Season 1 | 2017 VERMÖGEN
October 31 - November 11 2017
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.
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.
Interpassive object. 2015
Sound. Polystyrene sheets and mirrors, 4 loudspeakers, monitor, camera, computer, 160 x 160 x 80 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. Edition 5. 2013
Leuchtkasten, Stahlplatte, Plexiglas, Holz, Neon, 153 x 187 cm. 2012
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). 2014
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.
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.
UPRIVER. Digital pigment print, 2015. size variable
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
2010. 3 channel video, 5.1 sound, 1500 x 470. 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 Minoritenplatz 4, 3504 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. Infinitely mirrored acousmatic-visual 3d-world. Unreal Mod.
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.