Weeds, migration and cities. How nature, cities and culture interfere. These are some elements that summarize the works of Lois Weinberger. The artist has an eye for peripheral nature. Not the noble and beautiful flowers we all like, but the weeds and the herbs that get little attention. These are for Lois Weinberger a metaphor for society. The wall drawing in the Nepali Art Council is a multiple path, a growing trajectory without hierarchy. The artist took the drawing of the traces an insect makes in a tree.
Large scale maps on cloth of fictional cities with words written over it, are a recurring element in the work of Lois Weinberger. For Kathmandu Triennale, the artist creates this new map with the lines indicating heights and elevations. In between the lines are words like ‘migration,’ ‘time’... words that mark all our individual existence today. The words are written in Nepali, to articulate the importance of local in relation to the global.
Born in Tyrol in 1947, Lois Weinberger is an unusual artist in many ways. Despite his considerable success, such as participating in documenta X and the Venice Biennale in 2009, he remains true to his role as an outsider in the art business—someone who does not conform to the customary way of doing things, but instead chooses his own path. With his work, he contributed significantly to the recent discussion on art and nature since the early 1990’s.
A crucial element of Weinberger’s work is his external perspective, which is informed by his affinity to wild plants that quickly grow on disturbed or abandoned plots of land and his close relationship with nature. This is not to be understood as escaping from civilization, but instead as a critical way of encountering it. At the same time, Weinberger’s work also explores the meaning of concepts such as nature, culture, order, or chaos. This point of view becomes particularly clear in his Wild Cubes: steel cages that enclose nothing, but rather humanity is being locked out. Weinberger gives wilderness space; he breaks free of the urban and questions man’s ubiquitous striving for complete control. The concept of nature does not necessarily have to be the opposite of culture; Weinberger shows us where nature and culture come into contact, while also making evident the boundaries between these two concepts.
Weinberger works on a poetic-political network that draws our attention to marginal zones and questions hierarchies of various types. Weinberger, who sees himself as a field worker, embarked in the 1970s on ethno-poetic works that form the basis for his ongoing artistic investigations of natural and man-made spaces.