INDIVIDUAL EXHIBITION IN VENICE / ITALY
PALAZZO BARZIZZA TORRES
VENEZIA S.POLO 1173
September/October 1990
to enlarge, click on the pictures
Critic of Enzo Di Martino
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The imaginative obsession of the artist is to fill the space with his imagination in an everlasting way. In sculpture the relationship between the moment when the subject takes form and that of the design is much more complex than one can think, because the work takes shape only at the moment when it comes true concretely, sketches constituting only one simple "examination of the material". |
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Maybe the sculptor himself, when he creates movements, has no idea of the shape to be created, but he bases his work on the the " creative process " concept, that means the revelation of an event which he can not make his and which modifies definitively the scene in which he finds his place. |
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All these considerations appear almost in a too obvious way in Karsten Klingbeil's sculptural work, because his "ideology" of , which he means as a strong and durable event, is quite obvious. The intention becomes clear if on one hand you consider the specific aspects of his sculptor's work and on the other hand you notice his kind of " expressive nomadism " . |
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This second aspect is perhaps the one which was the most striking of Klingbeil's art. It seems simple if one only wants to explain it by the long interruption of his activity and then consequently his desire to demonstrate and test everything.
To tell the truth, Klingbeil has much more, obviously, a kind of instinct loaded withf history and memories which he transposes in a simple need for expression.
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The classicism of Donatello and the realism of American pop-art,
exoticism and mythology, some parallels with the Liberty movement
and the psychological introjection of portraits are all élements
used by Klingbeil. Appearance is a pure and simple but expressive
excuse which he uses deliberately. |
The talent with which the German sculptor renews his "nomadism" with an absolutely unique and personal expressive writing, a kind of " pictorial calligraphy " he is the only one to possess, is remarkable
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Bronze, Klingbeil's favorite material, is however used in a
apparently contradictory way. |
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To tell the truth, beeing an authentic sculptor, Klingbeil keeps mind for his work two fundamental factors of the history of art :
On one hand the color, capital element of the ancient sculptures, which is hardly any more used today, in an incomprehensible way, and on the other hand the light, true element which really brings the sculpture to life.
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Thus the idea of light in Klingbei'workl leads to a particular concept of space, and even to a vision of the atmosphere where the sculptural event can show itself.
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Space acquires a fundamental importance for Klingbeil because it is not only the place where work becomes a reality, but also the one of his emotional expressivity, the liberation field of vital impulses and the realization of his imagination. In a way it seems obvious that for the German sculptor " The concept of the art coincides with his masterpiece and every masterpiece with the concept of the art ". |
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In other words, his " formal nomadism " spouts out this ideology because what is, after all important for the artist is only " the existence and the essence of the work ", whatever is the direction it will choose to take form and whatever also the clothing she uses at the moment of its appearance. The sculptor seems to want to say that the important thing is that, as the bronze does when melting, the work also has to reach a high temperature " the temperature of art ".
Newspapercuts in italian and german
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Report in german about this exhibition, from the website http://www.kulturingenieure.com
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