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Christoph Wimmer-Ruelland

@wimmrue

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Finaly sharing my whole graduation hybrid installation/showroom/bunker „We never named them until it was sure they would survive“ and all 20 parts of the collection. You can come see it (and me ♡) all in a complete version at this years graduation show @designacademyeindhoven during @dutchdesignweek - 18th to 26th October 2025 at Microstad, Eindhoven. I want to take a moment to thank all the tutors (Gabriel Maher, Lada Hrsak, Ameneh Solati, Jorge Manes Rubio, Maia Kenney, Ben Shai van der Wal) and head of contextual design department @afainadejong, with a special shoutout to my main tutor @margaweimans (♡) that pushed me and the project throught last academic year to become what it is now ᕦ(ò_óˇ)ᕤ photo (c) by great @ronaldsmits Set in a speculative future scenario shaped by environmental collapse directly linked to the rate and the way “stuff” is produced, the work critically examines humanity’s historical addiction to consumption, the complacency enabled by capitalist structure. The project imagines a global shutdown of mass production in 2068, marking a societal turning point where manufactured abundance is replaced by scarcity.  Preparing for that world, survivalists, aiming to supplement essences of a capitalist system and ensuring the survival of the concept of consumption, need to rethink the way products are made, following the dogma “form follows fluid function”; by deliberately ignoring the initial function and meaning of objects, they can be unlocked as raw material and shape without preconfigure connotations, transforming them into modules. When the parts that make an object are objects themselves, a function larger than the sum of its parts can emerge and disappear as needed. These monochromatic chimeric assemblages are held together by roping techniques (a modified jam-knot), enabling disassembly and the modules to return to their initial function or to be reused and interchanged between sets.  The installation mimics a “bunker-showroom”, a store-like presentation of a curation of interior items made using this technique as well as the items collected to do so, while collectively reflecting on past, present and future human needs. taken in Eindhoven by @wimmrue
14
a year ago
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Bench for @rimowa As Seen By, 2022 ,RIMOWA as seen by Christoph Wimmer-Ruelland. Using RIMOWA parts and industrial production techniques, the multidisciplinary designer and artist presents a one-of-a-kind bench inspired by traditional Austrian furniture.‘ Thank you @marin.mornieux & Yalin Shu for the invitation and the organisation ٩(๑❛ᴗ❛๑)۶ by @wimmrue
4
3 years ago
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Shaping residue bench in @vasto_gallery showroom in Barcelona （╹◡╹）♡ Thank you so much for the invite, the organization and the great opening evening @carmenrc_ & Paula ♡ On view until January 2025, for interest and inquiries please contact Vasto ♡ photocredits Cecilia Diaz taken in Barcelona by @wimmrue
2
2 years ago
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New standing mirror made for @radica_culturesofchange first exhibition in Puglia, Italy ♡ Thank you @gigi_totaro, @michelangelo_xyz, @sabrina.capo for having me! Can‘t wait to see what‘s next! Photos @gigi_totaro taken in Puglia, Italy by @wimmrue
7
a month ago
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LAST DAY - LAST CHANCE TO SEE TIMESKIP @galerie_rauminhalt FINISSAGE - SATURDAY 05.09.2026 18:00-20:00 Schleifmühlgasse 13 Bar Fomo with drinks by @grieskirchner & @weingut.gassner, while stock lasts ＼＼\\٩( ‚ω‘ )و //／／ TIMESKIP marks Christoph Wimmer-Ruelland’s first solo exhibition at Galerie Rauminhalt, continuing the speculative world of „We never named them until it was sure they would survive“. Spanning three rooms with over 20 new works alongside earlier pieces, the exhibition expands an ongoing body of research into prepper culture, survivalist thought, and the environmental consequences of mass production. Set within a speculative future where industrial manufacturing has collapsed, TIMESKIP deepens a world in which objects are stripped of their predetermined meaning and reassembled into fluid, modular systems. 

Through this evolving fiction, the exhibition reflects on how scarcity reshapes production, adaptation, and humanity’s enduring attachment to consumption, questioning not only what we make, but what we choose to preserve, while defining past, present and future human needs. taken in Vienna, Austria by @wimmrue
7
a month ago
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TIMESKIP ROOM 1 - MIRRORS Exhibition views of the first room of the exhibition TIMESKIP @galerie_rauminhalt, on view until Saturday 05.09.2026, Schleifmühlgasse 13. Make sure to come by today, Tuesday 01.09.2026 for A TALK/DISCUSSION/EXCHANGE/GUIDED TOUR with Marlies Wirth @marlieswirth, moderated by Mia Meus @miameus, exploring how design responds to scarcity, climate change, and the consequences of mass production. Drawing on Wimmer-Ruelland’s speculative and material-driven practice and Wirth’s curatorial perspective on design, technology, and ecology, reflecting how objects can challenge our ideas of consumption, function, and what is worth preserving for the future. The talk will be held in GERMAN. Drinks will be provided by @grieskirchner and @weingut.gassner ♡ taken in Vienna, Austria by @wimmrue
1
2 months ago
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lateral launches a new object designed by @wimmrue for Paris Design Week. This creation is part of a collection bringing together six emerging European designers. See you on September 7th. Photographer @_renaudmorin_, represent by @posterita_art_label Video @paulhardy_ #collectibledesign #design #emergingdesigner #europeandesign #parisdesignweek by @wimmrue
8
2 months ago
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Views from the show TIMESKIP, Christoph Wimmer-Ruelland, now on view @galerie_rauminhalt Come see me this week, I‘ll be there Tuesday-Friday, 12:00-19:00 ♡ What happens to objects when the systems that produced them no longer exist? In his solo exhibition TIMESKIP, Christoph Wimmer-Ruelland imagines a speculative future beyond industrial manufacturing; a world where abundance has given way to scarcity and our relationship with material culture must be fundamentally reconsidered. Everyday objects are taken out of their familiar context and temporarily assembled into new functional entities using a rope-binding technique inspired by survivalist and prepper cultures. Nothing is permanent: by releasing a knot, each object can return to its original purpose or become part of a new configuration. The exhibition explores adaptability, transformation and the value of what already exists, inviting us to consider objects not as finished products, but as resources within an evolving material ecosystem. On view until 05.09.2026 Open Tue-Fri 12:00-19:00, Sat 10:00-15:00 Galerie Rauminhalt Schleifmühlgasse 13 1050 Vienna Additional programm tba Curation and Scenography: @hanna.gassner & @wimmrue Photos: @hanna.gassner @bureaufomo taken in Vienna, Austria by @wimmrue
19
2 months ago
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Exhibition opening views @pourvous_design in Hyères for „Archéologie du quotidien“ during this years #DesignParade2026. Featuring 2 chandeliers and the first mirror from the „we never named them until it was sure they would survive“ series. Thank you Florian and everyone involved for the great presentation and evening! ♡ The show is still on until end of July, make sure to come by if you are in the South of France :) Photo 1 @f_svg Photo 2-3 @studio_godillot taken in Hyères by @wimmrue
4
3 months ago
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Shelf 1 @alcova.milano at this years MDW Temporary assembly using a variant of the Canadian Jam Knot (ongoing practice). Many many things are in the works for the upcoming months around this project, and I can‘t wait to share it all. Soon in Hyères, Paris, Vienna, Milan, Vienna again, Minneapolis. Thank you for the opportunities, informations and details soon. ♡ ‚We never named them until it was sure they would survive‘, is a speculative project imagining a post-mass-production future shaped by environmental collapse. Through modular assemblages bound with rope techniques, objects are stripped of fixed meaning and become adaptable, reusable structures. Function remains fluid, allowing forms to shift according to changing needs. Positioned between survival strategy and design fiction, the work reflects on overconsumption and proposes a more resourcetul, open-ended approach to making. Photos 1-2 @giorgiogarzella Photo 3 @hanna.gassner taken in Milan,Italy by @wimmrue
2
5 months ago
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Side table and frame @museumangewandtekunst in Frankfurt for @wdc2026 @the.thing.fellowship Thank you very much for including me ♡ Initiator and artistic director @anton_rahlwes Scenography @lottidefant @toni_donau On view until 28.06.2026 Between aesthetics and norms, designers create tangible objects that define what appears possible. In doing so, they not only produce solutions, but often also exclusions and new forms of normality. Through a wide range of works and formats, Positions on Freedom approaches freedom from multiple perspectives. What emerges is a complex concept that can only be grasped, if at all, through its plurality. The projects presented in the exhibition span political and spatial freedom, as well as artistic and intellectual freedom. They render these questions tangible through barriers, representations of identity, and engagements with violence and surveillance. A central observation runs throughout the exhibition: freedom is inherently ambivalent. It can only be understood in relation to its limits and constraints, whether spatial, social, or individual. Design makes these tensions visible and tangible, as well as the consequences of unfreedom. While the exhibition deliberately approaches freedom as an open concept, it is grounded in a curatorial angle that does not define freedom as the dominance of the strongest, but as a concept based on universal human rights and an ethic of care, both betwee n people and in relation to the planet we inhabit. Photos: the thing Agency taken in Frankfurt, Germany by @wimmrue
1
5 months ago
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Chair 1, part of the installation at this year‘s @alcova.milano during Milan Design Week. From ongoing ‚We never named them until it was sure they would survive‘ practice. Temporarily tied together with modified Canadian Jam knot 1 milkjug 2 saucières 1 napkin holder 1 bear cake mould 1 industrial measuring tool 1 King of Vienna magnet 1 violin bottle opener magnet 1 leg keychain ‚We never named them until it was sure they would survive‘, is a speculative project imagining a post-mass-production future shaped by environmental collapse. Through modular assemblages bound with rope techniques, objects are stripped of fixed meaning and become adaptable, reusable structures. Function remains fluid, allowing forms to shift according to changing needs. Positioned between survival strategy and design fiction, the work reflects on overconsumption and proposes a more resourcetul, open-ended approach to making. Photos @giorgiogarzella taken in Milan,Italy by @wimmrue
0
5 months ago
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