Jeff Weber









Jeff Weber











SHOW:  All 

Anthology Film Archives, New York

Imageless Films, Part 3: Flicker Films
25th June, 7.30 pm
Peter Kubelka, Arnulf Rainer, 1960, 7 min, 35mm, b&w

Jeff Weber Untitled ( Neural Network, nn_oxb_1), 2021, 60 sec, 35mm, silent

The film explores the idea of an externalization of the cognitive instance that occurs through the application of artificial intelligence, and the recursive principles it relies on: the work resonates and interferes with the very system that initially has constituted the model for the structure applied on it: the human body.
The 1,440-frame-long film has been made with a score, generated and coded in Python. The structure of the film relies on the automated organization of six different grey tones that correspond to the dynamic range of the film print stock used.

Jeff Weber
Sequences (I), 2021, 11 sec, 35mm, silent
Sequences (II), 2021, 11 sec, 35mm, silent
Sequences (III), 2021, 11 sec, 35mm, silent
Sequences (IV), 2021, 11 sec, 35mm, silent

These short films are built upon the number of grey tones determined by the dynamic range of the film print stock used, and converted into numeric values between 1 and 6. These then constitute an initial sequence that is altered and iterated through the program by means of a specific algorithm and a pre-determined method – a kind of weaving together of numeric values.

Paul Sharits Declarative Mode
1976, 39 min, double-screen 16mm. Preserved by Anthology Film Archives.

John Cavanaugh Blink (Fluxfilm No. 5) 1966, 2.5 min, 16mm-to-digital, silent

Victor Grauer Archangel, 1966, 7.5 min, 16mm. Preserved by Anthology Film Archives.

Total running time: ca. 65 min
-> Anthology Film Archives : Film Screenings


Image:

Untitled (Neural Network, nn_oxb_1), 2021, 1440 frames / 60 sec, 35mm, silent


Roma Publication 411, Amsterdam 

Serial Grey
November 2021
Serial Grey is the publication for Jeff Weber‘s exhibition at Carré d‘Art, Nîmes.

The four chapters of the book correspond to the four galleries of the exhibition. It starts with the Neural Networks, a series of large format grid-like photograms that establish an enigmatic dialogue with his photographic and archival practice.

As counterpart to these photograms, the other end of the exhibition consists of black and white 35mm films. Some monochromatic animation films are projected together with short real life sequences.

The publication traces the conflicting forces of photography and film within his work, up to the point that, at the end, we rediscover the principles that constituted the abstract photograms at the beginning, transposed into the linearity of the medium of film.


Book Presentation at After 8 Books, Paris
13 November 2021, 6pm

Marie Muracciole will discuss his practice with Weber, and the role of Weber‘s previous book An Attempt at a Personal Epistemology / Kunsthalle Leipzig, that relied on the experience of an "art space", and relates to what she calls a praxis, in the Aristotelian sense of the word, in which a subject transforms himself by means of his acts.


With texts by Marie Muracciole and Jean-François Chevrier.

Photographs & Idea: Jeff Weber
Design: Joris Kritis

Publisher: Roma Publications, Amsterdam (www.romapublications.org)
Distribution: Idea Books, Amsterdam (www.ideabooks.nl)

ISBN 978-94-6446-000-1
192 p, ills bw, 20 x 30 cm, pb, english & french
© 2021 Jeff Weber and authors


Mudam Luxembourg -  Musée d'Art Moderne Grand Duc Jean 

Freigeister
11 November - 27 February 2022

Untitled (Suzanne), 2021, 3 min, 35 mm

Jeff Weber's 35mm film Untitled (Suzanne) is a portrait of french artist Suzanne Lafont, known for her conceptual approach to photography.

Weber filmed her while she was installing her exhibition How Things Think in the spring of 2021 at Erna Hecey Gallery in Luxembourg. Lafont’s series of photo-graphs Embarras [Embarrassment] (2002) refer to a scene in the Charlie Chaplin short A Day’s Pleasure (1919), with the protagonist’s comic but unsuccessfull unfolding of a deckchair.

Through the use of the artworks’ reflective surfaces and of the camera’s movements through the exhibition space, Weber’s film intensifies the theatricality of Suzanne Lafont’s work, reverses the relationship between photography and cinema, and intersects their temporality.

Carré d‘Art -  Musée d’Art Contemporain, Nîmes

Serial Grey
June - November 2021



For Carré d’Art, Jeff Weber presents a juxtaposition of several bodies of work, starting with Untitled (Neural Networks, nn_3d), a recent series of large format grid-like photograms that establish an enigmatic dialogue with his photographic and archival practice (An Attempt at a Personal Epistemology).

The title chosen for the exhibition in Nîmes, ‘Serial Grey’, is a good description of the Neural Networks as a whole, but it seems controversial in the light of the other (small) black and white – that is to say, grey – images. The idea of a standard (common) grey or a ‘serial’ grey (in quantity) is intended to unify photographic forms that seem at first sight very distant, and even opposite.  

Ultimately, the title ‘Serial Grey’ refers above all to the (mental and material) network’s very constitution. In any case, the emphasis placed on the tonal component of photography and its quality as ‘grey rectangle’ have an enigmatic effect that distances the images’ ‘subject’ (reserving it for curious viewers).




lxhxb, Eindhoven

Camouflage
September /October, 2020
The idea of documentation is in some way a crucial point of departure for what I am trying to articulate, that is to say the tension between a documentary/objective status of a photographic picture in relation to the object depicted and the subjective take on the world through the eye/mind of the artist.

My feeling has always been that artists who deal with photography more on the periphery of their own practice are more apt to deal with that kind of tension and even instrumentalise it. Rather than approaching documentation straightforwardly, they often approach the idea of documentation through the mimicry of reportage (or referring to the mode of reportage) in order to build up a certain distance in how they relate to their own work. Such distance can be very helpful for coming up with new ideas, images, work etc... Furthermore, this distance doubles the gap that opens up between the seemingly transparent appearance of a photographic image or print and how this transparency serves, in turn, to conceal at the same time that to which it points or refers. By addressing this gap, the photograph can then emphasize the idea of something being taken for what it is not, or vice versa...