Peter Weibel
born on March 5, 1945 in Odessa, Ukraine. Having fled to Austria, he grew up in Ried im Innkreis, Upper Austria. When graduating from school in 1963 he studied French, film and comparative
literature for a year in Paris before transferring to medicine in Vienna in 1964, later changing to mathematics specialising in logic.
Peter Weibel´s artistic work may be chiefly subsumed under such categories as concept art, performance, experimental film, video art, computer art and generally, so-called »media art«.
Starting from semiotic and linguistic reflections (Jakobson, Peirce, Wittgenstein et al), Peter Weibel evolved
an artistic language which led him from experimental literature to performance. In his performative actions
he not only investigated the »media« of language and body but also film, video, audiotape and interactive
electronic environments. He critically analysed their function for the construction of reality. In addition to actions carried out in cooperation with representatives of the Wiener Aktionismus (Vienna Actionism), from 1967 he worked on an »expanded cinema« (together with VALIE EXPORT, Ernst Schmidt jr. and Hans Scheugl). This work was inspired by the Expanded Cinema America and reflects the ideological and technical
conditions of filmic representation. From 1969 on, Peter Weibel consequently developed these reflections
further in videotapes as well as installations. With his »Tele-Actions«, which were transmitted by Austrian
television (ORF) in 1972, he extended the limits of the gallery space and examined video technology in its application to the mass medium of television.
Peter Weibel followed his artistic way of perceiving problems in multiple media, forms and techniques: in text, sculpture, installations, films and videos. Thus, in 1978, he also turned to music. Together with Loys Egg, he founded the music group »Hotel Morphila Orchester.« In the mid 1980s he examined the possibilities of computer assisted video processing. At the beginning of the 1990s, he realised his first interactive computer-based installations with which he, again, thematised the relationship between media and the construction of reality.
In his numerous lectures and articles, Weibel published on contemporary art, media history, media theory, film, video art and philosophy. As theoretician and curator he committed himself to art and to a historiography of art which accounts for the history of technology and science.

Peter Weibel (with VALIE EXPORT): Bildkompendium Wiener Aktionismus und Film. Frankfurt/Main: Kohlkunst-Verlag 1970; Peter Weibel: Kritik der Kunst. Kunst der Kritik: Es Says & I Say, Vienna, Munich: Jugend & Volk, Edition Literaturproduzenten 1973; Österreichische Hochschülerschaft (Ed.), Peter Weibel. An Annotated Videography, Innsbruck 1977; Peter Weibel: Arbeiten in den Medien Sprache, Schrift, Papier, Stein, Foto, Ton, Film und Video aus zwanzig Jahren. Reihe Protokolle, vol. 2, Vienna, Munich: Jugend & Volk 1982; Ctlg. Peter Weibel. Malerei zwischen Anarchie und Forschung, Graz: Neue Galerie 1992; Robert Fleck (Ed.), Ctlg. Peter Weibel. Zur Rechtfertigung der hypothetischen Natur der Kunst und der Nicht-Identität in der Objektwelt, Cologne: Grunert 1992; Romana Schuler (Ed.), Peter Weibel. Bildwelten 1982-1996, Vienna: Triton 1996; Ctlg. Peter Weibel: Globale Gier, Klagenfurt: Kärntner Landesgalerie, 1999; Marcus Huemer, Wilhelm Meusburger (Ed.), Ctlg. B-Picture. Frankfurt/Main: Revolver 2004; Ecke Bonk, Peter Gente, Margit Rosen (Ed.), 05-03-44: Liebesgrüße aus Odessa: für Peter Weibel, Berlin: Merve-Verlag 2004; Alfred Kolleritsch, Christa Steinle (Ed.), Peter Weibel: X-Dream, Graz (et al): Droschl 2004; Peter Weibel (Ed.), Peter Weibel. Das offene Werk. 1964-1979, Stuttgart: Hatje-Cantz 2006