The most difficult is thinking the present | Quote Klaus Pamminger
Introduction Klaus Pamminger | Viewing Room | Raum mit Licht Gallery
Munchies Art Club ask Klaus Pamminger some questions about his art practice, his inspiration and his current work at Gallery Raum mit Licht.
When/how did you find out you are an artist, was your family supportive?
After almost falling asleep during biology lessons at university because I was painting during the night, I figured I actually wanted to do arts.
All I know is that being in a production process is the only time (except having sex) I experience a certain feeling of happiness and satisfaction. My family (with some concerns in the beginning) accepted my decision.
What is your relationship to Instagram?
How important has digitalization become for you in connection with your art practice?
When I started working with moving image as well (in the mid-90s) digitalization became certainly important.
Do you find that the pandemic has left a mark on your work?
Not in particular; every circumstance I'm in leaves some marks on my work.
Though some of my current works (for example the "bar-stool pieces”) refer to currently shut down night clubs... they are just hanging on the wall or around a pole, having lost there functional shape – no need for it anymore.
Where, when, how do you work best?
In a rather empty, at least quite tidy room which doesn't confine me by its dimensions; once I've started constructing and do not question myself, personhood and circumstances it's fine, and if I am able to continue my work on a piece without any disruption from the outside, then it's best.
Where, how do you usually get inspired?
Actually ideas just happen or sometimes develop during a production process.
Room is sexy | Quote Klaus Pamminger
What does success mean to you?
In general attaining a certain point of happiness. In terms of art production: getting enough attention that also translates into being able to make a living well above the brink of abyss.
What are you working on currently?
A further stage of my “neo-deconstructivisms” in an image-ironic, sort of fetishistic way, titled "REINS".
These leather constructions are basically built similarly to the GE-STELLE ("disclosures" of a photographic space, that at the same time let an abstract room-code emerge, which through shadow cast translates into another graphical layer ) on the basis of photography or drawings that I've done. In this case the material is limp (biegeschlaff) and meant to produce a result that in a way “liquidates” the original shape and transforms it into something else that allows different perceptions of the structures standing behind and beyond.