of sound, which he animates with powdered pigments. Reflection, interference, refraction and diffraction: basic wave phenomena generate the differences in sound that we can hear as a beat.
To create the images, he places a scrim over the speaker diaphragm and carefully places the chosen pigments for the sound reaction. Then, using high-speed camera technology, he captures the kaleidoscopic chaos that appears when the sound begins. Each pigment abstraction will be paired with its photographic counterpart; a detail of the machine that created it.
The artist removes organized sound, or beats, in his series Pure Tones. Here he employs a frequency generator, outputting the most basic building blocks of music. Sine tones are used to stimulate the surface of water and Klimas photographs the resulting "standing waves". Some of these photographs will be displayed as lenticular prints, giving the viewer a four-faced view of each tone.
press release "The New Yorker"
The album contains more than two hours of previously unreleased music, recorded at the "Fillmore West" in San Francisco, and presented by the 1970 line-up
with Miles Davis, Chick Corea, Keith Jarrett, Dave Holland, Jack DeJohnette, Airto Moreira and Steve Grossman.
Martin Klimas also used the song "Bitches Brew" from this period for his recent work "Sonic Sculptures". Appearing on the cover this picture will become part of the history of Davis' music.
Laurent Craste, Marie Côté and Olivier Girouard, Pierre Durette, Nicholas Galanin, Sarah Garzoni, Martin Klimas, François Morelli, Clint Neufeld, Greg Payce, Amélie Proulx, Stephen Schofield, Brendan Tang, Anne Ramsden, Colleen Wolstenholme.
E.ON has asked seven art gallery owners in Düsseldorf to present photography artists. Visitors will see some of the work of 15 photography artists represented by Düsseldorf art gallery owners. The exhibition will run until February 2, 2014; it thus includes the Düsseldorf photo weekend that was a great success already last year.
Michael Aschauer, Boris Becker, Stéphane Couturier, Stefanie Hilgarth, Anna Jermolaewa, Martin Klimas, Brigitte Kowanz, Edgar Leciejewski, Michael Michlmayr, Jeff Nixon, Stephan Reusse, Liddy Scheffknecht, Werner Schrödl, Jutta Strohmaier, Hiroshi Sugimoto, Martin Walde, Flora Watzal, Michael Wesely
High speed stop motion photography has always held the promise of the unreal and the fantastic, capturing events that normally pass us by in the blink of an eye. Starting with Eadweard Muybridge's galloping horse images for Leland Stanford in the 19th century and followed by Dr. Harold Edgerton's scientific studies of bullets passing through apples and milk droplets jumping into perfect crowns, these kinds of images deftly combined technology and art, mixing astonishing subject matter and bleeding edge technical prowess. German photographer Martin Klimas is one of a new generation of artists (including Ori Gerhst and Shinichi Maruyama among others) continuing in this line of visual investigation, pushing the newest tools further and further. While his previous projects have included the split second breaking of falling porcelain figurines and projectile smashed flower vases, his new works go one step further to document the invisible, in this case, the explosive power of sound.
We might normally think about visualizing sound as waves, measuring their frequency and amplitude with an oscilloscope or charting their loudness in decibels. But Klimas has crafted an ingenious new method of seeing the energy of sound, pulling a thin membrane across the top of a loudspeaker and letting the blasts of sound create upward vibrations, almost like a drum. He then pools different combinations of watery neon paint on top of the membrane and when the sound hits, they jump into the air with the gestural power of an action painter. Captured in fractions of a second and seemingly frozen solid, they take on remarkably different forms, depending on the music that was playing: Wagner and Kraftwerk splash into millions of tiny droplets, while Miles Davis and Prince swirl into elongated squiggles. Hot combinations of exuberant colors make the bursts and eruptions all the more dynamic.
It's certainly possible to geek out at this show, replaying the music in your head and trying to puzzle out why the music of John Cage, Pink Floyd, and Grace Jones looks exactly the way it does (was it the thump of the bass line, a guitar solo, or the crash of the percussion?). But the explosions of fluid paint also function as vigorous vertical abstractions, like stalagmites of instantaneous energy. In the end, when the exact right moment occurs, Klimas takes sound and gives it a dazzling visual form, allowing it to dance across the frame. Who knew the physical manifestation of sound was so flashy and effervescent?
At the first time the complete Series of the SONIC SCULPTURES will be shown at the Opening of the new Opera in Linz, Austria.
At once, the Premiere of "Spuren der Verirrten", a Opera written by Philip Glass and Peter Handke takes place.
The exhibit speaks in various forms to parts of the famous poem by John Milton,"Paradise Lost", and express that with the dawn of modern times, the way back to
Paradise has been blocked and the doors to which have been "locked". (Heinrich von Kleist)...
Luzia Simons presents her flowers like a splendid painting set before a black background. Vera Mercer withdraws her wonderful rose, and places it as a part of the colors amidst the beauty of the stars Anemone and Amaryllis. They are faded and seem to be somewhere between life and death. The flower photographs of Michael Wesely are combined from their period of blooming through their decay into single photographs with his use of long-term exposure. Martin Klimas photographs flowers in vases, which are photographed in the instant that the vase is exploded, with water and ceramic flying in all directions, while the flowers remain at peace.
Wild, organic, natural, dangerous, cute: these are terms we rely on to describe animals, their character, and how we relate to them. In “Wild: Animals in Contemporary Photography,” on display this summer at Moving Gallery in Omaha and traveling around Europe this fall, seventeen artists examine the ways society uses, imagines, fetishizes and fantasizes about animals through photography....
The work that best fits the title of the show “Wild” is “Eagles” (2006) from Martin Klimas, a series of three large-format eagles, captured in flight, against a grey studio wall. The photographs are minutely detailed, leaving the viewer to conclude how such ambitious images could be captured. The viewer must decide whether they are real or fake, alive or dead, in motion or frozen, and the images call into question the authority of photography itself.
Precision, accuracy and the exact preliminary planning of his scientifically set-up compositions are what make Martin Klimas’ image series so unique and impressive. With his way of working Klimas constantly wanders between art and science. His role models are scientist and explorers such as Harold E. Edgerton, a pioneer of high-speed photography. The inspiration for his latest series came from natural scientist Hans Jenny and his work on Cymatics. But Klimas does not stop at the mere associative depiction of sound and has built a machine that converts sound waves into pictures. In his choice of music he does not limit himself to certain styles or periods and uses pieces such as „Transitor“ by Kraftwerk as well as Carl Orff´s „Carmina Burana“. Klimas most famous series are pictures of porcelain figures photographed in the moment that they were dropped from a height of three metres with a high-speed camera.
Fragility, Deconstrucion and Fragments in Contemporary [ceramic] Arts, Benyamini Contemporary Ceramic Art Centre, TelAviv.
The exhibition is set to link between the concept of Deconstruction and its philosophical context within Jacques Derrida’s philosophy , and the materialistic context – the blast, the fragment and reconstruction. To this reading of deconstruction that crosses the lines of the ceramic process for the sake of converted thinking, from the fragment to the object, making that reflect on “the afterlife”, the theoretical move concerning the Chimaera, as an opposite model of hybribity is added; In contrary to the hybrid where varying sources are assimilated into a new entity, the Chimaera is a living model that contains past memory and the fundamental shapes of which the new form is created. The Chimaera, in the sense, is the opposite of the “melting pot”, since it permits the preservation of old identity together with reconstructing new shapes, aware of present formations.
High-quality silk scarves provide the thematic background for the new photo series ‘Foulard’ by Martin Klimas. Their nature oddly ambivalent between two- and three-dimensionality, these scarves are themselves subject to an identity crisis situated between object and picture. They are strange hybrids that are perceived as images and serve as objects.
It is in fact the pictorial character of these fashion accessories that specifically interests Martin Klimas in his current works. The silk scarves on display here not only hold a mirror up to the last 50 years of fashion—Klimas deploys scarves from the 1960s up to the present day—in their own way they also stylistically reflect the art of the time. As fashion, they are more Zeitgeist than avant-garde, do not shape style so much as quote artistic trends such as Abstract Expressionism, Op and Pop Art and make us think of artists like Rothko, Vasarely or Lichtenstein. This reference is what Martin Klimas highlights in his current works, giving yesteryear’s motifs back their autonomous character. To the viewer, Klimas’ photos look like large-scale paintings caught between figuration and abstraction. Expressively luminous color spaces encounter minimalist geometric patterns that completely take over the picture plane; each fall of the folds becomes an orchestrating gesture modulated by the reflection of the light on the metallically shimmering silk. In association with the patterns, complex perspectival constructions result, opening up intriguing pictorial expanses whose visual power is absolutely bewitching. Martin Klimas’ photographic series ‘Foulard’ testifies, on the one hand, to half a century of fashion history, while at the same time, via the most advanced camera technique, lends the scarves a visual presence they never before enjoyed.