The renowned Café Sivigny in Berlin Charlottenburg was appreciated by residents of this district as as a traditional café, in the modern era Parisian sense. The café offered a large collection of newspapers from around the world, which were consumed by guests for decades. Laufschrift is an installation on the facade of the former café which has recently turned into a restaurant. As a news ticker, the display presents messages of the latest world news, interrupted by a continuous generation of AI produced dadaistic messages. Additionally an online platform allows the restaurant owners to interact with bypassers as much as with the stream of the construction and deconstruction of meaning by adding their own messages to the loop.
2010 – 2014
Concept, Exhibition, Video, Book
Concept, Exhibition, Video, Book
3:53 min loop
192 pages + 6 inserts/ 8.25”x 6”
Includes sleeve with blind emboss
Sewn bound & offset printed
Edition of 500/ Numbered
2011 – 2014
Concept, Installation, Research, Editing
Concept, Installation, Research, Web Development, Text
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 full text can be found here:
The face was sculpted following the characteristics of L’inconnue de la Seine and Millais’ Ophelia. Replicas are being placed in selected puddles after heavy rainfalls. Casts have been installed and abandoned in several cities throughout Europe.
Felix von der Weppen, * 1987 in Bonn, lives and works in Berlin
Exhibitions & Film Festivals
2015, 03 — kontinuum, SPRING/BREAK Art Show – Yulia Topchiy, New York, US
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 Vidéo, 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
Angaben gemäß § 5 TMG,
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:
Felix von der Weppen
All work depicted is copyright © Felix von der Weppen, 2009 – 2014
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