art series / curatorial work

The Future of Demonstration

 

Season 1 | 2017  VERMÖGEN  

October 31 - November 11 2017

 

Website

All episodes of S1 VERMÖGEN

 

Season 2 | 2018  PASSION  

November 2018

 

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

VERMÖGEN

–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

WHISPER. Status Code : No Entity Found

Video, audio, 4:49 min., 2016 (2K feed and headphones recommended!)

 

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!"

Sylvia Eckermann: video, animation, sound. Gerald Nestler: words.

MEDIA Sculpture

Singularium

Interpassive object. 2015
Sound. Polystyrene sheets and mirrors, 4 loudspeakers, monitor, camera, computer, 160 x 160 x 80 cm. Composition of the voices: Szely.

 

Text & Images

TEXT: Gerald Raunig: "No Future - Dividuelle Linien, neue AkteurInnen der Kreativität" SPRINGERIN 1/16

BookLET with text contributions by Thomas Raab, Gerald Raunig.

 


Textworks

Sylvia Eckermann

ADREAMLESSMIND

Serigraphy on bedlinen / phosphorescent pigment.

Installation for a hotel room, 2014

 

TERMS & CONDITIONS

1 channel video, 20min loop. 2017

Cartography of the Intangible

Digital pigment print,  101.6 x 124.46 cm. Edition 5. 2013


Kartografie des Unbestimmten

Leuchtkasten, Stahlplatte, Plexiglas, Holz, Neon, 153 x 187 cm. 2012

Light box, steel, wood, acrylic glass, neon, 153 x 187 cm. 2012

 

Sylvia Eckermann
Sylvia Eckermann
In Cartography of the Intangible, Eckermann engages with the notion of the indeterminate. She describes this digital pigment print as “a display of contemporary experiences and biographies.” Instead of tracing professional achievements, however, she “follows uncharted maps, contingent flows and virtual potentials across which we steer in the course of our lives and where, in the words of the French philosopher Alain Badiou, we decide upon the undecidable.”


MEDIA Installation

Digital Monsters Don't Bleed

Spatial object, 1700 x 500, paper tubes, sound, video, 2 gold plated sculptures (15 x 50). 2014

 

Text & Images

 

 

Video Installation


Crystal Math 2012

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

 

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.

Video Object

UPRIVER

a moving image landscape in the rhythm of the digital.

Digital video, 30min loop, steal frame, AV player, monitor. 2015

 

A secluded scenery in the mountains of Albania, a mythical, unknown land. No road cuts through nature, the river alone crosses the country connecting remote and widely separated villages. Without any sign of human life along the riverside, the camera flows with the waters through a scenery that hardly changes. The sunlight, at play with the surfaces it touches, bursts into digital refractions that dissolve solids into the immaterial epiphany of vision. The light we see is the gleaming artistic shadow of a past adventure. It immerses us in a timeless dreamscape in which digital imagination embraces ephemeral physicality.




Sylvia Eckermann

UPRIVER. Digital pigment print, 2015. size variable




Sylvia Eckermann





INTEGUMENT

Digital video /
computer animation,
wooden frame, monitor,
AV player, 100 x 160. 2012

3D Animation

Telluric Force

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

Installation

NAKED EYE

2010. 3 channel video, 5.1 sound, 1500 x 470. 10 projection objects, carpet, text work plotted on mirror foils.

Text & Images

Sculpture

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
GLYCON 2014
Polymer, iron pedestal, 40 x 95.

ROOM Installation

PROBABILIS 2012

 

Interactive Installation

Sylvia Eckermann

The Trend is Your Friend!

Performative and interactive artistic environment, 2009

 

Text & Images

 

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.

 

3-channel Video

Breathe My Air —
a paradoxical conversation piece

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

Interactiv Installation / Game Art / virtual knowledgespace

In Ninth Heaven or The Far End of Europe

— An Interactive Synthetic Scape (Unreal Mod)

Artistic Research: Gerald Nestler, Composition and spatial acoustics: Peter Szely. Programing: Doron Goldfarb. Installation at the Museum Stein Minoritenplatz 4, 3504 Krems-Stein AT, Sep 2008 - Sep 2009, curated by Dieter Buchhart.

 

Interactive Light Installation

PLASTIC TRADE-OFF

Meta-performative game in real time – intervention in global financial markets and exchanges. In artistic cooperation with Gerald Nestler. 2006

 

Text & Images


Sylvia Eckermann

Interactiv Installation / Game Art

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.
Featured project of ars electronica 2007.
Accessible immersive environment. Infinitely mirrored acousmatic-visual 3d-world. Unreal Mod.

 

Text & Images

 

Sylvia Eckermann

Sylvia Eckermann
Sylvia Eckermann

Interactiv Installation / Game Art / virtual knowledgespace

n o w h e r e — ein welt raum spiel

n o w h e r e is a GameMod, a modification of the Egoshooter Unreal.

The user moves freely in any direction in virtual, three-dimensional space. Architecture, sound, voice-over and images support the immersive effect of this medium. Flying freely through space and time as a metaphor reflects the intellectual world of the group of artists and architects that came together in The Crystal Chain share their ideas. 2005.

 

Text & Images