Charlott Weise


Charlott Weise, F.f., 2017

ink, red wine, acrylic on molton, 300 x 800 cm

Reflecting upon how femininity is performed across a range of cultural fields, from historical figurative painting to literature and the mainstream media, Charlott’s work can be seen as a form of intuitive image-based writing. In these images, interior worlds unfold as rich narrative mise-en-scène; female archetypes find themselves slipping between, in and out of, thick plotlines both banal and bombastic.

Select works

Petit œil

Charlott Weise, Petit œil, 2022

oil on canvas, 20 x 30 cm

Echos Sängerkreis

Charlott Weise, Echos Sängerkreis, 2022

oil on canvas, 200 x 170 cm


Charlott Weise, Ladaia, 2016

oil, charcoal on canvas, 210 x 150 cm

Harvest Moon 3

Charlott Weise, Harvest Moon 3, 2023

oil on canvas, 50 x 40 cm

A thousand lips

Charlott Weise, A thousand lips, 2022

pencil, China-Marker, oil on paper, 29 x 21 cm


exhibitions and series


In the studio, 2023
Amsterdam (The Netherlands) and Görlitz (Germany)

Untitled (Reboot Rokeby)

Charlott Weise, Untitled (Reboot Rokeby), 2023

oil on canvas, 200 x 130 cm

Embracing the visceral dialogue established as paint meets a support, Charlott’s paintings emerge through moments of rupture, challenge and provocation. In this way, her process echoes something of Cy Twombly’s philosophy that “to paint involves a certain crisis, or at least a crucial moment of sensation or release”. Aligning with this struggle, the bodies writ loose in Charlott’s swathes of pigment, oil, ink, sanguine crayon and on occasion blusher sit restively with the context of their world; restively finding their own way of being.


Notes on Wine, 2021
NEVVEN, Castelnuovo Don Bosco, Italy

Charlott Weise

installation view, Notes on Wine, NEVVEN, 2021, Castelnuovo Don Bosco (Italy)

In this exhibition, the focus of Charlott’s thinking was wine, its literal, historical and cultural implications. Across painting, drawing and text, Notes on Wine emerged as a site-specific installation, one that not only accentuated the exhibition space but wich made the multifaceted associative histories of wine run together. Here, ideas and feelings, classical references and personal experiences mix loosely, fading in and out of one another, sometimes erotically, sometimes humorously, often both, conjuring scenes rich in speculative narrative.


Tinted Glass, 2021
Kunsthalle Münster, Münster, Germany

Charlott Weise, installation view, Tinted Glass, Kunsthalle Münster, 2021, Münster (Germany)

Tinted Glass evokes a changed perception with a before and behind, an inside and an outside. [In this exhibition,] the works are distributed throughout the room in elongated formats that are reminiscent of full-length mirrors. Their positioning creates a theatrical setting: the figures strike a pose, assume their rolesa spectacle is presented. In many of the works, both the front and back are painted, a principle that also appears in historical panel paintings, on the back of which a second representation was hidden, which often commented (in a moralistic way) on the front. When exposed to direct light, both sides overlap in Weise’s work. The translucency of the image medium becomes clear, whereby the unconscious, which forms a kind of subtext in the artist’s works, becomes visually apparent.
—Franca Zitta, 2021


Herself In Passage, 2020
Vordemberge Gildewart Award, KM21 (GEM), Den Haag, the Netherlands

Herself In Passage

Charlott Weise, Herself In Passage, 2020

five panel painting, oil, charcoal, pastel, sanguine on canvas, (total) 620 x 200 cm

For Charlott Weise (1991, Görlitz) painting is like writing: a means to translate her inner world of dreams, fantasies and obsessions into the outside world. She paints, scratches and ‘scrapes’ abstract, figurative shapes on canvas with oil paint. She refers to art history, literature and theater and often chooses the female perspective. Weise maps out the personal, inner story and allows it to coincide with issues that are indicative of our zeitgeist.
—exhibition text


Calisthene, 2019
Arti & Amicitiae, Amsterdam, the Netherlands

The temple at 4am

Installation View

Charlott Weise ‘s paintings refer to the Archaic, Classical, and Hellenistic periods; great periods that refer to several masters. However, Weise applies a new layer of gloss to her subjects and reveals them here as well. She has aestheticized the male gaze, but also placed her sensual vision in a larger ‘non-male’ context. In Weise’s work the figurative form feels feminine. Weise’s emphasis on curves and contours embodies a new, funky, fantasy-esque style, where freshly acquired high heels make as grand a gesture as an abstract projection by Frank Stella.
—exhibition text

Dancing bull

Charlott Weise, Dancing bull, 2019

acrylic on molton, 220 x 160 cm


He at Sea, 2018
Kunstfort bij Vijfhuizen, Vijfhuizen, the Netherlands

Charlott Weise, installation view, He at Sea, Kunstfort bij Vijfhuizen, 2018, Vijfhuizen (the Netherlands)

In He at Sea, Weise explores male archetypes through the figure of the sailor. In the exhibition sail paintings float in formation like ships at sea. They are suspended in the space by ropes and surround the viewer with stories of men at sea. Navigating through the emotional realm (fear, desire) in the hyper masculine realm of the sailors ship, homo-erotica currents emerge, liquifying the rigid realities (hierarchies) of life and realities back on land.
—exhibition text


Take me away, 2018
A Maior, Viseu, Portugal


Installation View

I just got changed! WAIT – is there a sea of MIRRORS here?!
I have just immersed myself with… kkrrgk! My nails in TISSUE PAPER?! Kkrrgk! A brand new
BAG! – smell of strap, shine of emblem… I have just
surrounded myself with CLOUDS – Dubai! A city of PINNACLES, you SEE?
Tissue paper, little little tissue paper… you enclose myLOVELYbrandnewBAG! Kkrrgk… just got
changed with my NEW nails?! Just
immersed in liquid of myself?! Just got
changed and prepared for an inspiring woman?! Oh… NOTHING
more inspirational than an inspiring woman! How
delicious this regression… crackling little tissue paper in my possession?! Highest hotel ever?!
Softest STREAM of
screens showing me?! I have just… kkrrgk!
Tissue paper! Ribbon! Wrap me up!
—Anne Marijn Voorhorst


Potlatch, 2016
De Ateliers, Amsterdam, the Netherlands


Installation View

“… Perhaps it is in the nature of accessories and their place in the larger corpus of fashion to profoundly exercise affect through the slightest accent or gesture. It’s a quality associated with the ‘minor,’ a particular register more often identified in literature but which Weise seems to exploit, whether through her concern with the writer Clarice Lispector or directly in her painting. For talk of minor is not so much about scale, Weise’s paintings are often very large, rather there’s an attention to tone or timbre, achieved through small inflections or marks whether in the shape of faintly drawn eyes that echo what might be an elegant fur cloak or the overtly sexual black painting of a nude still wearing her Manolo Blahnik’s. Whether then it’s the thickly rendered oil of a work inscribed Mama or the quietly refined figure gazing into an arabesque mirror, we are left with an acute awareness of something staged.”
—Ian Kiaer, 2016


Select drawings


Charlott Weise, Meltdown, 2016

indian ink on paper, 195 x 300 cm


Charlott Weise, Briketterie, 2023

iron primer, ink on paper, 29.7 x 21 cm


Charlott Weise, Rußtanz, 2023

ink on paper, 29.7 x 21 cm


Charlott Weise, Lyssa, 2016

ink on paper, 29 x 23 cm

Changing to Pink

Charlott Weise, Changing to Pink, 2023

ink, pencil on paper, 29.7 x 21 cm

Love is Blind

Charlott Weise, Love is Blind, 2019

ink on paper, 29,7 x 21 cm


Artist biography

Charlott Weise, photo by Franz Mueller Schmidt



Charlott Weise (b. 1991, Görlitz, Germany), was a participant at De Ateliers (Amsterdam) in 2016. Previously, she studied at the Gerrit Rietveld Academie (Amsterdam), as well as studying under Class of Prof. Christian Macketanz, at Hochschule für Bildende Künste Dresden, and the artist Heike Dittrich, in Bautzen (Germany).


Select exhibitions includeKiss my Soul, Dordrechts Museum, Dordrecht, The Netherlands (2023); How to Cook a Wolf, two seven two gallery, Toronto, Canada (2023); Mutig Wandeln, Kunsthalle Görlitz, Germany (2023); Global Cows 2020, Images Festival, Toronto, Canada (2021); Tinted Glass, Kunsthalle Münster, Germany (2021); Notes on Wine, hosted by Cascina Gilli, NEVVEN, Castelnuovo Don Bosco, Italy (2021); Group exhibition curated by Pádraic E. Moore at Classics Museum Dublin, Ireland (2020); Koninklijke Prijs voor Vrije Schilderkunst, Koninklijke Palais Amsterdam, The Netherlands (2020); The Annotated Reader, curated by Ryan Gander & Jonathan P. Watts, Quartz Studios, Torino, Italy (2020); Vordemberge-Gildewart Award, GEM, Den Haag, The Netherlands (2020); Schulz & Weise, duo exhibition with Franziska Schulz, W139, Amsterdam, The Netherlands (2019); ampersands, W139, Amsterdam, The Netherlands (2019); Take me away, A Maior, Viseu, Portugal (2018); He at Sea, Kunstfort bij Vijfhuizen, Vijfhuizen, The Netherlands (2018); A Postcard from Amsterdam, duo, Lower.green, Norwich, UK (2018); The Ashtray Show West, Belmacz, London, UK (2018); If I was your Girlfriend, Belmacz, London, UK (2018); The Yellow Wallpaper, Ginerva Gambino, Cologne, Germany (2017); Johnny Suede, Damien & the Love Guru, Brussels, Belgium (2017); CILADA, A Maior, Viseu, Portugal (2017); 9 PAINTINGS, Galería Formatocomodo, Madrid, Spain (2016); NADA Miami Beach, Galería FORMATOCOMODO, USA (2016); Whiskers by the name of lilacs, Galerie Rianne Groen, Rotterdam, The Netherlands (2016);PAAREN, PS projectspace, Amsterdam, The Netherlands (2015); SELECTED, Castrum Peregrini, Amsterdam, The Netherlands (2014); Entering the Painting, tegenboschvanvreden, Amsterdam, The Netherlands (2014).


Awards and grants include: Artist Grant of the Mondriaan Fund (2022); Winner Koninklijke Prijs voor Vrije Schilderkunst (2020); Nominated for Vordemberge-Gildewart Award (2020); Artist Start Grant of the Mondriaan Fund (2017); Praktijkverdieping Postacademische Instellingen Grant of the Mondriaan Fund  (2014-2016); Nominated for Rietveld Academie Award (2014); Nominated for Rietveld Fine Arts Prize (2014); 2. Prize E.O. Plauen Junior Award (2012).


Alongside her individual practice, Charlott is also a member of Cold in Church, a band of performative artists based in Amsterdam. Recent performances include: IF—A MUSICAL WITH POP MUSIC, NOISE, AND MANY THEATRICAL ASIDES, Rijksakademie van beeldende kunsten, Amsterdam The Netherlands (2023); and Hot Mesh, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands (2022).


Charlott lives and works between Amsterdam (The Netherlands) and Görlitz (Germany).


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