Rudi Weissbeck

On nameless bodies

The series ‚On nameless bodies‘ explores the themes of objectivity and indexicality and its meaning in a post factual world through a collection of works.

Weltbild, Installation view, Zollamt Offenbach am Main,
lambda exposure, 100 x 160 cm, 2014

Ahab, installation view,
Ultrachrome K3 prints, 4 x 60 x 40 cm, 2016


For ‚Ahab‘ I created a script that uses an algorithm to detect and delete people in corporate photography, sampling the surrounding environment to do so.

Planets, Ultrachrome K3 prints, 8 x 100 x 70 cm, 2013
science-fictional long time exposures in photo studio

Tautology, cyanotype, double exposures, one pack of Lucky Strike, 19 x 5 x 3 cm, 2014

Firesale memories - a study

The transition from analog photography to digital led to the ability to directly control color, but also resulted in a homogenization of color. The most widely used color contrast became orange and teal, quickly becoming overused and losing its impact.

After noticing this trend, I became obsessed with it and started seeing it everywhere. Displeased with how this trope had overtaken every form of image production regardless of story, context, or artistic expression, I began collecting these images and rephotographing them.

Installation view, Kapelle, Isenburger Schloss,
Offenbach am Main (DE), 2010
16 Ultrachrome K3 prints in 9 x 13 cm

Times Seven, 26 pages, artist book, tracing the same
star formation from different points in the universe
installation view, Klingspor Museum, Offenbach am Main (DE), 2016

Excerpt from ‚The relativity of wrong‘ by Isaac Asimov,
which is presented next to the work

Post Scriptum, darkroom experiment, 4 x 15 x 15 cm, 2011

Revenant II (Flower Power Philippika), 3 dumbbell bars, beech board, porcellan incense stick holder ‚Lotus‘, seat cushion print, 130 x 100 x 100 cm, 2017
installation view gallery festival Kassel (DE), 2017

The ‚Revenant‘ series of sculptures pushes the concept of indexicality to its limits. At the heart of the series is the question: when does something stop being considered a work of art? These sculptures are created mainly from the remnants of artworks by former students who had left the university. They reference what has been lost, both success and failure in the art world, and the boundaries between indexicality and referentiality.

dinner situation with book shelf
and multiple copies of „The Patricians“

The photographic investigation ‚In its right place‘ was created in a model home park, a curated space and experience that follows certain rules and represents certain ideas of living that feel disconnected from the realities of being an artist.

I became fascinated with the stagecraft used to create the illusion of a lived-in home, with tables set but no food served, and photos hanging on the walls showing models in photoshoots. The shelves were lined with numerous copies of books, such as „The Patricians,“ „The U-Boot War,“ and „Immigration Declined,“ contributing to the curated and alienating atmosphere.

Nearly ten years after producing these images, they still leave a sour taste in my mouth, as the problems they expose – privilege and economic inequality – are still unsolved today. But it’s all „in its right place.“

squaresquaresquare, artist book, 26 pages, inkjet print, 21 x 14,8 cm, 2011
book showing the same window through seven years

Revenant I, studio rest sculpture, 4 x 5 m, 2015
installation view, Geleitstraße, Offenbach am Main (DE), 2015

Finestra indiscreta, leporello, 9 x 65 cm, 2011
series of pictures in which I observed my inner courtyard

Self-Image / Contest, installation view,
Zollamt, Offenbach am Main (DE), 60 x 60 cm, 2014

The photographic performance „Selbstbild / Contest“ explores the relationship between the self and the medium of photography. In this work, I sit in an analog black-and-white passport automaton and try to maintain a consistent facial expression. The performance continues until either the automaton runs out of chemicals and stops producing an image, or I can no longer maintain my facial expression and the performance is interrupted.

c scape, Leporello, 20 x 80 cm, 2016
digitally painted ocean and clouds

Nach oben scrollen