An AI, sourced from a drawing, tells us what it learned about material properties of the human body.

Die Notgalerie, über die letzten sechs Jahre ein zentrales Projekt von Reinhold Zisser, ist eine Metainstallation in der Tradition der sozialen Plastik. In ihrer Funktion als Werkzeug einer autonomen KünstlerInnen Praxis ist sie ein radikaler Gegenentwurf zur institutionalisierten Kunstinstitution.

Series framing my work for de-colonialism. Looking after historical perspectives is looking for unfairness. This work examines the beginning of Rock‘n Roll, which stole the rhythm of Black music and turned it into a business.

In der Ausstellung PITCH CONTROL (zu deutsch „Tonhöhenregelung“ ) in der Dominikanerkirche Krems verhandelt die Künstlerin den Grundton/Kammerton „A“. Die neuen Arbeiten sind von der gotischen Architektur und dem Verhältnis vom Körper zum Raum inspiriert. Das Zentrum der künstlerischen Installation bildet das Werk A - a Three Body Problem. Die physische Arbeit besteht aus drei Teilen: Einem Instrument in Form einer Skulptur, einem Chor als Videoarbeit und der Einschreibung selbst als Bild.

Die Suche nach Symmetrie in einem linearen System, findet sich in der Fläche wieder! Der Fokus liegt auf Rhythmus und Balance von natürlichen Zahlen, welche erst durch Verschiebung der gewohnten Perspektive scheinbar neue Zusammenhänge sichtbar machen.

Impermanence molded in a permanent format. In the live performance with Elet and Markus Liszt in summer 2020 a bubble survived five days in the window of Yppenplatz 5. Be invited to the world of wonders. Even seemingly simple and known things like a soap bubble reveal complexity, structures and are full of surprises. Dive in! What do you see?

Das Selbst und die Welt ist nur in Fragmenten begreifbar. Durch subjektive Wahrnehmung lassen sich immer nur Bruchteile des Ganzen erschließen.

Das Objekt "Blizzard" aus der Serie "Mirror Totems" wird mit einer performativen Intervention innerhalb einer Videoinstallation im Raum (de)montiert und verbildlicht diese fragmentierte Wahrnehmung.

Performative Installation der Skulptur. Scan, Reflektion und Dekonstruktion innerhalb einer Videoinstallation. Die Videos dazu liefern "System" von Markus Liszt und "Structure" von Miss.bubblebliss

Unser Traditionshaus produziert feinste Fleisch und Wurstwaren nach alten Familienrezepten. Wir verarbeiten ausschließlich Fleisch von seltenen Wildtierarten.

Life and Work create automatisms, necessary for survival.

Can fear of change paralyse?

Can monotony turn us into a piece of furniture?

Is routine good or bad, should we change it?

Should we not?

A wormhole into the future.

An echo in the empty space.

A shrine to meditate over what's left,

after the anthropocene.

The "Modul Wien" is an audio, photography and video laboratory.

reflected isolated voices of the brave new world.

really close.

"Ez a világ olyan világ, sokat igér, keveset ád…“ ("Was für eine Welt ist diese Welt, die viel verspricht und wenig hält…“)

cultivating heritage computing for the kids of the future.

We live in a time that much too often has humans working purely for the maintainance of systems. Systems, invented by humans.

Systems should be created by and for humans and not vice versa!

A philosophical examination.

“Arguing that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say.”

― Edward Snowden

A short piece about failure,

about slipping,

about losing the balance and gravitation.

I am curious what people in my surrounding think about the future changes, so I started a research in Viennas 17th district. This work is focused on the idea of blending two dimensions – fiction and reality – derived from neighbours’ prognosis about the digital age. The result of my research is an in-between world, where virtual entities occupy the realm of urban space, translated through an augmented reality experience.

Stopping natural decay with the help of an artificial plastic skin. Tscherner decontextualizes industrial packaging technology, on the one hand to make objects from their environment durable and on the other hand to accentuate the contrast between nature and artifacts. The things that are collected, vacuumed and photographed here may not have a long-term place in our changing ecosystem. These objects are also a reflection of our time and Tscherner tries to systematize and archive them. The process of collecting has a playful character which is reflected in the title

Stopping natural decay with the help of an artificial plastic skin. Tscherner decontextualizes industrial packaging technology, on the one hand to make objects from their environment durable and on the other hand to accentuate the contrast between nature and artifacts. The things that are collected, vacuumed and photographed here may not have a long-term place in our changing ecosystem. These objects are also a reflection of our time and Tscherner tries to systematize and archive them. The process of collecting has a playful character which is reflected in the title

Stopping natural decay with the help of an artificial plastic skin. Tscherner decontextualizes industrial packaging technology, on the one hand to make objects from their environment durable and on the other hand to accentuate the contrast between nature and artifacts. The things that are collected, vacuumed and photographed here may not have a long-term place in our changing ecosystem. These objects are also a reflection of our time and Tscherner tries to systematize and archive them. The process of collecting has a playful character which is reflected in the title