Ferdinand Waas 
 

ferdinand.waas@gmail.com 
@waasinand 


Ferdinand Waas, born 06.08.1998, Ingolstadt (GER) based in The Hague (NL)

current:

12/2024 - ‘Tense Tides’ - Niuew Dakota, Amsterdam, NL  (coming up) 

11/2024 - ‘Old - New’ - weseeitems, Tbilisi, GEO  (ongoing)  

11/2024 - ‘A Letter from a Friend’ - bacio_collective, Bern, CH  (ongoing) 

exhibitions: 

10/2024 -  ‘Piratebay  and Chill’, DDD Kunst House, Yerevan, AM

09/2024 - ‘Show Match’, K4, Olso, NOR  

09/2024 - ‘De Wasstraat’ , NAP+, Amsterdam, NL 

12/2023 - ‘Praxis’ , fluent space, Santander, ESP 

07/2023 - ‘how do we grieve?’, Garage Grande, Wien, AT 

07/2023 - ‘Oerlikon Dream House’, Hürst Haus, curated by Matteo Kramer, Zürich, CH

06/2023 - ‘everything that grows underground’, West, The Hague, NL 

09/2022 - ‘Diagonale 4/ Transfinite', Verwalterhaus, Berlin, DEU

07/2022 - ‘But s/he endorsed the sheen’, Vrij Palais, Amsterdam, NL 

05/2022 - ‘Mmmmmmmmmarshmellow Cube’, Gallery 1, KABK, The Hague, NL 

03/2022 - ‘Tread Carefully’, Einar Jonsson Museum, Reykjavik, IS 

06/2022 - ‘The Creation of the world the now the end’, Aeden II, Berlin, DEU 

03/2022 - ‘opening hours’, Treptower Ateliers, Berlin, DEU

03/2022 - ‘take over’, Kunsthal Extra City, Antwerp, BE

02/2022 - ‘James P. Sullivan, the soul of the tragedy is the prolonging of the  uncertainty as much as possible’, h__s, Antwerp, BE 

02/2022 - ‘theater as a frame’, eye museum, Amsterdam, NL

11/2021 - ‘UA006050455LV’ white box KHIO, Oslo, NOR 

09/2021 - ‘URLAUB’, Wilhelm Hallen 2, Berlin, GER

04/2021 - ‘solar fiction’, Galleria Aarni+Aalto university, Helsinki, FIN 

09/2020 - ‘a means to an end’, Basement Berlin/atelier rosenbaum, Berlin, GER

06/2020 - ‘hide&seek’, Antwerp, BE

11/2019 - ‘this human world festival’,Vienna, AT

07/2019 -  ‘Blank’,Harderbastei, Ingolstadt, GER 

06/2019 - ‘Enhalon’ - Festival, Struga, NMK

06/2019 - ‘the real simulation’, die Angewandte, Vienna, AT

05/2019 - ‘Taifun’, Spektakel, Vienna, AT


film programming/curating:

2024: ‘As long as I remember, as fast as I remember, as strong as I remember’, K4 galleri, Oslo, NOR 

2023 - ongoing: Make Dox, Skopje, NMK

2023 - ongoing: Anafi International Film Festival, Anafi, GR

2022 : Kunsthall Extra City/ Het Bos, Antwerp, BE


movies: 

2023: art direction - ‚football pikante‘/espn, MX 

2023: production design - ‚no future kids‘, GR 

2022: production design  - ‘Einzelteile’, AUT 

2021: production design  - ‘Az utca vege’, AUT/HU

2021: creative supervisor - ‘5pm seaside’, AUT/GR


publications:

2023: Love after love, Editor: Wu Mengwhua, The Greenroom

2023: Radical Fashion Exercises - A Workbook for Modes and Methodes, Editors: Laura Gardner, Daphne
Mohajer va Pesaran, Valiz, ISBN 978-94-93246-19-5

2024: Wie wir trauern. On Loss and Transformation, Editor: highbrow institude


residencies: 

09-11/2024 - weseeitems/ Goethe Institute, Tiblisi, GEO 

10/2024 - sleepover reseidency, :DDD Kunst House, Yerevan, AM 

09/2023 - Foundation 17, Pristina, RKS 

10/2022 - Secret Club, Athens, GR 

05/2019 - Brashnar Creative Project, Skopje, NMK


education:

2020-2024, BA fine arts, KABK, the Hague, NL, 

2023 fine arts, ASFA, Athens, GR

2018-2020 BA social and cultural Anthropology, University of Vienna, AT

2018-2020 theory of architecture, TU Vienna, AT 

As long as I remember, as fast as I remember, as strong as I remember



‘As long as I remember, as fast as I remember, as strong as I remember’ is an ongoing multi-legged research work by Ferdinand Waas, departing from individually recollected memories of the collectively-experienced ‘glory’ that was the 2004 Olympic Games in Athens.

The Olympic Games of 2004 in Athens, soon to be celebrating its 20th anniversary, carries historical, economic, and political importance and contrasts with the societal decay that followed. Nevertheless, the memory of it remains to be a mass- scale sense of euphoria, celebration, and perhaps even a tool for escapism for the nation. It remains to be a prominent drop filling up pools of memory, including that of the artist.

Departing from the intimate moments remembered by individuals as a moment of collectivity around the summer ’04, Ferdinand Waas maps out the dynamics of this historical arena of grandeur that precedes an impending collapse. 

As long as I remember, as fast as I remember, as strong as I remember recollects the memory of the event via the original score composed by John Psathas for the Olympic Games’ opening ceremony.

 In asking for a citizen to hum the score in the way they presently remember, Waas showcases the decay of collective memory through individual moments of reminiscence. The humming of the score can be read to individual fragments of remaining memory.

The patchwork video, presenting broadcasting footage of Dutch athletes making contact with victory throughout different branches of sports, is a retelling of this historical era experienced by many all around the world, suggesting our memory to be a selective tool in regards to success stories and how they interact with time.

The athletes invited to West Den Haag, the former American embassy building, have competed in the Athens Olympics Games for The Netherlands, joining us on the 2nd of June for a non-broadcasted reunion. A re-witnessing through the lens of the artist. Attempting to reactivate collective memory together through individual fragments from the summer of 2004.

Shown at ‘everything that grows underground’, West, The Hague, NL/06/2023 and ‘Oerlikon Dream House’, Hürst Haus, curated by Matteo Kramer for Zürch Gallery Weekend, Zürich, CH/07/2023

2023 
video 3:25