SYLVIA
ECKERMANN
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Works | Arbeiten

 

 

 

2014

 

Installation view, Photo: Wolfgang Thaler

 

Digital Monsters Don't Bleed

 

Solo show

Spatial object, 1700 x 500, paper tubes, sound, video, 2 gold plated sculptures (15 x 50).

 

> documentation

 

Buchpräsentation / Finissage: Donnerstag, 6. November 2014, 19 Uhr

es spricht: Ernst Strouhal, Universität für angewandte Kunst

 

Sylvia Eckermann Algorithmisiert, Czernin Verlag 2014

mit Textbeiträgen von: Elie Ayache, Daphne Dragona, Brigitte Felderer, Lucas Gehrmann, Ursula Hentschläger, Anna Karina Hofbauer, Erkki Huhtamo, Thomas Mießgang, Gerald Nestler, Ernst Strouhal, Karin Wenz.

 

 

 

 

 

2013

 

Sylvia Eckermann

Installation view, Photo: Andreas Kattner

 

 

Probabilis

 

Solo show

an exhibition about probability and contingency.

 

> documentation

 


kunstraum BERNSTEINER Dec 5th 2012 – Feb 16th 2013

 

2012

 

sylvia Eckermann

 

Zero Probability Event 2012
Eisen, Glas, Metronom, Fliege
111x100x10cm
Foto: Andreas Kattner

  Sylvia Eckermann

 

Cartography of the Intangible, 2012

Light Box, 153x187cm
steel, wood, neon

 

  sylvia eckermann

 

Integument, 2012

Videoloop 5', wooden frame, monitor

AV player, 100x160cm



   

Sylvia Eckermann

Crystal Math., Video still

 

 

Crystal Math.

1 channel video, room installation, 5.1 sound, 5000 m Nylon wire, 300 x 200.

 

> documentation


Crystal Math portrays the financial markets' transition from human agents to cybernetic algorithms with a spider's web-like, hand knotted projection screen made of thousands of meters of nylon thread. The "expressive verbal image" (Sabine Dreher) addresses the subterranean networks of optical fiber that interconnect the centers of financial power. Here, the net does not represent the social realm of communication. It is a trap to catch prey. Mathematical probability calculations, which facilitate market evaluation, turn into the intoxicating drug of an oracle that subjects the potential varieties of contingent futures to its financialized fictions. The voice of Simon Streather enunciates these bottomless pits with a text by Gerald Nestler in whose lyrics human beings turn into a resource of derivative risk options and the market as a financial being speaks to us as our "recombinant social DNA." "Oh baby! How you nourish me!" Sound by Szely.

 

  • "Glitch," curated by Gerald Nestler, Max Thoman, medien.kunst.tirol, Kunstraum Innsbruck AT, 2013.
  • "paraflows.7 - Reverse Engineering," festival for digital art and culture, curated by Judith Fegerl,
    Günther Friesinger, weisses haus, Vienna AT, 2012.*
  • kunstraum BERNSTEINER | Basement, in the course of Gerald Nestler's exhibition ON PURPOSE. The New Derivative Order, Vienna AT, 2012.

 

   

Sylvia Eckermann

Telluric Force I, 2012, Photo: Georg K.

 

 

eckermann

Telluric Force I I, 2013, Photo: C++

Telluric Force, 2012

Computer animation, stereo sound, plasma display, wooden frame, 90 x 150.

  • "Parkfair Arte Noah," curated by Iv Toshain and Matthias Makowsky, Vienna AT.


Telluric Force II, 2013

360° projection, computer animation, 5.1 sound.

  • NWEAMO Festival, Heikoff Dome Theater, Reuben H. Fleet Science Center,
    San Diego, California USA, 2014
  • "iSphere" (Vienna Art Fair), curated by Raimund Deininger, Vienna AT, 2013.

 

Telluric Force addresses a recent geological orientation that is rapidly gaining acceptance: human activity has been a driving geophysical force since the beginning of the industrial era. After millions of years, a biological actor thus entered the stage of the earth development whose environmental impact is of such significance that ecologists and geologists felt impelled to introduce a term for a new geological era: the Anthropocene. The core premise of the Anthropocene thesis is that human activity shapes nature. This term therefore heralds a paradigm shift in the natural sciences. Serving as a supplement to collective consciousness by conceptualizing an era of responsibility, it consequently requires new models for science, culture, politics, and everyday life.

The video work Telluric Force shows a mechanical metronome—a compound of the Greek words metron (measure) and nomos (law, consensus). The ticks of the swinging pendulum, however, are not regular pulses caused by the wound-up spring system. Telluric Force displays arrhythmic, non-metrical, and seemingly random amplitudes generated by a specific choreography created by the artist in collaboration with the composer Szely.

To visualize the new era of the Anthropocene, Eckermann replaced the metronome's musical frequency scale with a geologic time scale that includes the "metric" of human influence on the ecosystem. Thus, Telluric Force reflects a new order of time and nature whose complex, multifarious, and hence obscure "measures" are rendered audible by the amplified ticks of the metronome's pendulum. Even though these swings seem erratic, they are in fact constructed.

 

   

Sound of Sirens
a social platform / video portal

2012 - 2013


March 11th 2012 was the anniversary of the earthquake, the tsunami and the nuclear disaster having hit northeastern Japan. For this reason, the two artists Edgar Honetschläger and Sylvia Eckermann have created a video platform on the Internet, entitled SOS = Sound of Sirens.

The platform urges people worldwide to reflect on the disaster and its aftermath in cinematic form. SOS took stock of how a democratic society deals with an environmental catastrophe; it investigated social change and political motivations after an environmental disaster, reflects, processes and moulds them into various forms of artistic expression. SOS focuses on how the individual, the group, the government, the world community respond to a sudden event of incomprehensible dimension and SOS gave victims a forum to deal with their anger, their sorrow and their fear.

 


2010

 

Sylvia Eckermann

Naked Eye
installationview, Kunstraum Bernsteiner 2010

photo: Michael Goldgruber

 

 

 

 

 

 

 

 

2009 - 2010

Naked Eye

3-channel videoinstallation, 5.1 Sound by Szely

 

> documentation

 

In her solo show Naked Eye at the Kunstraum Bernsteiner, Sylvia Eckermann applies the artistic media of (moving) image, colour, installation, and text as a means to resolve the all too familiar categories of the narrative of the exhibition. The White Cube of the Viennese exhibition space is transformed into the setting of a reflection in the double meaning of the word: Reflecting materials charged with artistic purport become the agents of an investigation into the subtle relations between the codes of artistic expression. In its material and immaterial presence, her work critically addresses both the ideas of the autonomy and the elusiveness of the artwork. Deliberately moving between the layers of her material, linguistic, visual and tonal1 objects and their installation, Eckermann consequently refuses to pre-define a conceptual interpretation of her work. Thus, Naked Eye can be seen as an artistic method of interrogation, which appropriates or rather fuses objects and light into multifarious but yet subjective strata of visibility. The narrative of the exhibition as the traditional textual ambience of art is thereby split into fluid and fleeting perceptions that nonetheless manifest the arts’ inherent potential to inspire the individual viewer. The “speech” in Alfred Adler’s2 quote that forms the textual element in Eckermann’s show could be reinterpreted in terms of art: “If what the patient says seems ambiguous and confusing, close your ears and open your eyes wide. Watch him closely when he talks and you will understand exactly what he does not tell you.”

 

 

   

 

 

Sylvia Eckermann

The Trend Is Your Friend!
installationview MKL | Kunsthaus Graz 2009

 

 

The Trend Is Your Friend!

a performative and interactive experimental set up

 

> documentation

 

MedienKunstLabor | KUNSTHAUS GRAZ 2009

 

Idea, Concept, Artwork: Sylvia Eckermann
Concept, Artistic Research: Gerald Nestler

Sound architecture: Peter Szely

 

Trends are all the trend. Alongside fashion and health it is analyses of economic trends and flows of finance and commodities which are shaping our environment. To what extent do they influence and change us as individuals and as a society? By recognising and relying on trends do we become part of an economisation that promises profit but at the same time absorbs us? Does the individual who opposes the trend get even socially marginalised? Is the titular "friend" in a knowledge-based society therefore an updated manifestation of what Orwell termed Big Brother? A new, if more complex uniformity of control that denies us future with its hubris of calculability? The installation "The Trend Is Your Friend" invites us to participate in an experimental set-up of markets to think through these questions for ourselves. With the aid of our senses, we dive into a playful environment in virtual space while our bodies remain in the real.

 

 

Sylvia Eckermann

Breathe My Air

— a paradoxical conversation piece

 

> documentation / film

 

Filmed and edited by Sylvia Eckermann and Gerald Nestler © 2008-2011

3-channel video, duration: 01:58:14


Languages: English, German and Chinese / Subtitles: English and Chinese
Filmed at locations in Beijing, Chengdu, Shanghai, Western Sichuan,

Northern Yunnan, Krems, Stopfenreuther Au and Vienna.

 

Breathe My Air is a cinematic conversation between participants from the worlds of art and curating, filmmaking, literature and poetry, philosophy and theory living in China and Europe.

Bringing ideas, thoughts, perceptions and experiences to the fore and combining them with footage filmed on location and en route the 3-channel video deals with current notions of modern concepts such as utopia, change and progress. Moving away from generalizations of identity politics to individual agency beyond cultural stereotypes, the project engages in a cross-cultural exchange on the actuality and methodologies of a society beyond the limitations produced of politics and global economy.

Breathe My Air was filmed at locations proposed by the participants and during extended travels in China.

 

 

 

2008

 

 

Sylvia Eckermann

 

> documentation

In Ninth Heaven — or the far end of Europe

An Interactive Synthetic Scape

 

Museum Stein, Minoritenplatz 4, 3504 Krems-Stein A, Sep 2008 - Sep 2009
3D-realtime system, projection, 5 channel audio system, golden mirrors, interface, computer, size: 4x4x2.5m

Fluctuating between the worlds of early Baroque and late Ming/early Qing eras, the project explores a rather brief yet multi-faceted period of enlightened dialogue between Europe and China. Although characterised by a respectful scientific exchange, it took place in a world that was troubled by the Thirty Years' War, Inquisition and Counter-Reformation on the one side, and by the insurgences during the turnover of the dynasties on the other... more

 

Sylvia Eckermann: Concept, Installation, Artwork, Gerald Nestler: Concept, Researche, Text, Peter Szely: Composition, Doron Goldfarb: Programming, Josef Wienerroither: additional 3D-Objects, Voiceover: Eduard Wildner, Frederic Lion.

 

 

2007

 


 

> documentation

Mirror Cells


Mirror Cells is an interactive installation that turns around our perception of space and time.
The gamers as well as the visitors are immersed inside an infinitely mirrored acousmatic-visual 3d-world.... more


Unreal Mod, 3 Projections, 8 channel audio-system, mirrors, wooden construction, size: 10x5x5 meters
Composition: Peter Szely, Programming: Doron Goldfarb


ars electronica, "Acting in Utopia" Sep 5 - Nov 11 2007 Landesgalerie Linz, Museumsstr. 14

curated by: Anna Karina Hofbauer & Dieter Buchhart

 

 

2006

 

 

plastic trade-off
Meta-performative Game in Real Time / Intervention into Global Financial Markets and Exchanges

plastic trade-off is a light sculpture as well as a virtual knowledge space. It visualizes global financial markets and thus a core element of global economy. The real-time data of specific markets are translated into abstract light flows which reflect this global system in a dynamic work of art... more

the project by Sylvia Eckermann + Gerald Nestler is a permanent installation at:
WORKING_WORLD.NET Living and working in the midst of globalization,

Museum Arbeitswelt Steyr, A 2006-2009


> documentation

 

 

 

2005 / 2006

 

 

Sylvia Eckermann

 

> documentation

n o w h e r e — ein welt raum spiel
n o w h e r e is a Game Mod - a deconstruction of the first person shooter Unreal.


We created n o w h e r e around the utopian ideas of a group of architects and artists that lived in Berlin and other parts of Germany and communicated by way of letters. They believed in the possibility of changing society through Architecture and Art.
This exchange was named "Die Gläserne Kette" (The Glass Chain) and was conducted in secret in the years 1919/20... more

2006



2005
  media@terra, International Art + Technology Festival, Athens / GR
  3rd International Digital Art Festival, Changzhou / CN
  11-art.com, Dashanzi Beijing / CN
  Architekturzentrum, Innsbruck / A
  Heiligenkreuzerhöfe, Vienna / A

Sylvia Eckermann: idea,concept, artwork, Gerald Nestler: concept and research, Oliver Irschitz: production, interface design,
Christoph Cargnelli: composition, commissioned by: thecrystalweb°

 

2005

 

 

Sylvia Eckermann

 

> documentation

MIRRAGE
a sight-specific interactive feedback circuit, Game mod
Museumsquarter - Tonspur, Vienna / A

mirrage is a virtual mirror which perpetuates and alienates the spatial architecture of the sound art series Tonspur - the virtual space infinitely mirrors the architecture and triggers sounds when navigated. These sounds are directly fed into the sound system of Peter Szely, where they are processed and, multiply mirrored and modified in real space, transmitted to speakers that are located in the exhibition space. Thus a connection is created on an acusmatique level of virtual and real space. Mirrage is an audio-visual feedback-circuit... more

 

 

 

Sylvia Eckermann

 

> documentation

RAUMATMEN wet f{r}iction
an audio-visual space-skin, digital video 70'
created for an exhibition on Science Fiction - Kindermuseum ZOOM, Museumsquarter Vienna/ A

The inside skin of a space station is enveloped in large size projections. The space station is not comprised of inflexible, rigid material - it is not hardware but wetware - it is a breathing, living bio-substance - a flexible membrane which moves - future material maybe discovered in an extraterrestrial lab… The exhibition space is thus transformed into a living organism... more
An acousmatic and sound-architectural structure intensifies the intended effect of Raumatmen (of a 'breathing of the space'). The sound aura - a matrix of speakers which is installed on the ceiling, walls and floor - allows the space to breathe. Sound: Peter Szely

 

2004

 


Sylvia Eckermann

 

> documentation

reservoir_bots
Game mod for audio/visual live performances in various locations

Künstlerhaus Wien, Public Netbase Vienna, ...

Resembling a flaneur in an unknown city the bot moves through a "ludic 3d environment" - moved by the hand of the player - robbed of his identity which the player has adopted for herself. It seems as if those she encounters have a life of their own. But this is an illusion - they are caught in loops of movements which stop abruptly and thus destroy the illusion.
The moving flaneur becomes a VJ producing ever new images which with the beat of live-generated sounds melt into an "emersive media environment"... more


Live Sound by various Artists: Peter Szely, Electric Indigo, Christof Cargnelli

 

 

 

1989 - 2003 fuchs-eckermann projects (Sylvia Eckermann & Mathias Fuchs)

 



Sylvia Eckermann

 

> documentation

fluID - arena of identities

Game Level, ISEA2004 / KIASMA Helsinki / FI

This game is about finding your identity (if you have got one), to change your identity, to steal or borrow another person's identity or to destroy identities... more


FUTURE DJ game level for DJs Manchester/GB collaboration with music is better

Sylvia Eckermann

 

> documentation

FemCity

a Multi-user Computer Game for Girls

 

This Game is about careers, lifestyle, dreams and realities of young women.
FemCity is a simulation of a complex social and economic environment, which young women find themselves in, when designing their future. FemCity was developed in collaboration with Edeltraut Hanappi-Egger and Gehard Hanappi and commissioned by the Bureau of women's Affairs Vienna.


2003
FluID - arena of identities game level, Selfware.politics of identities, Graz2003 / AT

2002

Sylvia Eckermann

 

> documentation

EXPOSITUR - Virtual Knowledge Space

a Game Mod as a Virtual Museum, KIASMA Helsinki / FI

In constructing a virtual museum we changed, the logical structure and the aesthetics of a museum from scratch. We wanted to build a museum maze, a crossword puzzle of objects and stories, an audio-visual "Undreamed" and a hyper museum based upon a computer game.


2001
EXPOSITUR - Virtual Knowledge Space Game Mod, Vienna / A (Unternehmen Capricorn, Christoph Steinbrener)

2000
LEVELBOSS ON HOLIDAY synchronized mpeg2-clips, Bregenz / A (curated by Unit-f Vienna)

 

Sylvia Eckermann

 

> documentation

PLAN-it !

an Interactive Multisensory Environment, The Mindzone, Millennium Dome London GB 2000


PLAN-it! is an installation connecting a spatial with an aesthetic and an intellectual experience. PLAN-it! presents artistic statements to answer 4 questions regarding our social and personal futures. These questions focus on the topics of communication, work, material things and transport [especially flight]. (collaboration with Herbert Lachmayer, Art+Tek Institute Linz A)

 

1999

Sylvia Eckermann

 

> documentation

HOTEL SYNTHIFORNIA

Game Level

Institut für Neue Kulturtechnologien, Public Netbase tO, SYNWORLD

27. bis 31. Mal 1999, Ovalhalle H, Museumsquartier Wien A


1998
TRAVELOGUE web night, Toronto / CA
SOUNDCALENDAR collaborative international web project

 

Sylvia Eckermann

 

> documentation

PATCHWORK - PATCHLIFE

mixed-means installation

Work & Culture, Landesmuseum Linz A
in collaboration with Herbert Lachmayer


<vspace="4"> audiovisual installation for an elevator O.K Center of Contemporary Art Linz / A
(Archiv X, curated by Elke Krasny and Elisabeth Madlener)

1997
SELFCONTAINED phone terror project, Public Netbase Vienna/ A
REMOTE VIEWING contribution to a network project, ars electronica, Linz / A (curated by Konrad Becker)
BAD ROOM radiophonic composition (To Hear is to See, curated by Gue Schmidt)

1996
JAPAN DIARY web project, images and sounds of a journey to Japan
BAD ROOM audio space installation Muu Media Base, Helsinki / FI (curated by Tuike and Simo Alitalo) 1995
ALIENS audio-visual web pages, Diagonale Salzburg / A (curated by Konrad Becker)
JUMPING video and sound installation Sainsbury Centre for the Visual Arts Norwich / GB
(EAST selectors: Marian Goodman, Giuseppe Penone)

1994
MOON RIVER underwater installation, Titanik Gallery, Turku / FI (ELSEWHERE, curated by Tuike and Simo Alitalo)
LINK III para-realistic staircase Ateneum Museum of Art, Helsinki / FI  (ISEA 1994)

1993
REWIND interactive computer installation, Mediagalleria, Turku / FI (SAFE, curated by Tuike and Simo Alitalo)
LINK II para-realistic staircase Kunsthalle Vienna / A
LINK I para-realistic staircase Museum of Modern Arts Bolzano / IT (SOUND, curated by Marisa Vescovo)

1992 - 91
WIEN 1991 sound and sight installation, Centre of Arts Cairo / ET
ENTRÉE/ SORTIE II sound & sight installation Instituto d. Bellas Artes Mexico City / MEX 1991
ENTRÉE/ SORTIE I shared authorship composition Galerie Theuretzbacher, ORF Kunstradio, Vienna / A

 

 

> documentation

Wien 1991

pavilion, sound and sight installation, Museum of the History of Vienna / A

Sonderausstellung, Wienmuseum, Karlsplatz