This is all fiction, so more or less true.
Montage happened.
So did sequencing.

  

New Reauty, 2019

New Reauty, 2019

This is all fiction, so more or less true.
Montage happened.
So did sequencing.

use color in pictures, keep background simple
Acryl drawings on fine art
prints with equestrian rosette​​
100 x 70 cm, 2019

exhibition views:
a love-addict suitcase of must-have excessories at Basis Elbestraße, Frankfurt 2019

use color in pictures, keep background simple
Acryl drawings on fine art
prints with equestrian rosette
100 x 70 cm, 2019

exhibition views:
a love-addict suitcase of must-have excessories
at Elbestraße, Frankfurt 2019

interrobang
Multiple books and Ultrachrome K3
prints, laminate and fairy lights,
variable sizes, 2017-2018

exhibition views:
High Ends at Nassauischer Kunstverein Wiesbaden, 2018

A fold-out assembled as an object, several small booklets, large sheets of paper, on plinths, shelving, panel-like on the wall –in different printed formats, Rudi Weissbeck’s work interrobang alludes to the implicit claim made by books and newspapers to explain and record the world. They all summarize individual “chapters” of the photographic body of work, without coming anywhere near finishing them. Rather, the compilations serve as an associative opening of the images, which for the most part were taken during a stay in Israel. They show traces of various worlds in everyday surroundings that are divided in many senses: drones, leisure centers, blue skies, impressive nature and images of this nature printed on awnings and billboards. In a sort of real montage of public space, the ambivalence of the places between advertised tourist attraction and political conflict zone is revealed.

As if to make visible these, to a greater or lesser extent, peacefully coexisting incompatibilities, the process of mounting runs through the work on several levels. Many of the photographs are formed by several images being placed next to and in one another, which results in minimal shifts and overlapping. Furthermore, Weissbeck adds short texts to the images, notions of everyday tales and encounters, references to possible contexts, some of which seem to come from a film script. Occasional misprints with superimposed image and text levels round out the constellation. Lined up in a row, each of the photos represents a section of the world it is trying to depict, but at the same time give it a further view and a possible perspective. There is no concluding overview.

Like a tourist, the artist approaches the foreign country as a guest and at the same time as an invader, who attempts to open up, but who never totally gets away from the role of visitor. Defined by media promises and reports, personal fears and longings, the tourist’s view is selective and one that blocks things out. It attempts to capture the characteristics of a place by overlooking certain things; looks at surfaces and details; recognizes contexts and senses atmospheres. And yet it inevitably has to surrender to surplus and its own settings.

interrobang refers between the pages to the paradox that the surfaces of the spacers surrounding us seem to become smoother and more slippery the more finely we set our perception’s filter. The closer we look, the further away the things become. The more impressions we collect, the more we become aware of how much escapes us. Beyond a possibility of possession and ultimate comprehension, the deepening of our relationship with our surroundings emerges as dynamic interplay between rapprochement and distancing.

· Ellen Wagner (author, curator Kuratorin Kunstverein Mañana Bold)

exhibition views:
Isenburger Schloss, 2017

exhibition views:
Comment ai-je pu me perdre? at Goethe Institut Paris, 2018

from
“The relativity of wrong”
by Isaac Asimov

hiybbprqagmbzrxpgjysindoswiftjobinproductionsandyxislanddelhipublicschool40chdjobtorsorophyjuegosdeben1ogrande
17 appropriated Karten, 12 digital paintings framed in brass, variable sizes, 2017

solo at Warte für Kunst, Kassel 2017

hiybbprqagmbzrxpgjysindoswiftjobinproduction
sandyxislanddelhipublicschool40chdjob
torsorophyjuegosdeben1ogrande
17 appropriated Karten, 12 digital paintings framed in brass, variable sizes, 2017

solo at Warte für Kunst, Kassel 2017

hiybbprqag
[h a  j b p r k æ g]  /noun

1. A word used by Google to show that Bing was copying their search results. Bing started showing the word after Google placed it into their database.

2. According to proficient lawyers in internet comments it means „You got served.“

3. The feeling that everything original has already been done, that the experiment of human culture long ago filled its petri dish and now just feeds on itself, endlessly crossbreeding old clichés into a radioactive ooze of sadness.

Praise famous men again (Eurostyle Evidence)
Ultrachrome K3 prints and intervention,
19 x 10,5 cm x 15 cm & 4 x 20 cm x 30 cm, 2016

exhibition views:
Potent Group Show Titles at Kaiserstraße, Offenbach 2016

Praise famous men again
(Eurostyle Evidence)
Ultrachrome K3 prints and intervention,
19 x 10,5 cm x 15 cm & 4 x 20 cm x 30 cm, 2016

exhibition views:
Potent Group Show Titles at Kaiserstraße, Offenbach 2016

Eine Anabasis is a journey into the unknown
followed by a return home
in a changed state.
Ultrachrome K3 Drucke,
site-specific intervention, séance
2 x 20 cm x 30 cm, 2016

This is all true, so more or less fiction.
Sequencing happened.
So did montage.

Gesellenstück
Lambda exposure on Hahnemühle Photorag Ultrasmooth 300g,
installation, performance, digitale painting
variable sizes, 2015

Deutsche Börse Art Collection & HfG Photography advancement award

For his “Gesellenstück”(Journeyman’s Piece) Rudi Weissbeck refers to  Martin Kippenbergers exhibition “Peter – Die russische Stellung.“ This show at Max Hetzler gallery in Cologne showed for the first time Kippenbergers  sculptural work. In it Kippenberger attempted to explain every aspect of the art of sculpture.

Weissbeck applies Kippenbergers approach, the discussion and processing of problems and prerequisites of a respective medium, on his own work and interests. The work encompasses the documentation of the so called perfect drape of an old carpet, the performance that created it, the use of a post card of post cards in a post card stander as well as multiple pictures that explore the painterly possibilities of contemporary digital photo editing.

Discussing the frailty and the possibility of failing one’s own expectations the work oscillates between playful humour and associative poetics, finding its way succesfully into artistic autonomy. This is exemplified in the brim of a hat that is continued in a digitally extended, flamingo coloured neon bow under a cloud covered ceiling.


· Andreas Schlaegel (Kurator & Kritiker für Flash Art International, Frieze d/e, Billedkunst u.a.)

exhibition views:
Reality Check at Isenburger Schloss, Offenbach 2015

Deutsche Börse together with the Offenbach University of Art (HfG) presented the ‘Deutsche Börse und HfG Fotoförderpreis’ (Deutsche Börse and University of Art Photo Advancement Award 2015) on 10 July. This year’s winners are Malte Sänger and Rudi Weissbeck. The award has been presented since 2010 to students at the University of Art and Design who focus on the medium of photography.

This year’s jury comprised photographer Barbara Klemm, President of the University of Art Professor Bernd Kracke, and curator of the Art Collection Deutsche Börse Anne-Marie Beckmann. The presentation was made as part of the annual show at the Offenbach HfG. […]

Rudi Weissbeck’s ‘Journeyman’s Piece’ (Gesellenstück) is a successful associative examination of depiction and creation of reality. Weissbeck reveals the wide variety of technical and visual possibilities of the photography medium in his precisely composed arrangement of different motives in the room.

· from the jury statement

exhibition view:

Biography of Things at Art Collection Deutsche Börse, Eschborn 2018

photo: Albrecht Haag

Documentation of the performance Dissidence by Alexandra König

What you see… the sun, a gleaming fireball, dazzling the eye of the camera with its light. The black frame surrounding a cloudy section of sky reveals the photograph to be an analogue slide. The frayed edges and corners serve as evidence of the manual production technique to create it. Inside the frame, the sky borders the pictorial object, contextualizing it in its natural environment. Light reflexes and shadowing refer to a past materiality and spatiality and authenticate the situation depicted. A black dot on the camera sensor, an almost unnoticeable element in the composition, testifies to the presence of a photographic apparatus. The photograph captures the perfect moment of reality in a scenic way.

… is not what you get. The camera flash is reflected as a gleaming ball of fire as technology records itself. The painterly structure of digital white noise surrounds an image unsuccessfully attempting to disguise itself as an analogue recording. The geometric precision of the frame provides the clue to its being digitally constructed. Within the composition, digitality also continues to challenge the credibility of past analogy, calling the depicting function of photography into question. Light reflexes and shadows become liberated, turn into a gesture of artistic composition and function as evidence of virtual spatiality. A single, arbitrarily placed dot then appears as a starting point for individual freedom. The photograph creates the perfect moment through painterly means.

The work, in which Rudi Weissbeck engages with the character of our current reality and highlights the possibility of its being constructed by merging subject matter and production method, is titled Gesellenstück (Journeyman’s Piece). It does not simply depict the three-dimensional nature of our physical environment, but extends the latter by the dimension of the digital, so to speak. Both find their equivalence in the photographic work and achieve authenticity. This turns them into hybrid visual objects or images of things as they contribute to the expansion of our reality – our world of things.

· Hendrike Nagel (curator)

Advertisment for a skin cream, India 2012

Diplom at Hochschule für Gestaltung Offenbach Photography with Prof. Martin Liebscher, painting with Prof. Gunther Reski as well philosophy and aesthetics with Prof. Dr. Juliane Rebentisch

2015
Photography advancement award by Deutsche Börse Photography Foundation and HfG

2015-2016
Bezalel Academy of Arts, Tel Aviv (MFA)

2016
Program to heighten the foreign mobility of german students (PROMOS) by Deutscher Akademischer Austauschdienst (DAAD)

2017
Fellow of the Frankfurter Künstlerhilfe e.V.

2018
Studio grant of the Art and Culture Foundation Opelvillen Rüsselsheim
Shortlist of the Winsor & Newton painting residency at Künstlerhaus Bethanien

instagram: @rudiweissbeck
Kontakt: mail@rudiweissbeck.de

shock and awe
performance, 2003

© Rudi Weissbeck – All rights reserved.