{"id":2027427,"date":"2023-03-02T17:03:58","date_gmt":"2023-03-02T16:03:58","guid":{"rendered":"https:\/\/exindex.hu\/?p=2027427"},"modified":"2023-08-29T21:37:05","modified_gmt":"2023-08-29T20:37:05","slug":"%e2%80%a0-peter-weibel","status":"publish","type":"post","link":"https:\/\/exindex.hu\/hu\/hirek\/%e2%80%a0-peter-weibel\/","title":{"rendered":"\u2020 Peter Weibel"},"content":{"rendered":"
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\"\"<\/a>
Peter Weibel, \u00bbSelbstportrait als junger Hund\u00ab, 1967 „obs\/ZKM Karlsruhe\/Joseph Tandl”<\/figcaption><\/figure>\r\n<\/div>\r\n

2023. m\u00e1rcius 1-j\u00e9n, 78 \u00e9ves kor\u00e1ban, r\u00f6vid, s\u00falyos betegs\u00e9g ut\u00e1n elhunyt Peter Weibel nemzetk\u00f6zi h\u00edr\u0171 m\u00e9diam\u0171v\u00e9sz, kur\u00e1tor, elm\u00e9let\u00edr\u00f3, a karlsruhei M\u0171v\u00e9szeti \u00e9s M\u00e9diak\u00f6zpont (ZKM) igazgat\u00f3ja – k\u00f6z\u00f6lte cs\u00fct\u00f6rt\u00f6k\u00f6n a ZKM sz\u00f3viv\u0151je. Vas\u00e1rnap lett volna 79 \u00e9ves.\u00a0<\/p>\r\n

Peter Weibel<\/a> 1944. m\u00e1rcius 5-\u00e9n sz\u00fcletett Odessz\u00e1ban, a Szovjetuni\u00f3ban. Fels\u0151-Ausztri\u00e1ban n\u0151tt fel, P\u00e1rizsban tanult franci\u00e1t \u00e9s filmm\u0171v\u00e9szetet. 1964-ben B\u00e9csben orvosi tanulm\u00e1nyokat kezdett, de hamarosan matematik\u00e1ra v\u00e1ltott, a logik\u00e1ra helyezve a hangs\u00falyt. P\u00e1lyafut\u00e1s\u00e1t vizu\u00e1lis k\u00f6lt\u0151k\u00e9nt kezdte 1964-ben, majd k\u00e9s\u0151bb a posztstrukturalista m\u00f3dszertan jegy\u00e9ben a lapr\u00f3l a k\u00e9perny\u0151re k\u00f6lt\u00f6z\u00f6tt. Munk\u00e1ss\u00e1ga a konceptu\u00e1lis m\u0171v\u00e9szet, a performansz, a k\u00eds\u00e9rleti film, a videom\u0171v\u00e9szet \u00e9s a sz\u00e1m\u00edt\u00f3g\u00e9pes m\u0171v\u00e9szet ter\u00fclet\u00e9n teljesedett ki.<\/p>\r\n

1965-ben szemiotikai \u00e9s nyelv\u00e9szeti reflexi\u00f3kb\u00f3l (Austin, Jakobson, Peirce, Wittgenstein) kiindulva olyan m\u0171v\u00e9szi nyelvet fejlesztett ki, amely a k\u00eds\u00e9rleti irodalomt\u00f3l a performanszig vezette<\/a>. Performat\u00edv akci\u00f3iban nemcsak a „m\u00e9dia” nyelv\u00e9t \u00e9s form\u00e1it vizsg\u00e1lta, k\u00fcl\u00f6n-k\u00fcl\u00f6n is g\u00f3rcs\u0151 al\u00e1 vette a filmet, a vide\u00f3t, a telev\u00edzi\u00f3t, a hangszalagot \u00e9s az interakt\u00edv elektronikus k\u00f6rnyezeteket, kritikusan elemezve ezek val\u00f3s\u00e1gkonstrukci\u00f3ra gyakorolt hat\u00e1sait.<\/p>\r\n

Amellett, hogy r\u00e9szt vett a b\u00e9csi akcionizmus tagjaival k\u00f6z\u00f6s happeningekben, 1967-t\u0151l (Valie Exporttal, Ernst Schmidt Jr.-ral \u00e9s Hans Scheugl-lal egy\u00fctt) a filmes reprezent\u00e1ci\u00f3 ideol\u00f3giai \u00e9s technol\u00f3giai felt\u00e9teleire<\/a> reflekt\u00e1l\u00f3 „expanded cinema” ter\u00fclet\u00e9n dolgozott, p\u00e1rhuzamosan a m\u0171faj amerikai k\u00e9pvisel\u0151ivel. Weibel ezeket a reflexi\u00f3kat 1969-t\u0151l kezdve videokazett\u00e1k \u00e9s install\u00e1ci\u00f3k<\/a> r\u00e9v\u00e9n dolgozta ki. Az Osztr\u00e1k Telev\u00edzi\u00f3 (ORF) \u00e1ltal 1972-ben sug\u00e1rzott „tv und vt works” c\u00edm\u0171 telev\u00edzi\u00f3s akci\u00f3j\u00e1val \u00e1tl\u00e9pte<\/a> a gal\u00e9riat\u00e9r hat\u00e1rait. 1966-ban Gustav Metzgerrel, Otto Muehllel, Wolf Vostelllel, Hermann Nitschsel \u00e9s m\u00e1sokkal egy\u00fctt r\u00e9szt vett<\/a> a londoni Destruction in Art Symposiumon (DIAS).<\/p>\r\n

1978-ban a zene fel\u00e9 fordult. Loys Egggel egy\u00fctt megalap\u00edtotta a Hotel Morphila Orchester<\/a> nev\u0171 zenekart. Az 1980-as \u00e9vek k\u00f6zep\u00e9n a sz\u00e1m\u00edt\u00f3g\u00e9pes videofeldolgoz\u00e1s lehet\u0151s\u00e9geit vizsg\u00e1lta. Az 1990-es \u00e9vek elej\u00e9n interakt\u00edv sz\u00e1m\u00edt\u00f3g\u00e9pes install\u00e1ci\u00f3kat val\u00f3s\u00edtott meg.<\/p>\r\n

El\u0151ad\u00e1saiban \u00e9s publik\u00e1ci\u00f3iban a kort\u00e1rs m\u0171v\u00e9szet, a m\u00e9diat\u00f6rt\u00e9net, a m\u00e9diaelm\u00e9let, a film, a videom\u0171v\u00e9szet \u00e9s a filoz\u00f3fia t\u00e9mak\u00f6r\u00e9ben nyilv\u00e1nult meg. Elm\u00e9letalkot\u00f3k\u00e9nt \u00e9s kur\u00e1tork\u00e9nt olyan m\u0171v\u00e9szet \u00e9s m\u0171v\u00e9szett\u00f6rt\u00e9net mellett \u00e9rvelt, amely kiterjed a technikat\u00f6rt\u00e9netre \u00e9s a tudom\u00e1nyt\u00f6rt\u00e9netre is. Egyetemi tan\u00e1rk\u00e9nt \u00e9s int\u00e9zm\u00e9nyek igazgat\u00f3jak\u00e9nt konferenci\u00e1kon, ki\u00e1ll\u00edt\u00e1sokon \u00e9s publik\u00e1ci\u00f3kon kereszt\u00fcl jelent\u0151s hat\u00e1st gyakorolt a m\u00e9diam\u0171v\u00e9szet eur\u00f3pai sz\u00ednter\u00e9re.<\/p>\r\n

1976-t\u00f3l a b\u00e9csi Universit\u00e4t f\u00fcr Angewandte Kunst, a halifaxi Nova Scotia College of Art and Design (\u00daj-Sk\u00f3cia, Kanada) \u00e9s a kasseli Gesamthochschule tan\u00e1ra volt. 1984-ben kinevezt\u00e9k a New York-i \u00c1llami Egyetem (Buffalo, New York) M\u00e9diatudom\u00e1nyi K\u00f6zpontj\u00e1nak vide\u00f3 \u00e9s digit\u00e1lis m\u0171v\u00e9szetek docens\u00e9v\u00e9, ahol \u00f6t \u00e9vig tan\u00edtott. Ugyanebben az \u00e9vben, 1984-ben a b\u00e9csi Universit\u00e4t f\u00fcr Angewandte Kunst vizu\u00e1lis m\u00e9dia professzora lett. 1989-ben megb\u00edz\u00e1st kapott a frankfurti St\u00e4delschule \u00daj M\u00e9dia Int\u00e9zet\u00e9nek l\u00e9trehoz\u00e1s\u00e1ra, amelyet 1994-ig vezetett.<\/p>\r\n

1986-t\u00f3l az Ars Electronica m\u0171v\u00e9szeti tan\u00e1csad\u00f3jak\u00e9nt dolgozott, majd 1992-t\u0151l 1995-ig az Ars Electronica m\u0171v\u00e9szeti igazgat\u00f3jak\u00e9nt tev\u00e9kenykedett. 1993 \u00e9s 1999 k\u00f6z\u00f6tt az osztr\u00e1k pavilon kur\u00e1tora volt a Velencei Bienn\u00e1l\u00e9n. Ugyanebben az id\u0151szakban, 1993-t\u00f3l 1999-ig az ausztriai Grazban m\u0171k\u00f6d\u0151 Neue Galerie am Landesmuseum Joanneum vezet\u0151 kur\u00e1torak\u00e9nt dolgozott. 1999 janu\u00e1rja \u00f3ta a n\u00e9metorsz\u00e1gi Karlsruh\u00e9ban tal\u00e1lhat\u00f3 ZKM M\u0171v\u00e9szeti \u00e9s M\u00e9dia K\u00f6zpont igazgat\u00f3ja volt.<\/p>\r\n

Jelent\u0151sebb kur\u00e1tori projektjei:<\/p>\r\n

\u00a0 \u00a0 1976: \u00d6sterreichs Avantgarde 1908-38<\/em> (with Oswald Oberhuber), Galerie naechst St. Stephan, Vienna<\/div>\r\n
\u00a0 \u00a0 1987: Logokultur<\/em>, Universitaet fuer angewandte Kunst, Vienna<\/div>\r\n
\u00a0 \u00a0 1990: Vom Verschwinden der Ferne<\/em> (with Edith Decker), Postmuseum, Frankfurt am Main<\/div>\r\n
\u00a0 \u00a0 1991: Das Bild nach dem letzten Bild<\/em> (with Kaspar K\u00f6nig), Galerie Metropol, Vienna<\/div>\r\n
\u00a0 \u00a0 1993: Kontext Kunst<\/em>, Neue Galerie Graz<\/div>\r\n
\u00a0\u00a0\u00a0 1995 Pittura Immedia,<\/em> M\u0171csarnok, Budapest<\/div>\r\n
\u00a0 \u00a0 1996: Inklusion: Exklusion<\/em>, Steirischen Herbst 96, Graz<\/div>\r\n
\u00a0 \u00a0 1998: Jenseits von Kunst<\/em>, MUHKA, Museum van Hedendaagse Kunst, Antwerpen; Neue Galerie, Graz; Ludwig M\u00fazeum, Budapest<\/div>\r\n
\u00a0 \u00a0 1999: Open Practice<\/em>, 48. Velencei Bienn\u00e1l\u00e9<\/div>\r\n
\u00a0 \u00a0 1999\/2000: Der anagrammatische K\u00f6rper<\/em>, Kunsthaus Muerz, Muerzzuschlag; Neue Galerie, Graz; ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2000: Net_condition<\/em> (with Walter van der Crijusen, Johannes Goebel, Golo Foellmer, Hans-Peter Schwarz, Jeffrey Shaw, Benjamin Weill), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2000\/2001: Olafur Eliasson: Surroundings surroanded<\/em>, Neue Galerie Graz and ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2002: Iconoclash<\/em> (with Bruno Latour), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2002: Future Cinema<\/em> (with Jeffrey Shaw), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2003: M_ARS: Kunst und Krieg<\/em> (with G\u00fcnther Holler-Schuster), Neue Galerie Graz<\/div>\r\n
\u00a0 \u00a0 2005: Making Things Public<\/em> (with Bruno Latour), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2005: Lichtkunst aus Kunstlicht<\/em> (with Gregor Jansen), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2008: youniverse<\/em>, International Biennal of Contemporary Arts, Sevilla<\/div>\r\n
\u00a0 \u00a0 2011: Francesco Lo Savio \u2013 Tano Festa. The Lack of the Other<\/em> (with Freddy Paul Grunert), ZKM Center for Art and Media<\/div>\r\n
\u00a0 \u00a0 2011: Hans Hollein<\/em> (with G\u00fcnther Holler-Schuster), Neue Galerie Graz<\/div>\r\n
\u00a0 \u00a0 2011: Bruseum. Ein Museum f\u00fcr G\u00fcnter Brus<\/em> (with Anke Orgel), Neue Galerie Graz<\/div>\r\n
\u00a0 \u00a0 2011: Moderne: Selbstmord der Kunst?<\/em> (with Christa Steinle and Gudrun Danzer), Neue Galerie Graz<\/div>\r\n
\u00a0 \u00a0 2011: The Global Contemporary Kunstwelten nach 1989<\/em> (with Andrea Buddensieg), ZKM Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2014: Lynn Hershman Leeson. Civic Radar<\/em> (with Andreas Beitin), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Bodenlos – Vil\u00e9m Flusser und die K\u00fcnste<\/em> (with Baruch Gottlieb, Siegfried Zielinski), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Die Stadt ist der Star – Kunst an der Baustelle<\/em> (with Andreas Beitin), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Exo-Evolution<\/em> (with Sabiha Keyif, Philipp Ziegler, Giulia Bini), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: HA Schult: Action Blue<\/em> (with Bernhard Serexhe), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Infosph\u00e4re<\/em> (with Daria Mille, Giulia Bini), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Lichtsicht<\/em>, Projektions-Biennale, Bad Rothenfelde<\/div>\r\n
\u00a0 \u00a0 2015: Ryoji Ikeda. micro | macro<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Schlosslichtspiele<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2015: Transsolar + Tetsuo Kondo. Cloudscapes<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2016: Beat Generation<\/em> (with Jean-Jacques Lebel, Philippe-Alain Michaud), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2016: Bodenlos – Vil\u00e9m Flusser und die K\u00fcnste<\/em> (with Baruch Gottlieb, Siegfried Zielinski), West, Den Haag<\/div>\r\n
\u00a0 \u00a0 2016: Digitale Wasserspiele<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2016: Kunst in Europa 1945-1968<\/em>. (with Eckhart J. Gillen, Daria Mille, Daniel Bulatov), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2016: Liquid Identities – Lynn Hershman Leeson<\/em> (with Andreas Beitin), Lehmbruck Museum, Duisburg<\/div>\r\n
\u00a0 \u00a0 2016: Schlosslichtspiele<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2016: William Kentridge: More Sweetly Play the Dance<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2017: Kunst in Europa 1945-1968. Die Zukunft im Blick<\/em>. Staatliches Museum f\u00fcr Bildende K\u00fcnste A. S. Puschkin, Moskau<\/div>\r\n
\u00a0 \u00a0 2017: Markus L\u00fcpertz. Kunst, die im Wege steht<\/em> (with Walter Smerling), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2017: Schlosslichtspiele<\/em>, ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2017\/2018: The Art of Immersion<\/em> (with Richard Castelli and Dennis Del Favero), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2018: DIA-LOGOS<\/em> (with Amador Vega, Siegfried Zielinski, Bettina Korintenberg), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2018: generator marx: kapital | digital, „”generator<\/em>. medienkunstlabor trier<\/div>\r\n
\u00a0 \u00a0 2018: Kunst in Bewegung<\/em> (with Siegfried Zielinski, Judith Bihr, Daria Mille), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2019: Negativer Raum. Skulptur und Installation im 20.\/21. Jahrhundert<\/em> (with Anett Holzheid, Daria Mille), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2019: Open Codes. Leben in digitalen Welten<\/em> (mit Blanca Gim\u00e9nez), Bundesministerium der Justiz und f\u00fcr Verbraucherschutz, Berlin<\/div>\r\n
\u00a0 \u00a0 2019: Seasons of Media Arts<\/em> (with L\u00edvia Nolasco-R\u00f3zs\u00e1s, Blanca Gim\u00e9nez, Olga Timurgalieva), ZKM, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2019: Writing the History of the Future<\/em> (with Margit Rosen), Zentrum f\u00fcr Kunst und Medien, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2020: Critical Zones. Horizonte einer neuen Erdpolitik<\/em> (with Bruno Latour), ZKM | Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0 \u00a0 2021: Chiharu Shiota. Connected to Life<\/em> (with Richard Castelli), ZKM I Center for Art and Media, Karlsruhe<\/div>\r\n
\u00a0<\/div>\r\n
Jelent\u0151sebb kit\u00fcntet\u00e9sei:
\r\n
\r\n<\/span><\/div>\r\n
\r\n
2002: Ehrenzeichen f\u00fcr Verdienste um die Republik \u00d6sterreich<\/div>\r\n
2009: Osztr\u00e1k Tudom\u00e1nyos \u00e9s M\u0171v\u00e9szeti Becs\u00fcletkereszt I. oszt\u00e1ly<\/div>\r\n
2013: A P\u00e9csi Tudom\u00e1nyegyetem d\u00edszdoktora<\/div>\r\n
2020: Lovis Corinth-d\u00edj<\/div>\r\n
\u00a0<\/div>\r\n
Petern\u00e1k Mikl\u00f3s besz\u00e9lget\u00e9se Peter Weibellel:
\r\nhttps:\/\/youtu.be\/hJGPJUnjl_o<\/a>
\r\n
\r\nPeter Weibel – Mein Leben:
\r\n
https:\/\/tvthek.orf.at\/profile\/kulturMontag\/13886866\/kulturMontag\/14170519\/Peter-Weibel-Mein-Leben\/1535218<\/a><\/div>\r\n
\"\"<\/a><\/div>\r\n<\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"

2023. m\u00e1rcius 1-j\u00e9n, 78 \u00e9ves kor\u00e1ban, r\u00f6vid, s\u00falyos betegs\u00e9g ut\u00e1n elhunyt Peter Weibel nemzetk\u00f6zi h\u00edr\u0171 m\u00e9diam\u0171v\u00e9sz, kur\u00e1tor, elm\u00e9let\u00edr\u00f3, a karlsruhei M\u0171v\u00e9szeti \u00e9s M\u00e9diak\u00f6zpont (ZKM) igazgat\u00f3ja – k\u00f6z\u00f6lte cs\u00fct\u00f6rt\u00f6k\u00f6n a ZKM sz\u00f3viv\u0151je. Vas\u00e1rnap lett volna 79 \u00e9ves.\u00a0 Peter Weibel 1944. m\u00e1rcius 5-\u00e9n sz\u00fcletett Odessz\u00e1ban, a Szovjetuni\u00f3ban. Fels\u0151-Ausztri\u00e1ban n\u0151tt fel, P\u00e1rizsban tanult franci\u00e1t \u00e9s filmm\u0171v\u00e9szetet. 1964-ben B\u00e9csben […]<\/p>\n","protected":false},"author":2,"featured_media":2027429,"parent":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-2027427","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hirek"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/2027427","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/comments?post=2027427"}],"version-history":[{"count":17,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/2027427\/revisions"}],"predecessor-version":[{"id":2029567,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/2027427\/revisions\/2029567"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/media\/2027429"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/media?parent=2027427"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/categories?post=2027427"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/tags?post=2027427"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}