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Anastasia Klose

Andrew Frost

Anastasia Klose’s work explores the outer reaches of pure embarrassment through a self-imposed regime of apparently humiliating public performances documented for the camera. Of course, Klose is the author of her own adventures, examining the detail of a highly subjective response to the world while questioning the role of the creative individual – the artist – in the contemporary world. 

Klose’s video works such as Bonjour Paris, Je suis une artiste Aussie! [2007] and Film For My Nanna [2006] are particularly fine examples of the artist’s methodology. In Bonjour Paris the artist is seen wandering along the Seine in Paris holding a punning sign that reads Bonjour Paris! Je’ Suis une artist [Aussie]’. Klose is clearly mortified by her own actions. Film for My Nanna sees the artists wandering the streets of Melbourne, again holding a sign, this time reading: Nanna, I am still alone, except this time Klose is wearing a second-hand wedding dress. 

Klose’s early video works set a high bar for disturbing behaviour caught on camera. In The Toilets with Ben [2005] – made while an art student – is a documentation of her attempts to have sex with a fellow student in the art college’s disabled toilets. It’s follow up - Mum and I watch ‘In the Toilets with Ben’ [2005] - is self-explanatory and a spectacularly excruciating documentation of the artist exposing herself in a way more intimate and disturbing than the original. Klose’s examination of her own motivations is the shadow subject behind the self-deprecating facade and shock value of the videos, Klose cleverly playing with popular notions of artistic integrity, public decorum and romantic notions of the self. A trio of recent works - Lives of the Great Poets [2009], As if on a cloud [2009] True Love [2008] – extends these ideas quite literally, conflating the work and life of Lord Shelley with footage shot in her own backyard. 

b. 1978
Period of activity 
from 2004

Lives and works

Selected works
Selected events