Herwig Weiser

Galerie Lisa Ruyter

Hanging in the middle of the room was a most fascinating cylindrical object. Sound issued from it; something moved within. Its title, Death Before Disko (all works 2005)—also that of the show as a whole—plays on its association with the familiar disco ball. Of course this is an updated version, one made of Plexiglas, stereo speakers, LEDs, a computer system, magnets, and magnetic fluid, all activated by the movement of a motor, the pulsing of the sound system, and the programming of the lights. Movement is created not by the many small mirrors of the disco ball but by a mass of hectically vibrating pieces. They oscillate to the rhythm of outer-space noises—piped-in samples from various Internet sources. Only one thing is missing: the reflected light. For the black, magnetic liquid absorbs all the light.

Herwig Weiser’s machines, or “analog sculptural processes,” as he calls them, are the

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