Weber is always “interested solely in concepts,” and he recognizes that there is an “abstract expressionist” dimension to this piece — an aggressive symbol of separation,
fracture or conflict. He is working “against concrete, to dominate it,” in revenge for the
negative associations he has with it. to the artist, the material itself is sometimes
the starting point, but it does not prevail, even though its symbolic meaning (as a manmade expression of power with all its political implications) might seem pervasive. It is the process and the way he treats the material that matters — an exploration of the conceptual goal of “finding a perfect balance between the material/method and the idea.”
By placing his weighty concrete objects in the space — hanging them on the wall or
resting them carefully on the floor — Webe reveals his interest in showing the force of
gravity. Counter to comparisons with minimal art, elements of chance and remission of
control are introduced by concrete’s inherent nstability and vulnerability to material change. The notion of fragility can also be seen in the meticulousness of Bündel (Bundles, 2012), with its seven-meter-long rebars wound by cement-covered cloth; in the simplicity of Unfold (2011), made up of two planks, one a concrete impression of its wooden mate; or in Bent Inversion (2012), a sheet of concrete with an irregular upward twist.
Ultimately the show is a combination of slightly narrative abstract-conceptual pieces
that persuasively revisit the vocabularies of arte povera and process art.
(Translated from French by Natalie Estève)