VOX Montreal, Canada. Photo Michelle Brunelle

VOX, Montreal, Canada. Photo : Michelle Brunelle

Clemens Von Wedemeyer, Paula Abalos, Emerson Culurgioni, Charlotte Eifler, Deborah Jeromin et Mikhail Tolmachev, Ausbeutung oder wie man die Oberflaeche durchbricht, 2020, Installation vidéo de 5 canaux, 12 minutes.

Clemens von Wedemeyer, No Control / Control, 2018, inkjet print and diasec, ed. of 3 + 1 A.P., 60 x 165,5 cm.

Clemens von Wedemeyer, Untitled (Cleopatra), 2014-2019, resin and marble dust, reflective PVC, transducer, mono amplifier, media player, cables, sound file and wooden plinth, sculpture: 49 x 30 x 32 cm, sound file duration: 4 min. 20 sec.

Clemens von Wedemeyer, Vermin of the Sky, 2017, HD video, aspect ratio 2,35:1, sound loop, ed. of 5 + 1 A.P., 10 min.

Clemens von Wedemeyer, Esiod 2015, 2016, HD video, color and sound, ed. of 3 + 1 A.E., 38 min. View of the artist's personal exhibition 'Affected Places' at Kunsthalle Hamburg, Germany, 2016 (photo: Fred Dott).

Clemens von Wedemeyer, P.O.V., 2016, HD video, film and mixed media, ed. of 3 + 2 A.E., dimensions variable. View of the installation at Neuer Berliner Kunstverein, berlin, Germany, 2016.

Clemens von Wedemeyer, Die Probe (The Test), 2008, HD video, colour, sound, 16:9, ed. of 10 + 1 A.P., 12 min.View of the artist's personal exhibition 'Affected Places' at Kunsthalle Hamburg, Germany, 2016 (photo: Fred Dott).

Clemens von Wedemeyer, Filmstudio Model (overview), 2013, digital print on paper, ed. of 10 + 3 A.P., 60 x 40 cm.

Clemens von Wedemeyer, ANTI-SYNERGY, Galerie Jocelyn Wolff, Romainville, 26 May - 20 July 2024, Exhibition views by François Doury

Clemens von Wedemeyer

Born in Göttingen, Germany in 1974

Lives and works in Berlin, Germany

Clemens von Wedemeyer creates films and media installations poised between reality and fiction, reflecting power structures in social relations, history and architecture. "For over a decade, von Wedemeyer’s films and film installations have explored ideas of utopia and dystopia in the built environment. Again and again the filmmaker holds up architecture as a kind of socio-political mirror to the people it shelters, employs, or turns out, while deftly exploiting the advantageous atmospherics that both modernist ruins and postmodernist edifices reliably provide. Simultaneously, and with a movie buff’s zeal, the artist expertly gleans the film medium for historical precedents and political ambiguities, formal faculties and stylistic turns" (Quinn Latimer). In his ‘cinema about cinema’ normally hidden aspects of film production – such as the dressing of a set or the casting of actors – are incorporated in the final edit alongside scripted and improvised actions. Switching between drama and documentary von Wedemeyer creates layer upon layer of ambiguity in his work and thereby pushes the viewer to question the conventions of theatre, film, news reportage and reality TV.