Jeff Weber

Jeff Weber

SHOW:  All 

25 June, 7.30 pm

Peter Kubelka ARNULF RAINER (1960, 7 min, 35mm, b&w)
“With ARNULF RAINER…Kubelka arrived at the most elemental components of cinematography – namely light, absence of light, sound, silence. These are the four poles from which all of cinema, all of film is suspended. Stretched to their utmost limits, all illusionism is driven out.” –Peter Tscherkassky

Jeff Weber UNTITLED (NEURAL NETWORK, NN_OXB_1) (2021, 1 min, 35mm, silent)
A 1,440-frame-long film that 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. 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.

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 and arbitrary 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.

1976, 39 min, double-screen 16mm. Preserved by Anthology Film Archives.
Produced with a grant from the NEA to celebrate America’s bicentennial, DECLARATIVE MODE is Paul Sharits’s intense meditation on Thomas Jefferson and the state of the union.

“This film, rather than being ‘structural’, is ‘narrative like.’ We feel as if we are on some sort of journey, where we can never know/predict what is to ‘happen’ next. It is engaging, like a novel full of surprises. The ‘narrative’ feeling is like a soap opera, which just keeps twisting and turning, with no apparent resolution intended (but there is a closure on the purely formal level), as opposed to say MIAMI VICE wherein the dramatic line moves towards and achieves a weekly resolution. This work prefigures a long series of 30 min. chapters in a ‘Light Novel,’ PASARE, which I am presently working on (which could finally reach 40 hours in total length before I die). Aside from a recurrent red, white and blue phrase, there is no repetition in the film (repetition conventionally provides structural order).” –Paul Sharits

John Cavanaugh BLINK (Fluxfilm No. 5) (1966, 2.5 min, 16mm-to-digital, silent)
“Flicker: White and black alternating frames.” –George Maciunas

Victor Grauer ARCHANGEL (1966, 7.5 min, 16mm. Preserved by Anthology Film Archives.)
This film presents a series of flickering frames of primary colors to groaning tape manipulations.

Total running time: ca. 65 min

Jeff Weber, UNTITLED (NEURAL NETWORK, NN_OXB_1), 2021, 1 min, 35mm, silent

Jeff Weber, SEQUENCES (IV), 2021, 11 sec, 35mm, silent


Jeff  Weber's 35mm film Untitled (Suzanne Lafont) 2021 is a portrait of french artist Suzanne Lafont, known for her work on the relation of photography and language.

Weber shot the film during the installation of Lafont's exhibition How Things Think at Erna Hecey Gallery, between 20 and 22 April 2021. By exploiting the reflections on the surface of the works, the film redoubles the theatricality of Suzanne Lafont’s photographs and their ability to create different meanings. It echoes the history of cinema: the photographs used as a "projection surface" refer to Charlie Chaplin’s film A Day of Pleasure, released in 1919. For Jeff Weber, it is about reversing the relationship between photography and cinema and cross the temporality of these different mediums.

Jeff Weber, Untitled (Suzanne Lafont), 2021 is still on view until 27 February 2022 in the exhibition FreigeisterPAST