SYLVIA
ECKERMANN
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Works       

 

 

 

Digital Monsters Don't Bleed  2014

 

 

Solo show

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

documentation

  • kunstraum BERNSTEINER, Vienna AT, 2014. 18/09 - 31/10 2014
  • styleconception, Schauraum für zeitgenössisches Design und Kunst, Innsbruck AT. 28/1 - 6/2 2015

 

video documentation

 

 

 

Sylvia Eckermann

adreamlessmind  2014

 

 

Serigraphy on bedlinen.

Installation for a hotel room

 

  • "Festival Intime Räume | Von der Realität des Träumens und dem Albtraum der Realität",
    curated by IMA, Institut für Medienarchälogie, Hainburg a.D. AT, 2014.

 

 

 

 

Sylvia Eckermann

GLYKON14  2014

 

 

Polymer, iron pedestal, 40 x 95.

 

  • "Die Große Illusion", curated by Steinbrener / Dempf, Vienna AT, 2014.

 

 

 

 

Sylvia Eckermann

Cartography of the Intangible  2013

 

 

Light Box, 153x187cm steel, wood, neon

Sammlung Bernsteiner

 

  • „Little bit of history deleting“, kuratiert von Isin Önul,
    GPL CONTEMPORARY Galerie Peithner-Lichtenfels, Wien, 2013. 

 

 

 

sylvia Eckermann

Installation view, Photos: Andreas Kattner

 

 

Probabilis  2012

 

 

Solo show

an exhibition about probability and contingency.

documentation

  • kunstraum BERNSTEINER 05/12 2012 – 16/02 2013

 

 

 

sylvia Eckermann

 

Zero Probability Event 2012
Iron construction, glass plate, glass cone,

metronome, fly, 111 x 100 x 10.

 

sylvia Eckermann

 

Table for my Father, 2012

Wooden claw and ball table,

taxidermy of swans, 80 x 160.

 

 

 

sylvia eckermann

 

Shifting States, 2012

Iron construction, sheet copper,

light bulb, motor, 94 x 250.

 

 

 

Sylvia Eckermann

 

 

 

 

Integument  2012

 

 

Videoloop 5', wooden frame, monitor, AV player, 100x160cm

Sylvia Eckermann

Integument, 2012, video stills



   

Sylvia Eckermann

Crystal Math., Video still

 

 

Crystal Math  2012


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

 

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Sound of Sirens 2012 - 2013


Social platform / video portal. In artistic cooperation with Edgar Honetschläger.


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.

 

  • VIENNA ART WEEK 2014 - No more Fukushimas, curated by Marcello Farabegoli at Verein 08, Vienna.


 

 

Sylvia Eckermann

Naked Eye
installationview, Kunstraum Bernsteiner 2010

photo: Michael Goldgruber

 

 

 

 

 

 

 

Naked Eye  2010

 

Solo exhibition, room installation, 3 channel video, 5.1 sound, 1500 x 470.

10 projection objects, carpet, text work plotted on mirror foils.

documentation

  • kunstraum BERNSTEINER, Vienna AT, 2010/11.

 

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.”

 

video documentation

 

 

 

Sylvia Eckermann

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

 

 

The Trend Is Your Friend!  2009

 

Performative and interactive artistic environment

.

270° Projection (20 m), 8 projectors, 8 cameras, 5 RoboHeads, 7 HeadTrackers, computer, Deskotheque Display System, Auditory Virtual Environment (AVE), 100 x 100 x 30.

documentation

  • MKL / Kunsthaus Graz, curated by Mirjana Peitler / Winfried Ritch, Graz AT, 2009.

    Produced by: MedienKunstLabor Graz. In cooperation with: steirischer herbst,

    Institute of Electronic Music and Acoustics (KUG) & Institute for Computer Graphics and Vision (TU Graz), 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.

 

video documentation

 

 

Sylvia Eckermann

Breathe My Air- A Paradoxical Conversation Piece, 2008-2011

 

3 channel video, 118:14’, English, German, Chinese, subtitles: English, Chinese. 

Written, filmed and edited by Sylvia Eckermann and Gerald Nestler.

documentation

  • “refuse the shadow of the past,” curated by ASAP, University Museum and Art Gallery,
    The University of Hong Kong CN, 2014.*
  • BREATHE MY AIR, curated by Li Zhenhua, Four Zero Space, Hangzhou CN, 2010.
  • “Mifan,” Babu Art Space, curated by ASAP, Shenzhen CN, 2009.
  • “Mifan,” Anni Art Gallery, curated by ASAP, 798 Dashanzi Art District, Beijing CN, 2009*
  • VIDEO PROJECT LAUNCH at CPU:798 Art Space, curated by Edward Sanderson, Peking CN, 2008.

 

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.

 

 

video

 

 

 

Sylvia Eckermann

 

 

In Ninth Heaven — or the far end of Europe 2008

 

Interactive environment and audio-visual Installation.

 

3D-realtime system, projection, 5 channel audio system, golden mirrors, interface, acrylic glass pillar,

computer, 400 x 400 x 250.

documentation

  • Museum Stein, curated by Dieter Buchhart, Stein AT, permanent installation from 2008-09.

 

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...

 

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.

 

 

video documentation

 


Mirror Cells  2007


Accessible immersive environment. Infinitely mirrored acousmatic-visual 3d-world.

 

Unreal Mod, 3 projections, 8 channel audio system, mirrors, wooden construction, 1000 x 500 x 500.

Composition: Peter Szely, Programming: Doron Goldfarb.

documentation

  • “Acting in Utopia,” curated by Anna-Maria Hofbauer / Dieter Buchhart, Linzer Landesgalerie,

ars electronica, Linz AT, 2007.

 

video documentation

 

 

 

plastic trade-off  2006


Meta-performative game in real time – intervention in global financial markets and exchanges.

In artistic cooperation with Gerald Nestler.

 

1500 LEDs in different colors mounted inside acrylic glass discs, construction and data/power lines are identical, suspended and fixed with steel wire. 370 x 400 x 380.

documentation

  • “WORKING_WORLD.NET. Living and working in the midst of globalization,” curated by Doris Rothauer, Museum Arbeitswelt Steyr AT. Permanent installation since 2006.

 

 

 

 

Sylvia Eckermann

 

 

n o w h e r e — ein welt raum spiel  2005


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...


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

documentation

  • 2006
    media@terra, International Art + Technology Festival, Athens / GR
    3rd International Digital Art Festival, Changzhou / CN
    11-art.com, Dashanzi Beijing / CN
  • 2005
    Architekturzentrum, Innsbruck / A
    Heiligenkreuzerhöfe, Vienna / A

 

 

 

 

Sylvia Eckermann

documentation

MIRRAGE  2005

 

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...

 

 

 

 

Sylvia Eckermann

documentation

RAUMATMEN wet f{r}iction  2005


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

 

 

 


Sylvia Eckermann

documentation

reservoir_bots  2004


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"...


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  2003

 

Game Mod. Multi user game on identities and its breaches as well as deconstructions. 

 

Virtual environment for 3 players, 3 projection panels, 3 projectors, 3 computers, 3 head sets.

 

  • “artgames. Structural analogies of art and game,” curated by Karina Esmailzadeh / Jutta Scheld,
    Ludwig Forum für internationale Kunst, Aachen D, 2005/06.
  • ISEA 2004, KIASMA Museum of Contemporary Art, Helsinki FI, 2004.
  • “GameArt,” Völklinger Hütte, Völklingen D, 2004.
  • “cyber@rt,” Bilbao E, 2004
  • “games. Computerspiele von KünstlerInnen,” curated by Tilman Baumgärtel / hartware medien kunst verein, PHOENIX Halle, Dortmund D, 2003.
  • “SELFWARE. politics of identity – games,” curated by Georg Lauteren / Reinhard Braun, European Cultural Capital Graz AT, 2003*

 

 

FUTURE DJ 2003

 

Game Mod for DJs, Manchester GB, 2004.

  • “Reserve der Form,” curated by Angelika Fitz / Klaus Stattmann, Künstlerhaus Vienna AT, 2004.*

 

Sylvia Eckermann

documentation

FemCity  2003


Game Mod. Multi-user computer game for girls.

 

FemCity is a simulation of a complex social and economic environment in which young women find themselves when they set out to design their future. Commissioned by the Bureau of women's affairs Vienna.

With Edeltraut Hanappi-Egger / Gerhard Hanappi

  • “Third Places,” curated by Doris Rothauer, steirischer herbst, Graz AT 2004.

 

Sylvia Eckermann

documentation

EXPOSITUR - Virtual Knowledge Space  2001


EXPOSITUR - a virtual knowledge space, 2002

Game Mod. A hyper-museum based upon a computer game. 

Solo exhibition, Game Art environment.

  • KIASMA Museum of Contemporary Art, curated by Perttu Rastas, Helsinki FI, 2002.*


EXPOSITUR - ein virtueller Wissensraum, 2001

Game Mod. A hyper-museum based upon a computer game. 

Game art environment for 3 players. Exhibition architecture: the next ENTERprise - architects.

  • “Unternehmen Capricorn,” curated by Christoph Steinbrener, Karmelitermarkt, Vienna AT, 2001.*

 

 

LEVELBOSS ON HOLIDAY 2000.

 

4 channel video, computer animation.

Exhibition architecture: the next ENTERprise – architects.

  • curated by Unit-f, Bregenz AT.

 

Sylvia Eckermann

documentation

 

PLAN-it !  2000


An interactive multisensory environment for the Mind Zone (architecture: Office Zaha Hadid).

In cooperation with Herbert Lachmayer / Art+Tek Institut Linz AT.

  • “The Mind Zone,” curated by Zaha Hadid, Millennium Dome London GB 2000.*

 

Sylvia Eckermann

documentation

 

HOTEL SYNTHIFORNIA 1999

 

Unreal Game Mod level.

  • “SYNWORLD playwork:hyperspace,” curated by Konrad Becker, Institute for New Culture Technologies/t0, Museums Quarter Vienna AT, 1999

 

 

TRAVELOGUE web night, Toronto / CA, 1998

 

SOUNDCALENDAR collaborative international web project, 1998

 

Sylvia Eckermann

documentation

 

PATCHWORK - PATCHLIFE   1998

 

Video installation. Stereo sound.

  • “Work@Culture. BÜRO. Inszenierung von Arbeit,” curated by Herbert Lachmayer, Landesmuseum Linz AT, 1998.*

 

 

 

<vspace=”4”>  1998

Interactive Video and Sound Installation for an Elevator

  • “Archiv X,” curated by Elke Krasny / Elisabeth Madlener, OK Offenes Kulturhaus Upper Austria, Linz AT, 1998.

 

SELFCONTAINED phone terror project, 1997

  • curated by curated by Konrad Becker, Institute for New Culture Technologies/t0, Museums Quarter Vienna AT, Vienna AT, 1997.

 

JAPAN DIARY 1997

Net Art project of images and sounds from a journey to Japan. 


BAD ROOM 1997

Audio visual environment.

  • curated by Tuike / Simo Alitalo, Muu Media Base, Helsinki FI.


ALIENS 1995

Net Art project.

  • Diagonale film festival exhibition curated by Konrad Becker, Salzburg AT, 1995. 


JUMPING 1995

Site specific video and sound installation.

  • “EAST,” Selectors: Marian Goodman / Giuseppe Penone, Sainsbury Centre for Visual Arts, Norwich GB, 1995.


MOON RIVER 1994 

Underwater installation. Plastic sphere (diameter 70cm), monitor, speakers, microphone, light.

  • sounds from elsewhere,” curated by Tuike / Simo Alitalo, Titanik Gallery, Turku FI, 1994.


REWIND 1994

Interactive computer installation.

  • “Safe,” curated by Tuike / Simo Alitalo, Mediagalleria, Turku FI, 1993.


LINK. a para-realistic staircase, 1993

Site-specific Sonic Art project. Orange carpet, speakers and sound system.

  • ISEA 94, Ateneum Art Museum, Helsinki FI, 1994.
  • “Sound,” curated by Marisa Vescovo, Museion, Bolzano  IT, 1993.
  • Kunsthalle Vienna AT, 1993.


ENTRÉE SORTIE 1991

Sound composition with shared authorship, installation.

  • Instituto Nacional de Bellas Artes, Mexico City MX, 1992.
  • Gallery Theuretzbacher, ORF Kunstradio, Vienna AT, 1991.

 

 

WIEN 1991. Momentaufnahme einer Stadt, 1991

 

Installation with images and sounds. Specially built pavilion.

documentation

  • Karlsplatz, Museum of the History of Vienna, Vienna AT, 1991.

 

WIEN 1991. Momentaufnahme einer Stadt

 

Installation with images and sounds.

  • "Urban Spaces - Urban Dreams," curated by Eleonora Louis / Lisi Breuss, Kunsthalle Szombathely HU, 1998.
  • Center of Arts, Cairo ET, 1992.