︎

                 Exhibitions & Projects                                                       Works                                                                                                                                                             About                                                   Publishing                                                    

Ian Waelder


SELECTION OF WORKS
(from 2014 until 2025)
Last update took place on September 3rd 2025, at 00:15h



Self-Portrait As My Father's Nose, 2025. Façade installation of eight papier-mâché casts taken from a clay sculpture by Juan Waelder, the artist’s father. Coated with a mixture of fat, seeds, and agar-agar, intended to be eaten by birds and insects. 34 x 17,5 x 12,5 cm per piece (8 in total). Self-Portrait As My Father's Nose, 2025. Façade installation of eight papier-mâché casts taken from a clay sculpture by Juan Waelder, the artist’s father. Coated with a mixture of fat, seeds, and agar-agar, intended to be eaten by birds and insects. 34 x 17,5 x 12,5 cm per piece (8 in total). Self-Portrait As My Father's Nose, 2025. Close-up. Background Vehicle (Running Scene), 2025. Plotter print on canvas with marker, paint, covered with a layer of raw linen with marker, glue, detergent, oil, wall filler. Suspended 45 cm from the wall with metallic poles. Triptych, 245 x 163 x 3,5 cm each. Kestner Gesellschaft, 2025 Background Vehicle (Running Scene), 2025. Install view at Kestner Gesellschaft, 2025. Background Vehicle (Running Scene), 2025. Install view at Kestner Gesellschaft, 2025. Background Vehicle (Running Scene), 2025. Install view at Kestner Gesellschaft, 2025. All Of My Shoes (Tempo), 2025. Old brass door handle with traces of air-dry porcelain; cardboard shoe insert with beeswax, raw cardboard shoe insert, piezo microphones, water dripping system. All Of My Shoes (Tempo), 2025. Close-up. All Of My Shoes (Tempo), 2025. Close-up. Variations of a Shoe (Clock), 2025. Reused glass vitrines, dust, fixative, plastic foil, tape, children-sized handmade wooden shoe last, air-dry porcelain, eyeglass lens from the artist's mother. 120 x 40 x 45 cm Mercy (Leak), 2025. Black tea leaves, butter, croissant, and oats on newspaper (Die Zeit, January 30, 2025), Artglass AR 99 Water White, acid free board, tape on Dibond, stainless steel. 30 x 24 cm Part of the installation views of "thereafter," solo exhibition at Kestner Gesellschaft, Hannover, 2025 Calendar (Die Jugend), 2025. Close-up. Part of the installation views of "thereafter," solo exhibition at Kestner Gesellschaft, Hannover, 2025 Installation view of the solo exhibition "cadence" at carlier | gebauer, Berlin, 2025 Background Vehicle (Mouth), 2024–2025. Plotter print on tarp canvas with collaged tissue paper and paint, covered by raw linen with stains of WD-40 oil, air-dry porcelain, marker and diluted ink. 245 x 195 cm Installation view of the solo exhibition "cadence" at carlier | gebauer, Berlin, 2025 Installation view of the solo exhibition "cadence" at carlier | gebauer, Berlin, 2025 Novelette, 2025. Cardboard boxes with acrylic paint, tissue paper, air-dry porcelain, foam board sculpture, pen on paper, magazine cut-out, cardboard shoe insert, metal clips, sheet of glass. 31 x 147 x 31 cm Sneaker, 2025. Wooden shoe last, air-dry porcelain, wooden structure. 9,5 x 17 x 7,5 cm / 155 x 22 x 7,5 cm (plinth) Cadence (Elastic Piano), 2025. Wooden object from 1999, traces of stains, crumbled inkjet print on paper, foldback metallic clips and sheet of glass. 20 x 39,6 x 9,8 cm Cadence, 2025. Cardboard floor and suspended cardboard ceiling, hanging LED tube light, irrigation system, piezo microphone, stereo track (3h 24 min) in loop. Site-specific dimensions. To Wait, 2025. Plywood, paint, woodfiller, air-dry porcelain, hanger, tissue paper, linen shirt, dry-cleaning plastic bag. 148 x 220 x 27 cm To Wait, 2025. Close-up. The Pianist (Something Remains), 2022–2023. MDF wood previously used as a table to sculpt clay, traces of clay, patinated mirrors, inkjet prints on acetate film, tape, air-dry porcelain. 235 x 28 x 26 cm. Seen as part of the group exhibition "Maresfield Gardens" at Petrine, Paris Flag, 2025. Pine nuts, raisins and garlic peel on newspaper (Die Zeit, December 19, 2024), Artglass AR 99 Water White, acid-free board, tape on Dibond. 30 x 24 cm You Who Are The Stranger (Hotel Antofagasta – Album #01), 2024. MDF wood, peephole lens, peephole metal cover, cardboard, switched-on LED tube, stains, inkjet print on paper glued to the wall at peephole’s height. Fabrication with Lucas Atteveld. Sculpture: 244 x 124 x 55 cm. Print: 9 x 7 cm You Who Are The Stranger (Hotel Antofagasta – Album #01), 2024 You Who Are The Stranger (Hotel Antofagasta – Album #01), 2024 Installation view of the solo exhibition "Here Not Today" at Super Super Markt, Berlin, 2024 A talk of hands, 2024. Raisins, olive oil, oats on newspaper (Die Zeit, February 8, 2024), museum glass, transparent tape, wood. 30 x 24 cm Installation view of the solo exhibition "Here Not Today" at Super Super Markt, Berlin, 2024 Sax und Zigarre (The table of M. Reinhardt), 2024. Spaghetti, potato chips on newspaper (Frankfurter Allgemeine Zeitung, September 8, 2023), museum glass, transparent tape, wood. 30 x 24 cm Solo booth at LISTE Basel 2024 with diez gallery, Amsterdam. Supported by the Friends of Liste grant. Solo booth at LISTE Basel 2024 with diez gallery, Amsterdam. Supported by the Friends of Liste grant. Solo booth at LISTE Basel 2024 with diez gallery, Amsterdam. Supported by the Friends of Liste grant. Solo booth at LISTE Basel 2024 with diez gallery, Amsterdam. Supported by the Friends of Liste grant. Nap Politik, 2024. Potato chips, croissant, butter on newspaper (Die Zeit, February 8, 2024), museum glass, transparent tape, wood. 30 x 24 cm Hand and tire (Thimig/Reinhardt), 2024. Silkscreen on cotton canvas covered with a layer of raw linen with scissor marks, water stains, ink, detergent, glue, tissue paper, newspaper cut. 160 x 130 cm Here Not Today (1 week), 2024. Used kitchen, sheet of glass, metal structures. Here Not Today (1 week), 2024. Used kitchen, sheet of glass, metal structures. Installation view of the nocturnal solo exhibition "Bystander (Moth Joke)", Neuer Kunstverein Gießen, 2024 Installation view of the nocturnal solo exhibition "Bystander (Moth Joke)", Neuer Kunstverein Gießen, 2024 Bystanders, 2024. In-situ installation consisting of metallic poles attached to the ceiling, exterior spherical lamps with warm white led lightbulbs 806 lumens activated by a motion detector, prints on acetate and tape. Bystanders, 2024 Bystanders, 2024 You Who Are The Stranger (Moth Joke), 2023. Installation view at Neuer Kunstverein Gießen, 2024. The Pianist (Nase und Täter), 2023 Sprain (38), 2023. Antique wooden last and air-dry porcelain. 24 x 11,5 x 8 cm. Installed as part of the solo exhibition "even in a language that is not your own" (2023) at Es Baluard Contemporary Art Museum, Palma. Sprain (38), 2023. Antique wooden last and air-dry porcelain. 24 x 11,5 x 8 cm The Pianist (Something Remains), 2022–2023. MDF wood previously used as a table to sculpt clay, traces of clay, patinated mirrors, inkjet prints on acetate film, tape, air-dry porcelain. 235 x 28 x 26 cm. Installed as part of the solo exhibition "even in a language that is not your own" (2023) at Es Baluard Contemporary Art Museum, Palma. The Pianist (Something Remains), 2022–2023. MDF wood previously used as a table to sculpt clay, traces of clay, patinated mirrors, inkjet prints on acetate film, tape, air-dry porcelain. 235 x 28 x 26 cm The Pianist (Something Remains), 2022–2023. Close-up. You Who Are The Stranger (Moth Joke), 2023. Door peephole on wall, muted video played on screen. 9 mins. Installed as part of the solo exhibition "even in a language that is not your own" (2023) at Es Baluard Contemporary Art Museum, Palma. You Who Are The Stranger (Moth Joke), 2023. Door peephole on wall, muted video played on screen. 9 mins. You Who Are The Stranger (Moth Joke), 2023. Close-up. You Who Are The Stranger (Moth Joke), 2023. Film still. You Who Are The Stranger (Moth Joke), 2023. Installation view at Delfina Foundation, London, as part of "Tearoom Relay–Pit Stop". A Nose Is A Nose Is A Nose, 2023. Air dry clay, metal structure. 4 x 7 x 3,5 cm. As seen at the exhibition GROTTO – Städelschule Graduates 2023. A Nose Is A Nose Is A Nose, 2023. Air dry clay, metal structure. 4 x 7 x 3,5 cm. As seen at the exhibition GROTTO – Städelschule Graduates 2023. From Time To Time, 2022–2023. As seen at the exhibition GROTTO – Städelschule Graduates 2023. From Time To Time, 2022–2023. As seen at the exhibition GROTTO – Städelschule Graduates 2023. From Time To Time, 2022–2023. As seen at the exhibition GROTTO – Städelschule Graduates 2023. The Pianist (Assembly Line), 2023. Silkscreen on cotton canvas covered with a layer of raw linen with water stains, ink, glue, glass cleaner, rests of air-dry clay, tissue paper. 261 x 126 x 4 cm The Pianist (Assembly Line), 2023. Installed at the solo show "mezzo staccato (romantic gestures) at Galerie Rolando Anselmi, Rome, 2023. Installation views of the solo exhibition "mezzo staccato (romantic gestures)" at Galerie Rolando Anselmi, Rome, 2023 Upright (The Pianist Diminuendo), 2023. Wood, glue, air-dry clay, metal structures, screws. 126, 5 x 17 x 21,5 cm Upright (The Pianist Diminuendo), 2023. Wood, glue, air-dry clay, metal structures, screws. 126, 5 x 17 x 21,5 cm Upright (The Pianist Diminuendo), 2023. Close-up. Stain & Repair (Handle with care, 2023. Inkjet print on cotton canvas covered with a layer of raw linen with water stains, ink, glue, tissue paper, glass cleaner, pencil, tippex and felt-tip pen. 390 x 163 cm. Stain & Repair (Handle with care, 2023. Inkjet print on cotton canvas covered with a layer of raw linen with water stains, ink, glue, tissue paper, glass cleaner, pencil, tippex and felt-tip pen. 390 x 163 cm. Romantic Gestures (assembly line), 2022. Inkjet prints on acetate film, found metallic object. 53 x 10 x 5 cm Romantic Gestures (assembly line), 2022 A Nose Is A Nose Is A Nose (Injured Bird, The Streets Are Still The Same), 2023. Used sneaker, papier-mache, tissue paper, cardboard box and sheet of anti-reflective glass. 31,5 x 23,5 x 15 cm A Nose Is A Nose Is A Nose (Injured Bird, The Streets Are Still The Same), 2023. Used sneaker, papier-mache, tissue paper, cardboard box and sheet of anti-reflective glass. 31,5 x 23,5 x 15 cm From hip to fingertip (Opel upside down), 2022. Remainder of the acrylic resin mould of the Opel Olympia sculpture made in collaboration between the artist and his father, putty on wall, iron rods and remains of the wall on the floor. 33,5 x 35,5 x 30 cm. From hip to fingertip (Opel upside down), 2022. Close-up. From time to time, 2022-2023. Two switched on original Opel Olympia headlights (1935 model), wiring system and turnbuckles. Variable dimensions. From time to time, 2022. As seen at the solo show "Is it like today?" (2022) at ethall gallery, Barcelona From time to time, 2022. Detail. From time to time, 2022-2023 A nose is a nose is a nose, 2022. Silk-clay ©, acrylic paint and putty on wall. 4 x 7 x 3,5 cm. To handle with care (Bare hands #01), 2022. Cutout of Inkjet print on acetate glued to the wall behind the entrance of the exhibition space. Series composed by a number of cutouts of hands that are originally holding different parts of the Opel Olympia in the instruction manual of 1935. 24 x 14,5 cm. You who are the stranger (Torso), 2022. Marks of use on wood, museum glass, acrylic resin cast of Opel Olympia sculpture made in collaboration with my father Juan Waelder, plaster strips, inkjet print on Epson photo paper glued on wood, found metallic drawers. 178 x 60 x 40 cm. You who are the stranger (Torso), 2022. Close-up. You who are the stranger (Torso), 2022. You who are the stranger (Torso), 2022. You who are the stranger (Torso), 2022. Close-up. 1993 – (Test), 2022. Close-up. 1993 – (Test), 2022. Close-up. 1993 – (#01), 2022. Ed. 1/1. Gelatin silver print framed in aluminum with green colored back mat and museum glass. 41.5 x 31.5 cm. "From a series of portraits of a Monstera that was gifted to my parents the day I was born, still alive and growing today at their house." 1993 – (#04), 2022. Ed. 1/1. Gelatin silver print framed in aluminum with green colored back mat and museum glass. 41.5 x 31.5 cm. "From a series of portraits of a Monstera that was gifted to my parents the day I was born, still alive and growing today at their house." Here not today (Melting Thoughts), 2022. Leftovers of breakfast (strawberry jam, butter, raisins) on Frankfurter Allgemeine newspaper cut from February 9th, 2022. Pressed with sheet of museum glass on wood. Framed with transparent tape. 24 x 30 cm. Background Vehicle #03 (Les Quatre Cents Coups), 2022. Laser print taped to the wall next to leftover nail from a previous install. 13,9 x 5,8 cm. Ed. 1 + I AP Family Nose (Bare Hands) nº1, 2, 3. 2021. Installation view as part of the group exhibition "Touch Release", at Nassauischer Kunstverein Wiesbaden. Family Nose (Bare Hands) nº1. 2021. Steel sheet, wood, glue, laser prints, tape, papier-mâché. 25 × 50 cm. Family Nose (Bare Hands) nº2. 2021. Steel sheet, wood, glue, laser prints, tape, papier-mâché. 25 × 50 cm. Family Nose (Bare Hands) nº2. 2021. Steel sheet, wood, glue, laser prints, tape, papier-mâché. 25 × 50 cm. You who are the stranger, 2021. Opel Olympia headlight (1935-1947 approx), cabling, stereo track, loudspeakers. Dimensions variable. As part of the group exhibition "Touch Release" at Nassauischer Kunstverein Wiesbaden. You who are the stranger, 2021. Close-up. Here not today (Cigar Smoke), 2022. Leftovers of breakfast (strawberry jam, butter, cereals) on Frankfurter Allgemeine newspaper cut from February 2nd, 2022. Pressed with sheet of museum glass on wood. Framed with transparent tape. 24 x 30 cm. Made With The Highest Attention To The Wrong Detail, 2018. Papier mache on vitrine. 131 x 31 x 31 cm. Part of the installation views of “¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?). Solo exhibition at L21 Gallery, Mallorca. 2021. Part of the installation views of “¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?). Solo exhibition at L21 Gallery, Mallorca. 2021. Wet (third one in the box), 2019. Papier mache . 28 x 11 x 10 cm. Doesn’t mean it’s there, 2020. Oil stick on raw linen superimposed with inkjet print on canvas. Artist’s frame. 196 x 163 cm. (FRIEDRICH), 2021. Two sided vinyl record, gatefold cover, insert publication. First edition of 100 copies. Released and distributed by Heutigen Records. In pictures, displayed at Fabra i Coats, Barcelona, 2021. As part of the group exhibition Guanyar-se el pa, by the finalists of the Sant Andreu Contemporani prize. (FRIEDRICH), 2021. Two sided vinyl record, gatefold cover, insert publication. First edition of 100 copies. Released and distributed by Heutigen Records. In pictures, displayed at Fabra i Coats, Barcelona, 2021. As part of the group exhibition Guanyar-se el pa, by the finalists of the Sant Andreu Contemporani prize. (FRIEDRICH), 2021. Two sided vinyl record, gatefold cover, insert publication. First edition of 100 copies. Released and distributed by Heutigen Records. In pictures, displayed at Fabra i Coats, Barcelona, 2021. As part of the group exhibition Guanyar-se el pa, by the finalists of the Sant Andreu Contemporani prize. Part of the installation views of “¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?). Solo exhibition at L21 Gallery, Mallorca. 2021. A precursor of today’s crumple zones, 2020. Oil stick on raw linen superimposed with inkjet print on canvas. Framed in wood. 196 x 163 cm. Part of the installation views of “"We feel untied, but why?". Solo exhibition curated by Sonia Fernández Pan at Centro Párraga, Murcia. 2018. Here not today (Background bouquet), 2021. Berliner Zeitung newspaper cut from August 13th, 2021. Sour cream crisps, cashew nuts, peanuts and raisinspressed with plexiglass sheet. Framed with transparent tape. 25 x 30 cm. Part of the installation views of “¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?). Solo exhibition at L21 Gallery, Mallorca. 2021. Part of the installation views of “¿Por qué no son todos así, como yo debiera ser?” (Why aren’t they all like that, as I should be?). Solo exhibition at L21 Gallery, Mallorca. 2021. An Enjoyment That Consists Of Testing And Playing With The Resistance Of Materials, 2015. Spray paint dust and marks of many different materials and objects found in the studio of the artist and that have been dragged through the floor of the exhibition space. Site-specific dimensions. The Car Of Our Time (Background vehicle), 2021. Made in collaboration with the artist’s father Juan Waelder. Esparto and plaster on raw DM plinth the height of his father’s shoulder (135cm). 38 x 76 x 166 cm (including plinth). (right) Aaaaaahhhhh uffff, 2018. Remainder of cardboard tube casted in bronze (patinated), plaster strips. 34 x 41 x 16 cm. A slippery wall in which nothing slips, 2018. Black matt vinyl letters on wall, font: Neuzeit Book Heavy. 7,5 x 233 cm. Dear Leg, 2016. Inkjent print in Hahnemühle paper framed in aluminium. 40 x 30cm. Ed. 3 + I A.P Support System, 2014. Laser print on 90gr paper, duct tape and found aluminum remainder. 80 x 52 x 43 cm. Wrong #02, 2014. Laser print on 90gr paper with marks and dirtiness after being dragged by the floor of places where people practice skateboarding. 59,4 × 84 cm. I remember better days, 2018. Found iron bar, used old shoes. 29 x 237 x 15 cm. Part of the installation views of “"We feel untied, but why?". Solo exhibition curated by Sonia Fernández Pan at Centro Párraga, Murcia. 2018. A Piece of Floor Where We Used To Dance, 2018 Removed wooden floor. After the exhibition, the wall piece returns to its original location. Two parts: piece of new floor, and original floor on wall 431 x 232 cm each Part of the installation views of “"We feel untied, but why?". Solo exhibition curated by Sonia Fernández Pan at Centro Párraga, Murcia. 2018. Here not today (Cracked between arms), 2022. Leftovers of breakfast (strawberry jam, butter, raisins, banana chips, cereals) on Frankfurter Allgemeine newspaper cut from February 4th, 2022. Pressed with sheet of museum glass on wood. Framed with transparent tape. 24 x 30 cm. Dear Leg (Weight, Marks, Bone), 2018. Found wooden remainder, papier mache and wooden foot figure with papier mache on glass vitrine. 134 x 111 x 23 cm. Dear Leg (Weight, Marks, Bone), 2018. Close-up. A Nice Reason To See Each Other Again, 2016. Quadraphonic site-specific sound installation. 7 mins in loop. Ed. 3 / II A.P. The four loudspeakers play a composition with sounds of the results of recording a skateboard session at the same space with friends from Waelder’s childhood he didn’t have the chance to see in years. 9 (Star), 2018. Oilstick and dirt sewn on raw cotton Artist’s frame. 25 x 31 x 3 cm. Carboard Knee, 2018. Old cardboard rest casted in bronze (patinated), plaster strips. Unique piece. 82 x 8 x 7 cm. Carboard Knee, 2018. Close-up. Warm Clothes, Cold Toes, 2019. Cardboard remainder, tape, marks of use and paint, silk clay. 49,5 x 44 x 19 cm. Warm Clothes, Cold Toes, 2019. Close-up. Four Attempts, 2016. Polyptych. Laser prints on 90gr paper glued to the wall. 210 x 140 cm each. Vehicle used by a character or in a car chase #01 (Der Fischer vom Heiligensee), 2022. Laser print taped to wall and slightly hidden behind room curtain. Ed. 1 + I AP. Posture (Bruise), 2018. Found cardboard tube casted in bronze, patina. 182 cm x 10 ø cm. Part of the installation views of “Das Kniegelenk". Solo exhibition at L21 Gallery, Mallorca. 2018.

Photo documentation on this website by:
John Forest, Natasha Lebedeva, Lúa Oliver, Ivan Murzin, Iain Emaline, Juan David Cortés, Paul Levack, Jiyoon Chung, Augustine Paredes, Juande Jarillo, Eva Carasol, Sebastiano Luciano, Nick Ash, Useful Art Services, Andrea Rossetti, Volker Crone
© Ian Waelder, 2025