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Felix von der Weppen, * 1987 in Bonn, lives and works in Berlin

2014 — Currently studies Philosophy and Cultural Science at HU Berlin
2012 — Founded experimental design studio Manufaktur für Ungreifbares in Berlin
2009 — Lived and worked in New York
2007 — Studied communication design in Munich, Germany

Exhibitions & Film Festivals

2014, 12 — kontinuum, Patrick Parrish Gallery, New York, US
2013, 05 — Ornament & Concealment, Berlin, Germany
2012, 09 — Façade Video Festival 2012, Plovdiv, Bulgaria
2012, 05 — Festival für Klang und Bewegte Visuelle Kunst, Hannover, Germany
2012, 03 — Traverse Video Festival, Toulouse, France
2012, 02 — Switch 2012, Video-Art Festival, Nenagh, Ireland
2011, 11 — Beautiful Art – Public Talk with Bildetage, Kuhturm, Leipzig, Germany
2011, 11 — Fucking Good Art, LindeNow Festival. Leipzig, Germany
2011, 11 — PNEM Sound Art Festival, Netherlands
2011, 10 — SIMULTAN FESTIVAL #7 – „Imaginary“ Timisoara, Romania
2007, 12 — Group Show „Player One vs. Player Two“ Färberei, Munich, Germany
2006, 08 — Group Show „Essen für‘s Auge“ Max-Planck-Institut, Munich, Germany



2013 — ARCH+ 213, Out of Balance, Germany
2011 — Wow! – Leading-edge Designers, China
2011 — Index Book, Spain
2010 — Carne Magazine
2010 — Gallery Mag
2010 — Giant Robot Magazine, USA
2010 — Esquire Magazine, Korea


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    2010 (Film), 2014 (Book and Installation)
    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. The work is both symbolic body and material fallout of this cycle.

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    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:

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    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 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 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 strongly reminding us of organic organisms, leaving us with the feelings of unease and wonder, similar to what is known as the uncanny valley effect.

    Studio Dirt, Bottle of Coke
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    2011 –
    Stucco, Photography (C-Print)

    The sculpture was inspired by Millais painting Shakespeare’s Ophelia and texts on L’Inconnue de la Seine (‘the unknown woman of the Seine’). Replicas of the sculpture were and are continuously placed in puddles after heavy rain, which are ideally not big enough to contain an entire human body. Being broken by the sculpture, the mirrored sky now appears to be turned upside down, opening a virtual space below the city’s surface, which can be seen as a gap between the above and below. Casts have been installed and abandoned in several locations in Berlin and Paris.

    Mixed Media, Film
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    Mixed Media
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    Photography, C-Print
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    “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

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

Felix von der Weppen
Cuvrystraße 32
D—10997 Berlin

Design &

All work depicted is copyright © Felix von der Weppen, 2009 – 2014