Under the label F. Wiesel, Hanke Wilsmann and Jost von Harleßem create works with recurring collaborators. Both studied Applied Theatre Studies at the Justus Liebig University in Gießen and have been developing theatre productions and installations in the Frankfurt am Main area since 2011.
F. Wiesel investigates the interaction of puppet theatre with technical components of the theatre apparatus. Combining players, figures, robotics and live film, they create idiosyncratic worlds with a passion for details and miniatures. Their performances examine social orders and hypotheses in science-fiction scenarios. In the interplay of found and made-up narratives, F. Wiesel creates atmospherically dense visual worlds, constructs simulations of human action and persistently explores social orders and assumptions in science fiction scenarios: a space travel narrative in the style of early silent and genre films (Clarenville 2011), man's attempts to contact an alien planet in Stanislaw Lem's Solaris (Zakopane 2015), a fantastic story on the end of architecture (Superquadra 2017) and a dive to the bottom of the Bermuda Triangle (Bermuda 2019). 2021 F. Wiesel look into a post-anthropocene Wild West world, populated by androids (Restworld 2021) und schaffen eine VR-Theatermaschinerie, die nach Max Frisch nach einer möglichen Zukunft fragt (Flintridge / Man appears in the holodeck 2021). Auf der Suche nach den Ursprüngen der Science-Fiction adaptierten sie 2023 Die Gleissende Welt der britischen Autorin Margaret Cavendish aus dem Jahr 1666. Immer fest eingebunden in ihre Arbeiten sind Spielwelten des Digitalen und damit die Potentiale von Computerspielen und virtuellen Erzählräumen für das Theater (Echtzeitalter 2024). Ihre Beschäftigung mit umfangreichen Texten, die die Grenzen des Bekannten lustvoll erweitern bleiben F. Wiesel auf der Suche nach eigenwilligen Stoffen und Quellen. (Immer nach Hause 2025). Im Zusammenspiel aus ge- und erfundenen Narrativen lässt F. Wiesel atmosphärisch dichte Bildwelten entstehen, konstruiert Simulationen menschlichen Handelns und stößt beharrlich an die Ränder des bereits Gedachten.
Jost von Harleßem, born in 1987. Lives and works in Frankfurt am Main. He studied Applied Theater Studies at the Justus Liebig University in Giessen. In addition to his own artistic work, he is responsible as a technical designer for lighting, video and stage concepts for various productions. Recurring collaborations have been with choreographer Kiriakos Hadijioannou, Ensemble Modern and the performance collective FUX.
Hanke Wilsmann, born in 1987. Lives and works in Frankfurt am Main. She studied Applied Theatre Studies at the Justus Liebig University in Giessen. In addition to her artistic work, she was a member of the touring team for the work Situation Rooms by the group Rimini Protokoll from 2014 onwards and from 2018 to 2023 was leading the project management of Frankfurt LAB; a production and performance space for contemporary performing arts in Frankfurt am Main as part of a dual management team.
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about F. Wiesel
Under the label F. Wiesel, Hanke Wilsmann and Jost von Harleßem create works with recurring collaborators. Both studied Applied Theatre Studies at the Justus Liebig University in Gießen and have been developing theatre productions and installations in the Frankfurt am Main area since 2011.
F. Wiesel investigates the interaction of puppet theatre with technical components of the theatre apparatus. Combining players, figures, robotics and live film, they create idiosyncratic worlds with a passion for details and miniatures. Their performances examine social orders and hypotheses in science-fiction scenarios. In the interplay of found and made-up narratives, F. Wiesel creates atmospherically dense visual worlds, constructs simulations of human action and persistently explores social orders and assumptions in science fiction scenarios: a space travel narrative in the style of early silent and genre films (Clarenville 2011), man's attempts to contact an alien planet in Stanislaw Lem's Solaris (Zakopane 2015), a fantastic story on the end of architecture (Superquadra 2017) and a dive to the bottom of the Bermuda Triangle (Bermuda 2019). 2021 F. Wiesel look into a post-anthropocene Wild West world, populated by androids (Restworld 2021) und schaffen eine VR-Theatermaschinerie, die nach Max Frisch nach einer möglichen Zukunft fragt (Flintridge / Man appears in the holodeck 2021). Auf der Suche nach den Ursprüngen der Science-Fiction adaptierten sie 2023 Die Gleissende Welt der britischen Autorin Margaret Cavendish aus dem Jahr 1666. Immer fest eingebunden in ihre Arbeiten sind Spielwelten des Digitalen und damit die Potentiale von Computerspielen und virtuellen Erzählräumen für das Theater (Echtzeitalter 2024). Ihre Beschäftigung mit umfangreichen Texten, die die Grenzen des Bekannten lustvoll erweitern bleiben F. Wiesel auf der Suche nach eigenwilligen Stoffen und Quellen. (Immer nach Hause 2025). Im Zusammenspiel aus ge- und erfundenen Narrativen lässt F. Wiesel atmosphärisch dichte Bildwelten entstehen, konstruiert Simulationen menschlichen Handelns und stößt beharrlich an die Ränder des bereits Gedachten.
F. Wiesel showed and produced work as part of the Treibstoff Theatertage Basel (Kaserne Basel), the Fast Forward Festival (Staatsschauspiel Dresden), the festival Wunder der Prärie (Zeitraumexit e.V. Mannheim), the Fritz Wortelmann Preis (FIDENA, Bochum), the festival Bauwhat? (Staatstheater Darmstadt), at Theater Roxy Birsfelden, the Künstlerhaus Mousonturm Frankfurt and the Theater und Orchester Heidelberg. 2017 Superquadra was shortlisted for the Stückemarkt of the Berlin Theatertreffen and their work was awarded the Ponto Performance Preis of the Jürgen Ponto Foundation. Since 2020/21, the duo is continuously supported by the two-year funding of the Kulturamt der Stadt Frankfurt am Main .
Von 2023–2025 forschten sie am Schauspielhaus Graz in der Spielstätte Konsole zu digitalen und virtuellen Theaterformen und kuratieren das Digithalia – Festival für virtuelle Theaterformen Graz.
Jost von Harleßem, born in 1987. Lives and works in Frankfurt am Main. He studied Applied Theater Studies at the Justus Liebig University in Giessen. In addition to his own artistic work, he is responsible as a technical designer for lighting, video and stage concepts for various productions. Recurring collaborations have been with choreographer Kiriakos Hadijioannou, Ensemble Modern and the performance collective FUX.
Hanke Wilsmann, born in 1987. Lives and works in Frankfurt am Main. She studied Applied Theatre Studies at the Justus Liebig University in Giessen. In addition to her artistic work, she was a member of the touring team for the work Situation Rooms by the group Rimini Protokoll from 2014 onwards and from 2018 to 2023 was leading the project management of Frankfurt LAB; a production and performance space for contemporary performing arts in Frankfurt am Main as part of a dual management team.
Contact: info@flinkwiesel.de
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Photo: © Klaus Weddig