ArtID Spotlight Interview:

Karsten Ramser

The work CONNECTEDNESS indicates towards the essential aspects of memory and forgetting. It points to the understanding what is memory and its very inner structure, it is essential to understand how memory works and how forgetting happens, before we talk about what we remember and what we forget.
it is a mystery, i have no idea. art as the same as life is one river, one flowing process, there is no beginning, there is no end. To me all definitions of beginning and ending are subjective. when a new sculpture is coming into being. when it starts? When I find the wood? When will I see it first? When I touch it first? When I am touched by inspiration? to me working with wood is a conversation between the wood and me, without the wood there will be no art work. so then may it starts with the wood, with the seed of the tree, or it starts with the tree which produce the seed? of course when i see myself as a separate identity, then the new work starts with me, but when i know that separation is an illusion, a way to think and nothing more, then things are changing. for me actually it is not important at all, the beginning or the ending. an artwork is a living organism, which keeps on with the process long after it had left my workshop. the collector, the viewer, the art lover are becoming part of the process.
I just know it. How do we know when a conversation is over? it is obvious. Meanwhile there is doubt, the work is not finished. meanwhile i am still searching, meanwhile the wood is still “talking to me” meanwhile this work is not done.
Does life need evidence? Does need love evidence? art can have evidence or indicating towards, but it isn’t needed. art is far beyond the limitations of evidence. in a way art creates evidence. replacing old evidence for new evidence.
none. art is art. observation is observation. observation does not need art, but observation can deepen the perception and the understanding of art.
it is the only real thing. all what is imagined is per definition unreal in the sense of being produce in the neocortex.
structures. the second world had much more impact then all the painters together of the 20th century. Hitler influenced the collective memory far more than Picasso. collective memory is an abstract concept, there is not such a thing as a collective memory. there not exist at all such a thing that has a solid memory, nor collective or individual. memory is always depending on the “Zeitgeist” therefore is purely subjective. art can shape deeply our memory (collective or individual) when we are able to think for ourselves, when we are free-thinkers. but that’s not the case, the collective memory is like a leaf in the wind, for the fact that very most of humanity are not able to think for themselves.
I believe very little. Who cares about art? A few artists and collectors. The rest is fighting for surviving and searching for an inexistent security in life. As we can see very well in the actual crisis, who talks about art in relation with corona? When fear is ruling society, there is no space for art. I believe humanity is still not prepared for a kind of consciousness where art is essential as food and shelter. But I also believe that we are on the way to this kind of consciousness, therefore it is essential that we (all the art lovers, artists, collectors, dealers) are contributing, producing and informing about this kind of consciousness through the artworks we are sharing in our presence. it is possible that we will not make it and our madness will blow up all, but it is also possible that we will make it, time is on our side.