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Peter Weibel

Anne Zeitz
Traduction de Simon Pleasance
Cet article est une traduction de :
Peter Weibel
Kunst und Medien : die Transformationen des Bildes in der Ara der Apparate : Enzyklopädie der medien, Band 3
Peter Weibel, Kunst und Medien : die Transformationen des Bildes in der Ara der Apparate : Enzyklopädie der medien, Band 3

Berlin : Hatje Cantz ; Karlsruhe : Karlsruhe : ZKM Centre for Art and Media ; Vienne : Universität für angewandte Kunst Wien, 2019, 724p. ill. en noir et en coul. 25 x 17cm, ger

Biogr. Index

ISBN : 9783775738729

Préf. de Gerald Bast, Christiane Riedel

Architektur und Medien : die künste des Raumes im zeitalter der Medien : Enzyklopädie der Medien, Band 1
Peter Weibel, Architektur und Medien : die künste des Raumes im zeitalter der Medien : Enzyklopädie der Medien, Band 1

Ostfildern : Hatje Cantz ; Karlsruhe : ZKM Centre for Art and Media ; Vienne : Universität für angewandte Kunst Wien, 2015, 416p. ill. 25 x 17cm, ger

Biogr. Index

ISBN : 9783775738705

Préf. de Gerald Bast, Christiane Riedel

Musik und Medien : vom Klang im technischen Zeitalter : Enzyklopädie der Medien, Band 2
Peter Weibel, Musik und Medien : vom Klang im technischen Zeitalter : Enzyklopädie der Medien, Band 2

Ostfildern : Hatje Cantz ; Karlsruhe : ZKM Centre for Art and Media ; Vienne : Universität für angewandte Kunst Wien, 2016, 448p. ill. 25 x 17cm, ger

Biogr. Index

ISBN : 9783775738712

Préf. de Gerald Bast, Christiane Riedel

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Texte intégral

Peter Weibel © C. Hierholzer

1It is possible to draw a portrait of Peter Weibel as an artist, theoretician and curator, but also as an “institution”—an institution acclaimed internationally, and a well of controversy. The involvement of this brilliant figure, who defies pigeonholes, in the art arena for a little more than half a century leaves no one indifferent.

2Peter Weibel was born in Odessa in 1944 and grew up in Austria—a country which would considerably mark his career and his aspirations. It was in particular his boarding-school experience in that conservative postwar Austria—the kind of establishment which Thomas Bernhard has described as a “mind-destroying institution”—which showed him the limits imposed on us by society, and urged him to broaden, and even go beyond, our capacities to act within this framework.

  • 1  Weibel, Peter. “Das Rauschen des Beobachters”, in ARS Electronica: Mythos Information, Welcome to (...)
  • 2  Weibel, Peter. Jenseits von Kunst, Vienna: Passagen Verlag, 1997

3Since the 1960s, this quest to go beyond limits was reflected in his writings on art and in his artistic activities, which he developed after studying French literature, and then medicine, mathematics, philosophy and film. As an important figure in Viennese Actionism, Peter Weibel focused on textual processes, performance, video installation, and then interactive installation. His early works already revealed the significance of quantum physics as a source of inspiration: expressing a common issue, traversing art and the natural sciences. The artist questions the perceptions, structures and images of a reality increasingly marked by technological developments, taking the observational position adopted into account. These early and critical questions are reflected in his writings and works, especially in Observing Observation: Uncertainty (1973 video installation), in Das Rauschen des Beobachters1[The Noise of the Observer] (written in 1995), in the various exhibitions he put on, and in collective books such as Jenseits von Kunst[Beyond Art] (1997)2.

  • 3 Making Things Public: Atmospheres of Democracy, Cambridge, Massachusetts: MIT Press, 2005. Ed. by B (...)

4Peter Weibel is an “Institution” in particular at the head of the Zentrum für Kunst und Medientechnologie in Karlsruhe, from 1999 onward. “Weibel understood very early on that the most avant-garde art had no fixed place in our societies, and that that place still had to be invented—at every level of art praxis”, wrote Boris Groys, in an attempt to describe Weibel’s stance as a central figure of the Medienkunst at an international level. The conception of the role of the ZKM as a research and creation laboratory with projects for exhibitions and major and innovative publications–in particular Making Things Public3 devised with Bruno Latour—remains unprecedented, just like the influence of the various projects signed by Weibel, whose hyper-presence is constructed like a hypertext (Ludwig Seyfarth). With the huge and revealingly titled project Globale (2015-16), the ZKM celebrated the art of the 21st century as a way of analyzing the effects of globalization. The study of the limits and position of the artist, researcher and theoretician in present-day society seems pushed to an extreme. At the same time, it is very unlikely that Peter Weibel will not pursue this questioning of the limits of a perpetually changing world, whose responses are having a viral effect on the contemporary art arena.

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Notes

1  Weibel, Peter. “Das Rauschen des Beobachters”, in ARS Electronica: Mythos Information, Welcome to the Wird World, Vienna; New York: Springer, 1995, p. 8-22

2  Weibel, Peter. Jenseits von Kunst, Vienna: Passagen Verlag, 1997

3 Making Things Public: Atmospheres of Democracy, Cambridge, Massachusetts: MIT Press, 2005. Ed. by Bruno Latour, Peter Weibel (1072 p.)

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Table des illustrations

Légende Peter Weibel © C. Hierholzer
URL http://journals.openedition.org/critiquedart/docannexe/image/25651/img-1.jpg
Fichier image/jpeg, 33k
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Référence électronique

Anne Zeitz, « Peter Weibel », Critique d’art [En ligne], 48 | Printemps/été 2017, mis en ligne le 15 mai 2018, consulté le 20 septembre 2021. URL : http://journals.openedition.org/critiquedart/25651 ; DOI : https://doi.org/10.4000/critiquedart.25651

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