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Klaus vom Bruch [Videonale.10]

*1952, lives in Munich GER
Studied at the California Institute of the Arts in Valencia ESP with John Baldessari and at the Universität Köln GER

Founder oft he producer group ATV in the 70s together with Ulrike Rosenbach and Marcel Odenbach.

 

Exhibitions [selection]:

 

2012 Bilder gegen die Dunkelheit, KIT Kunst im Tunnel, Düsseldorf GER
2011 Too Much, Salon Schmitz Köln GER

2010 FUSO 2010 Museu Berardo, Lissabon POR

         Das im Entschwinden Erfasste. Videokunst im Museum Folkwang Museum Folkwang, Essen GER
         Bilder in Bewegung: Künstler & Video / Film Museum Ludwig Köln GER
         Changing Channels MUMOK Wien

2009 RECORD > AGAIN! - 40jahrevideokunst.de - Teil 2 ZKM, Karlsruhe; Ludwig Forum, Aachen;
         Kunsthaus Dresden; Edith-Ruß-Haus für Medienkunst, Oldenburg GER

2008 Galerie Françoise Heitsch, München GER [S]

2007 True Romance, Kunsthalle Wien, Wien AUT

 

http://www.kvb.com/

 

Klaus vom Bruch [Videonale.10] x

Ulrike. Das Projekt, 2003, 12:00 min, colour, sound [Videonale.10]


Ulrike. Das Projekt continues vom Bruch's preoccupation with the leading figures of the RAF. The work is an encoded consideration of the relationship between artistic and revolutionary activity and raises the question as to the transformation of terrorist potential into artistic expression. "Can the artist protect himself through his art from a role as an active participant in revolutionary activity?", is a question asked by Oskoui and vom Bruch. Thereby, they implicitly raise the reverse question as to the subversive potential of artistic creation. Upon the tripartite screen, filmed performances by the two artists are combined with segments of popular films and film genres. The complex mixture of images engenders an intricate and ambiguous play of references and connotations: we are shown a ritual washing of feet, the splitting of three apples with the bare hands, the consistently repeated dance steps of Fred Astaire, a revolver alongside a construction drawing, and finally the artists walking along a pattern of the Chartres labyrinth. The clearest message might be given by Melina Mercouri, who in the figure of the prostitute Ilya from the film Never on Sunday combines in her behavior a lack of virtue with the strict adherence to principles. In her own biography, the later Greek Minister of Culture united artistic creation, revolutionary resistance and political involvement.

Dorothée Brill

 

Klaus vom Bruch [no Videonale contribution] x

1000 Küsse - Relativ Romantisch, 1983/84, 21:46 Min, colour, sound [no Videonale contribution]

In Relativ Romantisch, hundreds of Hollywood kisses have been assembled and counted by vom Bruch and subjected to irreverent and provocative manipulations. As famous couples share Technicolor embraces, vom Bruch subverts their cliched passion using the iconography of technology, communications and war. Celluloid kisses are merged with such signifiers as the flashing Morse Code signals of a warship, a plane's propeller, a radio telescope inscribed with the word "speed," and footage of Einstein proclaiming his famous E=MC2 equation. Conflating the cinematic apparatus with those of technology, communications and war, vom Bruch arrives at a highly charged analysis of the representation of desire. 

Source: www.kvb.com/video_05.html

Klaus vom Bruch