Season 1 | 2017 VERMÖGEN
Season 2 | 2018 PASSION
The Future of Demonstration is an art series with two seasons and five episodes each. The episodes are based on thematic clusters derived from the leitmotifs, VERMÖGEN 2017 and PASSION 2018.
The art series engages with the radical changes we are witnessing today in the ecological, social, and cultural spheres. It explores the notion of demonstration and its political, technological, pedagogical, and aesthetic capacities as means to imagine, collect, weave, embrace and share narratives, techniques and affiliations of resistance.
Conseived by Sylvia Eckermann and Gerald Nestler with Maximilian Thoman.
–light installation for the LED facade of UNIQA headquarter in Vienna‘s city center. The light installation was a widely visible landmark for the art series The Future of Demonstration. 2017
Video, audio, 4:49 min., 2016 (2K feed and headphones recommended!)
Sylvia Eckermann: video, animation, sound. Gerald Nestler: words.
The video exposes the libidinal power of financial capitalism. In Gerald Nestler's lyrics, the market/money/capital addresses us directly. Its seductive speech is set to rhythm and sound by Sylvia Eckermann who also generated the visual surface. Computer voices strike up the digital hip hop of futures. Volatile swings define the imagery. We are the object of desire. Derivative markets constitute the "recombinant social DNA" of the social body. "Oh baby! How you nourish me!"
Interpassive object. 2015
Sound. Polystyrene sheets and mirrors, 4 loudspeakers, monitor, camera, computer, 160x160x80 cm. Composition of the voices: Szely.
◊ BookLET with text contributions by Thomas Raab, Gerald Raunig.
Serigraphy on bedlinen / phosphorescent pigment.
Installation for a hotel room, 2014
1 channel video, 20min loop. 2017
Digital pigment print, 101.6 x 124.46 cm, 2013. Edition 5.
Leuchtkasten, Stahlplatte, Plexiglas, Holz, Neon.
Light box, steel, wood, acrylic glass, neon. 153 x 187 cm. 2012
Spatial object, 1700 x 500, paper tubes, sound, video, 2 gold plated sculptures (15 x 50).
1 channel video, room installation, 5.1 sound, 5000 m Nylon wire, 300 x 200 cm.
With thousands of meters of nylon threat Sylvia Eckermann produced a spider web that serves as the captivating projection screen for her "expressive verbal image" (Sabine Dreher) with which she visualizes the replacement of human actors by algorithms in finance.
Referencing the fiber optic networks encroaching below ground level that connect the powerhouses of finance via inconspicuous Carrier Hotels, Crystal Math addresses the issue that human beings have become the resource of derivative risk potentials. Here, the net does not serve as a social realm of communication but rather as a trap in which pray gets caught, as the mathematics of probability calculation have turned into the drug of an oracle which subjects the manifold options of the future to its very own fictions. The voice of Simon Streather enunciates these bottomless pits put into words by Gerald Nestler. Sound by Szely.
Digital video, 30min loop, steal frame, AV player, monitor. 2015
UPRIVER. Digital pigment print, 2015. size variable
Computer animation, stereo sound, plasma display, wooden frame, 90 x 150 cm. 2012
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
2010. 3 channel video, 5.1 sound, 1500 x 470 cm. 10 projection objects, carpet, text work plotted on mirror foils.
Performative and interactive artistic environment, 2009
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.
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.
Supported by: bjartlab – Li Zhenhua, City of Vienna art council, the Austrian Federal Ministry for Education, Arts and Culture and the Cultural Forum Beijing
Artistic Research: Gerald Nestler, Composition and spatial acoustics: Peter Szely. Programing: Doron Goldfarb. Installation at the Museum Stein, Krems-Stein AT,
Sep 2008 - Sep 2009, curated by Dieter Buchhart.
Meta-performative game in real time – intervention in global financial markets and exchanges. In artistic cooperation with Gerald Nestler. 2006
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.
Featured project of ars electronica 2007.
Accessible immersive environment. Unreal Mod.
Game Mod for audio-visual live performances. 2004
◊ Text & Images
– Lange Nacht der Museen, Künstlerhaus Vienna AT, 2004.
– curated by Konrad Becker, Institute for New Culture Technologies/t0, Vienna AT, 2005.
A Virtual Knowledge Space on the topic of "The Crystal Chain". 2005
◊ Text & Images
Flying through space and time is a metaphor to reflect the intellectual world of The Crystal Chain, a group of architects and artists founded by Bruno Taut in 1919 to share utopian ideas
– 2006: media@terra International Art + Technology Festival, Athens GR / 3rd International Digital Art Festival, Changzhou CN / 11-art.com, Dashanzi Beijing CN / Architekturzentrum, Innsbruck AT.
– 2005: Heiligenkreuzerhöfe, Vienna AT.
Sight-specific interactive feedback circuit. 2005
– Tonspur, Museums Quarter, Vienna AT. 2005
A Virtual Knowledge Space on the topic of global financial markets and exchanges. 2006
◊ Text & Images
– WORKING_WORLD.NET Living and working in the midst of globalization,
Museum Arbeitswelt Steyr, AT. 2006
Artistic cooperation with
Mathias Fuchs, fuchs-eckermann, 1989-2004
Unreal Game Mod level. 1999◊ Text & Images
– SYNWORLD playwork:hyperspace
curated by Konrad Becker, Institute for New Culture Technologies/t0, Museums Quarter Vienna AT, 1999
A hyper-museum based upon a computer game. 2001◊ Text & Images
Game art environment for 3 players. 2001. Exhibition architecture: tnE Architects.
– Unternehmen Capricorn, curated by Christoph Steinbrener, Karmelitermarkt, Vienna AT, 2001.
– KIASMA Museum of Contemporary Art, curated by Perttu Rastas, Helsinki FI, 2002.
Multi user game on identities and its breaches as well as deconstructions. 2003◊ Text & Images
– 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.
Multi-user computer game for girls. 2003
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.
– Third Places, curated by Doris Rothauer, steirischer herbst, Graz AT 2004.
Game Mod for DJs, Manchester GB, 2004.
– Reserve der Form, curated by Angelika Fitz / Klaus Stattmann, Künstlerhaus Vienna AT, 2004.