art_Klaus Haas
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Klaus Haas Portrait Artist
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KLAUS HAAS
is an artist from Nuremberg who studied painting at the AdBK in Nuremberg. For many years he has developed his painting also with the means of the digital. His works, both in picture format and as spatial stagings, captivate through the always surprising spatiality, which opens up completely unexpected emotional worlds to the viewer. In a unique way he uses the means of the digital for the visual arts. His works, realized since 1988, show a highly interesting path from classical painting to a superordinate multimedia field of experimentation with the help of the new technical possibilities. Klaus Haas is thus a grandiose example of the very individual use of the digital. In 2016, he founded the "Institute for Researching Art in Virtual Space" together with friends. His works, realized since 1988, show a highly interesting path from classical painting to an overarching multimedia field of experimentation with the help of the new technical possibilities. Klaus Haas is thus a grandiose example of the very individual use of the digital. With virtual reality through the project QuantenRausch, Klaus Haas sets in motion a creative process for the future under technical, artistic and social aspects. Art with architecture as well as technical processes benefit equally from each other. The disciplines inspire each other and together come to new meaningful insights that can be integrated into the processes in social society as well as in the visual and performing arts. This goes far beyond the current view of many too general approaches and positions. #art, #Locked in, #space, #Virtual, #Interview, #Klaus Haas, #Dr. Marian Wild, #Talking to, #Virtual
Locked in | 050 - Art is created outside the comfort zone. The artists who leave it have the chance to be relevant, and you can leave this comfort zone in many ways. One can break with tradition and convention, which ensures attention for better or worse, but is rarely enough in the medium term. You can break with convention in favor of a new convention, technique, or point of view, which is usually more sustainable. Or you can understand the constant destroying and reinventing as an artistic process, which is the most strenuous and long-term attitude for all involved, and also an exciting one. This is where Klaus Haas comes in, painting virtually, merging art with architecture and installation with urban space, connecting theory with the work and the public with art, a tireless worker in the engine room of art and in the cockpit of social sculpture. The concept of social sculpture, there it is again: few concepts are so often and so often mislabeled in the cultural field as social sculpture. That's no wonder, because the idea behind it is powerful. When Joseph Beuys shaped it in the 1970s, art discovered its relevance to society. Art can transform society, togetherness, democracy, that is the promise Beuys made good on through performances, happenings, installations and congresses. Art can enable society to participate in this process, that is the origin of "Everyone is an artist", the second most misused term in relation to Beuys. Klaus Haas now probably really makes social sculpture, he transforms and transforms and sometimes all the ideas slip away from him and take on a life of their own. But possibly this is quite sustainable socio-politically. In the interview, Klaus talks about critical discourse, man as a component of nature, and Beuys in the 21st century. Marian Wild: At the last ortung 11 in Schwabach, you were represented with your QuantenRausch project and the "Institute for Researching Art in Virtual Space," which serves to find out to what extent painting can be thought further with the means of virtual reality. I have two questions about this: What are your findings so far? In your opinion, could virtual space help us to escape from the current quarantine? Klaus Haas: Well, in my opinion, virtual reality is still in its infancy, especially in terms of its technical possibilities. Many see Plato's well-known Allegory of the Cave from 300 B.C. as the cornerstone for what we now call virtual reality (VR). Yet the ethical and philosophical significance of VR is far from being recognized. The foundation of the "Institute for Researching Art in Virtual Space" in 2016 together with Fabian Baumgärtner is dedicated to exactly this desideratum. The aim is not only to expand the current possibilities technically. In the virtual experiment, burning social questions are also to be raised and discussed. Actually, we have all been living in "quarantine" for a long time without being aware of it. Isolation can mean protection, but it can also keep positive impulses away from us. Especially online, we are trapped in our perception like in a bubble. On the other hand, the way our perception functions is again evolutionary. In other life forms on our planet, for example, perception is directed toward other goals. We now take technical phenomena such as infrared, X-rays or film for granted, but virtual space is often still interpreted as something completely unreal, artificial. But is it really? The technical possibilities of VR are already immense, also with regard to the implementation in the "material world"; be it in art, painting, architecture, design, film, science, 3D printing or even in music. But to the purely technical also belongs an openly reflective, sensitive thinking. The more humans alienate themselves from their emotional intelligence, the more limited and toxic their cognitive performance becomes. In the end, we are also part of nature, we should always keep that in mind. We have emerged from it and have no right to claim otherwise. That's why I see the current quarantine as a learning process that helps us to rethink our behavior towards our environment. Especially the virtual world can help to expand our consciousness in this direction. Even before your idea of virtual painting, many of your works were always conceived and executed in connection with a place. You change spatial configurations, disrupt perspectives, or highlight individual areas. What is missing in today's architecture and what can art give it? Architecture has always been connected to art, music, literature or philosophy and together with them had created the foundations to define whole eras. All human civilization is indispensably linked to architecture: in both a positive and negative sense. To bring these connections back into consciousness, to redefine them, even to expand them, is a concern that is very close to my heart as an artist. In most cases, today's architecture is subjected to pure economic efficiency and thus often to dehumanizing dogmas. Most architects suffer from this. Personal conversations with architects have confirmed this to me time and again. Many architects struggle within rigid administrative as well as funding constraints. They face these castrating restrictions like an impenetrable wall. Within an elite luxury and prestige architecture, architects can still realize themselves to some extent. In my opinion, this should change seriously: for the sake of all of us and our environment, which must be worth it. Not only in the industrial areas and peripheral zones of the cities, but also in the inner cities and pedestrian zones of the post-war period, an architectural desert has arisen that continues to have an effect. Architecture, however, should once again enter into a creative symbiosis with art, music, literature and philosophy. This unity should also be reflected at economic and administrative levels. Good architecture is a priceless asset from which later generations will benefit. That is why our thoughts and actions should be guided by it. New, innovative approaches are offered, for example, by architectural bionics, ecological and organic architecture (CLICK!). I dare to say their possibilities are far from being sufficiently exploited and I find that art can make a significant contribution to breaking down entrenched urbanist principles. In this respect, as an artist I do not focus solely on exploring virtual space. The personal dialogue with people is equally important to me. As a performer, I act at the interface between the virtual work and the recipient. In the midst of my installations, something emerges that can best be described by Joseph Beuys' term "social sculpture." In doing so, I do not necessarily work against the existing architecture, but rather take up its specifications and modify them with my elements. In this way, one can perhaps speak of "assimilation". At first glance, everything seems to fit, but on closer inspection, quite a few things are strange or disconcerting. I don't want to see art placed in public places as a prestige object to make an impression. It is better planted casually in the architecture, almost inconspicuously, like insects act with their camouflage costumes. Somatolysis [detachment from the body, interviewer's note] makes art seem invisible, almost integrated as a matter of course. This creates a subversive acceptance in the viewer. On closer inspection, the perception can then change seriously, like a stick insect that suddenly moves after all. This kind of "camouflage" fascinates me. Art can thus penetrate and spread almost unhindered into architecture and public places, without immediately being heroic, monumental or separated. I find a contemporary view directed against the monument-oriented, heroic presentation of art. The creeping-in method could show a way to an art that gives us a more sensual joy of discovery You studied in Professor Georg Karl Pfahler's class at the Academy in Nuremberg, became a master student there, and obviously feel a connection to his "hard edge" style. How can one imagine the discussions in Pfahler's class and where do you continue to write his conception of art? Engaging with a professor's work goes hand in hand with fellow students. Students should be open to differing opinions in a good class. Basic openness is the best way to prevent epigonism. Contrary statements were deliberately provoked by Georg Karl Pfahler within the class. Even in his own work, Pfahler did not proceed in a completely orthodox manner like other "concrete artists". Just consider his works in the field of "Hard Edge" and his "Color Space Objects" at the Venice Biennale in 1969/70. The anarchic "breaking" has inspired and driven me in my art. Only in a certain way I continue Pfahler's conception of art, I was also then very fascinated by artists* from classical modernism until today such as Marcel Duchamp the Dadaists, Meret Oppenheim, Sonja and Robert Delaunay, Kurt Schwitters with his MERZbau and Oskar Schlemmer the Lackkabinett, as well as Piet Mondrian or the artist group Zero. This actually continued with my own autodidact studies and my involvement with the artist*innen Nam June Paik, Frank Stella, Donald Judd, Daniel Buren, Dan Flavin, Jenny Holzer, Peter Fischli and David Weiss, Angela Bulloch, Peter Weibel, Jason Rhoades, Martin Kippenberger, Franz Ackermann, Heimo Zobernig, are close to my heart to name just a few of the better known. Thus, my engagement with abstraction was never style-oriented, but rather amounted to an exploratory strategy. The desire for free experimentation was an essential constant. As a student, I soon distanced myself from fixed attitudes in art. At the end of my studies, I did not always meet with understanding regarding the results of my conceptual work. You reflect intensively on the development of contemporary art. What is your assessment of the direction in which we will move in the next steps, even after the crisis? Predictions always have something fixed. What I can say is that the previous norms of society obviously need a certain reset. Such a reset cannot be imposed from above, but it can at least be reflected, transported and transformed by means of art. Art should always remain freely agitative. It can integrate many elements in itself to set communication in motion. My concerns already go in this direction with the "Institute for Researching Art in Virtual Space". I also have other projects in the works that aim precisely at these social aspects of expanding our thinking and feeling. In my opinion, a more sensitive attitude is needed in a society in which the "sensational" blinds people and robs them of the possibility of independent thinking. Right now I see good opportunities for art to try out new ways of being together. I would like to see a "neoromantic" sensualism that at the same time responds progressively to the changed conditions of the here and now. 
Klaus Haas QuantenRausch Drawing 2019
life-art-mix
Klaus Hass is an artist, who combines art and life in a very specific way. When he joined the Academy of Visual Arts in Nuremberg he had already “completed” a little bit more life than freshmen do normally. Maybe that is why, in his early works he concentrated on the systematic questioning of what constituted a picture itself. His then academy professor, the late Karl Georg Pfahler, the German primary representative of Hard-Edge painting, combined homogeneous colour patches within the aspect ratio in a way that the picture as a field-system obtained a very own autonomy.The picture as a field-system was also the starting point for his master scholar Klaus Haas. But at a very early stage he began to abandon the self-contained field, that was limited to itself. He was not creating within one canvas anymore but conquering the space with numerous, consistently coloured but differently sized canvases by expanding his picture sys- tems over the walls. Klaus Haas is not just a “taxonomist of the picture-idea” in formal terms. Recurringly his contents from the firsthand living environment generate the starting point and nucleus of his experimental works. In doing so he often evolves every-day experiences into narratively outspread stories. A perfect example for this was the video-installation “breakfast”. At the initial presentation there was a table -in a darkened room of the Nuremberg gallery of Traude Näke-, where there were cheese and other delicious things arranged for breakfast. Mice were crawling over it and nibbling here and there. Only on the second sight the viewer realised, that the meal and the mice were not real at all. He was taken in by an illusion, as the whole story was projected as a movie on the white tablecloth from above. Typical for the artist was that - obviously after an ordinary breakfast- he perceived the arrangement of the leftovers on the table and in his imagination the mice joined in, who eventually operated as “actors” in the effective movie performance. It is also typical for Klaus Haas that the mice he purchased for his artistic work were in consequence hosted by him in his private living environment afterwards (even though they didn ́t leave their cage for most of the time) Movie-fiction and present reality entangled in an unusual way in the “Real Cinema 2000”. A big, black container-type box was put in the middle of the Nuremberg precinct, it ́s open door invited to step inside. The dark interior was designed in a cinema look with stool seats and pre- determined view on a certain wall that was proportioned in the way of a cinema ́s projection wall. But as in reality the whole projection wall was just a big glass screen, people didn ́t see a projected movie but the present action in the precinct. Sitting down and watching for a while one could notice that you were actually developing the view of a movie-goer. The everyday- life outside directly exposed and unfiltered, was experienced more consciously than in its usual routine. The main role of Klaus Haas ́ most recent project was not designed for the passive consumer of pictures, films or reality-witnessing bystanders, but for the active art-participant. On squares of the inner city of Nuremberg round white carpets were layed out with black words printed on: love, anger, crazy, in love, sad, happy, funny, free, amused, playful, extraordinary, exclu- sive, emotional, tough, wild, dynamic, winning, relaxed, casual, modern, old-fashioned, erotic, fresh, elegant, arty, fancy, beautiful, inventive, intelligent, creative, unique, special, good, spi- rited, snappish, excited, passionate. On these „platforms“ the passerbys willing to engage into this artwork were invited to dance on them barefeet equipped with an mp3-player providing a selection of music for each of the platforms and moods representing. These text-‘image‘-car- pets expand- with the help of the players- into an emotional urban space, in which art becomes an experiencable part of everyday-reality. The ‚taxonomist of picture-concepts‘ was mainly recognized for his spectacular performative installations and events, but of course also continued his examination of the tradition of classic panel-pictures. The idea of the picture as designed surface remains relevant to Klaus Haas. A very special group of works was developed by him with found images. He uses mechani- cally animated light-boxes/ mirror-pictures depiciting waterfalls and other trivia often found In turkish thrift shops and restaurants. In these light-boxes indirect light is used to mechani- cally animate with inbuilt gadgetry light/shadow effects to create and highlight the illusionism of streaming water. Parallely played back bird-twitter underlines the reminiscence of nature. Klaus Haas recognized the hidden potential of these ‚ready mades‘, which almost seemed to be waiting for his engagement. He was just removing the waterfall-image and replaced it with his own picture-inventions in the form of collages made of internet-images. Most of the original picture-object remained intact: the broad mirror-passe-partout, the bird-twittering and the indi- vidual translucency allowing the mechanical light/shadow-effect. All this secured the works a specific kind of lightness and liveliness. Internet-images dominate more and more the pictoral worlds of Klaus Haas. His approach is to collage images, which can be derived from all kinds of contexts and form the to new units. A prime example can be found in the work currently exhibited with Viewing Club. At this an amplitude of originally heterogeneous image-citations (for example a depiction of a birdcage- like Artschwager-work on the one hand and the systematic sub-division of a big triangle in a growing number of smaller triangles) is molded into a new pictorial unity, which in conse- quence recalls the field-space-question of classical painting traditions and revamps it with new problematisations. On the basis of these few examples it becomes apparent, that Klaus Haas is tracing, remodel- ling and visualising ‚reality‘ in pictures, objects, installations and performances. A while ago he named one of his exhibitions ‚crushed‘- and by doing so was referring to the commonness of barkeepers and visual artists: The barkeeper pours several ingredients in a shaker and mixes a new drink, whose unique character we cherish because it is not only the sum of single ingre- dients. This occurs similarly in the artworks of Klaus Haas. Image-scraps, space and plot-ideas from art- everday and internet-worlds, which hooked in his mind, he mixes and harmonises to self-contained and conclusive pictures and events. Seen the other way around, art and artificia- lity are here being unmasked as the ingredients of our reality. Text: Günter Braunsberg M.A allochthonous project
www.allochthon.eu to the term: allochthon (German) (from the Greek: "allos" (foreign) and "chthon" (earth); therefore means something like "foreign-earthy", non-local, foreign, immigrant). The term allochthon (occasionally also "allochton") has different meanings in the various sciences: * Biology, ecology: allochthonous species are alien species that were directly spread (deliberately) indirectly (unintentionally) introduced after 1492 or that have only opened up new habitats through the cultural activity of humans (allochthonous organisms: Neobiota; allochthonous animal species Neozoa or allochthonous plant species Neophytes). * Geology: Geological objects of various scales removed from the site of formation and transported to foreign environments: On a smaller scale these can be rock fragments, boulders and glacial debris (erratic blocks), on a larger scale also coal deposits, but above all tectonic blankets. Even larger non-local units are the terranes moved by plate tectonic transport. In contrast to these are autochthonous formations. * Social sciences: Since the terms "immigrant" and "foreigner" are sometimes inappropriate for people of foreign origin or descent, or since these terms are sometimes perceived as discriminatory, the word "allochthonous" is also occasionally used in German. This is probably an adoption from Dutch, where someone is called "allochton" if he or at least one of his parents was born abroad. * Art: The term allochthonous does not exist as such in reference to art. But I find it quite appropriate to apply this term in a somewhat freer interpretation. Art can also be directly spread (consciously) indirectly (unintentionally) introduced and open up new "habitats" through the cultural activity of humans. It is also the case with art that it is usually transported away from the "place of formation" (place of origin), into foreign environments through transport processes. Since the terms "immigrant" and "foreigner" are sometimes inappropriate for people of foreign origin or descent, or since these terms are sometimes perceived as discriminatory, artists are also often perceived as "intruders" or "troublemakers" etc. through their art, and thus also discriminated against. allochthonous (German allochthon) Adjective Positive Comparative Superlative allochthonous Hyphenation: al-loch-thon |
"My 'quantum rush works` • QuantenRausch • • QuantumRush • The „INSTITUT FÜR FORSCHENDE KUNST IM VIRTUELLEN RAUM“ (INSTITUTE FOR RESEARCH ART IN VIRTUAL SPACE) deals with the possibilities of creating highresolution and three-dimensional environments with the artist in such a way that a free, interactive, creative application is generated. WHAT POSSIBILITIES ARE VIRTUAL ROOMS IN WHICH OUR PHYSICAL LAWS DO NOT APPLY? The aim is the greatest possible creative freedom in order to develop and research a broad spectrum for the artist. WITHIN THREE-DIMENSIONAL, SPATIAL ART PROJECTS, THE SPATIAL STRUCTURES IN THE VIRTUAL SPACE ARE MODIFIED AND EXPLORED. Persistent worlds and implementation in real space are to be created. The focus is also placed on art genres such as painting, photography and installation as spatial art. The aim is to interact completely barrier-free between the virtual rooms and the real room. A working platform for “art spaces” is to be created for the first time through direct cooperation with the programmers, through continuous expansion and adaptation of the software. AESTHETICS, FORM OF EXPRESSION, POETRY AND INGENIOUS SPIRIT ARE IN THE FOREIGN OF THE WORK, THAT ARE ALSO CREATED AND ACCOMPANIED WITH PHOTOGRAPHIC AND PAINTING MEANS. In order to achieve this, all technical modules should be exhausted and integrated, so that an immediate creative language of expression emerges that extends the artist into new ones Dimensions to his world of ideas opened up and allowed. THE “INSTITUTE FOR RESEARCH ART IN VIRTUAL SPACE” WANTS TO FIND WAYS TO LEAD ART INTO THE 21ST CENTURY. It should shape the future of our society in a positive way and position art and its artists in a contemporary way. This advanced work would like to be culturally oriented in interaction and convey. In an extremely changing scientific and technical world, the idea of the institute should develop and transform into a fixed cultural component in order to put art in a current additional context and without taking away its idiosyncrasy and originality. “In his more and more perfectly organized virtual art spaces, he explores color and shape, but also line, surface and space under totally different framework conditions. New paths open up for the artist. But the ‚systematist of the image idea‘ remains a wanderer between all worlds: real and virtual, existent and imagined, lived and dreamed of.“ Günter Braunsberg M.A. ECONOMIC AND SOCIAL CONCEPT: Social economic creative advancement in art, performing arts, architecture, design, fashion as well as art mediation via virtual reality to a common perspective on life. Developing and redefining these aspects towards modern role mediation, new architectural developments, connecting creative virtual and real work processes with one another and placing them in a context, placing urban architecture and art as social sculptures in environmentally friendly sustainable developments. Using virtual reality to develop drafts for projects that save energy, to include world-friendly resources or recyclable materials. We have all these aspects and we want to further explore and design in virtual reality and to further develop those that have already been implemented into new possibilities of 3D printing and their production methods (self-made 3D printer prototypes from virtual reality print objects with specially developed software). WE PRESENTED THE FOLLOWING SITUATION FOR RESEARCH IN ORDER TO PRESENT OUR ART: „QUANTUM NOISE-SPACE WORLDS“ Since 2016 I have been dealing specifically with creative processes in virtual reality, which clearly stand out from the commercial game area and the usual painting programs and media consumption. For this purpose, the “Institute for Researching Art in Virtual Space” was founded and a 3D painting program was programmed and configured in the virtual space. Using this technology, we can create expanded perspectives! - Similar to comparisons, as in classical modernism, the possibilities are experimented with and the various aspects are explored in order to lead the general commercial use on new paths and to generate creative work. Explicitly in the field of the visual arts, in architecture, in design, in fashion, as well as in film and the performing arts and also from a social point of view, inexhaustible positive possibilities open up. For almost four years I have been working and experimenting continuously on the further development of my “QuantenRausch- Raumwelten” and grant the public a direct insight into my exhibitions by allowing them to “walk through” and explore my virtual spaces. The public can view the results from the virtual reality in the exhibition on site, but can also actively create something themselves with the painting program. My virtual worlds are not only created continuously, but are also constantly being expanded and optimized. - It‘s the creation of our own universe and we and the audience are right in the middle of it. ALSO I WOULD LIKE TO BE A PLATFORM WITH THE “IN-STITUT FOR RESEARCH ART IN VIRTUAL SPACE”. OFFERING AND COMBINING IN PUBLIC SPACES, AN EXCEPTIONAL IMPLEMENTATION WITH MY VIDEOWORKCASE PROJECT. As a joint interdisciplinary project, it could act continuously with our research results and serve as an international form of presentation in public spaces as well as on the internet. http://www.videoworkcase.org Barriers are disappearing and boundaries only exist in your own imagination. As in physics, we are on the verge of a new version of reality and we are beginning to find this knowledge further. We discovered in “modern physics” that we can change reality if we observe it. So why not create another hologram of our reality in which we can still act and move freely. René Magritte said: „Every thing that we see covers another, and we would very much like to see what is hidden from us ...“. In the area of “researching art in virtual space”, my focus is on creating other worlds in which one can interact without barriers and provide the curious human mind with another aspect of seeing the world with different eyes. „My ‚quantum rush works“ arise from my engagement with the virtual space, and from my walks in the created spatial worlds! You could say that the work was not only conceived, but also researched and discovered. They connect the virtual space with the fine arts. The idea was to expand the fleeting appearance of three-dimensional virtual space and to capture my moment in such a way that it becomes an existing work of art in the field of digital photography and painting.“ Klaus Haas „LIFE-ART-MIX “THE SYSTEMATIST OF THE IMAGE IDEA“. “In his increasingly perfectly organized virtual art spaces, he explores color and shape, but also line, surface and space under totally different framework conditions. New paths open up for the artist. But the ‚systematist of the image idea‘ remains a wanderer between all worlds: real and virtual, existent and conceived, lived and dreamed of. „Günter Braunsberg M.A. Vita Extracts: 2019: „QuantenRausch“ Bavarian State Ministry for Digital, Bayern Innovativ - Bavarian Society for Innovation and Knowledge Transfer GmbH, Bavarian Digital Summit Coal Bunker Munich; Nuremberg Digital Festival, location 11th Schwabacher Art Days, 2018: Solo exhibition „QuantenRausch“ in the Kunstverein Kohlenhof Nürnberg e.V.; 2010: Exhibition Berlin “Arbitrariness with Contrast” Three positions in three rooms; 2006-7: VIEWING CLUB 10/9/8/7/6 international exhibition series, Vienna, Bonner Kunstverein, London - Uxbridge Arm; 2000: Institute for Modern Art and Albrecht Dürer Society K.V., Positions + Tendencies 2000, 1999: Mondrian Stiftung, bUG projects, bUG lounge, Stadhouderskade 112, Amsterdam, Videoinstallation „allochthon“, bUG features projekts; bUG projects, Supper Club, Amsterdam, Wander- Bilderaktion in Amsterdam; Awards: 2015-18: Funding, Culture Committee, Art in the City, Culture in the City, Advisory Board for Fine Arts (BBiK); 2014: Art and Culture Foundation of the Nürnberger Nachrichten; Culture Department, City of Nuremberg, Quantum Rush project funding; 2008: Funding, Culture Committee, Art in the City, Culture in the City, Advisory Board for Fine Arts (BBiK); 2008: Funding, Kulturstiftung der Sparkasse Nürnberg; 2005–07: Atelier funding program for visual artists of the Free State of Bavaria; 1995: Internationale Künstlerkolonie Galicnik, Mazedonien; 1989: Preis der Danner-Stiftung, Nürnberg; 1988-89: Förderung durch den Lions Club 
Klaus Haas QuantenRausch 2016-2018 virtual reality
Klaus Haas QuantenRausch Drawing 2021
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