)
Clemens von Wedemeyer
Clemens von Wedemeyer (*1974 in Göttingen, lives and works in Berlin) creates video works, short films, and multi-channel installations based on his exploration of historical events. By employing non-linear narrative forms and condensations, socio-political references right up to the present day are created and levels of the historical and fictional are questioned. In his edition for Neuer Berliner Kunstverein, the artist combines two images from the music festival Woodstock from 1969 and the Duisburg Love Parade from 2010. While Woodstock is being exaggerated as a paradisiac “festival of love”, in which a crowd of people celebrated a shared socio-political utopia, Duisburg is reminiscent of an absolutely commercialized large-scale event whose misplanning ended in the disaster of a mass panic with numerous deaths and injuries. The two events encompass an era and are linked in Wedemeyer’s work by the great blurring of the “poor images” found on the Internet, which is located right in the center of the image.
Von Wedemeyer has been professor of media art at the Academy of Fine Arts in Leipzig since 2013. His works have been most recently shown at the Dresden State Art Collections (2017); ZKM, Karlsruhe (2017); Neuer Berliner Kunstverein (2016); Hamburger Kunsthalle (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Documenta, Kassel (2012).
Related Posts
)
P.O.V.
Curator: Marius Babias
The artistic practice of Clemens von Wedemeyer becomes visible in video works, short films and multi-channel installations. His examination of historical phenomena is the basis of his interest and establishes socio-political references right to the present day. With non-linear narratives the artist creates condensations that make the levels of the historical and the fictional intertwine.
The starting […]
)
Clemens von Wedemeyer. Point of View<br/>
The starting point of the exhibition P.O.V. (Point Of View) at Neuer Berliner Kunstverein was the documentary footage of Captain Freiherr Harald von Vietinghoff-Riesch, who as an amateur cameraman filmed in Europe during the Second World War between 1938 and 1942 behind the front line. Using the material as an example, von Wedemeyer examines pictorial spaces and boundaries of […]
)