In 1967, Haus-Rucker-Co, of which Klaus Pinter was one of the three founders, suspended from a window of a block of flats in Vienna a sphere altering the vision that its residents had of their city and the world to come. This symbolised breaking away, the Secession for Haus-Rucker-Co.
The spheres that the artist has created over time have continued to shake up the usual way of seeing things, forcing beholders to probe history and architecture. At the Pantheon in 2002, “the spheres show much more of what is hidden, and indirectly unveil the luminous centre of traditional architecture… Thanks to his spheres, Pinter restores the historical link that has been lost between the beholder and the sky, by deliberately destroying it and leaving it open to reflection in this way,” writes Thomas Zaunschirm.
A symbol of the senses heightened, ubiquity, imaginary potential, hope, the sphere is just as capable of enhancing the idealistic tradition alluded to by Plato as the metaphor of aesthetic thought described by Jacques Derrida in La vérité en peinture (Truth in painting).
In the Stables Canopy of Château de Chaumont-sur-Loire, the sphere set up by Klaus Pinter proudly shows itself to admirers, illuminated by its thousands of golden flowers set a-sparkle by the light and the changing sky. Unlike those that have come before, whether here or elsewhere, this sphere will sometimes roll on the flagstones of the courtyard, adaptable, fully party to its era.
Born in 1940 in Schärding (Austria), Klaus Pinter was one of the founding members of Haus-Rucker-Co (Vienna, Düsseldorf) and Haus-Rucker-Inc (NYC). After seven years in New York, a few years in Belgrade and then stints in Bonn and Paris, Klaus Pinter now lives and works on Ile d’Oléron and in Vienna. By founding the Haus-Rucker-Co Group in 1967 in Vienna, he set himself apart from the Fine Arts, striking out as a forerunner of installation, setting a showpiece within a given context. In the 1970s he was a leading light on the radical Austrian art scene.
Casting a severely critical eye over the notion of progress and industrialisation and their consequences on the environment, Pinter’s research, with Haus-Rucker, bears on experiments of a new relationship with the body. Through his unwavering focus on the architecture of historical venues, museums or sites, the artist prompts us to give thought to the notions of space, symbolism and tradition.