A BRIEF BIOGRAPHICAL NOTE
(see here for more info)
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 writing section.
My artistic work is often based on collaboration, especially with the artist Sylvia Eckermann. 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).
in reality the language of power shifts to performative speech
in time immediacy exposes visibility as performative resolution in turn resolution technologies escalate fat tail events
in fact surfing the volatility wave annihilates truth as a function of probability
in effect noise is the master of information
Derivative Bond Emissions. No. 19 and No. 20. 2017/2018.
A series of text works realized in varous media since 2004.
Selected projects, artworks
and writing, 2012-2018
Kunsthaus Graz, 2010
Reader and artist book
CURRENT | UPCOMING
Performative interventions in connection with the art project Cliffhanger by Steinbrener/Dempf & Huber.
Ötschergräben, Lower Austria.
With Sylvia Eckermann.
Technopolitics Information Society Timeline @ Imagine you Wake Up and There is no Internet
An exhibition curated by Katerina Gkoutziouli and Voltnoi Brege.
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.
With Sylvia Eckermann.
Technopolitics Salon @ Artist Residence Herzliya
A conversation on method. With Udi Edelman, Tsila Hassine, Ran Kasmy-Ilan, Lior Zalmanson, Mushon Zer-Avi, members of the Technopolitics working group and the audience.
Artist Residence Herzliya, March 26, 2020.
Supported by the Residence and the Austrian Cultural Forum Tel Aviv.
Photo: Sandro E. E. Zanzinger
A self-proclaimed real estate tycoon and staunch capitalist enters the stage to capture the political scene.
Ostensibly typing alphabetic code, he in fact recodes a proprietary data platform. Surfing the volatility wave,
Donald Trump triggers fat tails and thus redesigns Twitter as Dark Pool. The escalation of waves of noise
turns into competitive advantage and such production of volatility sounds the bell for truth as a function
Fat tail events are deemed extremely rare; but now, they rattle down in electronic speed,
leveraged by fake news and other malignant information asymmetries.
Noise has taken over fact as the productive vehicle that triggers affect and leverages attention,
giving way to sociopathic, authoritarian symptoms. In truth, noise is made the master of information.
But for some, “The One who Speaks the Truth” has separated the eternal realms of truth and falsehood eons ago.
His performative speech is the power that evades all contingency.
And for others again, as someone
recently remarked, in line with an aesthetics in the field of consequences, “we should rather insist,
as counterintuitive as it may seem, on the evidentiary dimension of art and its truth value.” What can we expect? Resolution awaits you.
Vienna Art Week, 2020
Parcours through artist studios,
November 16-17, 2019
Talk, November 22, Semperdepot Vienna, 3pm
Haim Bodek and Gerald Nestler explore the making and unmaking of fact and fiction
in finance and other data-driven spheres of technocapitalism.
Photo: Blauer Hase and Giulia Morucchio
Helicotrema – Recorded Audio Festival 2019
present in an audio version of
WHISPER. Status Code : No Entity Found
by Sylvia Eckermann and Gerald Nestler
at Palazzo Grassi and Teatrino di Palazzo Grassi,
November 6-7, 2019
Curated by the art collective Blauer Hase (Mario Ciaramitaro, Riccardo Giacconi, Daniele Zoico)
and the independent curator Giulia Morucchio.
DEEP HORIZON: The Culture of Forecasting
Kunsthalle Wien Karlsplatz, October 17 - 19, 2019.
Program & more
Participants: Richard Barbrook, Erik Bordeleau, Jaya Klara Brekke, Thomas Feuerstein, Isabell Schrickel, Zentrum für politische Schönheit and Technopolitics research group.
Artistic space intervention by Sylvia Eckermann.
Oracle Drinks by Jessica Blank & Gerald Zahn
For more than 10 years now, Western countries have been in crisis mode and economic, social, (geo-)political and ecological issues have become significantly worse. We are off the map and as a consequence the future is both terrifying but also more open.
Contemporary forecasting provides complex tools to intervene in real-time in order to affect future states at present. In contrast to traditional methods of prediction, which derive from a probabilistic concept of representation, the former indicates the turn to a performative regime of governance whose contingent claims strive to leverage the volatile indeterminacy in which the future emerges. Its temporality is therefore not the long-term, but the constantly recalibrated short-term. The state of emergency, inherent in the word crisis, has become the platform on which reality is produced.
Forecasting is an eminently cultural issue, because it provides an aesthetic of the unknown and gives shape to the uncertain. Instead of giving accurate accounts of a situation that cannot be changed, it actualizes the future into the present in order to make the unlikely more likely, or to prevent the likely from happening.
During the event Deep Horizon: The Culture of Forecasting, Technopolitics will bring together the audience with artists, researchers and activists. In talks, discussions, workshops and game playing we will deal with the role of forecasting as a way of inventing the future. Think and act ahead!
Supported by Bundeskanzleramt, Wien Kultur and Fleming's Selection Hotel Vienna.
An exhibition of the Kunsthalle Wien in the context of the VIENNA BIENNALE FOR CHANGE 2019, Kunsthalle Wien,
June 29 - October 6
Artists: Trisha Baga, Louise Drulhe, Veronika Eberhart, Sylvia Eckermann & Gerald Nestler, Judith Fegerl, Fabien Giraud & Raphaël Siboni,
Katrin Hornek, Barbara Kapusta, Marlene Maier, Pratchaya Phinthong, Marlies Pöschl, Delphine Reist, Tabita Rezaire, Miao Ying.
Curators: Anne Faucheret, Vanessa Joan Müller
Exhibition booklet >>
WHISPER. Status Code : No Entity Found
Video, animation, sound: Sylvia Eckermann
lyrcis: Gerald Nestler
4:49 min., 2016/2019
The video exposes the libidinal power of financial capitalism. In Gerald Nestler's lyrics, the voice of 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. The derivative constitute the "recombinant social DNA" of the body politic. "Oh baby! How you nourish me!"
See video here >> (min 1K feed and headphones recommended!)
Video still. Concept, text: Gerald Nestler, video: Sylvia Eckermann
NOISE IS THE MASTER OF INFORMATION
Algorithmic Cognition at the Turn from Representative to Performative Power
Lecture-performance by artists Gerald Nestler and Sylvia Eckermann,
joined via Skype by high-frequency, crypto trader and whistleblower, Haim Bodek.
The event was part of the Discursive Space of the exhibition HYSTERICAL MINING at
Kunsthalle Wien Karlsplatz, 27/9 2019, 7:00 pm
THE FUTURE OF DEMONSTRATION
The Future of Demonstration is an art series that focuses on new formats, intensities and consequences of artistic practice, at a time when technocapitalism is unleashing massive transformations in the ecological, social and cultural spheres.
The art series does not feature existing works. Rather, we apply a postdisciplinary method in which projects – we call them episodes – are developed and realized jointly by artists, activists, theorists, scientists and other experts. At its core is an engagment with the political, technological, pedagogical and aesthetic capacities of demonstration that aims to contreive ways and means for imagining, sharing and making narratives, techniques and affiliations of resistance.
WEBSITE | STREAMS >>
Season 1 | 2017 VERMÖGEN
October 31 - November 11, 2017
Venue: REAKTOR, Vienna
Season 2 | 2018 PASSION
October 20-25, 2018
Venue: ATELIER AUGARTEN, Vienna
Idea, concept and format: Sylvia Eckermann and Gerald Nestler
Artistic directors: Sylvia Eckermann, Gerald Nestler, Maximilian Thoman
The Future of Demonstration stands for transgressing limits and intersecting social, technological, and biological epistemes, materials, phenomena and cultures. Our aim is to offer an intense affective and collective experience in the form of “revolutionary celebrations” that are driven by the urgency to redefine terms and conditions, transform technologies and processes and transvalue material and ideological resources.
The art series rejects the division of art and theory in conventional formats such as the exhibition and the symposium. Art, philosophy, science and political activism are not treated as separate realms but rather as vital contributions to a common goal. The experience of difference that allows affiliation, affinity and alliance in the first place underlies our speculative and positively utopian approach which takes off from pratice-led investigations into realities and their complex entanglements.
The episodes are based on thematic clusters derived from leitmotifs. Each season addresses its leitmotif as if it were through a prism, dividing it into its episodes, once again linking them in various traversing relationships to one another. Each episode is at the same time artistic environment, performative space, installative setting, discursive gathering and film set. A live-stream/TV-broadcast accompanies each episode. Each film is an experiment with streaming as an art form. And as artistic works in their own right they replace conventional ways of documenting – The Future of Demonstration and its episodes stay online as a web series.
Making the Black Box Speak
The Future of Demonstration
Season 2: PASSION, episode 3.
Atelier Augarten, Vienna
October 23, 2018.
Haim Bodek, Sylvia Eckermann, Maya Ganesh, Aldo Giannotti, Florentina Holzinger,
Volkmar Klien, Gerald Nestler, Peng! Collective, Denis “Jaromil” Roio, Nina Porzer, Soulcat E-Phife,
UBERMORGEN (featuring Zenker and Stefan Endres).
Christine Gnigler, Lorina Vallaster, Joachim Rigler.
Stunting: Fighting for Film.
Jon Eckermann, Elisa Winkler.
Special Guest Appearance:
Details and stream >>
CONVERSATIONS, 25.10. 6 - 7:50 pm
RENEGADE ACTIVISM – forms of resistance in the algorithmic condition
Frank Pasquale & Denis “Jaromil” Roio
Maya Ganesh & Alistair Alexander
Haim Bodek & Gerald Nestler
Moderation: Ina Zwerger
Tactical Technology Collective, The Glass Room Experience.
WORKSHOPS, 25.10. 2 pm and 4:30 pm
Alistair Alexander, Tactical Technology Collective.
Above: detail of the performative layout
(click image to open the entire layout).
Right: stills from streaming footage.
Stills from streaming footage.
10. Tage Politik im Freien Theater
MUFFATWERK, Munich, November 2-3, 2018.
MAKING THE BLACK BOX SPEAK
A 2-day performative event that combined three episodes of THE FUTURE OF DEMONSTRATION 2017 and 2018 into a new format of artistic interaction.
Developed and curated by Sylvia Eckermann and Gerald Nestler.
In cooperation with Dietmar Lupfer, director of Muffatwerk Munich.
With Alistair Alexander and The Glass Room Experience by the Tactical Technology Collective,
Haim Bodek, Domingo Castillo, Sylvia Eckermann, Enxuto and Love, FightingForFilm, Niels Gabriel, Christine Gnigler, Max Hampshire, Florentina Holzinger, Jürgen Kleft, Volkmar Klien, Bogna Konior, Laura Lotti, Andrew Newman, Gerald Nestler, Frank Pasquale, Nina Porzer, Joachim Rigler, Peng! Collective, Soulcat E-Phife, Alex Suárez, UBERMORGEN (featuring Zenker and Stefan Endres), Lorina Vallaste, Sophie-Carolin Wagner.
TECHNOPOLITICS TIMELINE V.4 / Object 1
Technopolitics @ Seoul Mediacity Biennale / South Korea
Conceived and convened by Dušan Barok.
Curated by Lim Kyung Yong.
10th edition of Seoul Mediacity Biennale
September 5 - November 18, 2018
THE MONOSKOP EXHIBITION LIBRARY
The exhibition 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. (Dušan Barok)
SIGraDi Workshops: November 5-6, 2018
Exhibition: November 7 - 9 2018
Technopolitics Salon @ OUTROS - Laboratory for Other Urbanisms
School of Architecture and Urbanism, University of São Paulo (FAU USP)
November 9, 2018
Technopolitics @ SIGraDI 2018 Conference
The XXII International Conference of the Iberoamerican Society of Digital Graphics.
Universidade de São Paulo, São Carlos, Brazil, November 6-9, 2018.
takes on the theme of 'technopoliticas.' It is understood that all technology is generated within cultural, economic and social fabrics, as well as has political aspects in its conformation and its use. However, it is not uncommon for technologies to be autonomously thought of as prefigurers of futures and unequivocal solutions to problems not yet known.
Tracing Information Society – a Timeline
TECHNOPOLITICS set up a Curated Knowledge Space that offers a discursive framework for exploring
the genesis and current configuration of the information society. The main visual element of the
TECHNOPOLITICS TIMELINE is a large-scale print that traces the evolution of our shared techno-cultural
realities. The Timeline's 500 entries draw attention to different events and genealogies from the fields
of art, culture, media, politics, economy, technology, and social life that have been relevant for the shaping
of the information society. The project's common objective is to investigate from a critical, explorative
standpoint the heterogenic historical processes that are structured by techno-economic paradigms.
A workshop and discussion program focuses on trans-disciplinary and trans-cultural conversations
to connect these processes to the cultural forms of the respective historical moment and place.
During the workshops, the TCHNOPOLITICS TIMELINE v.4 was developed into v.5.
Supported by the Austrian Federal Chancellery.
Mit: Sabeth Buchmann, Dipesh Chakrabarty, Kai van Eikels, Stuart Elden, Elena Esposito, Paul Feigelfeld, Martin Gasteiner, Ulrike Guérot, Gudrun Harrer, Elisabeth Holzleithner, Eva Horn, Ivan Krastev, Daniel Loick, Fred Luks, Niccoló Milanese, Gerald Nestler, radioee.net, Shalini Randeria, Katrin Solhdju, Saskia
Stachowitsch, Friedrich Tietjen, Joseph Vogl.
Facebook page >>
Pod schütze Österreich. Reden zur Lage der Nation(en)
14.-20.5.2018, jeweils 18 Uhr
Live von der Bau.Stelle Parlament
Im Rahmen der Wiener Festwochen
Live-Radio und öffentliche Aufnahme einer Podcast-Reihe.
Zu hören auf www.festwochen.at, Radio Orange 94.0
und an ausgewählten Hörstationen in Wien.
Pod schütze Österreich, eine performative Installation zwischen Radiokunst und Podcast, nimmt die frühe Hörfunk-Tradition der politischen Beschwörungen des Gemeinwesens wieder auf. Den Ausgangspunkt bildet eine Beobachtung: Souveränität scheint heute zu diffundieren. Sie bringt zunehmend poröse Nationalstaaten hervor. Aber auch die Autonomie des Subjekts ist in dichte Netze von
technischen Dingen und Megastrukturen eingespannt, die hinter unseren Rücken mithandeln. Auf der Suche nach Teil-Souveränitäten angesichts einstürzender Welten versuchen sich Denker*innen, Künstler*innen und politische Aktivist*innen in der – einst staatstragenden – Rhetorik der Reden zur Lage der Nation(en).
Eine transdisziplinäre Community aus Expert*innen und Künstler*innen hat über zwei Jahre
in wechselnden LABorsituationen einen transdisziplinären Diskurs über die Effekte der Entropie
auf Ökonomie, Politik, Kommunikation und Umwelt geführt und aus den einzelnen Argumenten
und Theorien künstlerische Installationen und interaktive Apparaturen ausgearbeitet:
Florian Bogner (AT), Christian Faubel (DE), Stefan Glasauer (DE), Max Hoffmann (US/AT),
Friedrich Hausen (DE), Margarete Jahrmann (AT), Marian Kaiser (DE), Florian Kmet (AT), Peter Koger (AT), Käthe Kruse (DE), Ulli Kühn (AT), Micheal Loizenbauer (AT), Barbara Lubich (DE), Armin Medosch (AT), Gerald Nestler (AT), Pit Noack (DE), Tobias Nöbauer (AT/US), Hanada Al Refai (SY), MELA Marie Spaemann (AT), Lucie Strecker (DE), Christina Hartl-Prager (AT),
Roman Harrer (AT), Louise Linsenbolz (AT), Thomas Wagensommerer (AT) u.a.
Interaktive Medien-Raum-Installation und performatives ART-LAB
Ein Projekt von Thomas J. Jelinek in Kooperation mit dem Komponisten und Sound-architekten Jorge Sánchez-Chiong.
25. Mai bis 16. Juni 2018
Eröffnung: 24. Mai 2018, 19 Uhr
ENTROPY ist eine mediale Raum-Installation, die über die gegenwärtigen Diskurse aus
Wissenschaft, Technik, Ökonomie, Politik und Kunst, ein Realitätsbild der Gegenwart herstellt.
Über ein Monat wird ein temporäres, kollaboratives Kunst-LABor, das am transdisziplinären
Diskurs zur Erkundung des Entropie Begriffes arbeitet, im Ausstellungsraum des Künstlerhaus 1050
eingerichtet und als begehbare mediale Installation gezeigt.
Photo credit: Joachim-Dette
The unleashing of the technosphere is, above all, the result of activating and operating numerous tiny switches. With the unfolding of information theory, cybernetics, and the microscopic power of the point-contact transistor, the year 1948 represents the material and theoretical starting point for a universal language of 0s and 1s. From then on, the digital makes up the foundational cultural technique of a present saturated with circuits and electronics. Contributions from theory and art oscillate between diagnostic and speculative accounts of the bit’s role as configurer of new space-time coordinates, pulse generator for the evolution of systems, and unreckoned source for a loss of control. The result is a discursive installation of contributions in strictly clocked intervals, a rhythmic apparatus of switching itself.
With Morehshin Allahyari, Marie-Luise Angerer, Elie Ayache, Anna Echterhölter, Thomas Feuerstein with participation of Marian Kaiser, Alexander R. Galloway, Johnny Golding, Orit Halpern, Giuseppe Longo, Gerald Nestler, Julian Oliver, Sophia Roosth, Sarah Sharma, Felix Stalder, Ubermorgen.com.
1948 Unbound. Unleashing the technical present
Switches, Seeds, Hydrocarbons, Tokens, Chance
Research, conversations, performative elements.
Haus der Kulturen der Welt, Berlin
November 30 – December 2, 2017
Format and program of the SWITCHES section in collaboration with the HKW (Katrin Klingan, Nicholas Houde, Janek Müller, Christoph Rosol, Johanna Schindler).
Apart from this engagement, I was also a speaker in the TOKENS section curaed by Victoria Ivanova and Patricia Reed.
The research project Technosphere 2015-2019 is part of 100 Years of Now.
1948 Unbound Website >>
1948 Unbound documentation >>
Photo by Technopolitics
Technopolitics @ Patchlab Digital Art Festival
Tracing Information Society – a Timeline (v.4 Hong Kong)
6. Patchlab Festival International Digital Art Festival
October 24 - 29 2017.
The 6th edition was dedicated to data art and artificial intelligence (AI), designs using extraordinary material – big data bases, which have an increasing impact on our life and the whole society. Data has become a construction material for sophisticated art forms and a basis for philosophical reflection. The exhibition took place in Malopolski Ogród Sztuki and at Galeria Bunkier Sztuki. The festival presented artists from Poland, Germany, Austria, France, Greece, Italy, Belgium, Denmark, Iran, Japan and Taiwan.
Techopolitics was represented in Krakow by Doron Goldfarb and Ina Zwerger.
Das ABC der Finanzwelt
Austrian Broadcasting Corporation radio series on the world of finance, 2015-2019
Audio archive >> (in German)
ENTROPY – ROADSIDE AREA
ARS ELECTRONICA festival, September 7 - 11, 2017, Linz, Austria.
The ENTROPY project is a coproduction of NOMAD.theatre in cooperation with
MTTW, Tanzquartier Wien, MEDIA OPERA Wien, brut and ZENTRALWERK Dresden
Photo: technopolitics | poster: Sylvia Eckermann
TECHNOPOLITICS @ CONNECTING SPACES
Tracing Information Society – a Timeline
"Reading and writing the Timeline" workshops with experts.
Lectures and exhibition on the Tracing Information Society project.
Connecting Space, Hong Kong, June 20 - July 1, 2017.
In collaboration with Zurich University of the Arts and Connecting Spaces.
INSTANTERNITY – Black Box Body Cult
An experimental platform for communicating complex and abstract processes with and through the body.
Gerald Nestler in collaboration with Haim Bodek (high-frequency trader and whistleblower), Sylvia Eckermann (artist) and Davide De Lillis, Eva Müller, Sebastian Collado (performing artists).
The project delves deep into the volatile and hypercompetitive world of algorithmic markets. On the surface, the presenters map how finance gains leverage by asymmetric application of models, technologies and narratives. But apart from the lecture performance, another seemingly unrelated performance distracts and decenters the audience: three dancers move through the space on a random course. Their swirls, jumps and clashes produce volatilities that affect the visitors. At first unwittlingy but ever more intensely, the bodies of the performers engage those who expected to be nothing but spectators: they also perform whether they choose to be drawn into the action, react against it or try to find a save spot where they can continue to listen undisturbed. Here, the performance exceeds conventional aesthetics, as its performativity is not directed to address a distant oberser. Rather it activates the audience to (re)act as the recipients of the question the artworks raises: whether concepts, terms and processes, in the face of which the mind seems often at a loss, become alive in the experience of physical perception?
And on the broader scope, for which BLACK BOX BODY CULT only serves as a first speculative hypothesis, whether the body and its sensory capabilities are not more adapt to making sense of the automated performativity in technocapitalsm whose derivative partcipatory exploitation we more often feel than apprehend?
VORBRENNER 17. Laboratory for experimental and interdisciplinary art projects.
Freies Theater Innsbruck, April 6, 2017,
Vorbrenner fb >>
Vorbrenner web >>
The photo shows a map from the INSTNANTERNITY research
and a video by Gerald Nestler with Haim Bodek (CONTINGENT CLAIM. Portrait of a Philosophy II).
Photo: the artists.
INSTANTERNITY – A Cartography of Automated Finance
An evening of discussion on art, finance and resistance.
Gerald Nestler in collaboration with the high-frequency trading expert and whistleblower, Haim Bodek, and the artist Sylvia Eckermann. Moderated by Mark Tribe.
Austrian Cultural Forum New York,
January 23, 2017, 6:30 - 8 pm.
In cooperation with the International Studies and Curatorial Program (ISCP), New York, in the course of the artists' Residency at the ISCP, August 2016 - January 2017 (artist grant, Arts and Culture Division, Austrian Federal Chancellery)
In INSTANTERNITY, Gerald Nestler and Haim Bodek explore how automated finance has colonized financial markets and, as a consequence, social relations. Togehter with Sylvia Eckermann, they map the fields (micro)structures, technologies, main players and interconnections. The research addresses questions concerning the application of algorithms and automation; the consequences of the races to zero latency and zero spread; the complex legal limbo of regulation arbitrage via information asymmetry, high leverage, manipulation and fraud; ideological biases; the performative speech of biopower; and the consequences for human beings invested in this data-driven algospace.
Curated by Letters & Handshakes.
Abbas Akhavan, Bureau d'études, Emma Charles, Revital Cohen & Tuur Van Balen, Carole Condé + Karl Beveridge, Mark Curran, Wally Dion, Keith Hennessy/Circo Zero, Ashley Hunt, Jeremy Hutchison, Richard Ibghy & Marilou Lemmens, Will Kwan, Gerald Nestler, Public Recordings, Public Studio & Darlene Montgomery, Hank Willis Thomas & Christopher Myers.
Photo credit: Sam Homes.
The Politics of Resolution
Talk, discussion and workshop.
Gerald Nestler in collaboration with Parallax Drift faculty member Victoria Ivanova in the Citizenship for a Posthumanrights World program.
ArtCenter/South Florida, Miami Beach, Nov 10, 2016.
Visiting lecturer Gerald Nestler in conversation with Victoria Ivanova.
ArtCenter/South Florida’s Program for Applied Artistic Research.
Photo credit: ArtCenter/South Florida.
OPERA of ENTROPY
A postdramatic opera-performance on the present world-wide crisis scenario of disintegration, based on narrations of actual people.
ENTROPY is an art project to survey the contemporary dynamics of being and the human construction of reality. It is performed in temporary collaborative communities and induces public discourse in art laboratories throughout Europe.
ENTROPY is also a performative sound-space-installation in the form of a radically experimental opera.
ENTROPY is not a love song.
Artistic direction: Thomas J. Jelinek
Composition / sound architecture: Jorge Sánchez-Chiong
Production: Roma Janus / ROCONCEPT
Technical team: Florian Bogner, Georg Eisnecker, Roman Harrer, Peter Koger.
Cast: Hanada Al Refai, Palma Biro, Stefan Glasauer, Marian Kaiser, Christina Hartl-Prager, Max Hoffmann, Margarete Jahrmann, Florian Kmet, Louise Linsenbolz, Armin Medosch, Gerald Nestler, Pit Noack, David Christopher Panzl, MELA Marie Spaemann, Lucie Strecker, Thomas Wagensommerer
A coproduction of NOMAD.theatre and Musiktheatertage Wien
World premiere: August 30 & 31, September 4 & 6, 2016, Werk X Vienna.
Photo credit: Andie Diem
TECHNOPOLITICS @ the MAK FORUM
Tracing Information Society – a Timeline
MAK – Austrian Museum of Applied Arts / Contemporary Art,
June 21 - 26, 2016
In the MAK FORUM, Technopolitics invites visitors to the curated knowledge space “Tracing Information Society.”
A 10-meter-long textual work sheds new light on the information society viewed across a timeframe of more than 100 years. Here, the genesis and influence of the information society can be studied not by scrolling on a screen, but by walking along the timeline. This multidimensional mapping of political events, technological inventions, and cultural developments shows how the information society has seized and transformed every sphere. The entries may be understood in more depth on the timetable, which presents analog and digital media arranged by categories. A network visualization reveals salient associations between the timeline entries on the basis of Wikipedia.
Round Table: Sylvia Eckermann, artist; Doron Goldfarb, computer scientist, network researcher; Armin Medosch, art and media theoretician, curator; Gerald Nestler, artist, researcher; Felix Stalder, sociologist, cultural scientist; Christoph Thun-Hohenstein, Director, MAK.
Technopolitics is a research platform composed of scientists, artists, computer scientists, and journalists, who jointly develop innovative formats at the intersection of art, research and education.
THE PROMISE OF TOTAL AUTOMATION
Kunsthalle Wien, Museumsquartier, Vienna,
March 11-May 29, 2016
Curator: Anne Faucheret. Artists: Athanasios Argianas, Zbyněk Baladrán, Thomas Bayrle, James Benning, Bureau d’études, Steven Claydon, Tyler Coburn, Philippe Decrauzat & Alan Licht, Harry Dodge, Juan Downey, Cécile B. Evans, Judith Fegerl, Melanie Gilligan, Peter Halley, Channa Horwitz, Geumhyung Jeong, David Jourdan, Barbara Kapusta, Konrad Klapheck, Běla Kolářová, Nick Laessing, Mark Leckey, Tobias Madison & Emanuel Rossetti, Benoît Maire, Mark Manders, Daria Martin, Shawn Maximo, Régis Mayot, Wesley Meuris, Gerald Nestler, Henrik Olesen, Julien Prévieux, Magali Reus
PHoto credit: Jorit Aust
Top: Gerald Nestler; middle: Magali Reus; front: Mark Manders.
Exhibition booklet >>
Exhibition Kunstraum Niederoesterreich:
Lawrence Abu Hamdan (LB/UK), Ines Doujak and John Barker (AT, UK), Sylvia Eckermann (AT), Earth Sensing Association (Nabil Ahmed & Pierre Blanc, UK, FR), Harun Farocki (DE), Thomas Feuerstein (AT), Forensic Architecture (UK), Christina Goestl (AT), Ayesha Hameed (CA/UK), Mathias Kessler (AT/USA), Mark Lombardi (USA), Jennifer Mattes (DE/AT), Gerald Nestler (AT), Godofredo Pereira (PT/UK), Axel Stockburger (AT), Technopolitics (AT), UBERMORGEN.COM (Hans Bernhard & Lizvlx, USA/CH/AT).
Bernhard Garnicnig & Lukas Heistinger (AT), Manu Luksch (AT/UK), Gerald Straub (AT), The Yes Men (USA), UBERMORGEN.COM (Hans Bernhard & Lizvlx, USA/CH/AT).
Heath Bunting (UK), Pablo Chieregin (IT/AT), Marlene Hausegger (AT), Elvedin Kla?ar (BIH/AT), The Yes Men (USA), Stefanie Wuschitz (AT).
Deborah Hazler (AT), Ursula Endlicher (AT/USA) with Frans Poelstra (NL/AT).
Volkmar Klien (AT), Szely (AT).
link to website >>>
link to images >>
link to catalogue >>>
link to webjournal continent. special issue on SOCIAL GLITCH >>>
Radical aesthetics and the consequences of extreme events
An exhibition at the KUNSTRAUM NIEDEROESTERREICH with projects in the public space of Vienna,
at the Buchhandlung Walther Koenig at MuseumsQuartier Wien, and the WUK.
September 25 - December 5, 2015.
Gerald Nestler, Sylvia Eckermann and Maximilian Thoman
Bettina Kogler, WUK.performing.arts (performance)
Gerald Straub (workshops & interventions in public space)
Georg Weckwerth, TONSPUR Kunstverein Wien (sound art)
In cooperation with:
TONSPUR Kunstverein Wien, Q21
A TIM.theories.in.mind and KUNSTRAUM NIEDERÖSTERREICH production.
Photo credit: Eva Würdinger.
Social Glitch exhibition views.
MAKING OF FINANCE
Edited by Armin Avanessian und Gerald Nestler. MERVE Verlag, Berlin, 2015.
With contributions by Haim Bodek, Rishi K. Narang, Edward O. Thorp, Elie Ayache und Philippe Henrotte.
90% der Finanzakteure haben keine Ahnung, wie die Börse funktioniert«, so Haim Bodek, einer der bekanntesten Whistleblower aus der Finanzwelt. Und wer würde der These widersprechen, dass die Ahnungslosigkeit der politischen Akteure noch größer sei? Es ist uns - den Herausgebern - wichtig, die obligate Kritik an der Herrschaft des Kapitals um eine Analyse ihres zentralen Wirkmechanismus', der Finanzmärkte, zu ergänzen. Denn auch weite Teile der Linken zeichnet ein bornierter politisch-ökonomischer-technologischer Konservatismus aus, angesichts dessen wir auf die Nachtsichtfähigkeiten der Eule Minervas setzen: Es ist möglich, unsere Finanz- bzw. finanzialisierte Welt zu verstehen, und es ist höchste Zeit, den Kapitalismus, wie wir ihn bisher kannten, zugleich von innen heraus und mit möglich großem Abstand (aus der Zukunft?) zu betrachten.
Dabei interessieren hier daher weniger philosophische oder politische Theorien zur Ökonomie, sondern das Wissen der Finanzwelt selbst, genauer: das praktische Wissen ihrer »Market Maker«. Der vorliegende Band versammelt Erfahrungsberichte von Akteuren, die seit langem direkt im Geschehen am Finanzmarkt involviert sind, die dessen (Entstehungs )Geschichte nicht nur kennen oder miterlebt, sondern mitgeschrieben haben. Zum Sprechen bringt dieses Buch also die Produzenten und Hersteller unserer gegenwärtigen (Finanz-)Welt, und nicht ihre kritischen Beobachter – um den alten und weiterhin gültigen Gegensatz von poiesis (Produktion, Her-Stellung) und bloßer aisthesis zu aktualisieren.
EINLEITUNGSTEXT (in German)
Book launch Berlin: June 5, 2015, Schinkelpavilion. With Armen Avanessian and Elie Ayache.
Book launch Vienna: June 8, 2015 at kunstraum BERNSTEINER. Ina Zwerger (Ö1 Radiokolleg) in conversation with
Elie Ayache (finance expert and philosopher), Armin Medosch (theoretician and curator) and Gerald Nestler. kunstraum BERNSTEINER, 1020 Wien, Schiffamtsgasse 11
Renegades. Traitors. Educators
An Inquiry into an Aesthetics of Resolution
Kunstraum Bernsteiner, Vienna.
Solo show, May 6-June 13, 2015
HEGDE AVANTGARDE disperses the time-based flow of cinematic documentary into a spatial arrangement of material artefacts through which visitors move in time and space. Video footage, images, graphics, voice, performance, objects and texts provide the material for a query that resonates around the issue as to whether the conditions of perception and agency in the era of black boxes are being modified – if not disintegrated – into myriad derivative devices that are custom-built to exclude (capitalize) and at the same time internalize (socialize) underlying human assets. This begs the question whether an aesthetics of "resolution" could serve as a toolbox to counter proprietary schemes by employing the full purport of the term. The arbitrary, marginal but at the same time insurgent figure of the renegade – a traitor inside systems and an educator beyond their confines – is introduced as potential pharmakon against the ruptures that transform knowledge into capital and vision into social blindness.
Among other materials, the exhibition features video interviews with Haim Bodek (financial expert and whistleblower) and Randy Martin (dancer and theoretician); a mathematically-derived performance by Paul Wilmott (mathematician and expert in quantitative finance) including financialized sport equipment; educational footage by Sang Lucci about a financial transaction generating $600K profit; as well as contracts drawn up for the 1% and the 99% respectively.
download infos + pics >>
Further information and images: >>
Interview published in Wiener Zeitung (in German) >>
Photo credits: Wolfgang Thaler
center & peripheries
artgenève Geneva, 2015.
A 4-day public programme curated by Joanna Warsza.
With Alexandra Pirici & Manuel Pelmuş; Armen Avanessian & Gerald Nestler; Wojciech Kosma & Yunuen Rhi; Paul Feigelfeld, Christoph Engemann, Christoph Keller, Ariane Koek & Ana Teixeira Pinto.
The programme is composed of four days of non-material, time-based interventions concocted by special guests each of which explores the cultural, financial and geographical concerns described in the invitation. The narrative begins at the fair itself, investigating its protocols and finances, and ends at CERN – the European Organization for Nuclear Research. The program includes performative translations of artworks available for sale by Pirici and Pelmuş Contemporary, debates touching on the modalities of the production of knowledge by art and by science, as well as discussion of the nature and workings of repressed knowledge and the fatigue engendered by the proliferation and totality of contemporary critical perspectives.
Les Rencontres International
nouveau cinema et art contemporain
Gaité Lyrique, Paris, December 1-7, 2014.
Haus der Kulturen der Welt, Berlin, June 23-28, 2015.
Screening of COUNTERING CAPITULATION. From Automated Participation to Renegade Solidarity. Single-channel video, 11:20 min., 2013-14.
The video was originally produced as part of an installation for the Forensic Architecture exhibition FORENSIS at the Haus der Kulturen der Welt, Berlin, curated by Anselm Franke and Eyal Weizmann, 2014.
The work condenses the artistic research findings on the so so-called Flash Crash, a major market crash that occured on May 6, 2010, and the subseuqnt (forensic) analyses of the role of high-frequency trading played in this event..
October 1-5, 2014.
Solo presentation by invitation of kunstraum Bernsteiner.
PARALLEL VIENNA is a hybrid between art fair, exhibition platform and artist studio that uses temporarily vacant buildings as a presentation platform for contemporary art.
refuse the shadow of the past
Group show curated by ASAP.
University Museum and Art Gallery, The University of Hongkong, 2014.
With Sylvia Eckermann.
Haus der Kulturen der Welt, Berlin, March 15 - May 5, 2014.
A project co-produced by Haus der Kulturen der Welt and Forensic Architecture, an ERC funded research project based at Goldsmiths, University of London.
Curated by Anselm Franke and Eyal Weizman.
FORENSIS. From tracing fingerprints to tracking Internet activities, forensics is central to the ways by which states police and govern their subjects. Through its media representations it has also become a defining feature of contemporary culture. Forensis seeks to invert the direction of the forensic gaze and designate the emergence of new aesthetic-political practices by which individuals and independent organisations use new technologies aesthetic practices, and architectural methodologies to bear upon a range of issues from political struggle to violent conflict and climate change.
The exhibition presents the work of the Forensic Architecture project at Goldsmiths, University of London. It includes the presentation of of forensic investigations — involving imaging processes, satellite images, 3D visualizations, models and videos — were mobilised as evidence on behalf of prosecution teams, civil society organizations, activists, human rights groups, and the United Nations. These contemporary forensic practices are situated within broader political, historical, and aesthetic contexts. FORENSIS raises fundamental questions about the conditions under which spatial and material evidence is recorded and presented, and tests the potential of new types of evidence to expand our juridical imagination, open up forums for political dispute and practice, and articulate new claims for justice.
Forensis. The Architecture of Public Truth.
edited by Forensic Architecture,
published by Sternberg Press, 2014.
Sternberg Press >>
Haus der Kulturen der Welt >>
Video link Countering Capitulation >>
text link Mayhem in Mahwah >>
COUNTERING CAPITULATION engages with the inquiries following the Flash Crash of May 6, 2010, an event that went down as the biggest one-day market decline in financial history. Focusing on a remarkable forensic analysis that not only contradicted the official findings of the regulatory authorities and shed light on the impact of algorithmic trading but also developed tools to visualize material processes that operate beyond human perception, Nestler argues that in the current legal framework evidence of market events can only be produced by a double figure of the expert witness: when a (forensic) analyst is joined by a renegade whistleblower.
With this ambivalent, marginal and vulnerable figure at its heart—depending on the perspective, the renegade is either a traitor or public educator—COUNTERING CAPITULATION proposes a multilayered, postdisciplinary practice engaged in creating narrative instabilities that coagulate dissent into insurrection by"enhancing" resolution in the technological, legal as well as social and political sense of the term.
The video concludes with a call for renegade activism—collaborative alliances with renegades as the exemplary figures of contemporary insurrection—to counter the excesses of (automated) evaluation and decision-making schemes, not only as regards financial markets but the proprietary black box in general.
COUNTERING CAPITULATION credits:
Gerald Nestler: research, concept, text and editing.
Sylvia Eckermann: animation.
Flash Crash charts and animations courtesy of Nanex LLC.
Sound editing: szely.
Synthetic algo voice over: Alva & Tom.
Special thanks to: Eric Hunsader, Sylvia Eckermann, Brian Holmes, Eyal Weizman.
Produced with the support of Haus der Kulturen der Welt and bm:ukk Austria.
Photos: (c) Laura Fiorio HKW
A Medien.Kunst.Tirol exhibition curated by Max Thoman and Gerald Nestler.
With Lawrence Abu Hamdan, Sylvia Eckermann, Thomas Feuerstein, Christina Goestl, Gerald Nestler, Axel Stockburger, Szely.
The art projects address different aspects of social glitches. Lawrence Abu Hamdan’s work Aural Contract: The Freedom of Spech Itself, 2012, for instance investigates speech recognition practices based on algorithms applied on asylum seekers to qualify their stories on their origins. Axel Stockburger’s video Fat Finger Confession, 2013, develops a narrative around media hypes that blame human error rather than algorithmic malfunction to trigger social glitches such as market crashes. Sylvia Eckermann's Crystal Math is a spider web-like projection screen weaved from 5000 metres of nylon thread. In contrast to the conventional metaphor of the internet as a space of social relations, the work hints at the net as an data-driven, uncanny tool to catch the ‘pre,’of social behaviour.
Further information and images: >>
GLITCH. Unser Schreibzeug arbeitet mit an unseren Gedanken
Group show at Kunstraum Innsbruck, AT, May 18 - June 29, 2013.
The show appropriates the technical term glitch (denoting a disruption or malfunction of electronic data) to conduct a wider investigation of the malfunction of social systems. Media and sound artists of the 1980s and 1990s applied glitches, a provocation for engineers and technicians, for creative uses, turning these marginal disorders into an investigative aesthetics of communication technology. Today, glitches have transformed: From mere errors, production faults or transmission failures their occurrences increasingly trigger systemic catastrophes.
We use the term social glitch to address impacts of technology on social environments. From this perspective, malfunction does not only mean random or system embedded errors but includes automated and human error, wilful negligence, bad faith, and even wanton destruction and disorderthat are delivered through code. Friedrich Nietzsche’s remark „Unser Schreibzeug arbeitet mit an unseren Gedanken“ (our writing tools are also working on our thoughts, 1882) implicates a hybrid, complex and potentially problematic if not disastrous relation between thinking and device, reflection and technology, rationality and contingency when the sheer magnitude of these glitches trigger socially eruptive moments.
Photo credits: Axel Stockburger, Thomas Feuerstein, Gerald Nestler, Maximilian Thoman.
CARGO CARRY CULT
Charged voyages in algo measure
Lecture performance by Gerald Nestler
with contributions by Tav Falco
May 22, 2013
WWTBD - What Would Thomas Bernhard Do
Kunsthalle Wien and Wiener Festwochen
May 17 – 26, 2013
Curated by Nicolaus Schafhausen and Lucas Gehrmann, Cathérine Hug
Link to video accompaying the performative lecture
While the visual stimuli of financial
market transactions appear anaemic,
their mathematically generated
but nevertheless erratic moments
exalt the imagination.
Perpetually seeking dissolution,
surreal dichotomies of relationships open up
between invisibility and omnipotence,
inconceivability and ad hoc access,
time as an object and space
as the transcendent medium of objectification.
While the ancient Greek placed coins
on the eyes and tongues of their deceased,
to pay Charon for passage to the realm of the shades,
the phenomenal world of terrestrials darkens and suffocates
in the presence of algorithmic flashes
whose moneyed microseconds establish
a social event horizon beyond human perception.
The aesthetics of codes below-threshold
conceal an elaborate fiction. It glorifies
mind and body as volatile but quantifiable neuronal objects.
Thus, neither of us is present at such dizzying heights
but as potential resource.
The automated crest they call the future
consumes the present before the moment emerges.
And all image erased.
ON PURPOSE. The New Derivative Order
Solo show at Kunstraum Bernsteiner, Vienna, AT.
Opening: Feb. 28, 2012.
February 29 - April 14, 2012
| Speculation—Risk | Credit—Debt | Contingency—Probability |
| Value—Price | Volatility—Leverage | Algorithms—Decision-making |
The exhibition addresses a set of culturally significant terms and rich practices appropriated by economic and financial interpretations. This neoliberal hegemony and what could be termed the "quantitative turn" in finance – unabated despite massive nationalisations in the financial services industry, to name but one example – are translated and recoded by what Nestler calls an artistic "derivative" strategy in order to activate an associative reframing of potentials and practices. Historic as well as current discourses in art, economy, politics and philosophy form an assemblage that can partly be used by the visitors.
On Purpose. The New Derivative Order is a work in progress that alongside the artistic works includes performative events as well as talks and discussions. The events and the participants, the installations, videos, voices, drawings, texts, algorithms… are all "objects" of the exhibition – they populate the site (partially temporarily) and create contexts for further objects/events. The exhibition develops as a social sculpture, with its narrative strands appearing and manifesting during the process, in which particularly the events pose the question as to a reclaiming of agency, a common recalibration from transaction to action.
The market is always right, it's a life form that has being in its own right. You know in a sort of Gestalt sort of way – it has form and meaning – it has life, it has life in and of itself ... you know sometimes it all comes together and sometimes it's all just sort of dispersed, and arbitrary, and random, and directionless and lacking cohesiveness ... and we are a sum of our parts, or it is a sum of its parts. (Karin Knorr Cetina, interview with a trader, in: "From Pipes to Scopes", Distinktion 7, 2003)
Video still, Contingent Claim. Portrait of a Philosophy, Series 1. Elie Ayache.
Single-channel video, 35'23'', 2012
Michael Goldgruber (exhibition view)
Gerald Nestler (performance phots)
Kunstgastgeber Gemeindebau 012
Municipal Tenements as hosts for art.
Herweghof, Matteottihof, Metzleinstalerhof, Reumannhof.
Curated by Gerald Straub.
KÖR Kunst in public space Vienna,Oct 10 - 19, 2012
Artistic research on scientific research.
A project by Gerald Nestler and Gerald Straub.
VIENNA ART WEEK,, 2011
METAmART. Art & Capital, Künstlerhaus Wien, 2011 - 2012
Performative Interventions and investigation
in staff canteens and cafeterias
A project by Gerald Nestler and Gerald Straub
VIENNA ART WEEK. 2010
Review in "Die Presse" >>
Always be kind to the wait staff.
Come prepared with well-informed small talk.
Know your client's business.
Be There On Time
Turn Off the Mobile
Use good handshake
Speak in a soft, yet audible voice.
Be a good listener.
Take small bites.
Use good body language.
Keep the topic of conversation positive.
Smile in appropriate places,
and start with small talk or current events.
Excuse yourself if leaving the table.
End a business lunch with a good handshake
and a positive parting remark.
Sit down hungry
Eat off another person’s plate.
Order foods that stain, are hard to eat, or get stuck in teeth
Put a BlackBerry, iPhone, or other device on the table
Leave your purse on the table.
Order messy foods (ribs, corn on the cob, spaghetti).
Order alcohol, even if your host does.
Slurp through a straw or chew ice.
Discuss private or intimate matters.
Bad mouth a company (including yours) or business person.
Speak with your hands.
Use your phone or text messages.
Comb your hair or apply lipstick at the table.
Leave the lunch meeting before your guest.
Ask for a doggie bag.
The Trend Is Your Friend
An artistic experiment on individual agency.
Sylvia Eckermann with Gerald Nestler.
MKL/Kunsthaus Graz, 2009,
in cooperation with steirischer herbst 09 art festival
Trends are all the trend. Aross the board, from fashion and health care to security and nutrition, industries and commodities are fed by economic flows and financial bets. They decide on trust, and thus investment, and as a consequence they shape our life world and our future. But does this imply that we have become part of an economisation which promises profit and entertainment while it absorbs our individuality? To what extent do trends influence individuals and society? Are those who refrain from trend following socially marginalised? And is the titular "friend" even knowledge society's update of Georg Orwell's Big Brother that annihilates the possibility of a future outside its calculated one? Are we the pray of the very trends we follow, affirm and rely on?
The Trend Is Your Friend invites the visitors to an experiment with individual agency. They become part of a real-time market setup based on a a Nobel Prize wining auction sytstem. Within this complex network made of human and automated actors, the participants become traders and experience the speculative drive of betting on trends and hedging risks. How does this environment affect me? What prevails, the promise of individual gratification or a contingent and volatile uniformity of control?
More info on Sylvia Eckermann's website
Idea, Concept, Artwork: Sylvia Eckermann | Concept, Research, Text: Gerald Nestler | Sound architecture: Peter Szely | System architecture: Winfried Ritsch | Pd, Game programming: Marius Schebella | GEM Render Library Programming: Johannes Zmölnig | Display Environment, Team TU, Graz: Markus Murschitz, Christian Pirchheim, Univ. Prof. Dieter Schmalstieg, Manuela Waldner | Robotics: Florian Krebs | Additional 3D-Animation: Josef Wienerroither | Insects animation: Fatih Aydogdu | Camera: Hans Kraxner, Cosimo Hnilicka | Architecture: Andreas Baumgartner, Christina Romirer | Photo and video documentation: Martin Krusche |
Market model: Wolfgang Höchtl.
MedienKunstLabor | Kunsthaus Graz, 2009.
Curated by Mirjana Peitler | Director + Production: Winfried Ritsch.
In cooperation with: steirischer herbst 09
The Institute for Computer Graphics and Vision (TUG)
The Institute of Electronic Music and Acoustics (KUG) |
Supported by BMUKK | City of Vienna Department of Cultural Affair | City of Graz Department of Cultural Affairs | SKE austromechana.
Special thanks go to:
Ndombi Kande, Ammed Omar Osman, Markus Bauer, City-Thong Vienna |
Bertl, Fattinger & Partner, Prof. Romuald Bertl und Martina Haas.
TIYF! was omminated for the FILE PRIX LUX 2010,
File Electronic Language International Festival, Sao Paulo, Brazil.
Breathe My Air
Aa paradoxical conversation piece
Sylvia Eckermann and Gerald Nestler
3-channel video, 118:14 min,
Languages: English, German, Chinese.
Subtitles: English, Chinese.
More info on Breathe My Air >>
2014, refuse the shadow of the past.
Group show curated by ASAP, University Museum and Art Gallery, The University of Hongkong.
2010, Solo show Curated by Li Zhenhua, produced by ChART Contemporary. 0-0-0-0 art space, Hangzhou.
2009, Mifan, group showorganised by ASAP, curated by Karel Dudesek. Anni Art Gallery, Danshanzi 798 art district, Beijing.
2009, Mifan. Group show curated by Matthias Meinharter. babu art gallery. Shenzhen.
2008, project launch, curated by Edward Sanderson and Li Zhenhua. CPU:798, Beijing.
Supported by: City of Vienna, Department of Culture/ Austrian Ministry of Culture/ Austrian Cultural Forum Beijing
In Ninth Heaven or The Far End of Europe
An Interactive HistoryScape.
A GameMod installation by Sylvia Eckermann and Gerald Nestler.
Composition and spatial acoustics: Szely.
Museum Stein, Krems, 2008-2009.
More info >>
Meta-Performative Installation on global financial markets in Real Time
and Virtual Knowlegde Space.
Gerald Nestler and Sylvia Eckermann
Permanent installation, 2006-2015
Museum Arbeitswelt Steyr
More info >>
Photo credit: Walter Luttenberger
nowhere - ein welt raum spiel
Sylvia Eckermann and Gerald Nestler with Christof Cargnelli and Oliver Irschitz.
More info >>
2006 3rd International Digital Art Festival, Changzhou.
2006 media@terra, International Art + Technology Festival, Fournos Centre for the Digital Culture, Athens.
2006 Beijing Cubic Art Center, 11-ART.com, 798 Dashanzi, Beijing.
2006 aut.architektur und tirol, Innsbruck.
2005 Exhibition Center of the University of Applied Arts, Vienna.
Installation view, Beijing Cubic Art Center, China.
umspannen - drawing options
Plattform Raum für Kunst, Vienna, 2005
Drawings, neon, video and audio-visual installation.
4-channel sound contribution by Szely.
More info >>
form 4 enlitened elevation
Economy, finance and the real world.
Solo project, curated by Raimund Deininger.
Artistic research on the theory and practice of global property systems.
Live-Performances, video works, sculpture, objects, and sound installation.
More info >>
Light text work
Different light materials and different locations.
Image: Derivative Bond Emissions. No 1. Neon, 2000 x 350 mm, 2004. The first of an ongoing series of text works on the derivative condition of contemporary life.
More info >>
Sexy Curves Revisited - Inside the Data Wave
Real Time Audio-Visual Performance + Projection
Curated by Norbert Brunner for his Time Pill project.
Architectural Biennal Beijing, 2004
Biennal de Valencia, 2003
More info >>
Video Portrait Series
Gerald Nestler & Toni Kleinlercher, 1999-2005
Hannes Androsch, AT & S Holding
Steen Bjerre, Dyrup AS
Ulrich H. Bode, vorm. Glaxo Wellcome
Peter Kotauczek, BEKO AG
Peter Lassen, Montana
Anne Birgitte Lundholt, Danske Slagterier
Martina Pecher, Inzersdorfer
Jochen Werz, vorm. Lenzing AG
Norbert Zimmermann, Berndorf AG
2005 "update", curated by eSeL. Künstlerhaus, Vienna.
2005 "Re-Act", curated by Dieter Buchhart and Anna Karina Hofbauer. Nikolaj Contemporary Art Center Copenhagen.
Real Time Audio-Visual Installation
Gerald Nestler & Toni Kleinlercher
"Social Machine Money", curated by Gottfried Hattinger, O.K Centre for Contemporary Art, Linz, 1999-2000
More info >>
A project by Gerald Nestler and Oliver Irschitz
Established as a collaborative workspace for sound, visuals and 3d-animation – friend – and a mobile presentation medium that allowed for contact-free surfing in 3d – ship. The platform with Peyote's innovative natural interaction technology was experienced in the iTube.
In co-operation with artists, scientists and others, projectfriend~ship realized projects in which virtual and real environments merged and interchanged.
Virtuality acts as a feedback area to the specific reality of the site and opens it up for creative interventions. The visitors / participants experience these projects in the Internet and on site.
2003 projectfriend~ship at fluc
The iTube was installed in front of the fluc. friend~ship operated as a visual, acoustic and architectonic interface for each visitor / participant, connecting the 3d-projects, the fluc-bar and the Praterstern.
The 3d-projects shown in the iTube, together with a multichannel live sound-installation by Christof Cargnelli, Peter Szely and dy:na‘mo created a continually changing performance out of the sounds of Praterstern, the iTube and the fluc.
The urban, social, visual and acoustic structures of the Praterstern were experienced in their interchanging qualities.
CeBIT fair, Hanover + live on the Internet
c_bite was an interactive and collective photo, text, 3d-object and sound collage, which was created simultaneously and in real time.
c_bite turned the trade fair CeBIT itself, its resources, its function, its structures and communication patterns into the subject of an on-the-spot artistic debate, using the material for subversive creation.
By this it acted as a Trojan Horse or virus entering this largest global fair for technology and business, using it as material for its own creations and inviting people from outside to participate interactively.
The project generated a symbiosis out of art, architecture, technology and communication, using the technology as a tool for critically discursive treatment.
On Self-Colonization and Life Outsourced.
Solo show. Andechshof, Gallery of the City of Innsbruck, 1995.
Real Data Stampede
Real-Data Concert for Mass Media and Computer
A project by Thomas Feuerstein in in cooperation with Mathias Fuchs, Gerald Nestler, Peter Chiocchetti, Tommi Bergmann.
Tranzit/Utopia, Innsbruck, 1994.
More info >>
How to manage stress
Solo show, with Klaus Strickner.
Theseustempel, Vienna, 1992.
graduate show (solo), Academy of fine Arts.
Theseustempel, Vienna, 1992.
Derivative Bond Emissions. No. 1, neon, 2004.