'PULP MACHINERIES' – KLAAS KLOOSTERBOER
'Pulp Machineries', the first solo
exhibition of Klaas Kloosterboer
In the first room an empty white robotlike figure sits on the floor and is watching the entrance of the space, apparently his forces are exhausted. Next to him, a wooden crate lies flat on the floor, closed. In the far end of the silver room a pair of shoes can be seen in a corner.
In a second room, a muffled sound is endlessly repeated. Behind a curtain, printed with a finish flag pattern, a bunch of video screens show a person wearing the white robot suit hammering with a wooden pole on an old crate. His efforts to open the crate are in vain. In the background pieces of fabric printed with clownesk logos give the whole setting a more optimistic touch, although not that much.
In his more theatrical pieces Klaas Kloosterboer emphasizes the role of the artist in (Western) society, or at least the role which one is supposed to play being a contemporary artist and good citizen. How sincere is such an attitude while making art? For him making art is an act of making an action, resulting in an art piece, id est an acted art piece. In his point of view, making art has a high degree of acted action. As long as it all happens in the studio it is sincere and at all times a pure adventure, but outside shown to the world eager for a next spectacle art becomes something else. Represented as a robotlike human being the artist makes use of visual tools, which – outside of his studio - very quickly become part of seductions, which awake attention so very close to the culture of pulp machineries we are all in. Nevertheless, Klaas Kloosterboer enjoys his representations of pulp mechanisms. He is unavoidably part of these hedonistic feelings and the freedom created in this way delivers even pleasure and enjoyment. With this practice of pulp mechanisms, it is an attempt to come to a greater insight, but it is doomed to fail to realize an unacted art piece. For him this is drama.
KvG, May 2009