Limited Conclusions About the Role of Identity in Human Networked IO
… (or lc9 for short) is (while also being a joke) meant to be taken literally: the project inspects anonymity, pseudonymity and identity in the context of contemporary online communication, and finds its main outlet in casual conversation, workshops and 1-on-1 consultancies. Rather than claiming any kind of authority over the subject matter, it considers itself one contribution of many and aims to share a critical approach instead of a finished and/or polished block of information. As an artwork it blends ephemeral process with the concrete but non-linear output and the secret engagement with the public presentation in many of its various facets.
August 2013 – Present
Palimpsest; A Course Comprising n Lessons
Palimpsest is a series of picture frames that use photography as a hook to lure its audience into interaction with sound. Each piece is juxtaposes different perspectives on particular memories with
literal instant photography and
metaphorical sound. Its content focus' on the past inspired the deliberate choice to incorporate nostalgia into the visual and sonic aesthetic of the piece.
Each photograph is listened to with a stethoscope, effectively blocking its visual nature, moving the audience's focus to their hearing.
September 2010 – May 2013
Concerning Transitive Closure (Unfinished)
While it has been exhibited statically, Concerning Transitive Closure finds its purpose in the performative, personalised and hyperconscious act of sharing its pieces.
Cross-processed photographs of the artist's mentors Johannes Grenzfurthner and Andreas Leo Findeisen placed into the physical and psychogeographical entity that is mo.ë, as well as MRI scans of the artist's heart and brain, are printed on perforated blotting paper imitating sheets that would more commonly be laced with LSD.
Lending the First-Order Logic related concept of Transitive Closure, the question is posed whether expanding world views induced by human interaction (as opposed to the intake of chemicals) can be actively distributed within a decentralised graph such as a social network.
(MRI scans of heart and brain are yet to be done.)
Photography by Kerstin Kollmann
- Blotting Paper Preparation
April 2010 – Present
mo.ë is a ~1000m2 big art space comprising several multifunctional rooms, studios, offices, a workshop as well as an Artist in Residence programme. Located in the 17th district of Vienna, the facility was originally used as metal works factory, which was prominently featured in the semi-biographical yet fictional novel from 1984 'Ewigkeitsgasse' ('The Forever Street') by Frederic Morton.
Having changed owners several times since its inception in 1888, mo.ë extends the already present realities, rather than applying the tabula rasa approach of a white cube setting.
Collaboration with Rashid Badreldin, Daniel Benedek, Valerie Bosse, Julia Huber, Karin Meisel, Hannah Menne, Ari Moumeni, Martin Nimmervoll, Agnes Peschta, David Postl, Horacio Reyes, Diane Sittinger, Agnes Wächter, Michael Weidhofer
February 2010 – March 2011
Shifts exists in three parts: one, a sound-piece, two, permanent tattoos of the sound-piece's waveform, and three, a photograph combined with an audio-kinetic installation presenting the relation between one and two.
On all of these layers the work is based on the premise of "shifting" the (artist's) body closer to the mind and emotion. It forms a self-portrait, communicating a self-reflective sonically based visual reminder of the process of moving onwards.
As an installation, Shifts is brought closer to the artist's body by dripping small amounts of his blood from the picture onto the ground.
- Sound Design
- Electronics & Modelling
March 2009 – Present
Touch, Don't Touch
Touch, Don't Touch is an interdisciplinary exploration of participatory artworks and tangible interfaces. It aims to create various instruments that tie in with the human propensity for multi-modal experience.
- Conceptual Development
October 2008 – Present
Ear Cinema is a collaborative multi-platform installation and performance piece, incorporating animation and film footage on 4 screens, sonic art techniques on 8 speakers arranged as a cube, and live performance in the enclosed space. Its focus lies in the ability to deliver a story through "Immersive Theatre", blurring boundaries between all incorporated media.
- Technical Direction (of Performance and Installation)
October 2008 – Present
Graffiti Research Lab
The Graffiti Research Lab (G.R.L.) was founded 2006 in New York City and is dedicated to outfitting graffiti writers, artists and protesters with open source technologies for urban communication.
Following a lose collaboration with Florian Hufsky and Florian Frühauf in which we reinterpreted the work of the G.R.L. mother cell as well as implemented a hostile takeover of the quartier21, Kunsthalle Wien and MUMOK, we founded G.R.L. Vienna due to an invitation to Ars Electronica in September later that year.
- Project Concepts
July 2007 – December 2009
NetzNetz was the self-organised funding pool for New Media Art, Activism and Culture, supported by the MA 7 (Vienna's arts and culture council), department for film and new media. It has been awarding €500.000 annually from 2006 to 2009.
The involved communities and free agents were not only able to influence the grants handed out by the government, but also the course of NetzNetz itself. Through coming up with and participating in different models of application and voting in conferences, plenary sessions and other meetings, the participants developed and tested democratic decision making processes that bypassed boundaries of governmental funding structures.
- Part of both Coordination Teams for 2008
- Organisation & Politics
- System Administration
December 2007 – December 2008