Church | XIII-XV | Gothic | Roman Catholic Church
Claude Klimsza is an artist who invites reflection. He challenges our preconceived ideas, often with a touch of humour, and opens up a new space for us. His terrain is his faith. A powerful evangelical inspiration unites his works and unfolds the multiple facets of a Good News that crosses centuries, cultures and materials.
He carves the Gospel into all the materials he touches. Sometimes quality wood, steel, bronze, sometimes much more modest materials, wires, photos, pieces of glass, papers…
He is part of the Arte Povera movement, initiated in Rome and Turin in the 1960s. This movement inscribes the artist in a strategy of balancing between the material of the object and its conceptual signs. The work reveals itself in an eminently physical status that goes as far as taking into account its relationship to the viewer. Poverty concerns above all its immediate language: primary materials are brought together in simple and direct assemblies. The work presents itself as a visual enigma, requiring a work of meaning.
Claude Klimsza lets the Spirit of brotherhood transform opacities into light, resistances into freedom, insignificances into a message of love.
Throughout the works exhibited in the church of Saint-Maurice in Lille from 15 March, it is humanity that tells its story in its desire for tenderness.
At the entrance, a traffic sign, diverted towards a disturbing reading. Here a hollowed out form awaiting plenitude, there a character emptied of his heart. A recurring theme animates them: the void. An emptiness that lets light or sound pass through, an emptiness that has great symbolic significance because, in contrast to what is full, saturated, filled with itself, the hollow lets something other than itself pass through and opens up to Otherness.
Claude Klimsza exhibits mainly in cathedrals (Reims, Laon, Chartres, Amiens, Rouen, Lille, Brussels, Bruges, Tournai, Liège, Créteil...). This is his favourite place. For his works resonate with the sculptures, paintings and stained glass windows of the Middle Ages. In the end, the same themes are told from one century to the next. The strength of Claude Klimsza's gesture is to revive the vigour of the Word of the origins of Christianity.
Recently, he has exhibited at the Collégiale Sainte-Waudru in Mons, at the Catho de Lille and even in EHPAD! The next exhibitions will be held this summer in the abbey church of Conques, next to the stained glass windows of Soulages, then in autumn at the Temple Neuf in Strasbourg.
Curator of the exhibition
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