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Felix von der Weppen was born in 1987 and lives in Berlin. His artworks mainly circle the human relation and interaction with space in western society and its handling of transitoriness, which he sees as a deeply connected dialecitc unit he aims to examine, challenge and playfully interact with.

His latest series Ornament and Concealment focuses on the city as a concrete example, where both preservation and modernization attempts are examined as rather symbolic and ritualistic tactics to prevent loss on multiple levels, contrasting the idea of the West as a materialistic and enlightened progress-oriented society.

Mixing documentary with symbolic Elements, works include and sometimes assemble film, photography, writing, sculptures and installations.

In 2012 he founded the design studio Manufaktur für Ungreifbares through which he aims to maintain and extend a more direct, less representational interaction with his environment. Borders between these two spheres of practice are constantly shifting.

 

 

 

 

Exhibitions,
Workshops, Festivals

2006, 08 — Group Exhibition „Essen für‘s Auge“ Max-Planck-Institut, Munich, Germany
2007, 12 — Group Exhibition „Player One vs. Player Two“ Färberei, Munich, Germany
2011, 10 — SIMULTAN FESTIVAL #7 – „Imaginary“ Timisoara, Romania
2011, 11 — PNEM Sound Art Festival, Netherlands
2011, 11 — Fucking Good Art, LindeNow Festival. Leipzig, Germany
2011, 11 — Beautiful Art – Public Talk with Bildetage, Kuhturm, Leipzig, Germany
2012, 02 — Switch 2012, Video-Art Festival, Nenagh, Ireland
2012, 03 — Traverse Video Festival, Toulouse, France
2013, 05 — Ornament & Concealment, Berlin, Germany

Print Publications

2010 — Featured in Esquire Magazine, Korea
2010 — Review in Giant Robot Magazine, USA
2010 — Gallery Mag – 5 Pieces of work published
2010 — Carne Magazine – 2 Pieces of work published
2011 — Index Book, Typo Shirt One, Spain
2011 — Wow! – Leading-edge Designers, China
2013 — ARCH+ 213, Out of Balance, Germany

Blogs, etc.

graphic-exchange.com, thedieline.com, thecoolhunter.com, designyoutrust.com,
daily-design-news.com, greenmuze.com, siteinspired.com, thedailymeal.org,
graficacolectiva.org, posterous.com, xpaider.com, thestrangeattractor.com,
thisisduty.com, typojungle.net, lettercult.com, trendhunter.com, baubauhaus.com,
theworldsbestever.com, thisisnthappiness.com, thestrangeattractor.com,
thinkingforaliving.org, theworldsbestever.com, minimalexhibit.com,
pixelperfectportfolios.com, joshspear.com, theimport.co.uk, inpursuitofsilence.com,
motionserved.com, thisisduty.com, …

 


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    2011 – 2014
    Photography, C-Print
    • by / with

    dérive is an ongoing collection of photography, hovering and circling thoughts derived from ‘Ornament and Concealment’.

    Architecture is often used and invoked as the central hallmark of modernization. Cities around the world are rapidly redefining themselves through their architecture in a bid to capture some part of that elusive essence that is “the modern city”. Simultaneously, the attempt to define a local identity in the midst of an international architectural identity leads to a strange emphasis on conservation. Despite this, the materials and tools used to construct and preserve them mainly stay the same. Physically and symbolically they make up one of the most constant elements to our time. Ironically it is structures, ones that were, in and of themselves, intended as a transitional state, who act as relics of a perpetual present within the constantly shifting modern urban environment.

    In the midst of modernization, taking the risk of letting go appears to be an almost radical act. Ornament and Concealment aimed to lead the viewer into the very nature of this contradiction, creating an atmosphere of shelter and defenselessness. Instead of a backup preventing a possible future blackout, the installation directed the gaze to a black box of an accident which never happened, but continuously happens.

    The complete project text can be read here:
    ornament-and-concealment.net

    2014
    Rendering
    • by / with

    2011 –
    Stucco, Photography (C-Print)

    The heads are castings from a sculpture which was created following the appearance of Shakespeare’s Ophelia and L’Inconnue de la Seine (‘the unknown woman of the Seine’). They are being placed in puddles in the city after heavy rain, which are ideally not big enough to contain an entire human body, opening up an imaginary space beneath the city’s surface. So far they have been placed in Berlin and Paris.

    Rendering
    • by / with

    As we are getting closer to the realization of authentic virtual reality, simulations which merely stimulate the brain, the development of authentic physical simulations is emerging. Programmable matter, swarms of tiny robots, will very likely be able to take on any color and shape, enabling environments of constant transition. If successful both developments will have fundamental effects on our behaviour and relation to the world as well as to each other.

    Monades 2.0 began with the rather tiny question of how small and simple structured devices, mere spheres with a set of programmable magnets, could move around in space. Attempts to solve this problem led to a behaviour which strongly reminds of organic organisms, leaving us with the enigmatic mixed feelings of unease and wonder, similar to what is known as the uncanny valley effect.

    Rendering, Concept
    • by / with

    Winter as catalyst for the recoding of the public domain—Winter, especially snow, carries the potential to clear public spaces from an overload of information and societal codes. which often, by their distinctiveness, limit citizens in their behavior and reduce them to sheer consumers of goods, events and images. In addition, low temperatures put people of all classes and income on an approximately equal level. Everyone shares the experience of freezing, longing for a warm place and sunlight. This project aims to unlock winter’s potential for the reappropriation of the public space and to generate pro-urban, productive friction through encounter.

    Warming up and sharing a cup of tea with strangers—The houses are moved to public spaces throughout the city, inviting everyone to pause, share tea and thoughts with strangers. The project travels like a nomadic camp to and through various cities.

    Material and Design—Thermal blankets are normally used for providing first aid in open space and by homeless people to keep warm outside, meanwhile the same material is used for the furthest outreach of human activity: space programmes and satellites. The design aims to amplify this contradictory notion in two ways. On the one hand by using supporting structures made of square timber for simple cabins. These are combined with thermal foil as an effective, low-cost and high-tech solution for isolation. And on the other hand treating the overly complex urban condition by responding to our most basic needs: warmth and shelter through the pre-civilisatory invention of a centered hearth.

     

    Studio Dirt, Bottle of Coke
    • by / with

    Gips

    “That from which is everything that exists and from which it first becomes and into which it is rendered at last, its substance remaining under it, but transforming in qualities, that they say is the element and principle of things that are. … For it is necessary that there be some nature (φύσις), either one or more than one, from which become the other things of the object being saved … Thales the founder of this type of philosophy says that it is water.” — In this quote Aristotle describes Thales’ assertion of water being the principle of all things. According to Aristotle Thales was the first philosopher asking the question of the primal ground of all things. Heraclitus states that Thales drew this conclusion from looking at the various states of aggregation.

    This work links the various associations that come up when thinking about the further development of greek philosophy, especially Plato’s theory of Forms, and Greek art with the fact that since the 1950s humans have created materials and forms, which can potentially last forever. By ending up in oceans and being ground to nano particles plastics and other synthetic materials might accidentally become constitutive element and natural environment for any further biological development.

    Mixed Media, Film
    • by / with

    Mixed Media
    • by / with

    Photography, C-Print
    • by / with

    “Originally created for the 247-group show ‘Telephone’, the Chocolate Slavery series highlights the reality of child slavery in Cote d’Ivoire (Ivory Coast) where an estimated 50% of the world’s chocolate is grown.”[1]
    “Cote d’Ivoire is the leading exporter of cocoa beans to the world market. Yet the horrendous conditions under which enslaved children toil on the cocoa farms of the Cote d’Ivoire is juxtaposed with the idea that the cocoa will ultimately end up producing something that most people associate with happiness and pleasure – chocolate.”[2]
    Like flower trading and mining for gold and diamonds, chocolate slavery illustrates the dialectical nature of consumerist society. All of these examples are widely used to express love and compassion while there is harm and suffer at their very root.

    1, 2) Article about the project, published at greenmuzue.com

    2010 (Film), 2014 (Book)
    Film, Video Installation, Book

    kontinuum is a cycle in three parts: Anticipation, Manifestion and Reflection. The longing for one’s object of desire is replaced by a complete absorption and ends with the disappointing realization of not having fulfilled one’s aspirations. As soon as we arrive, the moment turns into history. We are left with a void. A cycle that repeats itself endlessly. The images here, culled from a dancer’s sweeping actions, try to preserve these moments. But this only remains an effort and is set up for failure. With each step the dancer erases what has previously been established. Each move builds and transforms the ground she walks on. Each trace is replaced by another.


Angaben gemäß § 5 TMG,
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:

Felix von der Weppen
Cuvrystraße 32
D—10997 Berlin

mail info@felixvonderweppen.com
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All work depicted is copyright © Felix von der Weppen, 2009 – 2014