Gerald Nestler

 

PROJECTS

TEXTS | TALKS

BIO | contact


contact: mail <at> geraldnestler <net>


 

I am an artist and writer engaged in postdisciplinary research – I combine theory and conversation with intervention, performance, video, installation, sound and speech. I also also develop and curate artistic-activist formats for collaborative practices between art, philosophy, science and other fields of expertise. I do this because I believe that the ecological, political, economic and cultural challenges we are facing today demand us to explore and create new bonds and alliances of resistance and intervention.

My research focuses on what I call the derivative condition of technocapitalism and its performative speech. In terms of practice I am working on an aesthetics of resolution that aims at renegade acticism. Examples of my work on these themes are below and in the project section.

My artistic work is often based on collaboration, especially with the artist Sylvia Eckermann. An example for this approach is the art series The Future of Demonstration. I am a member of the Technopolitics Working Group in Vienna and the Volatility Research Group in New York. I was a researcher at Forensic Architecture and was awarded a PhD at the Centre for Research Architecture, Goldsmiths, University of London (2017).

My work has been presented internationally in various format, such as exhibitions, performances, festivals, conferences, lectures and workshops. I have received a number of art and research grants, amongst which are the Austrian State Grant for Visual Art (2003), the Goldsmiths Visual Cultures PhD Research Bursary (2010), Austrian studio program grants to Beijing (2008), New York/ISCP (2016) and Herzliya/Tel Aviv (2020).

I have also published and edited widely on art, finance and technology. Books, journals and essays include "Yx," an artist book/reader on finance and economy as fields of artistic research (Schlebrugge.Editor, Vienna, 2007); KUNSTFORUM INTERNATIONAL 200 + 201 on Art and Economy (ed. with Dieter Buchhart, 2010); a research article in Forensis. The Architecture of Public Truth (ed. by Forensic Architecture, Sternberg Press, Berlin, 2014); the reader Making of Finance (ed. with Armen Avanessian, Merve, Berlin, 2015); the special issue "Art and Finance," Finance and Society (ed. with Suhail Malik, 2016); "A-Symmetry. Algorithmic Finance and the Dark Side of the Efficient Market," in Risk Equipment. Technosphere Magazine, #9, Haus der Kulturen der Welt, Berlin (2017); "Aesthetics of Resolution. A postdisciplinary approach to counter the technocapitalist black box," in Proceedings of SIGraDi18 conferance on Technopoliticas, University of Sao Paulo, Brazil (2018) and the essay "Art, Market and Finance" in Routledge Handbook to Critical Finance Studies (with Victoria Ivanova, forthcoming 2020).

In 2018, Finance and Society published a conversation with me by Christian Klöckner and Stefanie Müller with Gerald Nestler (Vol. 4/No. 1, peer-reviewed).

 

Notes on my research and practice

For a long time, my research has focused on investigating finance and in particular what I call the derivative condition of technocapitalism. (In a nutshell, this means that the application of metadata to speculate on the odds of risk has transformed form a quantitative innovation in finance to the paradigmatic model for dealing with uncertainty; i.e. the future.)

This exploration started in 1994 and the reason for this rather unusual enagement as an artist – I had studied art at the Academy of fine arts Vienna and subsequently worked in digital media and early Internet practices – was that we were entering a 'new world': after the collapse of communism the neoliberal turn and the New Economy boom unhinged a completely different playing field. I felt meaningful to me for an artistic practice commited to questioning the contemporary world to take these changes into account. To get a grasp on how markets operate, I decided to work as a broker and trader.

The main insights I took from these years was that finance does not only affect business or the economy as an abstract entity quite remote from everyday life. But that if deeply affects much wider social realms, including how subjectivity evolves (the in/dividual). And it can exert such an influence because it applies every avaliable knowledge and technology. Hence, what I have been exploring as an artist is how its models, technologies, operations, narratives and fictions transform social, material and ecological relations. (I use ther term technowledge to underscore the production of knowledge beyond human apperception, which in its current proprietary mode is highly asymmetrical).

Art has an outstanding position: as artist, we can look at a field of interest from all kinds of angles with the advantage that disciplinary boundaries are less of a concern. Art has degrees of freedom that can be made fruitful in many ways, also in exploring a field as seemingly remote from art as finance. But this still implies an engagement in making sense and therefore a crossing of lines between art, theory, technology and science (I call this approach postdisciplinary research).

Most operations in finance and other data-driven fields run in split seconds and therefore under the threshold of human perception. While invisibility is as such neither a surprise nor a scandal – we can watch TV without knowing how it technically works, for instance – the business models that exploit the digital domain have unleashed new levels of participation and competition. The collapse of visibility into immediacy has brought about a mainly proprietary agency and with it a new global reality: technocapitalism. The economic seachange from scarcity to abundance in the digital domain has not led to a social contract based on the idea of the commons. Yet, this promise is there, as are the means. But the invisible politics of algorithmic automation turn promise into claim. And they are thus steeped in hypercompetition whose principle claim, in contrast to neoliberal competition, is to monopolize the core function of capitalism: to own the future at present.

Hence, there is urgency for a radical analysis of volatility and leverage as tools appropriated by technocapitalist governance. This fight for survival causes massive asymmetries, burdens and injustices. The black box society, to use a term introduced by Frank Pasquale, ruptures (what's left of) welfare, trust and dignity. What complicates matters is that in its wake the language of (bio)power shifts from representative to performative speech. It undermines, and thus overrides, what we could call the dispositif of representation. As a consequence, we increasingly lack the means to decipher what's going on, as accustomed manners and methods become ineffective. We are loosing sight in the sense of perception (what we see) and in terms of prudence and truth (i.e. what we know). We have entered a dark realm whose computational phenomena are unmediated by expert resolution. Left with a void of contingency that produdes volatile states of exhaustion, we not only seem to be stuck for an answer but we also lack the question.

Epistemic inquiry and aesthetic imagination rarely grasp the full scope of what the derivative unleashed and what it exploits as resource: wealth and power deriving from volatility (risk) and leverage (debt). Most studies of debt neglect leverage as that other face of debt that takes advantage of volatility. But leverage and volatility are crucial to conceptualize how (bio)power operates between state and private interest. A point in case is technocapitalist class system: in a nutshell, I propose the read it as a framework of social asset classes in which the tiers of debt classes are dominated by the leverage class. This upper class performatively shifts between, and so secures, future potentials by recalibrating leveraged debt; in case of systemic default, it externalizes toxic assets by socializing them to the debt classes (e.g. by bailouts, public debt inflation, austerity politics). This regime change has not been fully acknowledged. To my mind, partly because the performative turn of the speech of biopower with its non-directional derivative regime is still relatively unexplored; but also, because at times even critical studies get distracted by neoliberal narratives – deeply entrenched myths that we need to debunk and resolve.

How can we act out (of) the black box? In my view, it affords taking risks, not in the individualized neoliberal sense of entrepreneurship but by inventing means of sharing the risk for acting outside the box. In the context of the derivative condition I am concerned with, this means to actually enter the (black) box. I do this by exploring the mind and the body for other imaginations and senses (aesthetics of resolution) as well as by engaging in affiliations and alliances (renegade activism) whose consequences exceed the typical notion of critique in contemporary art.

On the level of conceptual imagery, I work with a term whose semantic field combines many of the issues mentioned above: resolution means many things – it relates for example to visibilty, perception and visualization; and thus to acts of cognition, engaging with the obscure, impenetrable and even unknown; and hence furthering the acceptability of what is deemed strange, foreign or alien; as a consequence, the term signifies the affirmation of knowledge produced both in an empirical and tacid sense and crucial for problem solving; and last but not least, resolution is a formal expression of common accord concerning actions to be taken.

Resolution speaks of intellectual, physical and affective potentials but also involves technological properties, operations and the "distances" between them. Therefore, the term's conceptual differention lends itself to revealing how automated control predicts, curtails and exploits common potentiality; and at the same time the word's semantic wealth evokes the reality of an ecology in which all bodies communicate. Hence, I explore aesthetics of resolution as an an artistic-activist method to investigate and counter the asymmetries of non-transparency. Just like the tools we use for the tiers of micro- and macro-cosms invisible to the eye, resolution expanded accross the entire field of meanings could prove a socially powerful expression for how we sense, map, differentiate and support relations. Moreover, it holds the potential to access value in radical contrast to the proprietary logic of technocapitalism, without losing the performative edge necessary within complex sociopolitical contexts in flux.

But the data-driven black box is not just invisible and unpenetrable from the outside. Its platforms create an environment that expands its horizon of non-transparency by incorporating any field of social activity into its sphere. How then can we counter technocapitalist politics, whether exploited by political or corporate interests? How can we make the black box speak?

There are a number of ways, from data activism, forensic investigation to political dissent. My proposition, renagade activism, is a radical intervention into the black box. Rather than attempting to penetrate it from the outside, I link resolution to a resistance I call the figure of the renegade (e.g. a whistleblower, hacker with "skin in the game" or "those with two names"). The renegade act – essentially a violation of current custom, rule or law – produces a host of viable resolution materials across the semantic field of the term: visualization, discrimination, cognition, transparency, decision. In fact, the figure of the renegade constitutes an act that exceeds critique and dissent to concrete insurrection. The renegade, in all her ambivalence and marginality, is an expert who takes massive risks in the attempt to resolve injustice. By speaking out and sharing proprietary data or classified information, she discloses what was excluded from public debate and manifests noncompliance as an act of civil courage.

Renegade activism can therefore be described as praxis of alliance and solidarity with those who make the black box speak from the inside. The renegade – a whistleblower, for instance – is invariably declared a traitor by the sector, industry or entity she 'betrays'. At the same and despite the hostility, she is an indispensable educator in the general interest of the public. But renegade activism is not simply a form of approval, credence or consensus. I implies a compex web of conversations and translations to analyse, verify and communicate what is at stake.

To some, this form of activism might seem at the margin of technocapitalism. But it is in fact right at its core – it is the insurrection that unlocks the black box. Leveraged by solitarity-alliances it has the potential to access the wealth preempted by the capital-state nexus, finance conglomerates and data platforms, and to transform the acquiescent conditions of social automation and (digitized) labor. Crucially, renegade activism aims to collectively resist the false determinacy of the technocapitalist doctrin by transgressing conventional forms of critique and dissent. What it calls for is an emancipation as resolution and resistance as insurrection.

In terms of my practice, I have focused on aesthetics of resolution and renegade activism since 2013 and realized research and art projects, often in collaboration with experts and in particular the high-frequency trader and whistleblower Haim Bodek and the artist Sylvia Eckermann.

 

ACTIVITIES | COLLABORATIONS (selection)

2017 / 2018     
THE FUTURE OF DEMONSTRATION. Media Art Festival of the City of Vienna.
Artistic director with Sylvia Eckermann & Maximilian Thoman.
2017               
PhD, Centre for Research Architecture, Department of Visual Cultures, Goldsmiths, University of London.
2016               
Editor (with Suhail Malik): "Special Issue on Art and Finance," Finance and Society.
Since 2016      
Member of the Volatility Working Group, a collaboration between The New School and New York University, both New York (initiated by Benjamin Lee and Robert Wosnitzer).
2015               
Editor (with Armen Avanessian): Making of Finance (MERVE Verlag, Berlin).
2015               
Curator (with Sylvia Eckermann & Maximilian Thoman): SOCIAL GLITCH, Kunstraum Niederösterreich, WUK and MQ Vienna.
Since 2015      
Ö1 Radiokolleg expert for "The ABC of Finance."
2013 / 2014     
Researcher at Forensic Architecture, London.
Since 2011      
Member, Technopolitics working group (initiated by Armin Medosch, Brian Holmes).
2010               
Editor (with Dieter Buchhart): KUNSTFORUM INTERNATIONAL, issues 200 + 201.
2007               
Artist book and reader on artistic research, Y x . fluid taxonomies—enlitened elevation—voided dimensions—human derivatives —vibrations in hyperreal econociety, Schlebrügge Editors, Vienna.
2000 - 2002     
Co-founder of interventionist art consulting firm nac – nexus art consulting, Vienna.
1994 - 1997     
Artistic field research as broker and trader.
1993 - 2005     
Member of Triton association for media art projects.
1993 - 1994     
Staff member at Hilus-intermedial project analysis.
1992 - 1993     
Staff member at The Thing Vienna.
1992                
Mag.art (MFA), Academy of fine arts Vienna (with distinction).

PROJECTS | SOLO & GROUP EXHIBITIONS (selection)

2020 
Cliffhanger Parcours, with Sylvia Eckermann. Performative interventions in connection with the art intervention Cliffhanger by Steinbrener/Dempf & Huber, Ötschergräben, Lower Austria.
Technopolitics Information Society Timeline. Imagine you Wake Up and There is no Internet, an exhibition curated by Katerina Gkoutziouli and Voltnoi Brege, Romansto, Athens.
Leaning on the Past, Working for the Future, an exhibition curated by Krisztina Hunya, Zsolt Miklósvölgyi, Márió Z. Nemes, OFF-Biennial Budapest and Kunsthalle Exnergasse, Vienna.
2019 
Hysterical Mining, curated by Anne Faucheret and Vanessa Joan Müller, Vienna Biennale, Kunsthalle Wien, Vienna.
Making Truth, with Sylvia Eckermann, an exhibition curated by Angela Stief and Robert Punkenhofer, Vienna Art Week.
DEEP HORIZON: The Culture of Forecasting. Technopolitics@Kunsthalle Wien, Vienna.
2018 
. Art series THE FUTURE OF DEMONSTRATION. Season 2: PASSION. Atelier Augarten, Vienna. Artistic directors: Sylvia Eckermann, Gerald Nestler, Maximilian Thoman.
. 10. Tage der Politik im freien Theater. Three days of artistic and discursive interventions, Muffatwerk, Munich, curated with Sylvia Eckermann. In collaboration with Dietmar Lupfer.
. Technopolitics@SIGraDI Conference, Sao Carlos, Sao Paulo, Technopolitics Timeline exhibition, workshops and lecture.
. Über_Leben. Entropy. Interactive media-space-installation and performatives ART-LAB, artistic contribution; a project by Thomas J. Jelinek, Jorge Sánchez-Chiong. Künstlerhaus 1050, Vienna.
2017 
. 1948 UNBOUND – TECHNOSPHERE Projekt (2013-2018). Curator of the SWITCHES section and participation in the TOKENS section, Haus der Kulturen der Welt Berlin, Nov. 30 - Dec. 2.
. THE FUTURE OF DEMONSTRATION. Season 1: VERMÖGEN. Reaktor, Vienna.
Artistic directors: Sylvia Eckermann, Gerald Nestler, Maximilian Thoman.
. Tecnopolitics@PatchlabDigitalArtFestival, Krakow. Exhibition and lectures.
. ENTROPY ROADSIDE AREA, Ars Electronica, Linz.
. Technopolitics@ConnectingSpaces, Hong Kong, exhibition and workshops in collaboration with Zurich University of the Arts and Connecting Space, Hong Kong.
. Tracing Information Society – a Timeline: New Paradigms, Technopolitics @ ever elusive – 30 years of transmediale, Haus der Kulturen der Welt and @ nGbK Berlin, exhibition, lectures, workshops).
. INSTANTERNITY – A BLACK BOX BODY CULT. A performative cartography of automated finance. With Haim Bodek, Sylvia Eckermann and the performers Davide De Lillis, Eva Müller, and Sebastian Collado. VORBRENNER17, Freies Theater Innsbruck.
2016 
. OPERA OF ENTROPY. Post-dramatic music theatre. A coproduction by nomad.theatre and Musiktheatertage Wien, Werk X, Vienna, artistic director: Thomas J. Jelinek.
. I STOOD BEFORE THE SOURCE, group show, curated by Letters & Handshakes, Blackwood Gallery at University of Toronto Mississauga.
. Tracing Information Society – A Timline. Technopolitics @ MAK. Austrian Museum of Applied Arts / Contemporary Art, Vienna, AT (exhibition, lectures, workshops).
. THE PROMISE OF AUTOMATION, group show, curated by Anne Faucheret, Kunsthalle Vienna.
2015 
. SOCIAL GLITCH. Radical aesthetics and the consequences of extreme events, curated by Sylvia Eckermann, Gerald Nestler, Maximilian Thoman, Kunstraum Niederösterreich, WUK, MQ Vienna.
. HEDGE AVANTGARDE. Renegades, Traitors, Educators. An Aesthetic of Resolution, solo show, kunstraum Bernsteiner, Vienna.
. You can't have a system in which you don't have anything, with Armen Avanessian. Public program artgenève, curated by Joanna Warsza, Geneva.
. ENTROPY. A pataphysical Journey to the End of the World and back. Nomad.theatre,
  Tanzquartier Vienna.
2014 
. FORENSIS. Curated by Anselm Franke and Eyal Weizman, Haus der Kulturen der Welt, Berlin.
. Rencontres International, nouveau cinema et art contemporain, Gaité Lyrique, Paris & Haus der Kulturen der Welt, Berlin.
. Parallel Vienna, by invitation of kunstraum Bernsteiner.
2013 
. The Vienna Model, ACF – Austrian Cultural Forum New York, USA
. GLITCH. Unser Schreibzeug arbeitet mit an unseren Gedanken, curator and artist, with medien.kunst.tirol, Kunstraum Innsbruck, AT
2012 
. ON PURPOSE. The New Derivative Order, solo show, Kunstraum Bernsteiner Vienna.
. Kunstgastgeber 012, KÖR (art in public spaces Vienna), group show, curated by Gerald Straub.
. Breathe My Air, Austrian AIR programme group show in Chengdu, CN.
2011 
. SUPERGLUE. Performing artistic research on scientific research. Vienna Art Week, with Gerald Straub.
. METAmART, group show, Künstlerhaus Wien, curated by Lorenz Seidler (eSeL).
2010 
. Businesslunch. Lunch break. Colleagues. Canteen. with Gerald Straub, Vienna Art Week.
. Breathe My Air—a paradoxical conversation piece. 3-channel video installation, with Sylvia Eckermann. Solo show, curated by Li Zhenhua, Shanghai eARTS, 4zero space, Hangzhou.
. Austrian Pavilion at the EXPO 2010, 64-channel-video projection, with Sylvia Eckermann and peyote cross design, Shanghai.
2009
. The Trend Is Your Friend. Solo project with Sylvia Eckermann, steirischer herbst 09, MKL/Kunsthaus Graz.
. The House is on Fire But he Show Must Go On, group show curated by Stefan Bidner, Kunstraum Innsbruck.
. Mifan, Anni Gallery, 798 Art District Beijing, group show, curated by Karel Dudesek, ASAP, Peking.
  Beijing & babu Gallery, group show, curated by Matthias Meinharter, ASAP, Shenzhen.
2008
. Breathe My Air, with Sylvia Eckermann, solo show, CPU:798 art space, Dashanzi, Beijing.
. In Ninth Heaven, with Sylvia Eckermann and Peter Szely, solo show, Museum Stein, Krems.
2006
. Plastic Trade-Off, with S. Eckermann, group show working_world.net, Museum Arbeitswelt Steyr.
. NOWHERE – ein welt raum spiel. media@terra, International Art+Technology Festival, Athens; Dashanzi International Art Festival, Beijing, CN; International Digital Art Festival, Changzhou, CN; aut.architektur und tirol, Innsbruck.
. umspannen – drawing options, solo shows at Platform-space for art Dana Charkasi, Vienna + Kunstraum Innsbruck.
. Beijing Cubic Art Center, solo show with Sylvia Eckermann, curated by Yao Bin and Li Zhenhua, Dashanzi-798, Beijing, CN 
2005 
. update, group show, Künstlerhaus Vienna, AT.
. RE-ACT, Nikolaj Copenhagen Contemporary Art Center, group show curated by Dieter Buchhart and Anna Karina Hofbauer, Copenhagen.
2004
. Form 4 Enlitened Elevation, solo show/intervention, Industriellenvereinigung, Vienna.
2003 
. Sexy Curves Revisited – Inside the Data Wave, Biennale de Valencia.
. projectfriend~ship at fluc, with Oliver Irschitz, Praterstern, Vienna.
2002
. projectfriend~ship, performative intervention at the CeBit and online, with Oliver Irschitz, Hannover.
2000
. Social Engine Money, with Toni Kleinlercher, group show curated by Gottfried Hattinger, O.K.Centre for Contemporary Art, Linz.
1999 
. CEOs, video portrait series (until 2005), with Toni Kleinlercher.
1994
. Real Data Stampede. Real data concert for mass media and computer, a project by Thomas Feuerstein, with Thomas Bergmann, Peter Chiocchetti, Mathias Fuchs, Gerald Nestler, Peter Riedelsperger, Elmar Schaber, Utopia, Innsbruck.

 

TALKS | DISCUSSIONS | WORKSHOPS (selection)

2020
. Technopolitics Salon @ Artist Residence Herzliya, IL.
2019
. "Algorithmic Cognition and the Turn from Representative to Performative Power." Performative lecture, with Haim Bodek and Sylvia Eckermann. Hysterical Mining, Vienna Biennial, Kunsthalle Wien, Vienna, AT.
. Performative lecture, DEEP HORIZON: The Culture of Forecasting. Technopolitics@Kunsthalle Wien, Vienna, AT.
. Artist talk, ISEA 2019, Gwangju, KR (with Sylvia Eckermann).
. "Asymmetries, noise and resolution. In finance and other algo spaces." Artist talk. Digital Arts, University of Applied Arts Vienna, AT.
. Keynote at Fabulous Entanglement, Royal College of Art, London, UK.
2018
. "The Pit." Lecture Performance, with Haim Bodek and Sylvia Eckermann. Applied Microperformativity: Live Arts for a Radical Socio-Economic Turn, Angewandte Innovation Lab, University of Applied Arts, Vienna, AT.
. Pod save Austria. Addressing the State of the Nation(s). Live radio and podcast. Curated by Alexander Martos. With Elena Esposito, Joseph Vogl, Wiener Festwochen, Vienna.
. Entropy, panel discussion at Künstlerhaus.1050, Vienna.
. The Future of Demonstration, seminar host and speaker, Vienna.
. Talk at SIGraDi 2018 conference, University of Sao Paolo, Sao Carlos, Brazil.
2017 
. Talk and panel discussion Technopolitics – Tracing Information Society – a Timeline: New Paradigms, "ever elusive - 30 years of transmediale", Haus der Kulturen der Welt, Berlin.
. Finance and Society, special issue on Art and Finance. Launch at P!, New York.
. Presentation + Q&A on the artistic research project INSTANTERNITY. With Haim Bodek and Sylvia Eckermann, moderated by Mark Tribe. Austrian Cultural Forum New York.
2016 
. Lecture and conversation with Elie Ayache, Volatility Research Group, The New School, New York, USA.
. The Politics of Resolution. Lecture and discussion; in collaboration with Parallax Drift faculty member Victoria Ivanova, ArtCenter/South Florida, Miami Beach, USA.
. Opening keynote and plenary panel, Financial Market Symposium, European Forum Alpbach, AT.
. Keynote and discussion with Gunter Dunkel (CEO Nord/LB), Digital Archives exhibition, Kunstverein Hannover.
. Lecture, panel discussion: book launch of Elie Ayache, The Medium of Contingency (with the author and Philippe Henrotte), Musee Sursock, Beirut.
2015 
. Lecture series Die Sprache des Geldes. New Design University St. Pölten.
. Lecture, Day In Day Out – Störungen des Digitalen, Dresden.
. Lecture Renewable Futures Conference, RIXC, Riga.
. Lecture, ISEA 15, Vancouver.
. Talk at the International Workshop On the Cultures of High-Frequency Trading, and their Regulations. With Christian Borch, Nathan Coombs, Roland Gemayel, Ann-Christine Lange, Karin Knorr Cetina, Alexander Laumonier, Marc Lenglet, Donald MacKenzie, Yuval Millo, Gerald Nestler, Juan Pablo Pardo-Guerra, Alex Preda, Robert Seyfert, University of Konstanz.
. Making of Finance. Book launch, with Elie Ayache, Armen Avanessian at Schinkelpavillon, Berlin & with Elie Ayache, Armin Medosch, Ina Zwerger at Kunstraum Bernsteiner, Vienna (MERVE).
2014 
. Lecture at the A FEW REASONS FOR A NON DISMISSIVE ART conference, esap – escolar superior artistica de porto at Serralves Museum, Porto.
. Lecture and panel discussion, technopolitics salon at ViennaOpen 2014, festival for Open Design, Postdigital Strategies and Open Society, Vienna.
. Lecture and artistic intervention, Paris Market Seminar, organised by Jon Roffe and Elie Ayache, hosted by ITO33, Paris.
. Lecture "Artistic Research on Algorithmic Finance", Technopolitics Workshop, Vienna.
2013 
. Keynote, Autonomies, Napon – Institute for Flexible Cultures and Technologies, Novi Sad, SRB.
. Lecture performance "Carry Cargo Cult", What Would Thomas Bernhard Do?, Kunsthalle Vienna.
2012 
. Lecture, "Kunst fördert Wissenschaft" symposium, [ID]factory, TU Dortmund.
. Keynote, amber'12 Art and Technology Festival, Istanbul.
. Panel discussion with Elie Ayache and Karin Knorr-Cetina, Kunstraum Bernsteiner, Vienna.
. Panel discussion with Brian Holmes, Kunstraum Bernsteiner, Vienna.
2011 
. Panel discussion, Kunsthalle Vienna Award 2011, Kunsthalle Vienna project space.
2010 
. Lecture and panel discussion, TINAG Festival London
. Lecture and panel discussion, RODEO-Festival, Munich.
. KISS – Culture in School and Study. BDK-art education project in cooperation with Siemens Foundation and Robert Bosch foundation. With Robert Hausmann and Matthias Laabs, Dresden.
2008 
. Die Aktie als Bild, book presentation and discussion with Irini Athanassakis (author) and Christian Reder, Salon für Kunstbuch, Vienna.
2007 
. Book launch Gerald Nestler, Y.x, artist book & reader, Salon für Kunst Buch, Vienna.
. Art & Economy – aspects in research and practice, lecture at the University of Applied Arts, Department of Transmedia Art, Prof. Brigitte Kowanz, Vienna.
2005
. Finance and Economy as artistic fields of research, lecture at Webster University Vienna, Department of Visual Culture, Prof. Dr. Monika Schwärzler-Brodesser, Vienna.

 

BIBLIOGRAPHY (selection)

2020
. "Art, Market and Finance: Critique, Speculation and Infrastructural Projections," in: Routledge Handbook to Critical Finance Studies. With Victoria Ivanova (forthcoming 2020).
. "Countering Capitulation," in: Retracing Political Dimensions: Strategies in Contemporary New Media Art, eds. Oliver Grau, Inge Hinterwaldner. De Gruyter (forthcoming 2020).
. "Renegade Activism and The Artist-As-Collective," in: Data Loam: Sometimes Hard, Usually Soft), eds. Johnny Golding, Martin Reinhart and Mattia Paganelli. De Gruyter (forthcoming).
2019
Proceedings of the International Symposium on Electronic Art (ISEA).
2018
. Aesthetics of Resolution. A postdisciplinary approach to counter the technocapitalist black box, SIGraDi 18, "Technopoliticas," University of Sao Paulo, Brazil (peer-reviewed).
. Finance and Society, Vol. 4, No 1 (2018). A Conversation by Christian Klöckner and Stefanie Müller with Gerald Nestler (peer-reviewed).
2017 
. "A-Symmetry. Algorithmic Finance and the Dark Side of the Efficient Market," Risk Equipment. Technosphere Magazine, #9, April 2017, Haus der Kulturen der Welt, Berlin.
2016  
. Finance and Society vol. 2/1, art and finance, ed. with Suhail Malik (peer-reviewed).
. "Towards a Poietics of Resolution," in: Journal for Research Cultures Vol.1/1 (peer-reviewed).
2015  
. SOCIAL GLITCH, catalogue, ed. with Sylvia Eckermann, Maximilian Thoman.
. "Social Glitch," issue of the web journal continent, ed. with Bernhard Garnicnig, Maximilian Thoman.
. MAKING OF FINANCE, book, ed. with Armen Avanessian, MERVE Veralg, Berlin.
2014 
. "Mayhem in Mahwah. The Case of the Flash Crash or Forensic Reperformance In Deep Time", in: FORENSIS: The Architecture of Public Truth, Sternberg Press, Berlin
. AUTONOMIES, catalogue, Napon – Institute for Flexible Cultures and Technologies, Novi Sad.
2013 
. Essay, What's next. Art After the Crisis. A Reader, with Sylvia Eckermann, edited by Johannes M. Hedinger and Tobias Meyer.
. Essay, Paratactic Commons, catalogue, amber'12 Art and Technology Festival, Istanbul.
2012 
. Essay, Kunst fördert Wissenschaft 2010, [ID]factory, Technical University Dortmund.
2011
. Artist contribution to Future Media. Curated by Li Zhenhua for the art section of Vision magazine (in Chinese). Magazine >>
2010 
. The New City Reader, Issue 9: Legal, "The Last Newspaper," New Museum New York, USA; collection of texts by members of the Centre for Research Architecture, Goldsmiths, London.
. KUNSTFORUM INTERNATIONAL issues 200 + 201, Art and Economy, ed. with Dieter Buchhart.
2009 
. The Trend Is Your Friend, catalogue, steirischer herbst 09, Media Art Lab/Kunsthaus Graz.
. KUNSTFORUM INTERNATIONAL 197, artist portrait, interview by Dieter Buchhart.
2007
. Gerald Nestler, Y x . fluid taxonomies—enlitened elevation—voided dimensions—human derivatives—vibrations in hyperreal econociety, artist book/reader, Schlebrügge Editors, Vienna.
. "Derivative Narrative" in: Mission Resonance, sonance.artistic.networt, catalogue, Vienna.
2006
. WORKING.WORLD.NET, catalogue, Museum Arbeitswelt Steyr.
. n o w h e r e – ein welt raum spiel, catalogue, Beijing Cubic Art Center/11-art.com. 
2005
. Re-Act, catalogue, Nicolaj Copenhagen Contemporary Art Center. 
2000
. CEOs & Sexy Curves, review, KUNSTFORUM INTERNATIONAL 149.
. Social Engine Money, catalogue, O.K. Centrum for Contemporary Art, Linz.