Hans-Peter Klie
Hans-Peter Klie (born November 19, 1956 in Göttingen , Lower Saxony ) is a German painter, photographer, concept, media and installation artist.
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Hans-Peter Klie's work is divided into very different phases; The connecting element of all sections of his work since 1980 has been primarily philosophical trains of thought, often image and text relationships, as well as linguistic-philosophical approaches are reflected in visual form. Due to the complexity of his work, it cannot be clearly assigned to a style in terms of form and content - but it can be related to fundamental positions of modernity, to aspects of surrealism and especially to postmodernism and is related to philosophical thought processes from different centuries (Blaise Pascal , Michel de Montaigne, Gottfried Wilhelm Leibniz, Friedrich Nietzsche, Ferdinand de Saussure, Ludwig Wittgenstein, Jean-François Lyotard, Jacques Derrida, Vilém Flusser and others). For Klie, art and philosophy are related disciplines, which is also reflected in his texts, which often arise in direct connection with the artistic works or are part of them.
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Orientation: graphics, collage, painting
Born in Göttingen in 1956, his beginnings were largely influenced by Paul Klee, the graphic work of Alfred Pohl and Horst Janssen. After graduating from high school in 1976, he went to Berlin, where he studied painting at the Hochschule der Künste (HdK) with Herbert Kaufmann until 1982. During his university days he positioned himself in conscious opposition to the then prevailing currents of politicized “critical realism” and neo-expressionist “wild painting”. He opposed the “socially critical” diction and the “hunger for images” with a hunger for “purposeless thinking without justification”. In 1981, Klie became a master student at the HdK.
Picturesque work until 1980
In the beginning of his work he combined collage technique and oil painting. His goal was the “consciously planned image field”, his concern was to “get away from the emotional creation”. He gave up the collage technique in 1980. It was a momentous decision for Klie to exclude “sensitivity” and “inwardness” in his pictures and since 1977 to work towards a “de-subjectified” artistic result. René Magritte and his writings were formative for him. It was during this time that the first discussion with Ludwig Wittgenstein took place, based on the concept of "mystery" in Magritte's work. In 1980 he was a founding member of the artist group “Schwertfeger” (with Wolfgang Buchholz and Herbert Weber), to which he belonged until 1983 and which deals with the key terms “perception”, “association” and “thing character”, a meeting of perceptual theory, dadaist-surreal and Describe gestalt psychological ideas.
Postmodern painting
In the following years he further developed his artistic position, which in this phase can be described as "postmodern painting". This postmodern view questioned the ideas of freedom, originality and authenticity, deliberately used quotes from other artists and combined historical and contemporary styles, materials and methods as well as different genres of art.
In the 1980s, the basic ideas of Magritte's art theory, which he took up and pursued in the sense of a post-modern development, were of particular importance to Klie. In some of his work, Magritte and his theory building were themselves the topic.
In 1988 and 1989, at the invitation of the Karl Hofer Society and the Goethe Institute, he traveled with a group of artists to a German-Canadian artist exchange in Montrèal. After his return he founded the group “Der Kongreß” in 1989 together with the painter and action artist Martin von Ostrowski (changing line-up until 1993). In addition to the realization of exhibition projects, actions in public space (e.g. “Palace of the Republic - Exterior Cleaning”) and artists' congresses in Cologne and Berlin, the cross-stream discussion was an important concern. The core of all subversive actions and activities of the group was to question and reflect on the system of art, as in the postcard campaign in 1990: “The German Association of Artists is dissolved!”
Conceptual photography
During this experimental, intense time, Klie increasingly turned to the medium of photography. In 1992 he received a working grant for fine arts (medium photography) from the Berlin Senate. The photographic collection of the Berlinische Galerie included his works in their collection from 1993. Between 1997 and 2001 he worked on the group of works “Amorphous Terms”, which was an essential compendium of his previous reflections on image and language. Serial tableaus, ordered, strictly composed photographs, like a display board, were combined with graphic structures, words, letters or numbers. The title "Amorphous Terms" refers - based on the physicist Heisenberg - to a paradox: The deeper we look into matter, the more we want to fixate, the more the elementary particles blur in front of our eyes. "If you say goodbye to the idea that photography has a documentary-defining truth content, supposedly exact image terms become amorphous and lose their dogmatics," wrote Klie about his exhibition of the same title (1998).
During this time, the fundamental preoccupation with Friedrich Nietzsche and Gottfried Wilhelm Leibniz also fell, which was reflected in 2001 in the group of works "Petites Perceptions", an investigation into perception and awareness. In the photo book of the same name, he divided 96 photographs into six chapters and assigned philosophical conceptual fields to these parts. In the introduction to Leibniz, Klie formulated: “The Petites Perceptions are not a consciously experienced thought process, but rather they develop in an uncontrollable manner. We feel their effects, but their content is just as inaccessible to us as the structure of their effects. You could call them poetic impulses. "
Street and urban space
In 1998 there was a close collaboration with the photographer Gerhard Haug (until 2006). The first exhibition project "Reference" (conceptual photography 1998/99) was the prelude to further projects and in 2003 led to the establishment of the group "projektSTRAND.org" (www.projectSTRAND.org). Until 2006 the group planned fictional and real interventions in urban space and realized actions, projects and exhibitions. Klie developed his first version of the “Philosophy of the Road” for this in 2004, it was the short film “Waiting for the miracle” that was created as a trailer for a project space exhibition series by “projectSTRAND.org”. His exhibition of the same name in the project room (Philosophy of Street I - III) in Potsdamer Straße combined texts, photographs, video films and object installations. As the quintessence of the art initiative “projectSTRAND.org”, Haug and Klie developed the “Street_User_Interfaces” (floor showcases in the street space on the past, present and future of the street) as a contribution to the competition “Art installations for Potsdamer Straße” (2005). At the same time, Klie also worked on the intercultural exhibition project “Infraestructura I – IV”, which he launched in 2005/2006 at the invitation of the Goethe Institute, the Humboldt Society and the “International Month of Photography” in Ecuador with exhibitions in Quito, Guayaquil and Cuenca led. The focus of the exhibition was formed by 40 computer-generated images (“Cualidades, virtudes y vicios” - characteristics, virtues and vices), which, combined with terms, represented a compendium of contradictions between economic-material, cultural-spiritual and human-mental conditions. Klie quoted the manner of surrealist image-text combinatorics. He wrote in the catalog: "Properties, virtues and vices seldom form a happy synthesis - and the horizon of this difficulty lies not only in the viewer and his perspective, but also in the viewed and his awareness of being viewed."
Dealing with philosophy
At the same time, the extensive examination of Ludwig Wittgenstein's late work (since 2002, Wittgenstein trilogy 2003/2006) brought about a turning point, which from 2007 onwards was to be formative for all subsequent works and which had a more "language-playful" aspect to the previously more rational-philosophical aspects of his work. poetic "dimension. The highlight was the exhibition "Philo so und so phie", 2006 at the international Wittgenstein Symposium in Passau. A meticulous "investigation" was carried out with multimedia means: Wittgenstein's thinking and life were apparently reconstructed and commented on in the "plastic simulations 1–14", 14 aspects showed fictional situations in his life, a piece of life was reproduced that had never happened - but this could have happened. With the conceptual work “Hypermedia Wittgenstein”, a fictional exhibition project for an anniversary exhibition “80 Years House Wittgenstein in Vienna 2008”, Klie concluded his pure Wittgenstein phase. The theme of philosophy continued to accompany him - particularly intensely in the three-part exhibition project “Verhaben zu Verinden” (2014) at the Nietzsche Documentation Center in Naumburg, which he curated and opened with his exhibition “Wir Metaphysiker”. Some of the picture-text posters exhibited there became part of the compendium “Nietzsche and the Art of Living” (Metzler Verlag, Stuttgart 2017) - a novelty that artistic works are on an equal footing with academic texts. In the same volume, the Potsdam art historian Barbara Straka explained Klie's position on philosophy.
Texts and photographs
From 2009 the paraphrasing, poetic dialogue between texts and photographs became the most important feature of an ongoing section of the work, which is mainly realized in the form of photo books and increasingly also through video works. The artist book “Fleeting thoughts, a mechanism. (Propyleia) ”from 2009 contains the most important formal and content-related features that were decisive for his work in the years up to 2011: In the book, the 30 texts are compared to the 90 photographs. Text panels that appear to be factual explanations of the pictures, however, redeem little or nothing. In terms of content, it is about intermediate states, about the unclear as clarity, about thinking as understandable incomprehension. The book “40 Steps” (2008) is the most literary. In addition to 40 photographs, it contains 40 short essays / short stories, which often take up what is visible in the opposite image. The story, the essay, however, often only constructs a relationship that is as vague as the referential power of the photos to create authenticity and credibility in interaction with the text. This only works in a few places that give hope for consensus - but ultimately disappoint. In 2010 he summarized a selection of his texts in the book "Texts and Fragments from 7 Years, 2004-2010". In 2014 two works with this focus can be seen in the Berlinische Galerie.
Moving to the country: ART & ARCHIVE
In 2014 Hans-Peter Klie acquired the former rectory in Kolochau in the south of Brandenburg near Herzberg / Elster and expanded it into a studio and archive in 2015. In the future, as a place of work and exhibition, it will contribute to the cultural diversity in the south of Brandenburg. In the first year, at the opening from May 2016 under the title SYNOPSE, he presented a summary of his work with examples from four decades of his artistic work. Twelve works from the most important work phases illustrated the elements that unite the content of his complex work: simulation, deconstruction, language criticism.
Appropriations - the aura of alternative facts
Appropriation, a practice of appropriation, has been an appropriation art in the art world since the 1980s and has become an attitude towards design and the world. At the beginning of the 21st century it has developed into a generally widespread, accepted and familiar cultural technique. In the 20th century, artists still acted consciously and acted with strategic considerations when they copied or dealt with found aesthetic material, today, in everyday digital business, more and more people are copied and freely manipulated. A popular method in everyday culture is "copy and paste" - the concept of originality and the concepts of truth and authenticity are thus arbitrarily deformed. The constructs of this practice are now developing their own aesthetics and aura. Truth and lies were components of one and the same thing for Nietzsche - but the opposites still existed. Today they are blurred.
Against this background, Klie has been working on projects that deal with the construction of reality since 2016. Among other things, he refers to historical phenomena that relate to the present. "HOW THE PICTURES WERE NOTHING" was a reflection on the concept of historical truth using the example of the "Luther hype" in the Martin Luther year 2017. With the media of text, photography, video, object and audio installation, the two-part multimedia room installation took hold Struggle between word and image, which shaped an essential part of the Reformation.
In 2018, the “Philosophical Perspectives” project referred to current practices in the perception and construction of the world. With reference to the historical “Photography de la pensèe” from around 1880/90, the medium of photography was reinterpreted for the present as a new type of “thought photography” for the smartphone generation. In the current project “Rome - a philosophy of the street”, 2018/19, he deals with ways of seeing and thinking in the street and urban space. A constructed relationship between urban and rural living space enables the fiction “Rome, near Kolochau” as an absurd but mentally plausible bracket.
Exhibitions and projects (selection)
- 2018 Philosophical Perspectives - Conceptual Photography, KUNST & ARCHIVE , Kolochau
- 2017 HOW THE PICTURES WERE NOTHING, ART & ARCHIVE , Kolochau
- 2016 SYNOPSE - painting, video, photo works, installations and objects from four decades, KUNST & ARCHIV , Kolochau
- 2014 ONTOLOGY 15 degrees ONTO Objects, Gallery Schwartzsche Villa , Berlin
- 2014 Understanding to Understanding: “We Metaphysicians”, Naumburg
- 2013 collection presentation "Art in Berlin 1945 to today", Berlinische Galerie
- 2012 Step into the light, Mühlacker
- 2011 "Berlin Views" 20 years Schöneberger Photo Prize, Haus am Kleistpark, Berlin
- 2009 "Chance, Sense and Purpose, Paris 2009", 88 photographs and a dialogue
- 2008 "Hypermedia Wittgenstein", project for Haus Wittgenstein, Vienna
- 2006/07 "Flic Flac", Art in the 20th Century, Berlinische Galerie, Berlin
- 2006 "philo so und so phie", installations and photo works 1995–2005, St. Anna Chapel, Passau
- 2005/06 "Infraestructura I – IV", Quito, Guayaquil and Cuenca, Ecuador
- 2004 "The Beauty of Analysis 1-10", Gruentec Environmental Services, Quito, Ecuador
- 2003 "Überindividuell" - multimedia exhibition project, Haus am Kleistpark, Berlin
- 2000/01 “Artist metaphysics - Friedrich Nietzsche in postmodern art”, Haus am Waldsee, Berlin
- 1999 “REFERENCE II - Amorphous Terms”, Kunstflur Spandau, Berlin
- 1997 "Quadratur III", Haus am Kleistpark, Berlin
- 1995 “Order-Dark-Longing”, Galerie Wolf, Berlin
- 1994 “Belgischer Granit”, Antwerp, Brussels and Berlin
- 1994 “Image and Concept”, Photo Gallery Brotfabrik, Berlin
- 1992 "Palast der Republik: Außenreinigung", Der Kongreß, Aktion, Berlin
- 1992 "We want to become a plant", Der Kongreß, Galerie Eigen + Art, Leipzig
- 1991 “Lamp in the Pontifical Office”, Kunstverein Göttingen
- 1991 “Answer to a survey”, stairwell, Berlin
- 1991 "interference art in West Berlin 1960-1990"
- 1990 THE CONGRESS in the gallery of the German Association of Artists, Berlin
- 1990 artist congresses in Berlin and Cologne
- 1988/89 Vice Versa Montréal-Berlin, artist exchange
Web links
- Website of Hans-Peter Klie
- Press information on the exhibition “Überindividuell” in the Haus am Kleistpark, Berlin, 2003
- Review of the exhibition “Berlin, Blick”, 2011
- Article from the journal of the Kunstverein Passau on the exhibition "philo so und so phie", Passau, 2006 / (PDF; 117 kB)
- Article continuation from the journal of the Kunstverein Passau on the exhibition "philo so und so phie", Passau, 2006 / (PDF; 106 kB)
- Contribution to "We Metaphysiker" on MDR television "artour"
- The artist philosopher - portrait in the Tagesspiegel
- TV report about the opening "Synopsis" in May 2016
Individual evidence
- ↑ http://www.kuenstlerbund.de/deutsch/historie/archiv-seit-1950/ausstellungen/1989.html ( Memento from November 21, 2015 in the Internet Archive ) Künstlerbund exhibition "Transparency. Views", 1989 //
- ↑ http://www.berlinischegalerie.de/sammlung/fotografie/der-sammlungsbereich/werkkomplexe.html ( Memento from December 30, 2011 in the Internet Archive ) work complexes in the photographic collection of the Berlinische Galerie
- ↑ http://www.tagesspiegel.de/kultur/ein-planet-ein-tintenfischruecken/76570.html
- ↑ http://www.projectstrand.org/alleseiten/043_doku_03_1_klie.html ( Memento from September 12, 2012 in the web archive archive.today ) Projektstrand.org: waiting for the miracle - the philosophy of road II.
- ↑ http://www.phil.uni-passau.de/philosophie/Symposien/Klie_Leporello_150dpi.pdf ( Memento from June 10, 2007 in the Internet Archive ) Program of the exhibition “philo so und so phie”, Passau 2006 /
- ↑ http://www.naumburger-tageblatt.de/lokales/nietzsche-zentrum-drei-freunde-sollt-ihr-sein,20690952,26908812.html Naumburger Tageblatt about the exhibition opening /
- ↑ http://friedrich-zeitschrift.de/web/aktuelles/2016/09/ueber-die-kunst-zu-nietzsche//
- ↑ http://www.berlinischegalerie.de/ausstellungen-berlin/aktuell/kunst-in-berlin-1945-bis-heute/ ( Memento from March 13, 2014 in the Internet Archive )
- ↑ http://www.blickpunkt-brandenburg.de/nachrichten/elbe-elster/artikel/44776/Grosser+Andrang+bei+Ateliereroeffnung+in+Kolochau/
- ↑ https://www.kreatives-brandenburg.de/de/news/im-profil/2016/5/9/im-profil-der-kunstler-hans-peter-klie/
- ↑ https://www.niederlausitz-aktuell.de/elbe-elster/schlieben/66993/hinterfragen-und-anregen-ausstellung-in-kolochau.html
- ↑ https://www.lr-online.de/lausitz/herzberg/kultur/mit-fotografischen-mittel-ueber-fotografie-nachmachen_aid-22883287
- ↑ https://www.berlinstory.de/verlag/programm/berlin-heute/berlin-blicke/
- ↑ https://www.hausamkleistpark.de/index.php/480-hak/archiv-haus-am-kleistpark/alle-ausstellungen-bis-1982/archiv-hak-ab-1982/237-2003-archiv-haus -am-kleistpark exhibition “Überindividuell” in the Haus am Kleistpark, Berlin, 2003.
- ↑ https://www.hausamkleistpark.de/index.php/272-hak/archiv-haus-am-kleistpark/1994/73-archiv-haus-am-kleistpark-kunst-beitrag-1-1994
- ↑ http://www.eigen-art.com/index.php?article_id=10&clang=1
| personal data | |
|---|---|
| SURNAME | Klie, Hans-Peter |
| BRIEF DESCRIPTION | German painter, photographer, concept, media and installation artist |
| DATE OF BIRTH | November 19, 1956 |
| PLACE OF BIRTH | Göttingen , Lower Saxony |