Christoph Weber’s book project takes a close look at the development of his art practice from methodological reenactment (Nachvollzug) to his engagement with concrete. Jens Kastner takes a work about the Paris Commune, »Untitled (Ramponeau)«, as the starting point for an analysis of the complications of sculptural and political art, while philosopher Sadie Plant delves into concrete’s very own
cultural and material universe. Weber and fellow artist Andreas Duscha have developed an installation especially for this publication — akin to a Muybridge set-up, it shows movement in single frames, using pinhole cameras with exposure times related to concrete’s curing times. A text by Andreas Duscha explores the analogies between Weber’s most recent manipulations of uncured concrete and lowtech photography.