ARTIST PROFILE

Seth Weiner

  • United States (b. 1982)
  • Currently in Vienna, Austria.
  • Often containing performance and proposal simultaneously, Weiner's work employs a wide range of media in which he explores the gaps between architectural fiction and social convention to create both actual and imagined spatial environments.
Installation View (Interior)

Installation View (Interior)

  • 2015

  • MDF Plates Recycled from the Exhibition ‘Ways to Modernism: Josef Hoffmann, Adolf Loos, and Their Impact’, LED Lights, Hardware / 575 cm x 585 cm x 278 cm / Photo by Seth Lower © MAK
  • Grid Transposition Study (Kahn Bar System / MAK Design Lab Ceiling Plan) - thumbnail Exhibition Views Collage  ‘Ways to Modernism: Josef Hoffmann, Adolf Loos, and Their Impact’  - thumbnail Installation View (Portrait) - thumbnail Installation View  - thumbnail Chairs & Plates (Ways to Modernism Study) - thumbnail Installation View (Stairs) - thumbnail Already, Probably Not, Hopefully (Still) - thumbnail Installation View (Interior) - thumbnail Exhibition Views Collage  ‘Ways to Modernism: Josef Hoffmann, Adolf Loos, and Their Impact’  - thumbnail Installation View (Crotch) - thumbnail

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    so only the shadows are left described | 2015

Vienna Biennale 2015: Ideas for Change / MAK (Austrian Museum of Applied and Contemporary Arts), Vienna, AT / 24/7: the human condition / Curated by Marlies Wirth / Fabrication: Helmut Heiss / The spatial work “so only the shadows are left described”, created by Seth Weiner specifically for “24/7: the human condition”, alludes to Fordism and its influence on the attitude toward labor in the 20th century. In reference to the assembly line production introduced by Henry Ford, in which work follows a 24-hour schedule, the artist combines the estimated total light intensity from the former Ford Highland Park factory in Detroit with the size of the gallery to create product lighting in his installation. Thus, visitors—a measure of the productivity of the museum— cast their shadows on the immaterial work of post-Fordism. – Marlies Wirth