The work of Michiel Kluiters (Amsterdam,1971) deals with architectural constructions that are linked to the psychological observational condition within the public sphere.
In his installations Kluiters employs the existing (exhibition) architecture as a container of time and space in a visual, and often monumental manner.
He makes wall-filling photographs of vacant architectural interiors that function as a blank screen for the viewer's temporal projections. In order to evoke a specific physical relationship towards the work, generic spaces are constructed around a camera's central viewpoint. The resulting photograph acts as an intervention into a site-specific location.
Within this working process, developments have incorporated video and large scale architectural constructions and a series of works in the public domain. Most of the works are temporary site-specific interventions that profoundly change the way that a visitor perceives the place. By duplicating specific architectural realities or by creating the illusion of multiple spaces within a space, he emphasizes the historical layers of a given context and questions the supposed neutrality of the space as such.
Straight, with corners, and totally white. This is how the exhibition space of Ellen de Bruijne Projects normally looks when nothing is installed.
This time, the space is also empty and white. However, something is wrong. And then you realise: the number of pillars is disproportionatly large. Where there was first only one, there are now nine. Unnoticeably white, but insistent on dividing up the space with their presence, they have been placed there by Michiel Kluiters for his exhibition ‘Mesh’. The perception of space has played an important role in earlier works of Kluiters. His large scale photographs of architectural models led you to believe that you could walk into a corridor or empty room.
The artist played with physical and virtual architecture and to maintain the illusion of actual space there are no people present in the photographs. In his video work for Mesh, there is also the absence of people. A monitor hangs outside of the gallery space in front of a window in a D-I-Y plywood box. In a video-loop, we see Dutch urban development at a slow pace.
Filming the images of emerging architectural formations from the inside of a car reflect the improvised structure outside of the car window. Every street looks the same except for the range of parked, middle-class cars, different in front of each door. The Rozengracht, a busy street in the centre of Amsterdam literally becomes the frame for the video, with the traffic moving in the opposite direction to the film. It seems that Kluiters wants to show that the inner city is alive, whilst the urban living areas are asleep.
The work has comparisons with the Belgium artist, Jan De Cock, who often takes over space and rearranges it with his temporary architectural structures. But Kluiters work is more subtle. His pillars appear completely natural. If you didn't know the gallery space it would not necessarily occur to you that they were not always there.
The artist is not only interested in formal aspects such as space and volume. By repeating the pillars throughout the gallery he says something about the monotony of our surroundings. If every building block is similar to the next, just as in the development sites, then there is no space left for the individual.