Peter Weibel

No description available.

1972 film documenting blood-giving and exhibition of the process.

‘Kunst & Revolution is a documentation on the famous action known as the “filthy uni mess”, which led to a jury court trial. I only had a few metres of film with me and they were quickly spent, but still the film gives one a rough impression of the events. As a whole mythology quickly arose around the event, I altered the material to counteract this effect (through repetition, and adding other material, for instance from a film about keeping dogs, and my own leftover footage from the Muehl action number 54 ‘Im Freudenauer Wasser’).’ In film 16 of his anthology Ernst Schmidt Jr. documented the actions of Günter Brus, Otto Muehl, Peter Weibel and Oswald Wiener.

Wanda, a dominatrix who runs an S&M gallery on the Hamburg waterfront, must choose between her lesbian lover and an American trainee.

Because of its exclusive reference to meaning, Fingerprint is not only language for world, the reproduction of objects and symbol, but also language in and of itself and object. The film was produced by means of pressure rather than exposure - film as the trace of a touch rather than light. (Peter Weibel)

Set in contemporary Vienna, the film involves a photographer, Anna, who discovers that extraterrestrial beings are colonizing the minds of her fellow citizens by raising the human aggression quotient. The outer world immediately becomes disjointed, yet the inner world does too, as Anna and her lover, Peter, try to hang onto their deteriorating relationship.

A journalist runs a strict, scheduled routine to date four different women simultaneously, while keeping them completely separated from one another. His charade slowly starts falling apart.

"This video film shows indecency in its modern form. While peddling naked female flesh was considered indecent in the past, we can see by the examples of today´s star athletes that skin full of advertising sells better. The same applies to politicians, of course, though in a more subtle way. Advertising on skin as the new indecency! I consider this film to be a continuation of my previous work with the body as a vehicle for social codes. While in the past it was religion that dictated male and female behaviour, which was also expressed in their physical appearance, business has now assumed this role. Business dictates physical behaviour, physical pressure in its most direct form, and even sets standards for how our bodies are to be represented. Religion no longer prescribes morality, that is now done by the global power of business, with its products and codes. Morality has found a new patron." (Valie Export)

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

"The word 'monodrom' is derived from the Greek and means one-way street. That is TV: a one-way communication system, a monodrom." - Peter Weibel

"If I were the second son of my mother and father I would have been my brother. Thus, I am brother, I am brother of the second son of my mother and father, although what disturbs me is the possibility that I could have been the first son of my mother and of another father. Then I would be my own stepbrother or my own stepsister..." - Peter Weibel

Documentary and pseudo-documentary procedures were filmed simultaneously by two cameras from different viewpoints. The material was then divided into phases of movement. In the montage each phase was doubled. The techniques used in this process vary. Also the sound was doubled, again using different techniques. Two realities, differently perceived according to the conditions of this film, were edited into one synthetic reality, where everything is repeated. This doubling up destroys the postulate: identity of copy and image.

No description available.

"I throw water in space with a bucket. A video camera pictures this. Another camera pictures this event from the TV screen. 3 modalities of reality: 3 levels of interpretation. Reality: filmed reality: filmed film." - Peter Weibel.

Gustav Klimt in search of the artwork of the present. Using Klimt's paintings, "Quiet Pond" presents reasons why kitsch is art, art is kitsch, and art is art or possibly not. Who can know and who can judge?

In Nivea, an actor, holding a rubber ball, stands motionless for one minute (like a standing frame) in front of the screen onto which empty frames are projected, accompanied by a camera noise on tape. An inflatable, direct advertising film. An image object problem.

This film is a kind of anthology about Vienna, from the invention of film to the present day. The aim is to break down the usual clichéd "image of Vienna" such as that found in the traditional "Vienna Film" by juxtaposing documentary footage, newly shot material and subjective sequences created by various artists. Individual, self-contained sections of the film gain new meaning within the context of historical material. Familiar sites appear estranged when edited together with historical scenes. Other scenes appear like a persiflage or satirical. The film does not incorporate any commentary whatsoever. It is a collage of diverse materials aimed at conveying a distanced image of Vienna to the viewer

A sound comedy where the action of the performers is directed by strange sounds.

Experimental short merging poetry and the words of Jesus Christ.

Weibel stages a documentation of the public as an exhibit themselves.