Clemens von Wedemeyer

Clemens von Wedemeyer, "Muster", 2012. Photo: Eiko Grimberg

Clemens von Wedemeyer has imagined a trip back in time at Breitenau. Starting with events that happened there from 1933 to 1945, the German artist has composed three stories that reach the years of the women’s reformatory, in the 1970s, with a different protagonist for each era. A work that attempts to bring out the “pathology” of the site, as the artist tells Bert Rebhandl, and at the same time its “unforgettable” status as a black hole in the history of Germany, that sucked up innocent lives for almost a century.

Text by: by Bert Rebhandl

Clemens von Wedemeyer, "Silberhöhe", 2003.

Silberhöhe, directed at Halle, located in the former GDR (German Democratic Republic), is the name of a neighborhood on the outskirts of the city, which was built in the 70's and could accommodate more 40,000 people. The opening of the film presents us with a dramatic process that transforms the documentary image. The lack of human presence makes creates a strange atmosphere in the film. A street lit by streetlights pays homage to the film "The Eclipse" by Antonioni, of which we can also see an of the end of television in an empty apartment.

Clemens Von Wedemeyer is certainly one of the artists of his generation that make intelligible our relationship to reality through the use of different transmissions of images, whether through film or video. The artist employs the documentary genre as a method in his analysis of reality. However, his use of fiction gives us the opportunity to examine different images. Referencing the work of Antonioni with "Silberhöhe", he puts us in a genealogy of directors who have also questioned the complex relationship between fiction and reality. If the video "Silberhöhe" gives us clues to understanding some aspects of reality, the poetic dimension of the artifices of fiction offer more complex visions of the world.
Clemens Von Wedemeyer was born in 1974 in Göttingen, Germany. He lives and works in Berlin.