ART KARLSRUHE neu ausgerichtet.

22. - 25.02.2024

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09.02. – 02.03.2023
Bau-Xi Gallery
350 Dundas Street West, Toronto

Bau-Xi Photo presents, Fragile Beauty, from the acclaimed Flowervases series by German photographer, Martin Klimas. Contrasting elegance and chaos, Klimas photographs his flawlessly arranged flower vases being shot by a steel bullet, capturing them in the moment of their destruction.

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"Momente des Sehens – 4 Positionen der Fotografie"

21.07. – 10.09.2022
Galerie Schlichtenmaier, Kleiner Schlossplatz 11, 70173 Stuttgart
Opening: Thu, 21.07.2022, 19:30h

Mit Sinje Dillenkofer, Elger Esser, Martin Klimas, Florian Maier-Aichen

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Macau Art Biennale

July - October 2021
Macao Museum of Art

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Groupshow "STRUCTURES"

16.05. – 07.06.2020
Cosar HMT, Flurstr. 57, Düsseldorf
Open at the Weekend, Sa + So 12 – 16 H

Installation View, Untitled (Polarization 193), Video Loop / Monitor, Ed of 1, 2017

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Soloshow "More than meets the Eye"

16.11. - 20.12.2019
Cosar HMT, Flurstr. 57, Düsseldorf
Opening: Saturday, 16.11.2019, 18 - 21 Uhr

Installation View, Untitled (Iris), 220 cm x 170 cm, Ed of 2, 2019

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SAVE THE DATE - Upcoming exhibition and book release

16.11.2019, 18 - 21 Uhr
Cosar HMT, Flurstr. 57, Düsseldorf

The exhibition will be accompanied by a catalog with a text by Gregor Jansen.


Soloshow Foley Gallery

18.09. - 17.11.2019
Foley Gallery, 59 Orchard Street, New York
Opening 18.09.2019

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Groupshow "Blossomed and captured"

11.05. - 25.08.2019
Galerie Stihl, Waiblingen
Opening 11.05.2019 11.00

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Soloshow 19.01. - 03.03.2018
Cosar HMT, Düsseldorf
Opening 19.01.2018 19.00

press review

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28.01 - 08.04.2018

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December 2017

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Art Düsseldorf 2017

16. - 19.11.2017
G03, Galerie Cosar

Installation View, Untitled (Astilbe Arendsii), 220 cm x 170 cm, Ed of 2, 2016

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Grouphow 17.11. - 22.12.2017
Opening 17.11. 18 - 21 Uhr
Galerie Cosar, Düsseldorf

With Works by Hannelore van Dijck, Erika Hock, Martin Klimas, Germaine Kruip, Rein Dufait, Rotar, Berit Schneidereit, Willy De Sauter

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ART FOR AGE - MeCollectors Room, Berlin

Grouphow 29.06.2017
Sammlung Thomas Olbricht

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01.03. - 05.03.2017
Pier 90, W 50th Street - 12th Ave
Foley Gallery, Booth C11

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Edition 12–21

Benefizaktion 01.12. - 21.12.2016
Kunsthalle, Düsseldorf

Im Rahmen der Aktion werden vom 01. - 21. Dezember, von 17 bis 24 Uhr, die Werke von 21 Künstlerinnen und Künstlern in Form einer Bildinstallation nacheinander an die Fassade der Düsseldorfer Kunsthalle projiziert.

Mit Bahar Batvand, Frank Bauer, Frauke Dannert, Elger Esser, Hans-Peter Feldmann, Johanna Flammer, Katharina Grosse, Jutta Haeckel, Stephan Kaluza, Martin Klimas, Karin Kneffel, Mischa Kuball, Stefan Kürten, Sigrid von Lintig, Klaus Mettig, Dieter Nuhr, Yvonne Roeb, Bernd Schwarzer, Katharina Sieverding, Kate Waters und Paloma Varga Weisz.

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Retinal Burn - Sammlung SpallArt

Grouphow 29.09.2016 - 04.11.2016
Eboran Galerie, Salzburg

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Grouphow 11.09.2016 - 08.01.2017
Neue Galerie des Haus Beda, Bitburg

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Summershow at Cosar HMT

Grouphow 01.06. - 10.07.2016
Cosar HMT, Düsseldorf

with Melissa Gordon, Martin Klimas, Stefan Sehler, Sara Sizer.

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"Soundworks" at Foley Gallery, New York

Soloshow 20.04. - 22.05.2016
Opening 20.04.2016, 6 - 8 PM

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"

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COFA Contemporary 2015

Soloshow 18.11. - 22.11.2015
Hall 11.2, Booth A 21, Cologne

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Art Brussels 2015

Erika Hock, Martin Klimas
24.04 - 27.04.2015
Booth 3C - 35 , Cosar HMT

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Soloshow 16.01. - 27.02.2015
Cosar HMT, Düsseldorf
Opening 16.01.2015 19.00

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"Wild" at Alfred-Ehrhardt-Stiftung, Berlin

05.07.2014 - 14.09.2014

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Miles at the Fillmore

Artwork for Miles Davis Album Cover
The Bootleg Series Vol. 3 from 1970

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.



Sky Office, McKinsey, Düsseldorf
Opening 05.12.2013


Porcelain: Breaking Tradition

Art Mûr, Montréal and Québec, Canada
Groupshow Nov 2013 - Feb 2014

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.

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E.ON, Düsseldorf
Groupshow 22.11.2013 - 02.02.2014

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.

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How long is now?

Foto-Raum, Wien
Groupshow 08.10.2013 - 25.12.2013
Opening 08.10.2013

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

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Foley Gallery, New York
Soloshow 18.09. - 03.11.2013
Opening 18.09.2013

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?

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Opening of new Opera

Soloshow 11.04.2013 - 06.07.2013
Musiktheater, Linz 
Opening 11.04.2013

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.


Lost Paradise

Groupshow 12.08.2012 - 23.09.2012
Moenchehaus Museum, Goslar

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.

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Animals in Contemporary Photography 
Groupshow 14.7.2012 - 8.9.2012
The Moving Gallery, Omaha

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.


Pavlov's Dog, Berlin

Soloshow 11.05.2012 - 09.06.2012.

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.

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Exploding Flowers




29.04.2012 - 10.06.2012 Beijing
22.06.2012 - 22.07.2012 Shanghai
Other Gallery



Groupshow Dec 20102
Benyamini Contemporary Ceramic Art Centre, TelAviv

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.

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Soloshow 04.11. - 16.12.2011
Cosar HMT, Düsseldorf

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.

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