Biography/CV
Born in 1978 in Lynchburg, Virginia, William Locke Wheeler grew up in the US states of Virginia and Mississippi. From 1996 to 2000 he studied performance and filmmaking at the School of the Art Institute of Chicago. In 2000 He moved to Berlin, Germany, where he lived until 2022. He is currently based in Virginia. In 2001/2 he showed his first performances ("Holding Hands" / "Without You I am Nothing") at various European festivals together with Antonia Baehr. For well over a decade after, Baehr and Wheeler developed further theater and choreography pieces which they showed across Europe. Simultaneously Wheeler embarked on a career in drag performance in queer clubs in Berlin and other European capitals while continuing his musical practice as a thereminist. In 2008 the film "one hand on open" (Pente and Wheeler) was screened as part of the Berlin Film Festival's "Forum Expanded" section. He has collaborated with numerous artists, including Stefan Pente, Valerie Castan, Laurie Young, Ines Schaber, Eran Schaerf, Renate Lorenz and Pauline Boudry. Wheeler has worked as a translator of artistic texts in German from all branches of art for over twenty years. In 2022, his translation of Nina Tecklenburg's 440-page volume, Performing Stories: Narrative as Performance was published by Seagull Books, a Calcutta-based publisher. From 2016 to 2019, Wheeler was a visiting professor at the Inter-University Center for Dance Berlin (HZT). Most recently he collaboratively mounted Try Leather, a performance with Margaret Dragu, Britta Wirthmüller, and Justine A. Chambers, and has been collaborating on an online digital archive based on the work.
UNIVERSITY
1996–2000, School of the Art Institute of Chicago, USA
TEACHING
2022 Inter-University Centre for Dance Berlin (HZT), Visiting Lecturer
2016–2019 Gastprofessor in der BA Studiengang “Tanz, Kontext, Choreographie” at the Hochschulübergreifenden Zentrum Tanz Berlin (HZT)
2015 HZT, External Assessor, BA Tanz, Kontext, Choreographie
2012 ecovillaggio Torri Superiore, Ventimiglia, Italia, Workshop zusammen with Stefan Pente
2006 Universität der Künste, Workshop with Stefan Pente
EXHIBITIONS
2020–2021 Atlas Aviae: Life Cycle / Atlas der Muttersmutter: Lebenszyklus, Berlin
2017 P-Laboratory: wonder rooms, Tanzfabrik Berlin
2016 Air Signs, with Stefan Pente
PERFORMANCES
2021
Try Leather, together with Margaret Dragu, Britta Wirthmüller and Justine A. Chambers, Tanzfabrik Berlin
2016
Three Image-Gestures for an Unnamed Student in a 1901 Photograph by Frances Benjamin Johnston Titled “Furniture Building Shop, Carlisle Indian School, Carlisle, Pennsylvania”, Lecture performance, Hochschulübergreifendes Zentrum Tanz Berlin (HZT)
2015
Air Signs, with Stefan Pente, ausland Berlin
The Mirror of Lida Sal: A Re-Retelling, Kunsthaus KuLe, Berlin, in the performance event series “Labor Sonor”
2014
Easy, Saturno, ecovillaggio Torri Superiore, Ventimiglia, Italy
2013
Without You, I am Nothing, Badischer Kunstverein, Karlsruhe, as part of the exhibition Patriarchal Poetry by Pauline Boudry und Renate Lorenz
Drawing for Witnesses (Are they dead? No, they’re just frozen), with Stefan Pente, Beursschouwburg, Brussels
Faith and Tracey, with Stefan Pente, Beursschouwburg, Brussels
Easy, Beursschouwburg, Brussels
Theremin Solo, Kunsthaus KuLe, as part of “Labor Sonor”
2012
another morning after, with Stefan Pente, ecovilaggio Torri Superiore, Ventimiglia, Italy
Faith and Tracey, Kunsthaus KuLe, Berlin, as part of “Labor Sonor”; agora, Berlin
2011
Without You, I am Nothing, Collége des Bernardins, Paris
2010
Me and the Face of the Indian, mit Stefan Pente, w139 – Space for contemporary art, Amsterdam.
a morning after, living room festival, Berlin
2009
Me and the Face of the Indian, Sophiensaele, Berlin, in the event series “foyeurismus”
2008
Border Strip, Kunstverein Harburger Bahnhof, Hamburg, as part of the exhibition Reihe:Ordnung sagt Sex von Stefan Pente; Bios, Athen, Festival “Genderpop!”
2007
Border Strip, Kino Arsenal, Berlin, festival “Sunscreenz”
2006
Border Strip, Volksbühne Berlin, conference “Post / Porn / Politics”; ausland Berlin, festival “Tanz Made in Berlin”
2005
Border Strip, as part of the “Queere Kunst Konferenz” at the Hochschule für Bildende Künste Hamburg
Pink Pistols: Adding Injury to Insult, Kino International, Berlin, festival “assembly international”
Without You, I am Nothing, Oslo, Nasjonalmuseet for kunst, arkitektur og design, festival “Kiss the Frog: The Art of Transformation”
2004
Easy, Festival “doméstico”, Madrid
Georgia on My Mind, Festival “doméstico”, Madrid
2003
Without You, I Am Nothing, Prag, Festival “Čtyři dny | Four days”; M5, Bobigny, France, festival “Rencontre Chorégraphique Internationales De Seine Saint Denis”; Beursschouwburg, Brussels; Kubus, Hannover, festival “Across the Border – Performance Days”
Singsong, Podewil, Berlin, festival “Reich und Berühmt”; Schaubühne Lindenfels, Leipzig
2002
Singsong, Künstlerhaus Mousonturm, Frankfurt aM, festival “Plateaux – international platform for young theatre directors”
Country Bubble, Lisa Lounge, Berlin; CHEAP Klub, Berlin
The Beautiful Walz, Tacheles, Berlin, festival “GO DRAG!”
Without You, I am Nothing, Schaubühne Lindenfels, Leipzig, festival “Wärmerückgewinnung”
L’espace Swap, Schloss Bröllin, as part of “fernwärme”; b_books, Berlin, festival “prime time déclassement”
2001
Without You, I Am Nothing, Podewil, Berlin, festival “Reich und Berühmt”
Georgia on My Mind, Kunsthaus KuLe, Berlin, as part of “Labor Sonor”; Podewil, Berlin, “Sommerfest”; Victoria Quartier, Berlin, Festival “Kunstherbst“
1999
Concert for Soeur Sourire, Gallery 2, Chicago; Kunsthaus KuLe, Berlin, festival “auf eine art III”
Archipelago Project, Kunsthaus KuLe, Berlin, festival “auf eine art III”; Montrose Beach Jetty, Chicago
Concert for Soeur Sourire, spare room, Chicago
1997
Leilabelle, a play in two acts, written and directed by WLW, Performance Space, School of the Art Institute of Chicago
FILMS/SCREENINGS
2013
Nadia in September, Beursschouwburg, Brussels
2011
one hand on open, fabrik Potsdam, Festival “Made in Potsdam”
2010
one hand on open, Goethe Institut, Toulouse, festival “Traverse Vidéo”; Muzeul Național de Artă Contemporană, Bukarest
Nadia in September, living room festival
2009
one hand on open, Temporäre Kunsthalle Berlin
2008
one hand on open, 58th Berlinale, International Berlin Film Festival, forum expanded
one hand on open, Bergen, Norway, Queerfest
COLLABORATING PERFORMER
2016
Des miss et des mystères / Misses and Mysteries by Antonia Baehr and Valérie Castan, Beursschouwburg, Brussels; Theater Freiburg; Tanzplattform 2016 Künstlerhaus Mousonturm, Frankfurt aM; fabrik Potsdam
2015
Des miss et des mystères / Misses and Mysteries by Antonia Baehr and Valérie Castan, Kampnagel Hamburg; Festival Uzès Danse, Ùzes, France; Kunstencentrum BUDA, Kortrijk, Belgium; HAU 3, Berlin; Künstlerhaus Mousonturm, Frankfurt aM; PACT Zollverein, Essen; ausland Berlin.
For Faces by Antonia Baehr, NorrlandsOperan, Umeå, Sweden
2014
The Swan Song (an Operetta) by The Swan Song, Sophiensaele, Berlin.
fm scenario by Eran Schaerf, Les Complices, Zurich
2013
To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation, a film by Pauline Boudry and Renate Lorenz.
fm scenario von Eran Schaerf, Hartware MedienKunstVerein, Dortmund.
Holding Hands by Antonia Baehr, Beursschouwburg, Brussels.
For Faces von Antonia Baehr, Beursschouwburg, Brussels
2012
For Faces by Antonia Baehr, Tanzplattform 2012, Hellerau, Dresden.
fm scenario by Eran Schaerf, Haus der Kulturen der Welt (House of World Cultures), Berlin
2011
Holding Hands by Antonia Baehr, Collège des Bernardins, Paris.
For Faces by Antonia Baehr, Tanzquartier Wien; Frascati, Amsterdam; DOM Bologna; Uzès Danse, Uzès, France; PACT Zollverein, Essen
2010
For Faces by Antonia Baehr, Kunstencentrum BUDA, Kortrijk, Belgien; Vooruit, Ghent, Belgium; HAU 3, Berlin.
Legacy, a film by Benny Nemerofsky Ramsay.
The Walking Cube, a performance by kanak attak, Haus der Kulturen der Welt, Berlin
2008
OmU by Laurie Young, Festival Uzès Danse, Uzès, France
2007
OmU by Laurie Young, Radialsystem V, Berlin; fabrik Potsdam.
Holding Hands by Antonia Baehr, Raum, Bologna, festival “xing”
2005
Holding Hands by Antonia Baehr, Oslo, Nasjonalmuseet for kunst, arkitektur og design, festival “Kiss the Frog: The Art of Transformation”.
Eine Nacht Weniger by CHEAP, HAU 3, Berlin
2003
un aprés midi by Antonia Baehr, Podewil, Berlin, festival “Reich und Berühmt”.
Holding Hands by Antonia Baehr, Prag, Festival “Čtyři dny | Four days”; M5, Bobigny, France, “Rencontre Chorégraphique Internationales De Seine Saint Denis”; Beursschouwburg, Brussels; Kubus, Hannover, Festival “Across the Border – Performance Days”
2002
Holding Hands by Antonia Baehr, Künstlerhaus Mousonturm, Frankfurt aM, Festival “Plateaux”; Schaubühne Lindenfels, Festival “Wärmerückgewinnung”
2001
Holding Hands by Antonia Baehr, Podewil, Berlin, festival “Reich und Berühmt”
1999
The Misses and Me by Antonia Baehr, The Cultural Center, Chicago; School of the Art Institute of Chicago, MFA show; KuLe, Berlin, festival “auf eine art III”.
DogDoc by Antonia Baehr, Gallery 2, Chicago; KuLe, Berlin
TRANSLATIONS
2022
Wolfgang Schäffner, “Active Matter,” commissioned by the Bard Graduate Center
2016–2021
Nina Tecklenburg, Performing Stories: Narration as Performance (Calcutta: Seagull Books)
2020
Birgit Bosold and Vera Hofmann, “Year of the Women* / Jahr der Frauen”, Boskamp Stiftung
2020
Diverse translations for an open air exhibition at Giebichenstein, Halle an der Saale, Stadtmuseum Halle (Saale)
Sascia Bailer, “Curating, Care & Corona, kuratieren #6,” Boskamp Stiftung
2016
Florian Krautkrämer, Hochschule für Bildende Künste Braunschweig, Institut für Medienforschung, “GoPro-Vision,” unpublished lecture.
Heike Klippel, Hochschule für Bildende Künste Braunschweig, Institut für Medienforschung, “Fatal Objects of Everyday Life,” unpublished lecture.
In: KuLe: Art and Life. A House in Berlin-Mitte since 1990 (Berlin: Revolver):
Gereon Asmuth, “The Art of Squatting”
Andreas Koch, “On Life and Art in a Vanished Wonderland”
Ines Schaber, “… another form of freedom …”
Mathias Heyden, “Kick out everyone who doesn’t want to think. Itself: An Expanded Concept of Art, and the Right to the City”
Tom Mustroph et al., “Dogmatically Undogmatic”
Benjamin Foerster-Baldenius, “Emboldening Disobedience: Collective Activism Then and Now”
2015
Anke Zechner, Hochschule für Bildende Künste Braunschweig, Institut für Medienforschung, “Poisonous Cinema,” unpublished lecture.
Hanne Loreck, “Based on Scenario Data #46 (w wie weiss, w wie schwarz), 1988/2012 in Eran Schaerf, Frequency-Modulated Scenario (Berlin: Archive Books).
Christine Lemke, “Entry #,” Frequency-Modulated Scenario
Franz Erhard Walther, “Journal, Museum of Modern Art, New York, December 28 – March 1, 1970” (New York: Dia Art Foundation).
Heike Klippel, Hochschule für Bildende Künste Braunschweig, Institut für Medienforschung, unpublished lectures:
“Passion, Masochism and Poison in the Age of the Consumer”
“Poisonous Spaces and Failed Feminine Subjectivity”
“From Substance to Phantasm.”
Isabelle Graw, “Still Lives: Expanded Authorship, Living Labor and the Generation of
Value in the Works of Peter Fischli and David Weiss” (New York: Solomon R. Guggenheim Foundation).
Translations commissioned by the International Theatre Institute (ITI), Bundesrepublik
Deutschland:
Henning Fülle, A Theatre for Postmodernity in Western European Theatrescapes
Matthias Rebstock, Excursion: Varieties of Independent Musical Theatre in Europe
Petra Sabisch, For a Topology of Practices: A Study on the Situation of Contemporary and Experimental Dance, Choreography and Performance Art in Europe (1990–2013)
2014
“Absent Presences: A Conversation between Antonia Baehr and Bettina Knaup,” in Abedecarium Bestiarium: Portraits of affinities in animal metaphors (Nyon, Switzerland: farofestival des arts vivants).
Florian Wüst, “Black Like Coal: A Few Film-Related Thoughts on the Fuel of Modernity,” in Anthrakothek, catalogue by the artist Ulrike Mohr (Berlin: The Green Box).
Heike Klippel, Hochschule für Bildende Künste Braunschweig, Institut für Medienforschung, “The Everyday in Narrative Cinema,” unpublished lecture.
In Art and Ideology Critique After 1989 (Bregenz: Kunsthaus Bregenz Arena), multiple texts:
Max Jorge Hinderer Cruz, “Ideology and Control”
Ruth Sonderegger, “Subjectivation”
Jens Kastner, “Ideology and Habitus”
“‘We had the illusion that the world could become less dangerous’: Ruth Sonderegger in Conversation with Ágnes Heller and János Weiss on Ideology, Art, and the Situation in Hungary after 1989.”
“We can do it in MOMA, in a library, or in our bathroom: A conversation about negotiating historical references in dance theater and performance" von Wolfgang Mayer, Jeremiah Day, Sabrina Karl, Elisabeth Becker, Felix Ensslin, Cristina Gómez Barrio and Johannes Paul Raether,” in Zeig Her, Führ Vor, Tausch Ein: Performance – Art – Akademie, Eds. Discoteca Flaming Star and Johannes Paul Raether (Stuttgart: State Acedemy of Fine Arts Stuttgart).
2013
Petra Reichensperger, “Introduction,” in Terms of Exhibiting (A to Z), catalogue Kunsthaus Dresden, Städtische Gallerie für Gegenwartskunst (Berlin: Sternberg).
Kirsten Maar, “Choreographic Orders,” in Terms of Exhibiting.
In Film als Idee. Birgit Heins Texte zu Film/Kunst, multiple texts:
Heidenreich, Klippel, and Krautkrämer, “Foreword”
Birgit Hein, “Avant-garde and Politics,”
“Left and Abstract are Compatible”
“I doggedly see the autobiographical through”
“Art and Technology”
“In search of a feminine aesthetic”
Wolfgang Kil, “Terrain,” in Gelände / Terrain, Eds. Ines Schaber and Arsenal – Institut
für Film und Videokunst (Berlin).
“Two Possible Stories: Merle Kröger and Philip Scheffner in conversation with Ines Meier and Ines Schaber,” in Geschichten Erzählen / Storytelling, Eds. Schaber and Arsenal (Berlin).
Petra Schmid, “Francesco da Barberino's Documenti d'amore: (Re-)Constructing Allegorical Meaning in the Early Trecento,” unpublished lecture, The Art Institute of Chicago.
“Feminism as Sketch and Translation: A Conversation between Eva Birkenstock and Ulrike Müller,” translation commissioned by Kunsthaus Bregenz Arena.
Marianne Brand, journals, notebooks and calendar by the Bauhaus artist and designer. Translations commissioned by the artist Pia Rönicke for an ongoing project on Marianne Brand.
2012
“Manifesto,” to have and to need (Haben und Brauchen), Berlin.
Voice-over text for the documentary film Tirana, film and text by Alexander Schellow.
Tris Vonna Michell, “Tall Tales and Short Stories,” translation commissioned by the Solomon R. Guggenheim Foundation.
Florian Wüst, “Herald of Doubt: Some notes on Peter Weiss and his play The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade,” in Marat Sade Bohnice, Ed. Althea Thauberger, Prádelna Bohnice (Prag: 2012).
Eva Birkenstock and Joerg Franzbecker, “One could speculate that what happened here made a difference to somebody or something,” in On Performance, Eds. idem. (Bregenz: Kunsthaus Bregenz Arena).
2011
In echtzeitmusik: self-defining a scene, wolke verlag, multiple texts:
Harald Ansorge, “NY, An Attempt to Give the ‘Other’Another Form” - Serge Baghdassarians, “Carrying the Door into the House”.
Jürg Bariletti in conversation with Dietrich Eichmann, “Stralau 68: GEMA as Organisation for the Annihilation of the Working Basis of Its Musicians”.
Johannes Bauer – Christof Kurzmann, “Jericho and Silicon Valley”
Burkhard Beins et. al., “Introduction”
Nicholas Bussmann, “My Echtzeitmusik”
Werner Dafeldecker – Axel Dörner, “A Conversation”
Ekkehard Ehlers, “Buuswah”
Andrea Ermke, “hood”
Franz Hautzinger, “On.the.notion.echtzeitmusik”
Labor Diskurs, “Transcriptions”
Thomas Millroth, “The Risk is the Fuel”
Gisela Nauck, “Vorwort”
“Exterior View: Improvisation and/or Composition”
Andrea Neumann, “Playing Inside Piano”
Ana Maria Rodriguez, “Del derecho y del revés”
Arthur Rother, “Improvisation or Music”
Ignaz Schick, “Echtzeit Material 1990–2011”
Ulf Sievers, “At a Certain Point I Thought It Was Too Holy”
Steffi Weismann, “Gender Practice and Performative Turns at Labor Sonor.”
Ines Schaber, “What is an Active Archive?” Chapter 1, doctoral dissertation, Goldsmith University, London.
2010
Hans Magnus Enzensberger, “Absolute Emptiness: The Null-Medium, or Why All Complaints about Television Are Irrelevant,” translation commissioned by MACBA, Barcelona.
2008
Stefan Pente, "Laughter. Minus-Laughter," in Rire – Laugh – Lachen, Antonia Baehr and Les Laboratoires d’Aubervilliers (Eds.).
Mathias Heyden and Ines Schaber, “Here is the Rose, Here Dance!” in Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s, Eds. Stefanie Schulte Strathaus and Florian Wüst (Berlin: b-books).
Natascha Sadr Haghighian, Solo Show (London/Cologne: Koenig Books Ltd.), diverse texts:
“Foreword”
“Robbie Williams in Conversation with Natascha Sadr Haghighian”
“Uwe Schwarzer in Conversation with Natascha Sadr Haghighian”