For over 20 years artist Herwig Weiser, known for his technovisionary installations, has been looking in a series of films at the often askew relationship between people and architecture. This begins with “human” interventions at the Bergisel ski jump in Tirol, the epitome of magnificent winter sports shows. It continues with a sculpture park in France, with often bizarre architecture that leads to throbbing vibrations in Entrée. A kind of industrial ballet unfolds in Untitled (Spiegeltuxer), in which a Dadesque figure is sent on a journey through a gigantic shipyard, and other places. Cup of Coffee undertakes a “speed trip” through rapidly cut landscapes, from California’s Death Valley to Morocco to the old Nordkette cable car in Innsbruck. Finally, Haus der Regierung, which sees its cinema premiere here, takes us to the Moscow House on the Embankment, a legendary showcase Soviet building with a spooky history that Weiser animates and brings to life in his own spooky way.
Untitled (Bergisel), 1996, 1 min
Olympia, 2001, 4 min
Entrée, 1998/1999, 9 min
Untitled (Spiegeltuxer), 2011/2015, 7 min
Cup of Coffee, 2011, 7 min
Haus der Regierung, 2014/2017, 12 min
The screening is followed by a conversation between Herwig Weiser and Christian Höller
In his films and many other works, Herwig Weiser undermines rational filters and common meanings in our relations to technology. He studied at the Rietveld Academie Amsterdam (1992–1994) and graduated from the Academy of Media Arts Cologne in 1998. His works provoke powerful sensual experiences while simultaneously reconnecting art, science, film, and performance in new ways.
Christian Höller is editor and co-publisher of the magazine springerin – Hefte für Gegenwartskunst.