Suse Weber

Tanzschule für eine Marionette

June 12 – July 31, 2010

<i>Tanzschule Links</i>, 2010<br>weiblich: silk screen on PPT-hollow- chamber-plate<br>Fotzen: plexiglas, milled Weddingpalme: textile, rubber Adlerstreifen: silk screen on PPT-hollow- chamber-plate<br>various dimensions
Tanzschule Links, 2010
weiblich: silk screen on PPT-hollow- chamber-plate
Fotzen: plexiglas, milled Weddingpalme: textile, rubber Adlerstreifen: silk screen on PPT-hollow- chamber-plate
various dimensions
<i>Tanzschule Rechts</i>, 2010<br>männlich: silk screen on PPT-hollow- chamber-plate<br>Amerikastreifen: silk screen on PPT-hollow- chamber-plate Schwarze Stoffstreifen: textile, MDF Notenhierarchie: plastic Weddingpalme: textile, rubber Posterperle: paper, bonded<br>various dimensions
Tanzschule Rechts, 2010
männlich: silk screen on PPT-hollow- chamber-plate
Amerikastreifen: silk screen on PPT-hollow- chamber-plate Schwarze Stoffstreifen: textile, MDF Notenhierarchie: plastic Weddingpalme: textile, rubber Posterperle: paper, bonded
various dimensions
<i>Tanzschule Mitte</i>, 2010<br>Barocke Schnittmuster: MDF, coated Entwürfe: print board<br> gis-Schlüssel: postcard on carton board Tanzarchiv Collagen: digital print on Forex Ijzerwake Treffen: digital print on board Spiegelstreifen: mirror<br>Streifen: MDF, coated various dimensions
Tanzschule Mitte, 2010
Barocke Schnittmuster: MDF, coated Entwürfe: print board
gis-Schlüssel: postcard on carton board Tanzarchiv Collagen: digital print on Forex Ijzerwake Treffen: digital print on board Spiegelstreifen: mirror
Streifen: MDF, coated various dimensions
Suse Weber: Tanzschule für eine Marionette. June 12 – July 31, 2010

For her second solo exhibition at the Galerie Barbara Weiss, Dance School for a Marionette, Suse Weber (*1970) – following her FORMEL:KONGORAMA#3/Puppet Theatre at the WIELS in Brussels – has conceived a stage-like scenario in which she herself appears regularly at set times.

Taking her lead from the concept of emblematic sculpture, as she terms her three-dimensional works, Suse Weber treats the audience as an existing factor in the overall scheme along with the sculpture and the space itself: the audience becomes material. In Weber’s configurations its entrance into the space, the allocation of seating and the determination of the viewing time reflect a conditioning we also know from the signs and symbols of the traffic regulations.

In the gallery the viewer is awaited by two rostra of seats and an approximately two-metre-high MDF figure on wheels, with numerous plug-and-socket devices. On the walls of the exhibition space hang folkloristic holders made from punched cardboard, in which Suse Weber has deposited around 380 coloured visual building blocks according to a certain order. Their composition features Weber’s typical formulas and references, e.g. to the patterns of Baroque costumes, historical dance styles or political symbols. This material, which can largely be traced back to previous works by the artist, and is based on research carried out at the Leipzig Dance Archive and elsewhere, determines the action in the Dance School for a Marionette. And the exhibition space itself becomes a social space through the significances of the visual building blocks.

When Suse Weber opens the dance school with an acoustic trailer (cooperation with the Belgian composer Tim Vets) on June 12, she sets the above scenario in motion according to her choreography. Between June 12 and 30 (every day at 4 pm) 14 marionettes will be created in this way.

In a second exhibition space Suse Weber will work in parallel on a notation to document the selection and application of the visual building blocks, and the new choreography of the marionettes each day.