current / upcoming

PLATFORM AUSTRIA

curated by Peter Mörtenböck and Helge Mooshammer Resident (due to the COVID-19 pandemic, the residences are online instead than on location)

17th International Architecture Exhibition La Biennale di Venezia 2021.  Opening on May 22, 2021    ▸ more



SENSING NATURE
Positions between Nature and Culture

A group show curated by
Mathias Kessler and Heike Strelow,
▸ Galerie Heike Strelow,
Frankfurt am Main.
May 14  to July 16, 2021



FEED

8 cinematic performances.

A public art project by Sylvia Eckermann and Gerald Nestler in connection with the art intervention Cliffhanger by Steinbrener/Dempf & Huber. Ötschergräben, Lower Austria
Sep 18 2020 - Oct 2021
▸ watch the films here


Sylvia Eckermann

FEED, film still, 2021

UNTER DER KURVE

▸ Under the curve is an artistic project by TECHNOPOLITICS aimed at developing a game for the public space. It engages with how forecasts, statistics and forms of digital capture influence our everyday life and map our society.

Funded by SHIFT, Basis Wien Kultur, 2021 



SOUND OF SIRENS

10 years Fukushima! 2021
▸ SOUND OF SIRENS = SOS is a video platform in cooperation with Edgar Honetschlaeger. It focuses on how democratic societies deal with catastrophes. About 140 people from around the globe contributed films.

Short film

Alles hat Grenzen NUR DER MONDFISCH NICHT

An environmental film musical

Idea, script, production, direction:
Sylvia Eckermann and Gerald Nestler.

ENGLISH / DCP 25fps / 1:1,85 / Stereo / 30'13'' / color / English subtitles. (completion date February 2021)


film trailer


"Alles hat Grenzen, NUR DER MONDFISCH NICHT" is an environmental film musical, in which nature acts and speaks in a diversity of voices. Surfacing from micro- and macrocosmic layers, she resonates with water as the source of life and resounds as exploited resource. She echoes from the trenches of an inverted world and speaks out as a human being. Reverberating through ecological-cultural depths images, sounds and associations push to light, giving shape to a vision of humanity in tune with nature.




Eckermann

film poster



Credits

film score by: Volkmar Klien, voice: Anna Mendelssohn, vocalists: Christine Gnigler, Lorina Vallaster, Joachim Rigler, Hip Hop artist: Soulcat E-Phife, beatboxer: Geo Popoff, stuntman: Christian Fiedler, woman in red & acrobat: Martha Laschkolnig, man in the woods: Bela Eckermann. 

director of photography: Alois Kozar, 2nd camera: Johanna Auer, edited by: Madlen Sieghartsleitner, assistant director: Alex Weber, camera assistant: Anna Wäger, drone pilots: Florian Blang, Luka Janitschek, lighting: Tom Barcal, Georg Roppatsch, location sound recordist: Andreas Hamza, production assistants: Fina Esslinger, Laura Eichenseer, Martin Fricker, sound design: Szely, re-recording mixer: Georg Mittermayr, colourist: Daniel Hollerweger.

film unit Naqab desert: Israel speaker of the unrecognised Aziz Al Turi,  Arab Bedouin village of Al-Araqib filmed by Deiaa Haj Yahia, Raafat Abo Aiash, translation: Enas al Taweel. film unit Lake Tyrrell, Australia: narration by the artist Neil Fettling, filmed by Simon Jackson, audio sequence China: featuring the artist Qiu Zhijie, recorded by Eckermann/Nestler, translation: Xu Pinxiu, Weina Zhao, CLIFFHANGER art intervention by Steinbrener/Dempf & Huber, installation of artwork: Rope-Solutions, additional footage lifeat5k, LucasTJahn.


Supported by:  Kunst im öffentlichen Raum Niederösterreich, Kultur Niederösterreich, Wissenschaft Forschung Niederösterreich, Stadt Wien | Kultur.

Art in public space

Sylvia Eckermann

AUGENSCHEIN. installation view

Augenschein

Light installation for the public space

Permanent installation since 2020


Stieglerhaus,
Zentrum für Kunst, Kultur und Bildung
8511 St. Stefan ob Stainz 14.


▸ more

Sylvia Eckermann

Space Intervention

DEEP HORIZON
The Culture of Forecasting

▸ 10 years of Technopolitics research group

Kunsthalle Wien Karlsplatz
17–19/10 2019


Forecasting is an eminently cultural issue, because it provides an aesthetic of the unknown and gives shape to the uncertain, actualizing the future into the present, in order to make the unlikely more likely, or to prevent the likely from happening. In talks, conversations, workshops and game playing, Deep Horizon: The Culture of Forecasting brought together the audience with artists, researchers and activists to deal with the role of forecasting as a way of inventing the future. Think and act ahead!

Sylvia Eckermann

Sylvia Eckermann, "Random Forest" space interventon, installation view

video

a-symmetry-abstraction

Digital vertical video, 15min loop. 2018



TERMS & CONDITIONS.

TERMS & CONDITIONS. 1 channel video, 20 min loop. 2017




TOIOS

the video work by Sylvia Eckerman, translates the English title of the initiative and exhibition “The Other Is Oneself” to 35 other languages. These translations - realized in intense conversations with many friends and people from Vienna and all over the world - raise questions about how otherness is included, or lacking, in language and thus demonstrate the complex and multifaceted process of how meaning translates from one language to another. ▸ more

The Future of Demonstration / Passion / Episode 3

MAKING THE BLACK BOX SPEAK
Towards a renegade aesthetics of resolution

THE FUTURE OF DEMONSTRATION
Season 2 PASSION Episode 3
October 24 2018, 8pm
Atelier Augarten, Vienna



▸ about / stream      
▸ images


live stream, 24/10/2018


Sylvia Eckermann


Episode Contributors: Haim Bodek, Sylvia Eckermann, Maya Ganesh, Aldo Giannotti, Florentina Holzinger, Volkmar Klien, Gerald Nestler, Peng! Collective, Denis “Jaromil” Roio, Soulcat E-Phife, Technopolitics research group, UBERMORGEN (featuring Zenker and Stefan Endres). Vocal Ensemble: Christine Gnigler, Lorina Vallaster, Joachim Rigler. Data Bodies: Jon Eckermann, Elisa Winkler. Special Guest Appearance: Frank Pasquale.

art series

The Future of Demonstration

Season 1 | VERMÖGEN  

31/10–11/11 2017
Reaktor, 1170 Vienna

Season 2 | PASSION  

20–25/10 2018

Atelier Augarten, 1020 Vienna


▸ website with all streams

Conseived by Sylvia Eckermann and Gerald Nestler with Maximilian Thoman.



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.


Light installation


Vermögen

30/10-19/11 2017

–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 S2 VERMÖGEN.


Escalator

19-25/10 2018

–light installation for the LED facade of UNIQA headquarter in Vienna‘s city center. 

The light installation Escalator was a widely visible landmark for the art series The Future of Demonstration S2 PASSION.

Video

WHISPER. Status Code : No Entity Found

Video, audio, 4:49, 2016

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!"

Technopolitics research group

▸ TECHNOPOLITICS

November 7 - 9 2018

SIGRADI 2018 TECHNOPOLITICAS

XXII International Conference of the Iberoamerican Society of Digital Graphics.
Universidade de São Paulo. São Carlos. Brazil.


TECHNOPOLITICS presenting:
Tracing information society -
a Timeline


Sylvia Eckermann

Timeline V.4, installation view, 20 x 1.5m




September 5 - November 18 2018

Seoul Mediacity Biennale

TECHNOPOLITICS was invited to take part in: THE MONOSKOP EXHIBITION LIBRARY

The MONOSKOP EXHIBITION LIBRARY explores the notion and medium of the art catalogue. The catalogue is the publishing vehicle of an exhibition and outlives the latter. But the imaginative power of this medium has more to offer than mere documentation. Hence, MONOSKOP invited artists, designers, curators, poets and researchers to explore the catalogue as an artistic medium. As our contribution, Technopolitics converted Tracing information society - a Timeline into an object-as-catalogue.



Sylvia Eckermann

TECHNOPOLITICS TIMELINE V.4
Object 1. 460 x 48,3 cm


Sylvia Eckermann

MEDIA Sculpture

Singularium

Interpassive object. 2015
Sound. Polystyrene sheets and mirrors, 4 loudspeakers, monitor, camera, computer, 160x160x80 cm.
Composition of the voices: Szely.


Wien Museum Collection / Sammlung Wien Museum

 

▸ more


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


▸ BOOKLET with text contributions by Thomas Raab, Gerald Raunig.

Sylvia Eckermann
The uniqueness and singularity of the individual is no longer just a claim. It is measured and evaluated. The measurement creates the measured. The individual measured through digital methods is modified under the data loupe. Numbers become norms, measurements become standards. Through this "reduction of complexity" (Niklas Luhmann) numbers order our world. It is only a small step from ordering to evaluation. The movement of our bodies, behaviours and feelings, and our capital are subject to permanent observation. We find ourselves in a colossal feedback loop fed by data about our own behaviour. The collective of the data suppliers are the counted who cannot count back – they are seen through but cannot look back. This lack of transparency is an expression of the power, not of the nature of the algorithms.
SINGULARIUM investigates this territory – an inverted crystal as a black box that immerses the visitors. In the encounter with their own external image, they experience, distanced and fragmentary, a "reality that is improbable" (Elena Esposito) yet becomes more concrete.


Text work

Sylvia Eckermann

ADREAMLESSMIND

Serigraphy on bedlinen / phosphorescent pigment.
Installation for a hotel room, 2014



Sylvia Eckermann


Kartografie des Unbestimmten

Leuchtkasten, Stahlplatte, Plexiglas, Holz, Neon.

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

Sylvia Eckermann


Cartography of the Intangible

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

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.”


Installation

Sylvia Eckermann
Digital Monsters Don't Bleed, Installation view

Digital Monsters Don't Bleed

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



The installation is a metaphoric/ metaphysical improvisation on the algorithm as the essential feature of a new cybernetic regime in a cyber-capitalist culture, rather than an attempt to visualize what is virtually impossible to reproduce. Thomas Mießgang

▸ more




Video Installation

Crystal Math


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.

Sylvia Eckermann

CRYSTAL MATH, 2012
1 channel video, room installation, 5.1 sound, 5000 m Nylon wire 300 x 200 cm

Video Object

Sylvia Eckermann

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

UPRIVER

a moving image landscape in the rhythm of the digital. 2015

▸ Video

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 cm. 2012


3D Animation

Telluric Force

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

Installation

Sylvia Eckermann

NAKED EYE, 2010. installaion view.



NAKED EYE

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


Intangible Images


With her installation naked eye at Kunstraum Bernsteiner Sylvia Eckermann addresses the presentation of the "white cube" by subverting the boundaries between tableaux vivants and animated images, between the flat wall and a visual depth, between the visible and the audible space. The viewer is immersed into a space of vexed imagination that constantly changes its content, and disintegrates any type of narration and sensually reflects the familiar presentations of art and its many media. Text: Brigitte Felderer ▸ more

Sylvia Eckermann

NAKED EYE, 2010. video stills.

Sculpture

Sylvia Eckermann


Zero Probability Event 2012

Iron construction, glass plate, glass cone, metronome, fly, 111 x 100 x 10 cm.
Collection: Artothek des Bundes at the Belvedere 21

Sylvia Eckermann


GLYCON 2014

Polymer, iron pedestal, 40 x 95 cm.
Sylvia Eckermann


Table for my Father 2012

Wooden claw and ball table, taxidermy of swans, 80 x 160 cm.
Wien Museum Collection / Sammlung Wien Museum


Sylvia Eckermann

Table for my Father, 2012

Installation

Solo exhibition, 2012, Kunstraum Bernsteiner, Vienna AT



PROBABILIS

▸ more

Sylvia Eckermanns Ausstellung Probabilis geht der Frage nach der Auseinandersetzung zwischen Wahrscheinlichkeit und Kontingenz nach. Während die Wahrscheinlichkeit ihren Blick in die Vergangenheit richtet, um eine Zukunft beschreiben zu können, trifft uns die Kontingenz unvermittelt und unvorhergesehen. Die in der Ausstellung zu sehenden Licht- und Textarbeiten, computergenerierten Bildwelten, Skulpturen und Objekte, ordnet sie zu einer inszenierten Raumkomposition an. Die einzelnen Objekte bezeichnet sie als freeze objects, die gleichsam ein im Moment eingefrorenes Ereignis manifestieren. Die Ausstellung interessiert sich für das Ereignis, das uns wie ein Schlag treffen kann, alles und nichts verändern kann, sich uns entzieht und zu einem Ort der absoluten Kontingenz werden kann (nach Quentin Meillassoux).

Interactive Installation

Sylvia Eckermann

The Trend is Your Friend !

Performative and interactive artistic environment, 2009


▸ more


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.

The Trend Is Your Friend, video documentation, steirischer herbst, 2009.
(in German)


Video

Breathe My Air , Video HD, 01:58:14

Breathe My Air —
a paradoxical conversation piece

2008

Filmed and edited by
Sylvia Eckermann and Gerald Nestler.


▸ more


Wien Museum Collection / Sammlung Wien Museum

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.

Interactiv Installation / virtual knowledgespace

Sylvia Eckermann


In Ninth Heaven or The Far End of Europe

In Ninth Heaven is based on a 3D real-time display system (Unity) integrated in a specially designed architecture.

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.

▸ more

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


▸ more


Plastic Trade-off was realized in 2006 as a permanent installation for WORKING–WORLD.NET, Working and Living in Globalization, Museum Arbeitswelt, Steyr, Austria.

Specifications: Size: 370 x 400 x 380 cm, 7 light strings composed of 1500 LEDs in different colors, mounted inside acrylic glass discs, 4 light strings with flashing lights running in both directions with variable speeds, 2 light strings, pulsating, 1 with variable speed, 1 light string, static light, Structural framework and data/power lines (4mm insulated copper wire) are identical.
Sylvia Eckermann
PLASTIC TRADE-OFF, 2006, installaion view.

Interactiv Installation

MIRROR CELLS | Spiegelzellen

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.

▸ more

Sylvia Eckermann


Sylvia Eckermann


Sylvia Eckermann

Interactiv Installation / Ludic environment / Game Mod

Sylvia Eckermann

nowhere, Unreal GameMod, screen shot



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

A Virtual Knowledge Space on the topic of "The Crystal Chain".


▸ more

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.


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



Sylvia Eckermann

reservoir_bots, Unreal GameMod, screen shot



Sylvia Eckermann

mirrage, Unreal GameMod, screen shot



mirrage 2005

Sight-specific interactive feedback circuit.


▸ more


  • Tonspur, Museums Quarter, Vienna AT. 2005
    curated by Georg Weckwerth.



BÖRSE 2006

A Virtual Knowledge Space on the topic of global financial markets and exchanges. Unreal GameMod


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  • WORKING_WORLD.NET Living and working in the midst of globalization, Museum Arbeitswelt Steyr, AT. 2006



reservoir_bots 2004

Game Mod for audio-visual live performances.


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  • Lange Nacht der Museen, Künstlerhaus Vienna AT 2004, curated by Angelika Fitz, Klaus Stattmann.
  • Institute for New Culture Technologies/t0, Vienna AT 2005, curated by Konrad Becker.


Interactiv Installation / Ludic environment / Game Mod

Artistic cooperation with Mathias Fuchs, fuchs-eckermann, 1989-2004




Sylvia Eckermann


Hotel Synthifornia 1999

Unreal Game Mod Level


▸ more

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



Sylvia Eckermann

fluID, Game art environment for 3 players, installation view


fluID - arena of identities 2003

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


▸ more

  • 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.


EXPOSITUR - ein virtueller Wissensraum 2001

A hyper-museum based upon a computer game


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  • Unternehmen Capricorn, curated by Christoph Steinbrener, Karmelitermarkt, Vienna AT, 2001.
  • KIASMA Museum of Contemporary Art, curated by Perttu Rastas, Helsinki FI, 2002.

Sylvia Eckermann

EXPOSITUR, Game art environment for 3 players. 2001. Exhibition architecture: tnE Architects.



FemCity 2003

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.


▸ more

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

FUTURE DJ 2004

Game Mod for DJs, Manchester GB


  • Club: Band on the Wall, Manchester UK, 2004.
  • Reserve der Form, curated by Angelika Fitz / Klaus Stattmann, Künstlerhaus, Vienna AT, 2004.


PLAN-it 2000

a multisensory experience

  • Mind Zone, Millennium Dome London 2000. GB



Walk-In Installation

Sylvia Eckermann


WIEN 1991

A pavilion with sights and sounds for city users. ▸ more



Sylvia Eckermann