Installation views, individual works and cooperations.
Involvement in filmproductions: click here to view.
Associated pages and texts:
– REINS
SCHADOW IN THE CUBE:
13. Oktober, 9:50 morgens, UTC + 1: Klaus Pamminger´s shadow in the cube [DE] (by Fiona Rukschcio)
Collage IV – Space [EN, DE] (by Katharina Manojlović)
[VERTIGOTISCH] / FRAGMENTS OF PRESENCE:
"With Jonas Feferle, Andreas Müller and Klaus Pamminger, three artists come together who approach the theme of "space" using different techniques and strategies. In the expanded field of the media of sculpture, photography and film, the ephemeral and relative aspects of space are expressed in forms that go far beyond static representation.
The concrete architecture of the Base11 student residence in Vienna's Simmering district is home to the PFERD art space. For Fragments of Presence, it serves as a laboratory for the analysis of experience and coding, for attempts to deconstruct, reconstruct and transform space."
(Johan Simonsen)
MAGRITTSCHES ICH:
In the course of working on a current self-portrait for the exhibition ME MYSELF & THEM, it occured to me that the installation I was creating was very reminiscent of 'Le Thérapeute' by René Magritte, which then led me to emphasize these similarities, thus introducing a meta-level of readability, which makes it easier to understand the ambiguity of the objects depicted.
"Magrittsches ich" (Magrittian Ego) is an unprettified image of a moment of self-perception; the allusions in the staging are both metaphorical and direct. This work could also be described as a kind of (three-dimensional) psychogram.
The Post-its, remnants – both contentual and compositional – of my dialog with the image, display the trace to the "outside", to my here and now outside of the object. The strip of lambskin lying on the pedestal, an analogy to the duffel bag in Magritte's sculpture, can be read as a metaphor for the socialization of the person depicted.
The jacket forming the body has not been worn since mid-2011 and now belongs to the installation for good. My personal garments, especially long-worn leather jackets, pants, shoes, etc., are also to be found in several earlier works. They reference the artist's immanent presence in a work.
DISPLAyCEMENT:
Über die Ausstellung "Displaycement" [DE]
(by Andreas Müller)
WALLS HAVE MOTION PICTURES:
When you enter the gallery, you also enter an apartment in form of its floor plan sketched on the floor. It represents the cinematic space of my short films from the Series 1 of "Rauminvasionen - Movies".
The wallpapering of all the "wall sections" of the exhibition space each show a strip from one of these experimental short films and symbolize the intrusion of the films into the real space respectively are an attempt to visualize it.
Contrary to the stylized floor plan, the short films themselves are projected close to the ceiling. In these films a shift in legibility from the real space of the individual to the orchestrated image takes place and the intrusion of the respective film into this world raises questions about the diegetic relationship of tension (Andreas Müller). The real space is covered by a tapestry of media perception. Or in other words: the media perception inscribes itself into the space in which it took place (Maya McKechneay).
INTERMEDIATE:
– A conceptual work, which discusses an art-exhibition itself, respectively the visit of it. It's about the borders between recipient and the art.
When you enter Intermediate, you are in the foyer of a gallery. But, there is no one at the reception desk. On a surveillance monitor you see a space in which a presentation seems to go on; it is full with people who view a video-projection on a wall. If you look around the gallery you see a passage. From there you hear some murmur and noise, which obviously is connected with what happens on the monitor. If you take a closer look, you recognize that this passage isn’t real: It is a built in photo light-box. On the photograph there is an entry to an exhibition hall, which is blocked by live-size visitors. One of these visitors stares directly into your eyes, the others with interest all look in a certain direction. What attracts their attention – the artwork that they are consuming – you can experience via video only (on the surveillance monitor at the reception). You get aware that it’s impossible for you to join this exhibition, it only takes place virtually, but however at the same time you are part of a superordinate installation in the real space.
Intermediate is a "closed circuit fake“ and work in progress. The concept can be realized on several places. The constants are the photo light-box in a wall installation and the video, which pretends the presentation of an artwork. This brought in/inserted artwork remains variable. By the use of blue-box procedure it can be replaced for every respective location.
Installation views, individual works and cooperations.
Involvement in filmproductions: click here to view.
Associated pages and texts:
– REINS
SCHADOW IN THE CUBE:
13. Oktober, 9:50 morgens, UTC + 1: Klaus Pamminger´s shadow in the cube [DE]
(by Fiona Rukschcio)
Collage IV – Space [EN, DE]
(by Katharina Manojlović)
[VERTIGOTISCH] / FRAGMENTS OF PRESENCE:
"With Jonas Feferle, Andreas Müller and Klaus Pamminger, three artists come together who approach the theme of "space" using different techniques and strategies. In the expanded field of the media of sculpture, photography and film, the ephemeral and relative aspects of space are expressed in forms that go far beyond static representation.
The concrete architecture of the Base11 student residence in Vienna's Simmering district is home to the PFERD art space. For Fragments of Presence, it serves as a laboratory for the analysis of experience and coding, for attempts to deconstruct, reconstruct and transform space."
(Johan Simonsen)
MAGRITTSCHES ICH:
In the course of working on a current self-portrait for the exhibition ME MYSELF & THEM, it occured to me that the installation I was creating was very reminiscent of 'Le Thérapeute' by René Magritte, which then led me to emphasize these similarities, thus introducing a meta-level of readability, which makes it easier to understand the ambiguity of the objects depicted.
"Magrittsches ich" (Magrittian Ego) is an unprettified image of a moment of self-perception; the allusions in the staging are both metaphorical and direct. This work could also be described as a kind of (three-dimensional) psychogram.
The Post-its, remnants – both contentual and compositional – of my dialog with the image, display the trace to the "outside", to my here and now outside of the object. The strip of lambskin lying on the pedestal, an analogy to the duffel bag in Magritte's sculpture, can be read as a metaphor for the socialization of the person depicted.
The jacket forming the body has not been worn since mid-2011 and now belongs to the installation for good. My personal garments, especially long-worn leather jackets, but also pants, shoes, etc., are also to be found in several earlier works. They reference the artist's immanent presence in a work.
DISPLAyCEMENT:
Über die Ausstellung "Displaycement" [DE] (by Andreas Müller)
WALLS HAVE MOTION PICTURES:
When you enter the gallery, you also enter an apartment in form of its floor plan sketched on the floor. It represents the cinematic space of my short films from the Series 1 of "Rauminvasionen - Movies".
The wallpapering of all the "wall sections" of the exhibition space each show a strip from one of these experimental short films and symbolize the intrusion of the films into the real space respectively are an attempt to visualize it.
Contrary to the stylized floor plan, the short films themselves are projected close to the ceiling. In these films a shift in legibility from the real space of the individual to the orchestrated image takes place and the intrusion of the respective film into this world raises questions about the diegetic relationship of tension (Andreas Müller). The real space is covered by a tapestry of media perception. Or in other words: the media perception inscribes itself into the space in which it took place (Maya McKechneay).
INTERMEDIATE:
– A conceptual work, which discusses an art-exhibition itself, respectively the visit of it. It's about the borders between recipient and the art.
When you enter Intermediate, you are in the foyer of a gallery. But, there is no one at the reception desk. On a surveillance monitor you see a space in which a presentation seems to go on; it is full with people who view a video-projection on a wall. If you look around the gallery you see a passage. From there you hear some murmur and noise, which obviously is connected with what happens on the monitor. If you take a closer look, you recognize that this passage isn’t real: It is a built in photo light-box. On the photograph there is an entry to an exhibition hall, which is blocked by live-size visitors. One of these visitors stares directly into your eyes, the others with interest all look in a certain direction. What attracts their attention – the artwork that they are consuming – you can experience via video only (on the surveillance monitor at the reception). You get aware that it’s impossible for you to join this exhibition, it only takes place virtually, but however at the same time you are part of a superordinate installation in the real space.
Intermediate is a "closed circuit fake“ and work in progress. The concept can be realized on several places. The constants are the photo light-box in a wall installation and the video, which pretends the presentation of an artwork. This brought in/inserted artwork remains variable. By the use of blue-box procedure it can be replaced for every respective location.
– Installation views, individual works and cooperations.
– Involvement in filmproductions: click here