Gerald Nestler




BIO | contact


(see here for more info)

I am an artist and writer engaged in postdisciplinary research in which I combine theory and conversation with intervention, performance, video, installation, sound, text and speech.

My research and practice focus on what I call the derivative condition of technocapitalism and its performative speech. Another closely connected project explores how the term resolution and its semantic field can be conceived as a toolbox to counter data-driven information and access asymmetries. Renegade activism approaches these issues by aiming to take resistance to the level of insurrection against black box non-transparency.

I also develop and curate artistic-activist formats of collaborative practice between art, theory, 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.

Examples of my work on these and other 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. 22. 2017/2018.
A series of text works realized in varous media since 2003.

Selected projects, artworks
and writing, mainly 2012-2019

(get this book from Peecho)

TISF! MedienKunstLabor,
Kunsthaus Graz, 2010

Reader and artist book
Schlebruegge.Editors, 2007


The Spectrality of Future in Finance

Gerald Nestler in conversation with Daniel Hüttler and Zsolt Miklósvölgyi
Video-Podcast in the context of Leaning on the Past, Working for the Future,
an online program/exhibition curated by Krisztina Hunya, Zsolt Miklósvölgyi, Márió Z. Nemes
at Kunsthalle Exnergasse, Vienna, June 4 - July 17, 2020.
Artists: János Brückner, Igor & Ivan Buharov mit Vasile Croat, Sylvia Eckermann & Gerald Nestler,
Mark Fridvalszki, Szabolcs KissPál, Land 3C (Tomas Narkevicius, Gorazd Popov, Vitalij Puzyriov
and Vaida Stepanovaite), Márió Z. Nemes, Dominika Trapp, Suzanne Treister.

Cliffhanger Parcours
8 cinematic performances.
A public art project by Sylvia Eckermann and Gerald Nestler
in connection with the art intervention Cliffhanger by Steinbrener/Dempf & Huber.
Ötschergräben, Lower Austria, September 18, 2020 - October 2021.



HALLE 14 — Centre for Contemporary Art, Leipzig, Germany.
Group show presenting a selection of my work from 2005 - 2018.
September 26 - December 5, 2020.

rA/Upture: xenofuturities_specters_anachrony conference
adO/Aptive foments critcal thinking, potential action, communication
and Otherness by adopting techniques to situate adaptive processes.
nadalokal, Vienna, October 3-4, 2020.

noise is the master of information
Sylva Eckermann, Thomas Feuerstein, Gerald Nestler and Szely.
An exhibition in the framework of the program "self-regulating systems,"
curated by alien productions (Martin Breindl, Norbert Math, Andrea Sodomka).
FLUSS, Schloss Wolkersdorf, Lower Austria.

Private Viewing 07
Toni Kleinlercher and Gerald Nestler, October 10 - 17, 2020.
Private Viewing is an exhibition series by Toni Kleinlercher at his Vienna studio.

Technopolitics Information Society Timeline @ Imagine you Wake Up and There is no Internet
An exhibition curated by Katerina Gkoutziouli and Voltnoi Brege.
Romantso, Athens, October 22 - November 15, 2020.
Technopolitics research group.

Presentation of the sculpture Love in the 21st Century
in the garden of The Klocker Foundation.
Premierentage Innsbruck, November 6, 2020.



An experimental film musical
about human-holobiont variations within watery ecosystems.

By Sylvia Eckermann and Gerald Nestler

Volkmar Klien (composition, sound design)
Anna Mendelsohn (voice over)
Madlen Sieghartsleitner (editing)
Georg Mittermayr (sound mastering)
Daniel Hollerweger (color grading).

Ötschergräben, Austria: Christine Gnigler, Joachim Rigler, Lorina Vallaster, vocal ensemble; Geo Popoff, beatboxing; Soulcat E-Phife, hip hop artist; Martha Laschkolnig, performances; Christian Fiedler, stunting; Bela Eckermann, supporting role | Assistant director: Alex Weber; DoP: Alois Kozar; 2nd camera: Johanna Auer; camera assistant: Anna Wäger; drone pilots: Florian Blang, Luka Janitschek; Cliffhanger installation shots: Rainer Dempf; location sound recordist: Andreas Hamza; lighting: Tom Barcal, Georg Roppatsch; production assistants: Fina Esslinger, Laura Eichenseer, Martin Fricker.
Negev desert, Israel: Aziz Al-Turi, activist and speaker of the unrecognized Arab Bedouin village of Al-Araqib | filmed by Deiaa Haj Yahia and Raafat Abo Aiash.
Lake Tyrrell, Australia: Neil Fettling, artist | filmed by Simon Jackson.
Bejing, China: Qiu Zhijie, artist | filmed in 2008 by Eckermann and Nestler for their video work Breathe My Air).


PREVIOUS (selection)

Occupy the Market?

ArtUp Nation in conversation with Tatiana Bazzichelli, artistic director of the Disruption Network Lab, Berlin, and artist and writer Gerald Nestler,
moderated by Gözde Güngör, M.COE of ArtUp Nation, August 27, 2020.
YouTube stream >>>


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.


Vienna Art Week, 2019

Exhibition, November 16-17, 2019.

A curated parcours through artist studios.

Photo: Sandro E. E. Zanzinger

Curators: Robert Punkenhofer and Angela Stief.

Artists: Bernhard Cella, Beatrice Dreux, Tomas Eller, Karin Ferrari, John und Joy Gerrard, Anna Jermolaewa, Jakob Lena Knebl, Claudia Märzendorfer, Gerald Nestler and Sylvia Eckermann, Klaus Pichler, Lisl Ponger, Lois Renner, Ashley Hans Scheirl, Martin Walde.


Vienna Art Week Exhibition Parcours Talks
Gerald Nestler and Sylvia Eckermann in conversation with Friedrich von Borries, architect and curator, Berlin. November 17, 2019.

Photo: Blauer Hase and 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.

Video stills, WHISPER

Video still. Concept, text: Gerald Nestler, video: Sylvia Eckermann


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.


Season 1 | 2017  VERMÖGEN
5 episodes
October 31 - November 11, 2017
Venue: REAKTOR, Vienna

Season 2 | 2018   PASSION

3 episodes
October 20-25, 2018

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).

Vocal Ensemble: Christine Gnigler, Lorina Vallaster, Joachim Rigler.

Stunting: Fighting for Film.

Data Bodies: Jon Eckermann, Elisa Winkler.

Special Guest Appearance: Frank Pasquale.




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

EXHIBITION, 24.–25.10.
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.


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 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)


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.

SIGraDi 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,, Shalini Randeria, Katrin Solhdju, Saskia  Stachowitsch, Friedrich Tietjen, Joseph Vogl.

Facebook page >>

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.

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,



Technopolitics @ Patchlab Digital Art Festival

Tracing Information Society – a Timeline (v.4 Hong Kong)

6. Patchlab Festival International Digital Art Festival
Krakow, 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)



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.

Technopolitics website >>

Photo credit: LACHSGRAU

The photo shows a map of the INSTNANTERNITY research
and a video by Gerald Nestler with Haim Bodek entitled CONTINGENT CLAIM. Portrait of a Philosophy II).
Photo: the artists.

Curated by Letters & Handshakes.

Artists: 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.

Visiting lecturer Gerald Nestler in conversation with Victoria Ivanova.
ArtCenter/South Florida’s Program for Applied Artistic Research.
Photo credit: ArtCenter/South Florida.

Photo credit:


Musiktheatertage >>
Nomad. theatre >>



Tracing Information Society – a Timeline

MAK – Austrian Museum of Applied Arts / Contemporary Art, Vienna, 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. >>
MAK >>

PHoto credit: Jorit Aust
Top: Gerald Nestler; middle: Magali Reus; front: Mark Manders.


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).

Performative Workshops:
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).

Sound Installations:
Volkmar Klien (AT), Szely (AT).

webjournal continent. special issue on SOCIAL GLITCH >>

link to website >>>
link to images >>
link to catalogue >>>

Photo credit: Eva Würdinger.

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

Photo credits: Wolfgang Thaler

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..

refuse the shadow of the past

Group show curated by ASAP.

University Museum and Art Gallery, The University of Hongkong, 2014.

With Sylvia Eckermann.

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.



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.

More info and images >>


Photo credits: Axel Stockburger, Thomas Feuerstein, Gerald Nestler, Maximilian Thoman.

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.


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


Artistic research on scientific research.
A project by Gerald Nestler and Gerald Straub.


METAmART. Art & Capital, Künstlerhaus Wien, 2011 - 2012

Sit down hungry
Get drunk
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.


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.


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,, 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

Solo exhibition
Plattform Raum für Kunst, Vienna, 2005
Kunstraum Innsbruck, 2005


Drawings, neon, video and audio-visual installation.
4-channel sound contribution by Szely.

More info >>




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

Praterstern, Vienna

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.


2002 c_bite

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.


graduate show (solo), Academy of fine Arts.

Theseustempel, Vienna, 1992.

Derivative Bond Emissions. No. 1, neon, 2004.