Daniel Pabst was born in 1971 in Vienna. He began working as a photographer at his father’s gallery, Galerie Michael Pabst, in Munich. He has shown work at PhotoMonth Festival in London (2015), at the Photo::vienna exhibition at the Museum of Applied Arts Vienna (2015), at the EyeEm Awards in New York City (2015), at the Night of the Museums in Klagenfurt (Austria, 2014) and in the exhibition “In der Kubatur des Kabinetts”, at the Kunstsalon im Fluc in Vienna, among others. As an EyeEm Award Finalist in 2015, Pabst’s work was shown among the Top 10 for the category “The Architect,” accordingly exhibited in New York City. Pabst also received honorable mentions for the Moscow International Foto Award (MIFA) in 2015 and for the Tokyo International Foto Award (TIFA) in 2016. In 2018 he was one of 10 winners of the photo award of the Architekturzentrum Wien for the exhibition “SOS Brutalism”.

Pabst also studied jazz guitar and jazz composition. He is the singer and songwriter of PABST. Additional bands in which Pabst participated were Noisy Town Groove (with the drummer and composer Lukas Ligeti), Trafo (an electric guitar quartet) and Tricsson, an electronic band. Pabst has also collaborated with Dezibel 6 to 6 string and the performer Bella Angora in a production for the Donaufestival in 2013. He works as the producer and founder of the record label 212 Records Pabst and co-composed the opera “der automatische Teufel” with Jury Everhartz. He has performed concerts for twenty years in Europe and the United States at venues such as the Wiener Konzerthaus, Porgy and Bess, the Austrian Cultural Forum at New York, The Stone at New York too, Ancienne Bélgique in Brussels or B-flat in Berlin, among others.

Daniel Pabst’s architectural photography often highlights the tension between site specificity and the legacy of early twentieth-century international style. In pictures of diverse sites across the globe, such as Dallas, St. Petersburg or Vienna, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations (as reflected in Pabst’s titular conventions). As such, his pictures of buildings whose functions range from public offices to private residences and everything between reveal moments where placeless meets place.