upcoming exhibition

Hysterical Mining

Kunsthalle Wien

29/5–6/10 2019

Museumsquartier, Vienna

art series / curatorial work

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


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.

The Future of Demonstration / Passion / Episode 3

Making The Black Box Speak
Documentation / Stream     

24/10–2017, Atelier Augarten, Vienna


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.

Light installation, UNIQA Tower, Vienna.


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.


19-25/10 2018
The light installation Escalator was a widely visible landmark for the art series The Future of Demonstration S2 PASSION.


WHISPER. Status Code : No Entity Found

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!"

Technopolitics research group


November 7 - 9 2018
XXII International Conference
of the Iberoamerican Society of Digital Graphics.

Universidade de São Paulo. São Carlos. Brazil.



Tracing information society - a Timeline V.4

Installation, 20 x 1.5 m

September 5 - November 18 2018
Seoul Mediacity Biennale
TECHNOPOLITICS was invited to take part in:

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.

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

MEDIA Sculpture


Interpassive object. 2015
Sound. Polystyrene sheets and mirrors, 4 loudspeakers, monitor, camera, computer, 160x160x80 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.


Sylvia Eckermann


Serigraphy on bedlinen / phosphorescent pigment.

Installation for a hotel room, 2014


1 channel video, 20min loop. 2017

Cartography of the Intangible

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

Kartografie des Unbestimmten

Leuchtkasten, Stahlplatte, Plexiglas, Holz, Neon.

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 2014

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

Text & Images

Video Installation

Crystal Math 2012

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.

Crystal Math
paraflows, das weisse haus, Argentinierstr. 11, Vienna AT / 13.9. – 20.10. 2012

kunstraum BERNSTEINER Vienna AT / 29.2. – 25.4. 2012

Video Object


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


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



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

Text & Images


Sylvia Eckermann
Zero Probability Event 2012
Iron construction, glass plate, glass cone, metronome, fly, 111 x 100 x 10 cm.

Sylvia Eckermann
Table for my Father 2012

Wooden claw and ball table, taxidermy of swans, 80 x 160 cm.

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

ROOM Installation

PROBABILIS 2012, solo exhibition, Kunstraum Bernsteiner, Vienna AT


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


Text & Images 

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, Krems-Stein AT,
Sep 2008 - Sep 2009, curated by Dieter Buchhart.

Interactive Light Installation


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

Interactiv Installation / Game Art

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.

Text & Images

Sylvia Eckermann

Sylvia Eckermann
Sylvia Eckermann

Interactiv Installations / Ludic environments / Game Mods


Game Mod for audio-visual live performances. 2004

Text & Images

– 2004, Lange Nacht der Museen, Künstlerhaus Vienna AT, curated by Angelika Fitz, Klaus Stattmann.

– 2005, Institute for New Culture Technologies/t0, Vienna AT, curated by Konrad Becker.

n o w h e r e — ein welt raum spiel

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

Text & Images

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


A Virtual Knowledge Space on the topic of global financial markets and exchanges. 2006

Text & Images

Unreal GameMod

–  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

Hotel Synthifornia

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

EXPOSITUR - ein virtueller Wissensraum

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.

fluID - arena of identities

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.

Walk-In Installation

WIEN 1991

A pavillion with sights and sounds for city users.

Text & Images

Sylvia EckermannSylvia Eckermann