Interview: KLAUS OBERMAIER

Klaus Obermaier is a media artist, director, composer, and lecturer. Working in dance, music, theatre, new media and creating interactive installations, video art, web projects, computer music, radio plays, and large scale outdoor performances, his work has innovated, inspired, and has been well received by critics and spectators.

On Tuesday(26.6.07), Klaus with conductor Marin Alsop and the London Philharmonic Orchestra will perform a 21st century rendition of Igor Stravinsky's 'The Rite of Spring'(Le Sacre du Printemps) at the Southbank Centre, London. Dancer Julia Mach will perform within the virtual spaces created by Obermaier and interactive designers from the Ars Electronica Futurelab. Wearing 3D glasses, the audience will see Julia within the virtual world and her body itself will expand beyond reality.

I am extremely grateful to Klaus for sparing some time in the run up to this performance to answer my questions.

You have found ways to fuse and extend performers bodies. First, how do the performers themselves approach these fusions and how much control do they maintain in their performance? Second, is it important to you that the result looks natural(organic) and/or is an aesthetic of artifice an important part of the interpretation?
Both questions depend on each particular piece, as there is a big difference in the approach of for instance VIVISECTOR, APPARITION or Le Sacre du Printemps.


In Le Sacre du Printemps, I was doing the choreography and therefore was able to create my own kind of balance between real body (natural) and virtual. I was going for an aesthetic, where the human can interact with the digital environments generated in real time , in a very natural way. The dance should work on its own, but also seamlessly fuse and interact with the digital environment. There is plenty of space for improvisation, but also the more strictly choreographed parts don't restrict the dancer regarding her performance, not more than in any conventional piece. Julia Mach keeps control.

"I realized that I am able to 'think' in new technologies - in the same way as I can think in music/instruments as a composer"

There is a general perception that there is a separation between science (and mathematics in particular) and art. What have your experiences been with and what do you think of these proconceptions? And in working on the programming for your works, do you approach it in a manner that is unique to your perspective as an artist?
I never think about that particularly. But in the center of my work stands the interaction between humans and new technologies/virtual environments. As this is a question of our times and the future, I feel very natural in using and fusing these technologies with performance and hence research the consequences and possibilities that come out of that question.


In some of the more process intensive computer generated arts, is there a danger in becoming detached from the original vision while working for extended periods in the programming and/or construction?
APPARITION and Le Sacre du Printemps are very process intensive, but I usually have a very clear idea of what I want when I invent a new piece. And I know the limits or where we can push the limits of the technology which I use. In my talks with the developers and programmers of the ARS ELECTRONICA FUTURELAB, I always try to find out and clarify the aesthetic and technological framework at the beginning of the work. The original vision always worked out, but of course there are (and should) be interesting surprises while working.

I realized that I am able to think in new technologies - in the same way that I can think in music and instruments as a composer, or as a stage designer thinks the performance space ... That allows me to plan and combine the many different mediums I use in a very efficient way and straight forward way.

What do you feel about your work being described as “driven by technology”?
... and driven by human performance, and by music, and by stage design ...
That is how I feel about it.

But I understand that because I invented a lot of new technologies in performance art and people see that part first. It is just not the case for myself.

You have worked in a wide variety of mediums. Would you briefly tell us about the mediums for which you have worked and what you feel are their strong points in terms of expression?
I worked with music, which I think, by its abstract apparition, had a big influence on all my work with other mediums. Sounds and rhythms do not have any particular meaning, but are moving us a lot. Here I see similarities with dance, which is also a very abstract medium for me. Movements cannot really tell us something concrete, but like music, they can open new ways of perception and experience.

I worked with many visual mediums like video, web-projects, installations etc. But for me these are just variations or extensions of visual art. The same goes for dance: As a musician on stage I always was aware of the performing aspect. So it was a natural development to work with dancers/performers/actors.


In your performances, how would you describe the relationship between your work and the audience? Does the inclusion of 3D glasses as a worn object help make a connection? How does it compare to the relationship between audience and show in a more spartan setting?
Theatre is a way to combine my different interests - and that is very important for me. Without really thinking about it I realized that theatre/dance/performance pieces became my main focus.

I also enjoy the direct communication with an audience - which is not possible in a painting or web project.

In Le Sacre du Printemps, the stereoscopic projections (and the 3D glasses) create an immersive environment, which permits the audience to participate substantially more intimately to the communication between a performer and the digital environment than in traditional theatre settings.

"The most common mistake is to think too complicated..."

What do you think of the tendency to categorise art with labels like “high brow”, “low brow”, “street art”, or “outsider art”? And in general, are labels and gradations of art in any way beneficial?
Most of them I don't even know. I think if you are creating, you don't care about that.

Since 2006 you have been a visiting professor at the University IUAV of Venice teaching new media in dance, music and theatre performances. What have you learned from your time teaching and lecturing?
No idea what I have learned particularly, but it is a very interesting work.

And what would you say is the most common mistake or misconception among your students?
The most common mistake is to think too complicated, which never lets you come to a point. And I mean both: technological and contextual.

photo: Gabi Hauser

In regard to your work with the Kronos Quartet and Robert Spour, how did this collaboration develop and what was the impetus behind the The Cloned Sound and its genetic structures?
How to create rhythmic structures out of genetic patterns and the real time transformation of the natural sound of a string quartet. At that time, this was a very new thing.

Have you had time recently to work on new compositions?
I recently composed for another string quartet, the Balanescu Quartet. It was performed in 2005 in the Queen Elisabeth Hall.

At what age did you feel that art was your calling?
I think I was 12 when I realized I want to become an artist. A painter and a musician.
My father was painting for himself when he was a child. When I first heard the White Album of the Beatles I knew I wanted to make music.

"I have a special idea about a new technology which I hopefully will start to work on soon."

Would you choose a colour and explain the ideas and feelings it generates for you?
Sorry, but I like all and no colours.

Also, would you select an image that you feel is powerful and explain why it has an impact on you?
Same as above. The most powerful images are always the last ones I created.


Do you feel the art world is somewhat slow in adopting new technology?
I think this is going on a lot in art, adopting new technologies (and it always was).
New technologies are just one way to express yourself. But for me there is no difference to other (older) ways. It is just what you prefer.

Do you have any concepts for which you are waiting for the right technology?
Usually I try to develop the technology I need with collaborators like the Ars Electronica Futurelab, or Hirokazu Kato (Osaka University). I have a special idea about a new technology which I hopefully will start to work on soon.

And is D.A.V.E.(digital amplified video engine) an evolving program?
D.A.V.E. is not evolving, but because it was so new when it came out, there is still a lot of demand and buzz for the piece.

As well as the performance of 'Le Sacre du Printemps' on Tuesday (26.6.07) in London, a performance of 'Maria T' is scheduled for 13.7.07 at the El Espiritu Del Sur in Huesca, Spain. A new collection of Klaus' compositions from 1985 - 2005 is out now and available HERE.

Links:
Klaus Obermaier
Ars Electronica Futurelab
Conductor Marin Alsop
The Southbank Centre
The London Philharmonic Orchestra
Igor Stravinsky Wiki
The Balanescu Quartet
The Kronos Quartet
Hirokazu Kato's ArToolKit
University IUAV of Venice
Le Sacre du Printemps - biographies

** NOTE: All images link back to their source.

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Interview: GRANT BARNHART

Grant Barnhart's works are intricate orchestrations of fragments marrying contemporary, historical and mythical elements into cohesive narrative images. Being given the opportunity to interview Grant at this stage of his career has been a privilege as his work moves into uncharted territory.

In this interview he provides both abstract and practical insight into his work as well as his own observations on art in general.


How much planning and preparation goes into your work?
At times I feel like all I do is plan and prep for future projects. My house and studio are littered with random scribbles and notes that should guide me to the next painting or project, but at times look like nothing more than random notations and scribbles. On the quick end of things it can take a few days to comprise the ideas with my reference on hand.

And do you approach your personal works differently from commercial projects?
The commercial work is completely different. I get an assignment emailed to me and usually have 1-4 days to complete from start to finish. Most of the time is spent looking at low res. Images on my computer screen. The quality is so bad that it is pointless to print off because the ink will bleed together on the paper.


Your works seem to have strong narrative qualities. Is this deliberate and would you consider it part of your ‘style’?
Yes the narration in my work is extremely deliberate. I’m trying to form a conversation with an audience that may or may not even be there. I’m giving the viewer the opportunity probe inside my head and ask questions about what they are seeing.


And generally speaking, how would you characterise your works as a whole?
The idea of communication alone plays a major role in my work. I am the perfect example of modern isolated version of western culture. What limited interaction I have with people is either spent on a mobile phone or random emails throughout the day. I rarely leave my studio for days on end and form these rather strange conversations in my head that begin to grow in my paintings. The figures in my work usually stand-alone and form little to no bond with each other. I use graphite to define the sad and weighted space around my figures. Just when the space gets too melancholy I mix in subtle absurdities to poke fun at what I just created.

In my latest painting “Plan B: Proceed With Caution” there is a satellite falling from the top right corner. If one looks closely inside the satellite they will find the legs of my wife and I tumbling about during re-entry. Our legs are bare which leads me to explain we were making love in space until all hell broke loose. Hand-me-down versions of Batman and Spider-Man appear in my work too. This all forms into my “Amalgamation: The Over/Under Project”. Mixing graphite and oil on panel with a subtle absurdity on a relatively cold social commentary.

What tools and materials do you use and why?
Most of my work is graphite and oil on gessoed panel. I prefer the smooth surface to canvas.

"Every time I paint I run into new challenges..."

Selecting one of your own works, would you explain the development of the piece from conception to completion?
“Plan B: Proceed with Caution”

The initial concept was to base the basic design of the paintings around a Rauschenberg COBINE. I chose “Black Mail” (1958) for the basic foundation of the painting. Several sketches and concepts were formed on tracing paper. Writing notes and themes in a moleskin would help focus the ideas further. Once I had my ideas and the placement of my figures, I then researched detailed photo reference to base my drawings from.


After the drawing is complete I transferred the drawing to a clear acetate film and project the image on the 4’x6’ surface in my studio. I used an old elementary school projector given to me as a gift. My studio floor space is rather small so I have to manoeuvre around the projector with ease. It takes about a week to redraw the figures on the panel.

Once the line rendering is complete I spend another 2-3 days filling in the negative space with graphite pencils. After a long day with the graphite I tend to look like a coal miner coming out of the tunnel. I seal the drawing and get to work with thin oil washes. I build up transparent layers until I find the desired effect. Every time I paint I run into new challenges with the media and have to let the randomness of the washes take form.


How much of an influence has your environment/the Pacific Northwest been to you development in general and specifically in your work?
It has everything to do with my work. I’m supported by a group of friends and a gallerist that push me to think outside of the box even if the majority of the public don’t understand what I’m trying to accomplish just yet.

Most of the country looks to NYC and LA for hot contemporary art and living Seattle has allowed me to form this logistically poised bohemian movement with my gallery. Seattle is a great political town that encourages conversation through creative means. I think it is a matter of time before people start really talking about the Northwest and what it has to offer.


What would you say have been the most important things you’ve learned in regard to your work/self in the past few years? And what advice would you give other creatives?
Good advice to pass along is to be comfortable in one’s own skin and stand behind one’s ideas. Gut instinct is major too. Some of my hardest times in life were when I went against my gut instinct. It isn’t easy basing a career off being constantly judged and compared. It is okay to take risks and challenge yourself when pursuing a dream or a creative career.

"...one day you feel on top of the world and the next you feel you are climbing out of the sewer."

The bottom line is it takes a ton of work and effort and one day you feel on top of the world and the next you feel you are climbing out of the sewer. To be successful takes work and dedication. I will always work myself to the bone for my creation over working a stale corporate job.

Would you choose a colour (it doesn’t have to be a favourite) and explain the ideas and feelings it generates for you?
Gunmetal grey isn’t a colour but rather a value. To me it is a weight I carry on my shoulders. The soft yellow you find in aged paper says timeless to me.


What are your thoughts on the categorization of arts between “high brow”, “low brow”, “fine art”, and “outsider art”?
The main purpose is to give a large majority of people a comfort zone when viewing art. These labels are no different than class distinction. In a society of news flashes, fast food and porn we need to know rather quickly what the hell we are looking at so we can assess, judge and critic at a swift rate. On the other hand many artists use these varying labels to find a community or group to swim around with. Isn’t it really important to feel welcomed and loved?

Do you feel these labels serve any purpose?
Terms, classifications or labels are really important when it comes to writing. Art critics and analysis need rules to follow just like any other job. Are they good, sure, are they bad, of course. Regardless they will always be around.


Would you choose an image (by anyone aside from yourself) that you think is “great” and explain what makes it special for you?
I would have to say anything by Robert Rauschenberg. “State” (1958), “Warbler” (1957), and “Memorandum of Bids” (1957). I look at his work and see the ability to create freedom and redefine convention and thought. It seems so timeless and screams revolution.

Are there any other arts that you practice outside your usual work or that you want to learn?
I generally paint with my hands so sculpting would be a nice escape.

What are you working on now? And what are your aspirations for the future?
I am currently gearing up for my solo at OKOK Gallery in November 2007. My aspiration for the future is to get better at my craft.

Ideally, what will you be doing in 10 years?
In 10 years I see myself daydreaming and working through my ideas. Pushing myself to do better work. Wondering where the hell my hair went.

Links:
Grant Barnhart Studio
Grant Barnhart MySpace
www.duistudio.com
OKOK Gallery
ArtistaDay Article
Spear Collective profile

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Interview: ICELANDIC LOVE CORPORATION

The Icelandic Love Corporation are enigmatic and their colourful, life affirming works are transient or anonymous. Because of this and having read numerous other interviews, I knew that this would be a challenge; a bit like catching smoke with a net or a scooping up the same piece of river more than once.

Their work spans a wide range of mediums including performance, sculpture, installations, music, film, television, painting, and literature. While certainly emotive, like their creators, the works are resistant to analysis. Trying to do so is rather pointless; a bit like trying to create a specific blueprint for how to run the rake through a Zen garden.

What I will say is that I find their work honest and refreshing with a seriousness that isn't cumbersome. As a whole, their body of work is like an ornate diary, a window into their own personal journeys with the most incredible, enlightening outlook.

In regards to the name of your group, would you explain the importance of the trio of words from which it is made: Icelandic, love, and corporation? And aside from the name itself, what changed between the group being known as Gjörningaklúbburinn and The Icelandic Love Corporation?
Well, we never thought about it as a trio of words, per se. When this name was first used, we were actually a quartet. Dóra Isleifsdóttir was a part of the group from 1996 - 2001. Why we chose those three exact words is both easy and hard to explain. Icelandic, well that's a fact. We are icelandic. Love. we like it. it is a strong idea. It is both a redeeming, creative and destructive element. but most of the time a very good thing. corporation.

"Some people seem to automatically connect the word love to something kitschy or childish. We really don't understand that."

Probably the megalomania in us back then was pretty strong. but also we thought it was funny. to be a corporation of four girls. We did not really sit around contemplating about this name for a very long time. it just seemed right. through the years we have thought about it from time to time and have grown to like it more and more. Some people seem to automatically connect the word love to something kitschy or childish. We really don't understand that. well partly we do, but we think that's unfair to love.

For us it's love for life and all that's in it, good and bad.

But the word Gjörningaklúbburinn literally translated means Performance Club. We didn't find that english version too exciting. In icelandic the word Gjörningaklúbburinn has various connotations or layers if you want to look for them. To magic and witchcraft (gjörningar) and to sewing circles (sauma "klúbbur").

So we just decided to pick a new name for the international conquering.

You have said before that you wish to remove your personalities from the work of the ILC and the words sterilise, empty, and white are a common thread through your interviews and write-ups.
Sterilise, empty, white.... to us that's the opposite of our work.

Can science and art mix?
It is going on all the time. And people should stop thinking that it isn't.

Does the manner in which you forge a relationship with an audience change with the setting or is it universal? And would you say this invisible relationship is your work rather than the performance, image, or object?
We never rehearse our performances and we very much expect something from the audience, otherwise there would be not point...but our work is our work. Some of it is created within a moment that cannot be done again and some of it is very long lasting. like Mother Earth for example. This piece will stay there for a long time and has no evidence of us in it.

Circus and truth?
Absurdity can point out the most obvious truth.


Would you say that there is anything particularly Icelandic about your work?
Us. And the fact that we work here in this space. We have been using icelandic heritage a bit, like sheepskin shoes and materials like wool and such , but also nylon and video.... I guess that we are not too afraid of nationalism..... but we mean it in a good way. We are hopefully not trying to be supericelandic.

But then we also belong to other groups, we are women, we were born in the seventies, we are white, pretty much healthy, we have all danced to a Dolly Parton song. So being icelandic is just one of these groups that humans belong to.

"...we absolutely don't want to know what exactly it is."

People here are trying to define what is icelandic. i was actually listening to a philosopher trying to do this the other day. I guess that it is futile. but there is something about being from an island, and also a small population. It has pros and cons.

Would you explain what part(if any) aesthetics play in your work? Is it the same as beauty? What is beauty?
We use that word a lot. Fallegt (beautiful) for all kinds of things. I think we are essentially trying to make something beautiful, but we absolutely don't want to know what exactly it is.


What do you think of finding meaning in coincidence?
there must be someone somewhere sitting at the switchboard.

"When we started doing things we were reacting against some boredom that comes with 'high brow' i guess."

What do you think about the way in which labels are applied in art such as “high brow”, “low brow”, “street art”, “fine art”, and “outsider art”? Do you feel labels serve any useful purpose in art?
Yes, in a way we think they do. Just like it is useful to have some kind of a language, even though it should not be taken for granted or written into some kind of a law, what is what. When we started doing things we were reacting against some boredom that comes with "high brow" i guess. but then we kind of sometimes are a part of "high brow"..... so it is very limiting to think that you belong to some specific department. All the departments kind of rely on each other in some ways. It would be no fun to react against something that wasn't there.

Would you continue from the following sentence?
While anticipating the sunrise, the polar bear… meditated, and then it sneezed.

Where do we go from here?
To where we belong.

Thank you.
Thank you!

Links:
Icelandic Love Corporation
ILC (Bjork.com special)
ILC - poetry
ILC - video

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