Peter Weibel

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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?

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After the fall of the Berlin wall, much changed in Yugoslavia, that is now ex-Yugoslavia; a post industrial, post modern, post national, post colonial, post structural society, that can be perhaps summarized in the concept of post socialism? The disintegration of the concept of ideology means that notions are no longer clear. Because we think that we are outside an ideological context, but perhaps we ourselves are the centre of the ideology. It is this idea that corresponds with the thoughts about post socialism in the nineties, and probably the post ideological society of late capitalism as well. The end of the ideological period then perhaps seems imminent. These thoughts are considered in this philosophical media reflection, based on documentary fragments, statements by Peter Weibel and Slavoj Zizek and the works of three artists: Mladen Stilinovic (Zagreb), "Kasimir Malevich" (pseudonym, Belgrade) and IRWIN (Ljubljana).

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"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)

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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.

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

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Home movies shot on Super 8mm by W+B Hein over 10 years.

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A guy having sex with a woman on a rooftop – just to get her coffee-machine.

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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.

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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

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‘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.

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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.

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Broadcast on the Austrian Television (ORF) in June 1972, TV & VT-Works comprises a series of ‘tele-actions’ in which a cigar-smoking newsreader is periodically interrupted by public interventions raising the question “Is this Art?”. Disrupting the smooth flow of information and thus the illusion of comprehending the world from one’s living room, these actions interrogate TV temporality to examine the mechanisms of production and spectatorship. A work of culture jamming avant la lettre.

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One day, Nina confesses to her boyfriend Mick, that she never has had an orgasm. Comedy about the problems of relationship and sexuality in a parody of the sex enlightenment and soft sex genre.

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Menschenfrauen is a film about relationships and the psychological oppression of women in society. Franz, a journalist, maintains relationships with four women. His three mistresses are introduced with television dreams of intense emotional violence (in the first dream, a mother shouts at her daughter, explaining that as a girl, she does not deserve a room of her own), and the fourth is his wife. He is desperate to have each to himself. Franz never offers a substantial sign of love, but is willing to say anything and make any promise for affection. His dependence on women for fulfilment is explained through arguments with his wife. He claims "I am my own sound. The women produce voices within me." An understandable and sometimes sympathetic antagonist is one of the films greatest strengths. The emotional damage he causes becomes believable.

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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.

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