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Micha Klein explores the media based culture of our time using advanced computer technology. Art historical references, youth culture, and mass media are the recurring subjects of his work. Starting out as a painter, growing tired with the post-modern condition and looking for a new field of artistic innovation, he discovered an unused Amiga computer in the cellar of The Rietveld Art Academy in 1987, and quickly recognized the opportunities it offered for new artistic directions, ways to present art, and ways to redefine the position of the artist. Technology was still in its infancy, but the possibilities of what would become multi-media were already evident to Klein, who dropped the paintbrush in favor of the mouse immediately.
Klein stood at the cradle of the digital revolution that transformed photography forever when he started working at the company that bought the first computer capable of digitally handling photography at a resolution sufficient for undetectable manipulation: the ‘Quantel Graphic Paintbox’. He worked with the top Dutch commercial photographers to manipulate their shots into the hyper reality of modern advertising by retouching, color correcting, and combining elements of different shots into perfection.Klein refers to this period as: ‘the time when photography died on the operation table of the ‘Paintbox’, and was dissected with surgical precision into it’s smallest parts, to be redefined with the methods of painting. The death of photography, and the revenge of painting’ His realization of the impact that commercial images have in daily culture, compared to modern art’s effect on it, led to the insight that his art, ‘should compete with the seduction tactics of advertising, in order to be noticeable in the general cultural discourse’. Micha Klein`s works are a significant crossover between art, marketing, advertising, web and design.Before ‘Toy Story’ hit the cinemas, and 3D computer graphics became familiar, Klein’s Goodies Series from 1993 seduced, and confused gallery visitors that where confronted with an image language for which they didn’t have a frame of reverence. Klein projected Pillman, a 3D dancing pill in the clubs challenging the way we think about altering our consciousness , our moods, our sexuality by taking certain chemical combinations, be they legal or not.In his ‘Virtualistic Vibes Series’ (1995) Klein combined 3D virtual photography with real photography. The large scale contemporary group portraits depicting a new generation resemble the group portraits we know from art history by artist as diverse as Degas, Courbet, or even Raphael. By introducing the human element in the virtual world he lifts its alienation and catches the spirit of his generation. The series was published in leading international magazines, and because of its complete novel style, highly influential. Klein is reassessing Pop Art. Everyday and popular culture has long been an integrated element in art, and Klein brings everything that is usable over from this world. Nonetheless the definition of art plays a pivotal part in his works. His `Artificial Beauty Series` (1998) deals with our cultural obsession with physical beauty, it raises questions about beauty, genetics, plastic surgery. Klein photographed the ten most beautiful models in Amsterdam, with morphing software he started `cross-breeding` them, creating `daughters` of the original girls, even more beautiful, but artificial this time. By accelerating this beauty creation process, he shows its inherent superficiality.
‘Club Love International Army’, Klein’s latest series, contrast with his utopian work from the ‘90’s. The extremely detailed group portraits, are a reflection of the socio-political changes since 9/11. Reminiscent of 17th Century paintings like ‘ the Nightwatch’, they present a dark scenario, and a call to defend the spirit of freedom & love in these times of sinister religious fundamentalism and narrow-minded conservatism.
14 Dic, 20111:49 am
A perfect reply! Thanks for taking the truolbe.