Christoph Weber. On Fold

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Vista de l’exposició Christoph Weber: On Fold, 2017
© Christoph Weber, 2017 Vista de l’exposició Christoph Weber: On Fold, 2017

If you're an English speaker/reader, you're in luck at the exhibition of Austrian artist Christoph Weber (Viena, 1974) at the ProjecteSD gallery because you won't find a single word hanging on the wall next to the artworks that you'll have to translate. Instead the key is in the title: 'On Fold'. Basically this is a series of concrete blocks that have undergone slight bends when supported on angular surfaces. The other key is in the notion of continuity, namely in the difference between before and after.

The concrete, which is everywhere you look, is the result of shaping the paste until it dries. While the title refers to folding literally, it also refers to wrapping, and even breaking. And these three conditions are combined in a minimalist montage, more laconic than a tweet but worthy of the best Baroque defence argument. The artist goes to the extreme of moulding concrete blocks in methacrylate so as not to leave prints behind; doing the same with wood would produce unnecessary 'décollages'.

'Béton Bruto Matrix' consists of a drawing of a column that is both obverse and reverse – painted in colour with concrete powder – and three sculptures: the three-dimensional construction in wood of the column is surrounded by two steel halves that could be its mould, although this is unnecessary. A space–time palindrome. In 'Untitled (Involuntary Amalgamation)', a standard steel bar has been welded to the rest of it made in stainless steel. The divergence in this case is temporary: one end will rust and the other won't. Next to it, 'Carton Pierre', a collage of concrete and papier mâché, bends to the same height as the welding line. Borders become simple edging changes.

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