Videos like Stop Over (1994) or later Jet Lag (2001), finally, addressed the theme of travel itself. An assessment like this one clearly displays the opposition of sensuality and intellectuality that was an established premise in discussion of the arts in 1980. From this position, Klopf focused mainly on squares and crossroads, filming only at night. The crinkled wall contrasts strongly … The artist chose static shots of high-rise buildings in various large cities. Over the period of one year, purchasers were informed about the project by means of artistically designed letters, thus becoming uniquely integrated into a model of reception. In 1995, Karl-Heinz Klopf received the opportunity to work for several months in Tokyo on a grant from the Republic of Austria. There were two points of contact here. These include a video by Isabelle Muhr, which shows the artist during a car ride through Linz, while next to this, various publications about the artist’s work, designed by Klopf, hang in a row. Because the football stadium is directly on the approach path to Salzburg Airport, the real points seen when approaching Salzburg seem themselves like an artistic model of reality. Courtesy Karl-Heinz Klopf. Not until you go up the stairs can you read, on the side of the object, the first part of the title of the exhibition, the name of the artist. In his treatment of this theme, he alternated between experimental, architectural, sculptural and model-like ideas that reflected his personal engagement with a place in constantly new ways. When Laurids Ornter came to the art school, he and Gsöllpointer developed the idea in the course of the 1970s of extending the concept on an international basis and combining the VOEST’s increasing competence in artistic production with an invitation to altogether twelve artists or groups of artists working in contemporary metal sculpture. Book Binding:Paperback. Click here for more information. Karl-Heinz Klopf. The series Forum Stahl (Eng: Steel Forum) was an integral part of Gsöllpointer’s teaching concept. Tower House was composed of almost exactly 40 90-second 360-degree pans moving step-by-step up the building. Cardboard cartons serve as a platform and seating in the same way that Klopf used them in the installations Wawel (O.K. Read From to: Karl-Heinz Klopf book reviews & author details and more at … A characteristic shared by all the artist’s projects is the extension of the concept “site-related” brought about by his permanent endeavour to bring about transformation processes in the space at hand. However, Gsöllpointner did not aim at imposing any specific formal language. The narratives that these people provided about their experiences with the Internet represented virtual space, while the pictures of urban spaces seen simultaneously represented their physical surroundings.In Splace and Environments, Klopf worked on themes that were to be summarised in the travelling exhibition Cities on the Move (1997/2000), curated by Hou Hanrou and Hans-Ulrich Obrist and shown in seven cities.Klopf turned the “other” perceptions of spaces conveyed in the interviews into a reflection on his own working space in the project Studio, which he conceived in 2000 together with Sigrid Kurz. Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events With this installation, entitled Open: 24, Klopf responds not only to the existing space, but combines elements from the two projects By Way of Display and Mind the Steps, also on display at the exhibition, to form a new work. For Klopf, Ohne Adressen meant turning to processes of communication, which subsequently became an ever more important part of many of his works. He had already visited the city a year before to carry out preliminary research, and had been able to hold an interview with the architect Toyo Ito. Karl-Heinz Klopf official sites, and other sites with posters, videos, photos and more. He created a building that displays, precisely and at a concrete site, a form and material aesthetic characteristic of the artist. In the room adjoining the stairwell, Klopf has installed the project Mind the Steps in the form of five photographic prints and a silk-screen print. Karl-Heinz Klopf's films include A Tropical House, Plan, Tower House, Studio We use cookies to ensure that we give you the best experience on our website. In its discussion of the basic structure and the layers of Tokyo, this interview became an important starting point for the video Splace (1996).As part of the financing for a project, Klopf had edited share certificates under the title Ohne Adressen (1994) for the first Japan trip. His drawing did not have anything to do with turning away from the conceptual concept of the 1970s either. The work Rahmenbau, which the group made for the  Documenta 6 exhibition in Kassel in 1977, was the symbol of a move towards internationalisation that was also reflected in a major way by the establishment of the Ars electronica in 1979. At the same time, Klopf was also working on the roofs of apartment buildings in Vienna. Karl-Heinz Klopf: 21 exhibitions from Sep 1987 - May 2005, exhibition venues worldwide of artist Karl-Heinz Klopf, Exhibition History, Summary of artist-info.com records, Solo/Group Exhibitions, Visualization, Biography, Artist-Portfolio, Artwork Offers, Artwork Requests, Exhibition Announcements Klopf moved between visual and acoustic thought patterns that he pursued as a way of breaking down the borders of the classical disciplines. Even during his time as a student, Klopf worked on studies in which, for instance, he held up letters and photographed them. Although the artist, who had completed a course in structural engineering before starting art school, had engaged with architectural tasks for years on a variety of levels and carried out a wide variety of projects engaging with architectural situations, the R-Haus for the first time represented a complete manifestation of planning and design ideas for concrete concepts and needs.In the house for Roswitha Häfele, Klopf applied his previous experience from   locational research, function programmes, usage models, formal analysis and material input. It integrates several elements. The works executed on the first long trips thematised a subjective gaze as a hinge between collective patterns of identities and individual structures of perception, which themselves alternated between associative structures of memory and documentary approaches. In this video, he focused, by means of interviews, on the spatial experiences of people who were already working a lot with the Internet at the time, such as programme developers, students and artists. Ortner’s concepts of space, architecture and urbanism opened up fields of experiment in a sphere of utopia, artificiality and science fiction, and broke down conventional genre borders between architecture and art. For Klopf, these two projects were established parts of an academic approach that centred on the two different work conceptions of Helmuth Gsöllpointner and Laurids Ortner. They show the videos Splace (1996) and “Environments” (1998). From to: Karl-Heinz Klopf. His From/To indicates as much a spatial relation as it is concerned with a particular duration, a time flow. From the typical design of such orientation maps, he developed a system in which he circles the buildings in which he is living or exhibiting (for example, hotels, apartments, galleries) and sketches the surrounding streets. Ein Kunst & Bau-Projekt von Karl-Heinz Klopf am BG/BRG Kufstein im Auftrag von BIG Bundesimmobiliengesellschaft. The R-Haus was created according to plans by Karl-Heinz Klopf in Hohenems in Vorarlberg between 2000 and 2004. Its success provided the impetus for the Forum Design exhibition in Linz three years later in the summer of 1980, which was the climax of the development then taking place. The overall concept was informed by the intensive endeavour to achieve a reduction and variability of spatial structures. The original impetus of Karl-Heinz Klopf's photographic series Streets (1996–ongoing) came from his fascination with the pictogram-like depiction of streets in Japan. The artist had also already participated successfully in the 3rd Triennale der Zeichnung in Nuremberg in 1983, but this prize at the Römerquelle art competition was one of the most important driving factors behind the reception of his drawings in the 1980s. Jänner 2007: Buchhart, Dieter, Hochleitner, Martin: Amazon.nl In the first large exhibition room, a comprehensive selection from the photographic series Streets (1996–ongoing) is on display. Secondly, there was the Institut für visuelle Gestaltung (Eng:Institute for Visual Design), where Klopf worked alongside his studies. The series  of Planobjekte (1992–94), with a cluster-like wall installation, is the focus of attention here. Karl-heinz Klopf is on Facebook. At the same time, the artists played on the sculpturally influenced heating system, built by the architect Peter Behrens, in the centre of the tobacco factory, as well as the exhibits at the Forum Metall situated directly nearby. Here, the Four Boxes by Donald Judd above all showed an affinity to the reductive formal and artistic intentions of the two artists.In the following years, Klopf realised several works, both inside and outside, in various architectural situations. In this transitional space, Klopf has installed two acrylic glass walls at right angles to each other, thus echoing the protruding corner of the wall. For example, most of his working sojourns, often of several months’ duration, between 1985 and 1988 were marked by an engagement with American culture. Finally, accompanied by the acoustic impression of a construction site, inserts appear showing e-mails that Karl-Heinz Klopf collected over the space of a year, selecting them according to the sentences they contained referring to the location in various cities. The first section of the exhibition is the passage, which is flanked on one side by an existing showcase. The idea received considerable support from Peter Baum, the director of the Neue Galerie der Stadt Linz, and was realised in 1977 as Forum Metall. In the next room, there are two screens integrated into both sides of this partition. from Karl-Heinz Klopf Plus . The project consisted of four elements. Klopf responded to this situation by taking account of and highlighting visual and spatial connections when setting up his works and a specially designed partition. "Ohne Titel" rückseitig beschriftet: Karl-Heinz Klopf '87, Mischtechnik auf Papier, ca. Firstly, there was the Grundklasse für visuelle Gestaltung (Eng: Basic Class for Visual Design) that Ortner was in charge of at the art school; this class served as an introduction for all courses. Martin HochleitnerFROM LINZ TO 2006STUDIES. The partition is thus present in two exhibition rooms at once. Website des Künstlers Karl-Heinz Klopf. We have new and used copies available, in 1 editions - starting at $50.40. Karl-Heinz Klopf was born in 1956. If you continue to climb the stairs to the exhibition, you go around the object and can see the second part of the title From / To from this more elevated position. For example, in the project Play City (1999/2003), Klopf worked with countless small polystyrene balls. In keeping with his own basic artistic approach, in his master class he pursued the goal of teaching his students fundamental practical skills for carrying out artistic ideas. Sometimes, ideas are very deliberately tried out in different spatial situations and dimensions. The video By Way of Display, about the betel nut phenomenon in Taiwan, is projected onto a free-hanging screen. It also runs through a broad passage into the next room. Nov 13, 2017 - Website of artist Karl-Heinz Klopf. In this transitional space, Klopf has installed two acrylic glass walls at right angles to each other, thus echoing the protruding corner of the wall. His works are transcribed into film and video in public spaces. Shop now. The theme of the use of cities and digital spaces in these two videos leads to a model-like agglomeration of small polystyrene beads, Play City (1999/2006), and the video Flying High (1999). View the profiles of people named Kar Klopf. June 10, 2015, 19:00. As opposed to western European cities, for example, the design of pavements in Istanbul does not follow a uniform plan.This patchwork, which nonetheless produces a totality of urban surface, was highlighted and its basic structure laid bare by Klopf’s work. This competition had taken place every year since 1980, with the prize being awarded each time for a drawing by an Austrian artist. In front of a white background, the video shows the permanent construction and deconstruction of the floor plan and elevation of the studio. Movies. In addition, the title From / To reflects the temporal, spatial, communicative and thematic intermediate space in the sense of differences and possible connections. Although this ten-metre-high object in front of an extension of the Linz tobacco factory did reflect a concept of sculpture influenced by traditional monuments, its location at a busy crossroads meant that it was related not only to an urban situation, but also to the definition of urban space. Along with the 1977 sculpture exhibition in Münster, which was also being put on for the first time, this project was one of the most ambitious undertakings ever to focus on public sculpture. It was not until the 1990s that he underwent a more intensive encounter with East Asia, whose metropolises seemed to Klopf to be paradigmatic of present-day conditions and development models of urban habitats.In his early works with and about (the shape of) Manhattan, an artistic practice is manifested that connected Klopf’s own experiences in a certain location with an analysis of locally specific structures. At one-second intervals, one hears the quiet countdown of an electronic timer. Laurids Ortner influenced Karl-Heinz Klopf as a student mainly because of the concept of architecture that he taught. The project was preceded by a phase of research on the concept of “publicness” in Istanbul, during which the steps began to seem increasingly significant to the artist with regard to everyday life in Istanbul.Situated at the interface between privateness and publicness, the steps in front of the shouses turned out to be a direct statement of individual possibilities of design and interventions in the urban surface. Klopf then makes maps out of them in the specifically Japanese typology and finally mounts them on a window of the building he is using, which is situated within the streets shown. (Linz 1956 geb.) In Klopf’s photographic series, the marking or tracing of space is integrated with a desire to register time. His precise and analytical approach particularly influence Klopf’s work with language. The two drawings Blob Cities (Graphit verbunden, Grün verbunden) [connected with graphite, connect with green] of 1997 on the 12-metre-long wall form the conclusion of the rooms in the eastern wing of the museum. What seemed important in planning this project was on the one hand to present the long-term nature of Klopf’s engagement with urban spaces and spheres and on the other to show the artist’s manifold personal experiences and points of contact within them. [Hrsg. In the conversations, Klopf was concerned with the various information values of spaces. He was in charge of the “Metal Master Class” at the art school, which Karl-Heinz Klopf also attended. Following his formally taut 2013 film Tower House, A Tropical House is Karl-Heinz Klopf´s second cinematic meditation on an architect´s own home, in this case, that of the Indonesian architect Andra Matin, completed in 2013 and located in Bintaro, a suburb of Jakarta. 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