david weber-krebs


a project by David Weber-Krebs and Alexander Schellow

go to the website of miniature.

Alexander Schellow and David Weber-Krebs began their collaboration during the Steirischer Herbst/Graz in 2006 where they developed the first miniature model. Since then they have staged various versions of this project in Utrecht, Berlin, Leuven and Amsterdam, adapting them to various situations and contexts, such as the temporary nomadic life of De Appel Arts Centre in Amsterdam.

Miniature creates an experience initiating minimalistic and intimate constellations that are presented live for a single spectator. He/she lives an exclusive and unique situation that plays with expectations and perceptions of his/her immediate physical environment. Are you alone in a dark room, watching a film? Are you watching a performance without performer? Who is your interlocutor on the phone? The oscillation and overlapping of the genres of cinema, theater and performance lead the spectator step-by-step into a motivating, sometimes peculiar and in any case insecure situation. Miniature is a structure that develops its potential from version to version adapting itself to the different locations and contexts it is placed in. Be it in an almost dark room or on a walk, the process always has the same aim: to provide a new visibility to the rooms in which the miniature occurs by means of interaction and apperception. Miniature invites, seduces and bewilders with a multitude of forms. The ambiguous relationship with the “other” and with the “self” offers a canvas of reflection for the memory and the stability of a given space and its time.

With their structurally elaborate setup where minimalistic means meet a multi-layer space, Schellow and Weber- Krebs implement an artistic course of action that the philosopher Gilles Deleuze outlined in his book The Fold. Deleuze advises to settle in between two genres of art “to attain a unity of arts as ‘performance,’ and to draw the spectator into this very ‘performance’.” In the architecture of baroque he discovers an “operative function” which creates and unfolds endless folds. These are antagonistic incidents, which annul the usual differentiation between figure and ground, thereby creating a “soft space.” The baroque fold widens the perception of surface. Folds provided movement to the convention of central perspective and played with the blurrings of the human eye. The artists have found a medial platform for this geometric unsharpness: the grey images in the main film depict mist, an established metaphor in the history of art and cinema. In the context of miniature, mist is a plane of imagination for the reading spectator. The interaction of mist and text throws the spectator into the “soft space” and refers him back to himself and to his recollection. (Vera Tollmann, Geometrie der Interdisziplinarität, 2009).