Peter Welz, airdrawing | forsythe | right hand up down | study, 2004
Exhibition | 29.02.2008 - 4.05.2008

Peter Welz

it’s too fuckin’ loud and it’s too fuckin’ fast
Peter Welz, born in 1972 in Lauingen, lives in Berlin. He studied at the National College of Art and Design in Dublin from 1993 to 1995, the Cooper Union in New York in 1997, and from 1995 to 1998 he attended the Chelsea School of Art in London. Peter Welz is one of the most outstanding artists in the young German art scene. His works can be found in such important collections as the Goetz Collection, the Falckenberg Collection, or the collection of the Museum of Modern Art in Frankfurt.

Peter Welz sees himself as a sculptor who examines issues related to sculptural design with the medium of video. He is primarily interested in the movement of the human figure in space, which he subjects to extensive artistic research in various test arrangements. The themes of the artist’s work reflect his long-standing examination of Samuel Beckett. Welz attracted international interest with his five-part video that developed in close collaboration with the celebrated choreographer William Forsythe. Forsythe, director for many years of the Staatstheater ballet in Frankfurt am Main and one of the most sought after choreographers of our time, danced a text fragment by Samuel Beckett, whenever on on on nohow on, in the stylistic language of his dance theater, and Peter Welz recorded these movements from different angles using several cameras. Two of these cameras, for example, were attached to the dancer’s wrists. Hence a video installation was produced that shows Forsythe’s movements in space in five simultaneous projections in a staccato-like shift of perspectives. The video images trace the movements that the dancer draws into the space.

Based on the dance’s sequences of movement, which Welz tracks as lines, the sculptor develops sculptural spatial installations which in turn become the image carriers of his videos. Hence the rhythmic movement is present, on the one hand, in the sequence of video images, and, on the other hand, in the spatial oscillation of the sculpture. The Weserburg is showing recent drawings, sculptural models, and video installations. The exhibition at the Weserburg was made possible by the generous funding provided by the Karin and Uwe Hollweg Foundation, which enabled purchasing works for the museum’s collection, and the Friends of the Weserburg.


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