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SOLO EXHIBITIONS4. 11.2011 Foulard Galerie Michael Cosar, Düsseldorf die Zeit in der Fotografie, Bieler Fototage, Biel Villa Riese, Bad Honnef2009 Foley Gallery, New York2008 Ceramic Explosion, Andy Warhol Museum, Pittsburgh COSAR HMT, Düsseldorf2007 Temporary Sculpture Foley Gallery, New York2006 Galerie Michael Cosar, Düsseldorf 2000 ‘Humankind‘, Expo 2000, Hannover Galeria Suzy Shammah, Milano2004 Galerie Michael Cosar, DüsseldorfGROUP EXHIBITIONS2011 Flowers - Time, Death and Beauty FO.KU.S Stadtforum, Innsbruck BLUMEN - Zeitgenössische Fotografie, Alfred Ehrhardt Stiftung, Berlin2010 Traveling without Moving, Cosar HMT, Düsseldorf Beauty - Flowers in Photography, Alexander Ochs, Beijing2009 Revisiting Landscape & Still Life, Bafa Foto, Geneva 2008 Ceramic Explosion, Andy Warhol Museum, Pittsburgh Gallery EY5, Klimas - Forsen, Düsseldorf Seitenwechsel, Museum Kunst Palast, Düsseldorf Decline and Fall, Rena Bransten Gallery, San Francisco2008 Gallery Howard House, Seattle Galeria Xavier Fiol, Palma de Mallorca Querdenker Darmstätter Tage der Fotografie, Eugen-Bracht-Haus, Darmstadt LADA Baumwollspinnerei, Leipzig2007 Luft - poetische Qualitäten und turbulente Höhepunkte, Luftmuseum Amberg Die Kunst zu sammeln, Museum Kunst Palast, Düsseldorf2005 the nature of skin, Kunsthaus Hamburg2001 BFF Kongress, Willi-Brandt-Haus, Berlin Reinhard Wolf Preis, Museum für Gestaltung, Hamburg2000 ‘Parallelwelten, Dortmund ‘NEU, altes Postsortieramt, Düsseldorf ‘Humankind‘, Expo 2000, Hannover1971 born in Singen, Germany1992 - 98 Visual Communications and Photography, FH Düsseldorf lives and works in Düsseldorf 2004 Galerie Michael Cosar, Düsseldorf
2008 Voltashow, Armory, New York2007 Foley Gallery, New York2008 Galeria Xavier Fiol, Palma de Mallorca 2009 Ey 5, Klimas - Forsen, Düsseldorf2008 Querdenker Darmstätter Tage der Fotografie, Eugen-Bracht-Haus, Darmstadt
2010 Beauty - Flowers in Photography, Alexander Ochs Galleries, Beijing 2010 Traveling without Moving, Cosar HMT, Düsseldorf
Cut-rate porcelain figurines hit the ground and shatter, the moment Martin Klimas destroys a lot of clay to make his art. Combining the silence I wonder, when you look at your own finished work, do you see what you’veforever frozen in photographs Klimas refers to as "temporary of Eadweard Muybridge’s horse pictures with the association-rich composition just destroyed, or what you’ve made from the transformation?sculpture." Fast strobe lights, triggered by the sounds of the of a still life, Klimas breaks recognizable objects so they becomecracking clay, capture the hollow thigh of a kung-fu fighters something else, and stops us just at the moment of transformation.exploding leg; his grimacing head remains intact, contrasting Klimas was born in 1971 in Singen, Germany. The aspect of destroying is not the most important one in my work. Let’s sayanother shot in which a girls cherubic face disintegrates into three it is a catalyst to unleash and study this transformation. The hardest part ofrosy shards. One uniformed figure, right arm rigidly splayed, head my work is to smash so many figurines until I find one that truly isspun to the left, legs crumbling to dust, uncannily recalls Robert Take us a few steps into your process—I assume producing these images showing me something new. I am in that sense a sculptor, but I have only aCapas famous photo of a falling Spanish Loyalist militiaman. Such requires an extraordinarily controlled environment? 5000th of a second to build my sculpture.pathos from such cheap tchotchkes.Foley, 547 W 27th, 212-244-9081. Through June 16. Yes, the shooting environment must be controlled and kept consistent. When looking at your work I think of Jackson Pollock, for the sureness of The lighting is clear and direct, head on. My background is neutral, but bright the line, and also some Impressionists, for the composition of a still life. enough so that the shattering object completely stands out. I drop the figurine How much of what results in your pictures is by chance and how much bythe village voice, NY, June 5, 2007, by R.C. Baker from the same height in complete darkness while the lens of the camera is design? open. When the figurine hits the ground, the sound triggers the lights to go off for a fraction of a second. I do this procedure many times or until I find the one frame that is just right. I keep just one such picture for every When you mean the concept of automating the process of working and only figurine. Every attempt yields a unique outcome, so I need to look for the one to install a set way that produces the pictures—yes, that is comparable to that best expresses a transformation of the figurine into a new form. Pollock. But my big teachers are Eadweard Muybridge and Harold Edgerton. The part “by chance,” it is a real photographic image because there is not manipulation in it and it shows a singular moment. The “design” part is the The degree of stillness in your pictures is remarkable, to the point of it selection, the size of printing, the colors and the framing. Anything being the first thing I notice, followed by the recognition that these objects prior to that is left up to chance. are being blown apart. Are you trying to convey something at rest or something in motion? August 21, 2007 The Morning News: Still Life In my pictures you see the world through the eye of a high-speed camera. Interview by Rosecrans Baldwin This way of seeing provides for us something that we normally cannot see, this moment of transformation can really only be imagined by us. Iprovide a way for us to see this action differently. It is an in-between state. A state where rest and motion can exist together. I hope this situation can be applied and give us thought in our everyday world.
When Still Lifes Burst Apart Like Dreams picture: idyll above, catastrophe below. Occasionally theme with analog image technology that forswears of the nearly same situation, but accepts the single the, in part, exotic form of the flower oddly paraphrases any subsequent digital manipulation. This also applies take as the final image only when the tension betweenThe florist’s bouquet is once again gaining in popularity the way the vase destructs. The glass vases shatter into to Klima’s earlier projects when he quite simply let the static and the dynamic is to him in sync. Chance,as a token a guest offers his host, whether friend or countless particles, while the ceramic or stoneware small ceramic figurines fall to the ground. In just this too, helps bring about the production of the photo.relation. Very quickly a suitable vase is sought among vases only separate into large shards; in any case the way, pink-robed ladies or Asian kung-fu martial artists The photographic strategy here was schooled alongthe selection of colored or transparent, rotund or receptacle – directly after impact with the destructive disintegrated into fragments solely so that Klimas the lines of the experimental photographer, Haroldangular ones at hand. Suddenly the vase explodes. Is projectile – appears to sink to its knees. could visualize the moment of impact. Curiously enough, Edgerton, and the amazing effect he achieved withit a calculated shock or a plain and simple provocation At the same time, with this series entitled “Temporary the fighters with their hand techniques seemed stroboscopic bursts of light and high-speed camerawhen Martin Klimas blows our bourgeois conventions Sculptures”, the photographer only anticipates the fate themselves to break into pieces. With these sculptures shutters that, already in the 1930s, froze breakneck-to pieces? that awaits all earthly things and will eventually befall – more than with the bursting vases – the disintegration speed actions onto a negative, such as that of a bulletThe main object in his pictures is an arrangement of them: destruction or decomposition. Klimas makes the of the form, the insight into the material properties in flight.flowers in a vase: tulips or carnations, orchids or vases explode – and does so for one single photo; it beyond its outer contours is made evident. Klimas, Beyond “Doc” Edgerton, Klimas also names Eadweardamaryllis. These are placed squarely at the picture’s is, in fact, a seemingly absurd idea to take something both playfully and complexly, describes the essence of Muybridge as an important inspiration. By means ofcenter against a neutral, mostly monochrome intact and break it up into its components and the form as that of transience. the test set-ups he designed in the 1870s, Muybridgebackground; no other detail distracts the attention of document the decisive moment. Via the compression The systematics behind his very original as well as was able to prove that horses lifted all four hooves inthe viewer. It all reminds us of classical studio and of the explosion in a visual fraction of a second, unique series of photos multiplies the basic pictorial the air when galloping, a question hotly debated inproduct photography, something Klimas is very well something new comes about (along with the concept. Klimas always parses the flower-vase-color artists’ circles at the time. At that time, it could neitheracquainted with. Then with a spring-powered firing questioning of idyllic illusion), which corresponds to combinations with the same frontal view and neutral be verified nor negated by the naked eye; thusdevice, the Düsseldorf photographer himself aims at the photographer’s intention: he releases the objects lighting with no cast shadows. In several photos there photography came to be used as a technical expedient.the vase, which thus bursts into a thousand pieces. from their functional purpose and very precisely is, at least at the center of the picture, a third level Muybridge’ series of photos published in the 1880sKlimas makes just one photo, set off by the noise the documents this turnabout. What emerges is a quite that subtly mediates between the opposing forces and under the title “Animal Locomotion” changed our ideaprojectile makes on impact. In the next fraction of a unique link between beauty and perishability, between visually prepares the way for the other area in question, and perception of the sequence of animal and humansecond, the flowers – without the support of the vase the static and dynamic, between the successive and such as a hairline fissure in the vase’s glass or ceramic movement.– will be thrown sideways or tumble to the ground, the simultaneous – and all within a single image. exterior that announces its imminent functional Also Naoya Hatakeyama – because of the formal asbut this is a sight the photographer spares us. Whichever. The aggressive gesture of conscious extinction. Yet the particularity here is that this takes well as thematic parallels – should not go unmentionedIt is a simple test set-up that at first glance suits a destruction is unsettling. However, Klimas succeeds in place not successively, but simultaneously. And the here. For some years now, this photographer in hisphysics laboratory more than it does a photo studio. aestheticizing and re-evaluating this process so that delicacy of the fissure intensifies the brutality of the native Japan has ventured with his remote-controlledBut with the help of high-speed exposure, we can see the traditional, art-historical concepts of the still life, destructive gesture. camera very close to quarry explosions and recordedthings in a way that is not possible for the human eye i.e., vanitas, is in fact expanded, if not to say exploded. A photo directly before the shot, i.e., of the flower still- the way stone chunks fly towards the camera andalone. Even if we were capable of viewing the entire He not only shatters vases, but also established topoi life alone, would be photographically just as seemingly also towards the viewer. Via the choice ofcourse of the destruction with our own eyes, we would such as dreams. Klimas makes use of dematerialization uninteresting as one that showed the aftermath of the photographic technology in these exploding landscapes,not subsequently be able to break up the scene so as as a prerequisite for the metamorphosis of the form. final fragmentation, when flowers and vase shards the time depicted seems to come to a standstill in ato register it. Here in the photograph, the visual We could call him a sculptor with a camera who, in have fallen to the ground. And within a sequence of way similar to Klimas’ radical and elemental still lifes.experience is frozen into a single instant, an in-between 5000th of a second, creates a new form out of an the entire event – that is, inclusive of all the aesthetic,state in which standstill and explosion exist dynamically existing one. in-between stages – viewers would surely decide on Matthias Harderalongside each other. The dualist fragmentation takes It is quite unusual today that a photographer born in the same shot that Klimas favors. However, the From the German by Jeanne Haunschildplace horizontally, mostly in the bottom third of the 1971 should choose to work on such a complex visual photographer does not choose from different variations