Clemens von Wedemeyer
P.O.V.
21 Oct 2016 - 14 Jan 2017
CLEMENS VON WEDEMEYER
P.O.V.
21 October 2016 – 14 January 2017
Presented at Documenta 13, the film installation Muster by Clemens von Wedemeyer explored the complex connections between a unique place and three different temporalities (World War II, the 1970s, and the 1990s) as well as the relationships between collective and individual memory.
This research found new development with P.O.V. (point of view), presented in Berlin at N.B.K this summer, in which, for material, the artist uses films by Captain Freiherr Harald von Vietinghoff-Riesch, an amateur cameraman and German officer in the Wehrmacht, who filmed in Europe during the Second World War between 1938 and 1942 behind the frontline.
Using these historic war footage made from a subjective point of view, the artist orchestrates a confrontation with the present time, by, for example, making use of digital technological tools used for creating video games: the multiplicity of the points of view make critical, scientific, experimental and ludic approaches simultaneously intersect. Von Wedemeyer here investigates, who is behind the camera and which information can a subjective view provide.
At a time when witnesses of World War II are disappearing and the generational transmission of the memory of the conflict and the Shoah are becoming more abstract, the analytical, ethnographical and sensitive work of Clemens von Wedemeyer offers new perspectives. This is why it seems to us important to show P.O.V in Paris in a re-thought format developed for the gallery exhibition space.
The production has been finalized in a conceptual collaboration of Clemens von Wedemeyer with the artist Eiko Grimberg. The project was commissioned by n.b.k. Berlin and funded by Medienboard Berlin-Brandenburg.
P.O.V.
21 October 2016 – 14 January 2017
Presented at Documenta 13, the film installation Muster by Clemens von Wedemeyer explored the complex connections between a unique place and three different temporalities (World War II, the 1970s, and the 1990s) as well as the relationships between collective and individual memory.
This research found new development with P.O.V. (point of view), presented in Berlin at N.B.K this summer, in which, for material, the artist uses films by Captain Freiherr Harald von Vietinghoff-Riesch, an amateur cameraman and German officer in the Wehrmacht, who filmed in Europe during the Second World War between 1938 and 1942 behind the frontline.
Using these historic war footage made from a subjective point of view, the artist orchestrates a confrontation with the present time, by, for example, making use of digital technological tools used for creating video games: the multiplicity of the points of view make critical, scientific, experimental and ludic approaches simultaneously intersect. Von Wedemeyer here investigates, who is behind the camera and which information can a subjective view provide.
At a time when witnesses of World War II are disappearing and the generational transmission of the memory of the conflict and the Shoah are becoming more abstract, the analytical, ethnographical and sensitive work of Clemens von Wedemeyer offers new perspectives. This is why it seems to us important to show P.O.V in Paris in a re-thought format developed for the gallery exhibition space.
The production has been finalized in a conceptual collaboration of Clemens von Wedemeyer with the artist Eiko Grimberg. The project was commissioned by n.b.k. Berlin and funded by Medienboard Berlin-Brandenburg.