donaufestival. Forum Frohner, Krems, Austria.
Performance and Livestream: April 19, 2024, 18:00 CET
(16:00 UTC / 12:00 EST / 10:00 MDT / 01:00+1 KST)
Exhibition: April 20-28, 2024
Sat, 20.04. 15:30 – 19:00
Sun, 21.04 16:00 – 21:00
Fri, 26.04. 16:00 – 19:00
Sat, 27.04. 15:30 – 18:30
Sun, 28.04. 16:00 – 21:00

PARTICIPANTS
Marian Kaiser, media theorist, dramaturge, author. Fahim Amir, philosopher. Martina De Dominicis & Alberto Cissello (debocs), performers. Giuliana Furci, mycologist [live from Santiago de Chile]. Daniela Gandorfer, law & governance scholar [live from London]. Thomas Nail, philosopher [live from Denver]. Agostino Nickl, architect, AI researcher. Patricia Reed, artist & theorist. Maggie Roberts (0rphan Drift), artist [live from London]. Yuka Takahashi, performer [live from Columbus]. A Waldrapp bird & Gordan Savičić, artist, & Felix Stalder, media theorist.

SOUND, MUSIC / VOCALS
Soulcat E-Phife, DJ/MC. Volkmar Klien, composer. Wientaler Dreigesang, vocal ensemble.

TEAM
Markus Passecker: head of XR production and Unity3D development.
Marek Šimoník: Record3DS3 volumetric video sharing.
Michael Loizenbauer: livestreaming.
Alois Kozar: camera.
Bela Eckermann: technical structures.
Daniel Hüttler: assistance and documentation.
Maximilian Thoman: co-producer.

PARTNERS
donaufestival
medien.kunst.tirol
Latent Spaces. A Zurich University of the Arts research project
Radical Matter. A PEEK-FWF-funded artistic research project
./studio3. Institute for Experimental Architecture, University of Innsbruck

Supported by:
BMKOES | Land Tirol | Bildrecht/ske | donaufestival

1080 Zero Grav

Gerald Nestler with Sylvia Eckermann, Rapahel Hulan and Porzel Aaron.

A conceptual art project that takes skateboarding from physical space to blockchain (Base Etherium L2).

1080 zero grav website >>
OpenSea >>

1080 zero grav is a generative artwork with interactive content, dynamic media, and on-chain storage that explores parallels between boarding culture and (crypto)finance. The NFT collection plays with the contingency of the next move in what we believe boarding asnd derivative finance have in common: a performative, even visceral, exposure to risk, a radical affirmation of speculative volatility. However, ony boarding has shaped kinesthetic performance into a new cultural movement.

1080 zero grav celebrates boarding as an art of volatile balancing, from asphalt and street to crypto boarding. It uses NFT liquidity for a playful artistic experience by turning volatility, arbitrage, and leverage into dynamic-aesthetic forms of visual movement. Its motto is: Free Web3 from Gravity!



1080 zero grav is also my tribute to Randy Martin whose reading of the derivative, expanding beyond finance to artistic and cultural practices, coincides with my thinking and practice.

TECHNOPOLITICS @
OPEN FLOOR. Practice of a Common Ground

WUK "VERSUCHSANSTALT"
Kunsthalle Exnergasse
Währinger Straße 59, 1090 Wien
October 5-25, 2023.

open floor is an exhibition project by Natalia Gurova, Rafael Lippuner, and adO/Aptive (Janina Weißengruber, Daniel Hüttler) that invites six collectives to lay out a common ground, a field on which various practices converge and coalesce in a shared room: Tratado Material, TECHNOPOLITICS, AUSLÄNDER, Danube Transformation Agency for Agency, Office Ukraine, and MŰTŐ.

With friendly support by:
Kultur im 9. - Alsergrund
Academy of Fine Arts Vienna.

HOLOBIONT

Life is Other

AIL. Angewandte Interdisciplinary Lab
The concept of holobiont explores the self-conception of individual life, links us humans symbiotically with other organisms via our microbiome, disturbs the division into subject and object and offends our usual concept of ego. October 5, 2022 - January 20, 2023.

With contributions by Art Orienté Objet, Irini Athanassakis, David Berry, Julia Borovaya, Adam Brown, Juan M. Castro & Akihiro Kubota, Tagny Duff, Thomas Feuerstein, Karmen Franinovic, Ana Maria Gomez Lopez, Luis Hernan/Pei-Ying Lin/Carolina Ramirez-Figueroa, Hideo Iwasaki, Henrik Plenge Jakobsen, Eduardo Kac, Roman Kirschner, Lynn Margulis/Dorion Sagan/Bruce Clarke/David McConville, Yann Marussich, Agnes Meyer-Brandis, ORLAN, Špela Petrič, Chris Salter, Maja Smrekar, Klaus Spiess/Ulla Rauter/Emanuel Gollob, Lucie Strecker/KT Zakravsky, Tina Tarpgaard, Paul Vanouse, M R Vishnuprasad, Peter Weibel, and authors of the special issue On Micorperformativity, Performance Research: A Journal of the Performing Arts, 2020, 25 (3). Scenography: Wolfgang Fiel, Institute for cultural policy.

Finissage and book presentation
David Berry, Thomas Feuerstein, Karmen Franinović, Jens Hauser, Roman Kirschner, Gerald Nestler, Klaus Spiess, Maja Smrekar, Lucie Strecker and K.T. Zakravsky discuss the significance of microperformativity in their artistic practices.
January 20, 2023

(Art) Activism
in the 21st-Century

Video screening and discussion

AI technologies are increasingly used in all realms of society and create artificial classifications and models. Three artistic films provide a critical insight into these operations: Gerald Nestler's Countering Capitulation (2014), Forensic Architecture's Model Zoo (2020), und Vladan Joler's The New Extractivism (2021).

The screening will be followed by a panel discussion between Vladan Joler, a leading expert in the field of AI, Gerald Nestler, an artist and a renowned critic of tech capitalism and the art-performance historian Lisa Moravec.

Belvedere 21, Vienna
November 12, 2022

And if there is no sea,
then there's also no boat.

Group show, curated by Ran Kasmy-Ilan.
With Leigh Orpaz, Efrat Vital, Itay Marom, Anna Yam, Sylvia Eckermann & Gerald Nestler

The Artist Residence, Herzliya
October 23 - December 11, 2021

PLATFORM AUSTRIA
The Phenomenon of Platform Urbanism
The Austrian Pavilion at the Biennale Architettura 2021

Curated by Peter Mörtenböck and Helge Mooshammer.

Resident blogger, in collaboration with Sylvia Eckermann.

"The Future is Public: Activism in the Age of Platform Capital," a panel discussion with Slutty Urbanism, Gerald Nestler and the Into the Black Box collective, chaired by Carmen Lael Hines. 28 August 2021, Garden of the Austrian Pavilion, Giardini della Biennale, Venice. Part of the Curators Collective Midissage.

HOW WILL WE LIVE TOGETHER | 17th International Architecture Exhibition La Biennale di Venezia 2021. May 22 - November 21, 2021.

Installation view/video: Courtesy Carmen Lael Hines/Platform Austria, 2021.

BIG D@T@! BIG MON€Y!

HALLE 14 — Centre for Contemporary Art, Leipzig.
A group show curated by Michael Arzt with a selection of nine of my work from 2005 - 2018.

With Yonlay Cabrera, Magali Desbazeill, Francis Hunger, Falk Messerschmidt, Joana Moll, Gerald Nestler, RYBN.ORG, Suzanne Treister and Varvara & Mar.

September 26, 2021 - May 16, 2021.

Link to the Catalogue (english/deutsch)

 

MAKING TRUTH

Vienna Art Week, 2019

Talk, November 22, Semperdepot Vienna, 3pm.

TRUTH, RECALIBRATED. Haim Bodek and Gerald Nestler explore the making and unmaking of fact and fiction in finance and other data-driven spheres of technocapitalism.

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 of probability.
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.

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.


Website >>

HYSTERICAL MINING

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

Sound installation

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!)

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

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

SIGraDi Workshops: November 5-6, 2018
Exhibition: November 7 - 9 2018

Additional program:
Technopolitics Salon @ OUTROS - Laboratory for Other Urbanisms
School of Architecture and Urbanism, University of São Paulo (FAU USP)
November 9, 2018

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).

ÜBER_LEBEN. ENTROPY

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.

Künstlerhaus 1050
25. Mai bis 16. Juni 2018
Eröffnung: 24. Mai 2018, 19 Uhr

Website >>

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.

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

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

INSTANTERNITY – Black Box Body Cult

An experimental platform 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 world of algorithmic markets and its hypercompetitive effects on social relations. On the surface, the presenters map out how finance gains leverage by the asymmetric application of models, technologies, contracts and narratives. But on a deeper level of association – seemingly unrelated to the lecture – another performance takes place, one that distracts and decenters the audience.
Three dancers move through the space on a random course. Swirling, jumping and clashing, they produce volatilities that affect the visitors. With increasing intensity the bodies of the performers engage the other bodies. The spectators become part of the performance 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.
A testing ground for new ways of sensing, the performance exceeds conventional contemporary aesthetics – instead of being directed to a (distant) oberser, its performativity activates the audience on the plane of sensing and body intelligence.
The observers become recipients and transmitters resisting or (re)acting within a field of questions raised by the artwork: Can sensory perception and physical experience make sense of concepts, terms and processes in whose face the mind is so often at a loss?

On a magnified scope of testing artistic communication and pedagogy that radically exceed symbolic representation, BLACK BOX BODY CULT examines Nestler's speculative hypothesis: Is body sensitivity more adapt than pure rationality to make sense of the performative speech of technocapitalism whose performativity is enforced by a (bio)power we feel so acutely but without fully apprehending it?
Can a concept that extends our capacities of perception and cognition from the brain to the entire body lead the way to a new and deeper understanding? And thus to a new idea that the space of resistance involves all spectrums of sensing, processing, engaging and resolving.

VORBRENNER 17. Laboratory for experimental and interdisciplinary art projects.

Freies Theater Innsbruck, April 6, 2017,

INSTANTERNITY. Black Box Body Cult at Vorbrenner >>
Vorbrenner fb >>

INSTANTERNITY – A Cartography of Automated Finance

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.
Their 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.
Nestler and his collaborators put their findings to test in quasi-laboratory simulations. In volatile, performative situations the audience experiences and examines how the body can become a force of resilience and resistance against a regime that incessantly recalibrates between all shades of adaptation and mimikry.

I stood before the source

Blackwood Gallery at University of Toronto Mississauga, October 16 - December 3, 2016.

Catalogue >>

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.

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

THE PROMISE OF TOTAL AUTOMATION

Kunsthalle Wien, Museumsquartier, Vienna, March 11-May 29, 2016

Exhibition booklet >>

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.

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.

Curated by:
Gerald Nestler, Sylvia Eckermann and Maximilian Thoman

Co-curated by:
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
WUK.performing.arts
continent

A TIM.theories.in.mind and KUNSTRAUM NIEDERÖSTERREICH production.
www.theoriesinmind.net
www.kunstraum.net/en

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)

 

HEDGE AVANTGARDE

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.

Further information and images: >> (in English)
download infos + pics >> (in German)
Interview published in Wiener Zeitung >> (in German)

 

 

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.

Parallel Vienna

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.

FORENSIS

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.

 

 

PUBLICATION

Forensis. The Architecture of Public Truth.
edited by Forensic Architecture, published by Sternberg Press, 2014.

Sternberg Press >>
Forensis, Haus der Kulturen der Welt >>
Video link Countering Capitulation >>
text link Mayhem in Mahwah >>

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.

Sylvia Eckermann

Lawrence Abu Hamdan

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 >>

form 4 enlitened elevation

Economy, finance and the real world.

 

Solo project, curated by Raimund Deininger.
Haus der Industrie, Vienna.
September 30 - November 19, 2004.

Artistic research on the theory and practice of global property systems.
Live-Performances, video works, sculpture, objects, and sound installation.

 

More info >>

enlitenment

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 >>

CEOs

Video Portrait Series

Gerald Nestler & Toni Kleinlercher, 1999-2005

Portraits of:
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
Ejvind Sendal
Jochen Werz, vorm. Lenzing AG
Norbert Zimmermann, Berndorf AG

Exhibitions:
2005 "update", curated by eSeL. Künstlerhaus, Vienna.
2005 "Re-Act", curated by Dieter Buchhart and Anna Karina Hofbauer. Nikolaj Contemporary Art Center Copenhagen.

Sexy Curves

Real Time Audio-Visual Installation

Gerald Nestler & Toni Kleinlercher

Exhibition:

"Social Machine Money", curated by Gottfried Hattinger, O.K Centre for Contemporary Art, Linz, 1999-2000

More info >> (in German)

Electronic Dust

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 >> (in German)

How to manage stress

Solo show, with Klaus Strickner.

Theseustempel, Vienna, 1992.