KLIPPERTY KLÖPP 2
Klipperty Klöpp was a film of an artist repeatedly and energetically running round a field in Gloucestershire pretending to be a horse. The work has been described as: Joseph Beuys meets Benny Hill in a post-punk piece of pagan happening, complete with bestiality, buggery and boundless energy combining frenetic performance and Beckettian other-worldly rantings.
As an ironic response to the Transition Gallery ‘SPEEDWAY’ commission I’d like to revisit the film 33 years later, however this time the protagonist would be a woman (the performance artist Yumino Seki - http://yuminoseki.webs.com) but moving very slowly within the landscape.
The earth works, which were made in the 80’s are still visible on Winchcombe Common just outside Cheltenham and the paintings, which I carried all those years ago have also been kept alive, safe in my studio.
For KLIPPERTY KLÖPP 2 I’d shoot on digital HD and try to marry up shot for shot the original super8 footage. I would keep the voice-over and the soundtrack. I like the idea that the work might be seen as an artefact, dug up and re-presented for the gallery space 33 years after the event.
The work could be presented on either two monitors next to each other (the original on one and the new version on another), with the soundtrack on head phones or as an HUGE split screen presentation with stereo sound through an amplifier and speakers.
The original work was exhibited as an installation a few years back at Matt’s Gallery as part ofRevolver 1:
And more recently at Stroud Valley Arts as part of SITE
The commission for SPEEDWAY at Transition Gallery from 7th April – 13th May 2017 along side the work of Luci Eyers and James Roseveare
In all Kötting's work, there is a more or less active reclamation of deep strains of popular experience and folk memory for the digital age. His project, vitally, operates against the hollow ordering of reality and existence. He is closer to the Native American Coyote, to the trickster, harlequin and knave in his operation than to the career 'administrator' artist. He is most adept at 'making do', at mining the creative possibilities of material or structural limitation to invigorating effect.
Gareth Evans, Whitechapel Gallery
