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Manufaktur für Ungreifbares is a Berlin based multidisciplinary art and design practice founded by Felix von der Weppen. It exists as an open platform consisting of a project-related varying team of individuals with professions in the fields of design, architecture, art, curation, writing, philosophy and economics. The studio’s outcome ranges from self-initiated, research related projects such as publications, social campaigns or urban interventions to client-specific works such as websites, motion design, identity and print products.

 

 

Exhibitions,
Workshops, Festivals

2006, 08 — Group Exhibition „Essen für‘s Auge“ Max-Planck-Institut, Munich, Germany
2007, 12 — Group Exhibition „Player One vs. Player Two“ Färberei, Munich, Germany
2011, 10 — SIMULTAN FESTIVAL #7 – „Imaginary“ Timisoara, Romania
2011, 11 — PNEM Sound Art Festival, Netherlands
2011, 11 — Fucking Good Art, LindeNow Festival. Leipzig, Germany
2011, 11 — Beautiful Art – Public Talk with Bildetage, Kuhturm, Leipzig, Germany
2012, 02 — Switch 2012, Video-Art Festival, Nenagh, Ireland
2012, 03 — Traverse Video Festival, Toulouse, France
2012, 05 — Festival für Klang und Bewegte Visuelle Kunst, Hannover, Germany
2012, 09 — Façade Video Festival 2012, Plovdiv, Bulgaria
2013, 05 — Ornament & Concealment, Berlin, Germany
2014, 12 — kontinuum, Patrick Parrish Gallery, New York, US
2015, 03 — SPRING/BREAK Art Show 2015, New York, US

Print Publications

2010 — Featured in Esquire Magazine, Korea
2010 — Review in Giant Robot Magazine, USA
2010 — Gallery Mag – 5 Pieces of work published
2010 — Carne Magazine – 2 Pieces of work published
2011 — Index Book, Typo Shirt One, Spain
2011 — Wow! – Leading-edge Designers, China
2013 — ARCH+ 213, Out of Balance, Germany

Blogs, etc.

graphic-exchange.com, thedieline.com, thecoolhunter.com, designyoutrust.com,
daily-design-news.com, greenmuze.com, siteinspired.com, thedailymeal.org,
graficacolectiva.org, posterous.com, xpaider.com, thestrangeattractor.com,
thisisduty.com, typojungle.net, lettercult.com, trendhunter.com, baubauhaus.com,
theworldsbestever.com, thisisnthappiness.com, thestrangeattractor.com,
thinkingforaliving.org, theworldsbestever.com, minimalexhibit.com,
pixelperfectportfolios.com, joshspear.com, theimport.co.uk, inpursuitofsilence.com,
motionserved.com, thisisduty.com, …

 


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    Installation:
    3 wood boxes with 27” Monitors
    35” x 45” x 10” + feet

    Video Edition 8/10
    2 Artist Proof with Boxes

    Video:
    3.53 min loop

    Book:
    192 pages + 6 inserts/ 8.25”x 6”
    Includes sleeve with blind emboss
    Sewn bound & offset printed
    Edition of 500/ Numbered $48

    The book can be ordered here

     

    kontinuum is a 3 channel video installation and book project by Lucie Kim and Felix von der Weppen.

     

    Project Statement:

    kontinuum is the idea of an unavoidable continuous repetition of three psychological states: Anticipation, Manifestation and Reflection. A project that explores our relationship to impermanence and transitoriness.

    In order to lay out this arc, we invited a dancer to give a performance confined only by a set of conditions: walls, paper and a circle of graphite powder on the floor. During the performance the dancer touches the graphite and leaves marks on the ground. Each step is improvised and builds the ground she walks on. She continuously leaves new traces and overrides previous ones as the graphite leaves marks on her. The book, encases the dancer’s traces chronologically. The video splits the three stages into three screens: While the center screen shows her movement through all the stages, the screen on the left anticipates the upcoming performance and the one on the right reflects on the performance itself.

    The Arc

    During the stage of Anticipation, we (as humans) experience the most obvious form of desire: Something that grabs our attention and draws us in. Something that both, guides us and drags us towards a point in the future. Lacan’s ideas seemed very fitting for the overall concept: He suggested that we are born with an irreducible lack that can never be filled. While we can never fulfill this longing, we might reach objects that stand for it only symbolically: the person or thing that we assume will complete us.

    Manifestation is the stage of fulfilling this desire. During this stage we are able to fully focus on the present – making it happen (whatever it might be) – actions and thoughts seem to align perfectly. In its most intense form, this stage can portray what is often called an “Event” in continental philosophy – a transgression of the already known. Alain Badiou describes “an Event [as] a rapture in personal or collective history” 1. He states the Subject itself is something a group or individual only gets to touch, but can never hold on to. Like a cloud of intensity one goes through, fully identifies with and loses again. For him there are only amorous, artistic, political and scientific Subjects, or rather „a relation between an Event and the world“ 2. After an Event has occurred, there is no way back into the naive state that existed before the rapture. Any such attempt inevitably leads to nostalgia or an active denial of the past. This theory is a good explanation for why we think, we come close to the feeling of being complete. Badiou suggests it is not us as individuals, but rather we feel complete because we become entirely absorbed with what we do: To the extent of becoming indistinguishable from our actions for a moment. This stage is an absolute gain as well as absolute loss because of the emptiness it leaves us with.

    When either the strong feeling of presence, the Event, the Subject one identified with, or rather the object of desire is gone, a void sets in until a new desire has been formed.
    Depending on the intensity of this state, one has not only lost the object of desire, but also the feeling one identified with that lead one there. Bataille gave the first of the two the term “la petite mort” (the little death), subsequently the latter would be the big death – one has to reinvent oneself entirely after such an Event.

    The stage of Reflection is the handling of the loss described above. The focus here lies on the past. Remaining traces and artifacts become highly seductive because they seemingly hold the potential to solidify the impermanent. But this remains a symbolic effort. The repetition of the act is another strategy to deal with the loss and might bring some relief, but both, repeating an Event or simply holding onto the stage of Manifestation, seem to be impossible by nature. As Heraclitus said “You can never step into the same river twice”.

    Embracing the Arc

    We were aware that capturing this performance on film and paper, would remain purely symbolic. We willfully followed this desire to do both, embrace and reveal the arc simultaneously.

    We emphasized the overall spatial-temporal and symbolic instability, especially in the installation – the last part of our work and our final stage of reflection – by trying to point at the sort of invisible vessel the kontinuum moves in. This vessel can only be described in negative terms: The inability to do anything beyond the contingency and the inability to point at it from an outside perspective. The work is in all it’s elements both, a symbol for the arc, as well the material remain or trace of a multitude of such arcs.

    So are we doomed to Nietzsche’s eternal return, an endless repetition of the same, or a possibility for progress, as Hegel and his materialist successors suggested? A buddhist would say no to the latter and reject desire entirely. Lacan in turn stated, there is some kind of emancipatory potential in the moment when the emptiness lies bare open to the individual. This might not change the condition of feeling trapped but certainly changes the way one relates to the condition. By pointing to the beauty of the movement of the arc as well as it’s contingency we aim to underline the following question: If there is no way out, what is the right way in? If we are aware of the kontinuum and have lost or maybe transgressed permanence as an object of desire, what would the subsequent arc look like?

     

    1, 2)  Badiou, Alain. „The Subject of Art“ in The Symptom – http://www.lacan.com/symptom6_articles/badiou.html

    2014
    Kanzlei Hartmann

    Self-Initiated
    Felix v. d. Weppen
    Oliver Lippert

    BigRead is a javascript plugin that helps structuring and reading long texts or entire One-Pagers such as this website. It is easy to set up and has been implemented in several websites. As soon as it leaves Beta version, it will be available for download for personal and non-profit projects for free and in exchange for a little fee also for commercial use.

    Architecture is often used and invoked as the central hallmark of modernization. Cities around the world are rapidly redefining themselves through their architecture in a bid to capture some part of that elusive essence that is “the modern city”. Simultaneously, the attempt to define a local identity in the midst of an international architectural identity leads to a strange emphasis on conservation. Despite this, the materials and tools used to construct and preserve them mainly stay the same. Physically and symbolically they make up one of the most constant elements to our time. Ironically it is structures, ones that were, in and of themselves, intended as a transitional state, who act as relics of a perpetual present within the constantly shifting modern urban environment.

    In the midst of modernization, taking the risk of letting go appears to be an almost radical act. Ornament and Concealment aimed to lead the viewer into the very nature of this contradiction, creating an atmosphere of shelter and defenselessness. Instead of a backup preventing a possible future blackout, the installation directed the gaze to a black box of an accident which never happened, but continuously happens.

    The complete project text can be read here:
    ornament-and-concealment.net

    2014
    Ecolution Engineers

    Self-Initiated

    As we are getting closer to the realization of authentic virtual reality, simulations which merely stimulate the brain, the development of authentic physical simulations is emerging. Programmable matter, swarms of tiny robots, will very likely be able to take on any color and shape, enabling environments of constant transition. If successful both developments will have fundamental effects on our behaviour and relation to the world as well as to each other.

    Monades 2.0 began with the rather tiny question of how small and simple structured devices, mere spheres with a set of programmable magnets, could move around in space. Attempts to solve this problem led to a behaviour which strongly reminds of organic organisms, leaving us with the enigmatic mixed feelings of unease and wonder, similar to what is known as the uncanny valley effect.

    In order to further examine this, our hope is not to rest within this virtual representation.

    FROST Festival, Competition

    Winter as catalyst for the recoding of the public domain—Winter, especially snow, carries the potential to clear public spaces from an overload of information and societal codes. which often, by their distinctiveness, limit citizens in their behavior and reduce them to sheer consumers of goods, events and images. In addition, low temperatures put people of all classes and income on an approximately equal level. Everyone shares the experience of freezing, longing for a warm place and sunlight. This project aims to unlock winter’s potential for the reappropriation of the public space and to generate pro-urban, productive friction through encounter.

    Warming up and sharing a cup of tea with strangers—The houses are moved to public spaces throughout the city, inviting everyone to pause, share tea and thoughts with strangers. The project travels like a nomadic camp to and through various cities.

    Material and Design—Thermal blankets are normally used for providing first aid in open space and by homeless people to keep warm outside, meanwhile the same material is used for the furthest outreach of human activity: space programmes and satellites. The design aims to amplify this contradictory notion in two ways. On the one hand by using supporting structures made of square timber for simple cabins. These are combined with thermal foil as an effective, low-cost and high-tech solution for isolation. And on the other hand treating the overly complex urban condition by responding to our most basic needs: warmth and shelter through the pre-civilisatory invention of a centered hearth.

     

    ARCH+ / Le Monde Diplomatique Competition: Out of Balance

    Remap(p) is an interactive investigation into the effects that foreign land acquisition has on the rural populations of the countries in which it is most prevalent or most heavily practiced. Our primary focus with the Remap(p) project is to raise awareness and to assist in mapping the effects of Foreign Land acquisition on the livelihood of the population living in host nations. We want to compare the conditions of the involved investor and host countries and governments. This data will be crowd sourced from various resources including Land Matrix and Grain, with the hopes of showing the interactions between the variables of each unique situation, (population density, renewable freshwater amount, need for development, and so forth), while simultaneously giving an overview of the agricultural population which is being studied.

    The website is in its apha stage. We aim to publish a beta version by the end of this year.

    Visit:
    remapp.de

    Featured in:
    ARCH+ 213: Out of Balance – Kritik der Gegenwart

    Arch+

    BEC-Engineering GmbH

    BEC-Engineering GmbH asked for a massive relaunch of its website. Together we developed an extensible structure, similar to a periodic table, for the companies vast service portfolio. Based on this structure we then developed a largely animated and interactive information platform with an educational character, giving in-depth explanations on troubleshooting and quality maintenance strategies for PV modules and PV power plants and energy optimization techniques.

    Update: The website is currently offline.

    BEC-Engineering GmbH

    BEC is a consulting and engineering company in the field of Photovoltaics with a focus on troubleshooting PV-modules and PV power plants. This card was created to inform about hidden flaws inside of photovoltaic modules. These flaws are invisible to the human eye and need electroluminescence imaging technique to be detected. That idea was transformed to a printed piece. It took some weeks to find a printer who was willing to print on ‘spy mirror film’. When holding the the foil against a source of light, the card reveals a compilation of electroluminescence images of broken PV cells, shining through from behind, which get used to explain and indicate various types of damages.

    Self-Initiated

    comes with long cable
    and light bulb

    48,- € (incl. tax)

    click here to order

     

    Boost the unnecessary,
    unveil the meaningful.

    Self-Intiated
    Felix v. d. Weppen
    Happiness in Aeroplanes
    • by
    • Cinematography, Editing, Color-Correction
    • Happiness in Aeroplanes /
      Music

    Compilation of footage shot on a road trip around the West Coast in June 2010.

    247 Group Project, MyORB, NY

    “Originally created for the 247-group project ‘Telephone’, the Chocolate Slavery series highlights the reality of child slavery in Cote d’Ivoire (Ivory Coast) where an estimated 50% of the world’s chocolate is grown.”[1]

    “Cote d’Ivoire is the leading exporter of cocoa beans to the world market. Yet the horrendous conditions under which enslaved children toil on the cocoa farms of the Cote d’Ivoire is juxtaposed with the idea that the cocoa will ultimately end up producing something that most people associate with happiness and pleasure – chocolate.”[2]

    Like flower trading and mining for gold and diamonds, chocolate slavery illustrates the contradictory nature of consumerist society. All the examples above are used to express love and pleasure while there is greed and harm at their very root.

    1, 2) Article about the project, published at greenmuzue.com

    This was the second time Hintmag asked MyORB to produce an animated lookbook. We created a make-believe darkroom and took the images back to the pre-digital era and it’s alchemistic approach to image-making.

    Click here to view

    MyORB / Black Umbrella

    MyORB / Stephanie Schumann

    The 341 is a gallery and art advisory which is inspired by Alfred Stieglitz’s 291. We wanted to make sure the identity had a contemporary feel and designed a grid system, following the proportions of 3 to 4 to 1 for all elements of the gallery’s communication.

    When the Fashion Editor for Hintmag came back from his latest photo-shoot in Paris, MyORB received five images and a challenge to create a flash animation that reflected a subtle  touch of madness and paranoia. Felix transformed the existing images and added illustrations and color. The animation was created in Flash and After Effects.

    Click here to view

    2008

    Digital Haze

    Digital Haze came to us in 2008 and asked us to create a logo which they could project on stage. The aim was to create a very simple version as a base for a generative logo. It was first drawn by hand and later translated into a densely filled field of 2-dimensional particles which can be distorted life and played around with in a 3-dimensional space, creating a variety of fog like yet unfamiliar technical shapes.

    • by
    • Concept, Design, Illustration, Typography, Animation, Web-Development


If you happen to want to work or collaborate with us
or if you have any other inquiry, please contact:

info@m-f-u.org
+49.176.249.359.65

Manufaktur für Ungreifbares
c/o Felix von der Weppen
Cuvrystr. 32
D-10997 Berlin


Angaben gemäß § 5 TMG,
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:

Manufaktur für Ungreifbares
Felix von der Weppen
Cuvrystraße 32
D—10997 Berlin

mail info@m-f-u.org
fon +49.176.249.359.65
Design &
Development
M-F-U
AGB Allgemeine Geschäftsbedingungen

All work depicted is copyright © MFU / Felix von der Weppen, 2009 – 2014