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Peter Weibel - Depiction Is A Crime - Video Works 1969 - 1975

Year: 2006, 76 mins
Code: IN-Weibel

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-Publikum Als Exponat (1969), 1:20 min,
-Mehr Wärme Unter Die Menschen (1972), 2:30 min,
-Abbildung Ist Ein Verbrechen (1970), 1:30 min,
-Intervalle (1971), 1 min,
-TV-News (TV-Tod II) (1970), 5:50 min,
-Synthesis Ein/Aus (1972), 1:50 min,
-TV-Aquarium (Tv-Tod I) (1970), 1:30 min,
-The Endless Sandwich (1969), 2 min,
-Jede Aktion Löst Eine Andere Aus (1967), 20 Sec,
-Imaginäre Wasserplastik (1971), 50 Sec,
-Switchersex (1972), 5:35 min,
-Tritität (1975), 8:35 min,
-Selbstbegrenzung - Selbstbezeichnung - Selbstbeschreibung (1974), 12:40 min,
-Parenthetische Identität (1974), 3:10 min,
-Monodrom (1972), 5:30 min,
-Hausmusik (1972), 17:55 min,
-Zeitblut (1972), 4 min

Peter Weibel born (1945) in Odessa, Ukraine. Having fled to Austria, he grew up in Ried im Innkreis, Upper Austria. When graduating from school in 1963 he studied French, film and comparative literature for a year in Paris before transferring to medicine in Vienna in 1964, later changing to mathematics specialising in logic.
Peter Weibel´s artistic work may be chiefly subsumed under such categories as concept art, performance, experimental film, video art, computer art and generally, so-called "media art".
Starting from semiotic and linguistic reflections Peter Weibel evolved an artistic language which led him from experimental literature to performance. In his performative actions he not only investigated the "media" of language and body but also film, video, audiotape and interactive
electronic environments. He critically analysed their function for the construction of reality. In addition to actions carried out in cooperation with representatives of the Wiener Aktionismus (Vienna Actionism), from 1967 he worked on an "expanded cinema" (together with Valie Export, Ernst Schmidt jr. and Hans Scheugl). This work was inspired by the Expanded Cinema America and reflects the ideological and technical conditions of filmic representation. From 1969 on, Peter Weibel consequently developed these reflections further in videotapes as well as installations. With his "Tele-Actions", which were transmitted by Austrian television (ORF) in 1972, he extended the limits of the gallery space and examined video technology in its application to the mass medium of television.
Peter Weibel followed his artistic way of perceiving problems in multiple media, forms and techniques: in text, sculpture, installations, films and videos. Thus, in 1978, he also turned to music. Together with Loys Egg, he founded the music group "Hotel Morphila Orchester". In the mid 1980s he examined the possibilities of computer assisted video processing. At the beginning of the 1990s, he realised his first interactive computer-based installations with which he, again, thematised the relationship between media and the construction of reality.In his numerous lectures and articles, Weibel published on contemporary art, media history, media theory, film, video art and philosophy. As theoretician and curator he committed himself to art and to a historiography of art which accounts for the history of technology and science.

Peter Weibel´s (earlier works) (...) belong to the heroic years of a period of upheaval in which everything seemed possible in art. However, the artist not only made his appearance as a critic of public media but took the opportunity of presenting his own themes...
(Hans Belting)

"Art history is a collective fiction, not written, always rewritten, written wrongly, but always attempted to be rewritten correctly. I hope to open a new field of questions and sketch some methods on how the art of the future, in relationship to Utopia and the political, might develop."
(Peter Weibel, Is there a world beyond media? Art as a rewriting program, Slought Foundation, 2008)

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