Sky Office, McKinsey, Kennedydamm 24, Düsseldorf
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)
In this exhibit, the Moenchehaus Museum Goslar has selected 15 photographers, who all confront flower photography in a different fashion. For example, in the doubly-exposed photographs of the Swiss artists Fischli/ Weiss, there is an expression of time by showing at the same time the flowers' growth and decay. The withered flowers of the Japanese artist Nobuyoshi Araki indicate, with their encrypted sexualized form, the duality between the existence of Eros and Thanatos as a thematic device. The American painter, director, and photographer David Lynch, a past recipient of the Kaiser Ring Award, photographs flowers extremely close up, in order dissolve the subject into abstract color photography.
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.
Rarely is a group show so well crafted that the artist’s work has room to breathe, while still reinforcing one another. Curators Matthias Harder and Maren Polte deconstruct the authoritative terms, structures, symbols and assumptions around wildlife. Their show looks at animals as specimen, food, companion and icon. By revealing the human construction of perception, the viewer is empowered to develop their own stance on “wildness.” In “Wild,” Harder and Polte were able to wrangle the best contemporary photography, couch it in critical discourse, while maintaining readability and relevance to the public.
The Berlin based Gallery Pavlov's Dog shows from 11.05.2012 to 09.06.2012 "SONIC SCULPTURES" with Photographs by Martin Klimas. 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 from establishments like Dior, YSL, Hermes or Louis Vuitton 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.