. born 1983 in dresden
. studied visual arts at weißensee academy of the arts berlin and
  film at the academy of fine arts vienna­­

contact@sebastianweise.de

exhibitions and screenings

39. kurzfilmfestival hamburg, 2023
monitoring: absolutely killing it – 39. kasseler dokumentarfilm- und videofest, kulturbahhof kassel, 2022
mixed match - großer wasserspeicher, berlin, 2022
weißensee! – marburger kunstverein, 2021
dear reader – kunstbibliothek, staatliche museen zu berlin, 2021
mart stam preis 2020 – gallerie parterre, berlin, 2021
ipso facto – kühlhaus, berlin, 2021
every bone and muscle – bar babette, berlin, 2019
emaf#32 – european media art festival, osnabrück, 2019
emaf#31 – european media art festival, osnabrück, 2018

grants / awards

2023 – elsa-neumann scholarship, berlin
2022 – scholarship stiftung kunstfonds, bonn
2020 – mart stam prize, berlin

Bodies, camera, and space are the elements of Sebastian Weise’s work. That is why two short, reduced video pieces, the two portrait-mode videos Happy End (2017) and Boy Next Door (2018), deserve special attention. Here, his artistic methods can be seen as though on an exoskeleton. He is interested in a performative form of video art – video performance, which has its own laws and can be clearly distinguished from the genre of performance art on the one hand, and of film on the other.
(...) read full text

   . born 1983 in dresden
. studied sculpture at weißensee academy of the arts berlin and film at the academy of fine arts vienna

contact@sebastianweise.de

selected exhibitions

mixed match – großer wasserspeicher, berlin
weißensee! – marburger kunstverein
dear reader – kunstbibliothek, staatliche museen zu berlin
mart stam preis 2020 – gallerie parterre, berlin
ipso facto – kühlhaus, berlin
every bone and muscle – bar babette, berlin
emaf#32 – european media art festival, osnabrück
emaf#31 – european media art festival, osnabrück

grants / awards

2022 – scholarship stiftung kunstfonds
2020 – mart stam prize

Bodies, camera, and space are the elements of Sebastian Weise’s work. That is why two short, reduced video pieces, the two portrait-mode videos Happy End (2017) and Boy Next Door (2018), deserve special attention. Here, his artistic methods can be seen as though on an exoskeleton. He is interested in a performative form of video art – video performance, which has its own laws and can be clearly distinguished from the genre of performance art on the one hand, and of film on the other.
(...) read full text