He only feels the Black and White of it (2016) is based on a 1973 Associated Press photograph of a damaged section of the Berlin Wall. West Germans had attacked the Wall in response to the sound of East German guns fired at fleeing East Germans. The archive image pictures East German military guards and border policemen repairing the Wall. Over several months, Klenz repeatedly used the archive photograph to make multiple screen-prints on gold-grained aluminium.
Due to the process of continuous repetitive screen-printing, the images break apart with each further repetition, creating fragmented versions of the same image.
The original press-photograph is also the trigger for a series of textual reflections on the artist’s own family history around the question of individual identity and freedom mainly through the figure of her father. The texts highlight the constraints, pain and psychological effects that Klenz’ father experienced as a young man in East Germany. Through text and image, He only feels the black and white of it reminds us of the importance of boundaries and their rights of passage as well as offers us a critical perspective of the poetics of resistance.
gestures of resistance