1934 my 10 year-old grandmother created a poetry album, asking family and friends to write into it. Most entries are written in Sütterlin, a Font that 1941 was banned by the Nazis. This album is one of the few things left from my grandmother, and it allows a small view into the 1930ies. ,Aus Liebe’’ deals with the family situation as well as the privilege of owning historical documents and objects.

Messias, Drahtzieher, Erlöser, Puppeteer oder doch nur ein kleiner Bub aus Meidling, der mit seinen Freunden die Welt regieren will? Wer steckt hinter der Maske Kurz und was bedeutet es für eine Gesellschaft, wenn die Integrität des Machthabers irgendwo auf Ibiza oder in Whatsapp-Chats zu suchen ist?

"A creature floating mid-air, seemingly swimming, seemingly getting nowhere."

Line Finderup Jensens schwebend-schwimmende Kreatur rezitiert Textpassagen aus "Wild Things" (2020) von US-Autor Jack Halberstam. Mehrbödige Sprachspiele verquicken hier die Fluidität des Wassers mit jener unserer Vorstellungen, Gefühle und Bezeichnungen.

Avatars act as an instrument of embodiment, giving the users the sense of "materiality" required to be part of a world. Questionable if that is a need for a virtual world. Avatar is a conceptual figure that emphasises the relationship between human equivalent and (digital) images. Here we use Image - in its definition of a representation of external form, of general impression assumed by a public. The avatars can be everything that we are not, and yet to "have" the information of everything we are. Is it a human condition, an instinct to constantly try to replicate oneself? In the scope of this artistic endeavour, the roles are reversed. The computer is collecting data and images to recreate its owner's avatar. Because of a sudden glitch, it is triggered to do that, an error ~ an awakening. In order to create a memory based on an actual experience, not on mere numbers, the machine needs a body. The piece reflects on the the nature of identity and parallel between human and machine memory.

When will the Golden Revolution take off? “Beyond Utopia?” answers this question with a simple 3D object.

Operating on the cusp of the traditional and innovative, Simone Carneiro’s work transports us back, while everything we see is also completely contemporary. 3D objects, both physical and virtual, become elegant abstractions, with rhythmical patterns ending in their own attenuation. It is no coincidence that the work reminds us of algorithms, the new technological divinities invisibly dominating our lives, it is actually produced by them. Thus, in a multifaceted artistic process, across several steps and mediums (3D objects, prints and animations), chance and error, call them abstract powers, produce their own visual representation.

Acts of police brutality need to be documented, archived and displayed, not to be forgotten by contemporaries. This AR work displays documents of police brutality from around the world and displaying it around the Viennese police headquarters. The act of viewing AR needs the phone camera to be pointed into the direction of interest, making it effectively a gesture of documentation and bearing all the dangers associated with it.

Large amphore with soldiers depicting a tranquil scene drinking, shaving, smoking and playing cards together, trying to take their minds off their looming deaths on the battlefield; date unknown.

Painted clay

Shahab Nedaei Collection

Tanks are most commonly represented in our society as toys – both physically as well as digitally in video games. In reality, however, these steel monsters are designed for killing, not for recreation and fun. Despite this, machines like the German WWII-era »Tiger« tank are highly popular amongst military-enthusiasts and grandfathers point them out with enthusiasm to their grandkids. Austria’s official military museum, a »Wehrmachts-Opa« itself, reproduces this positive image of the tank within its »Panzerhalle«, as well as with its spectacular and sensational tank shows – a technique that deliberately obscures the murderous purpose of these machines.

The candyfication of the Tiger is designed to call attention to and challenge the insidious and cynical image of the tank as a toy.

Avatar Cerberia shows the transformation of identity through self-eating, illustrating the radical readiness for the change. Knowing no fear of death, for she is the death, Cerberia, however, heralds the rebirth. The etymology of her name refers to the myths of the hound of Hades – Cerberus, who guarded the entrance to the Underworld.

Ancient writers traced the origin of the word to "creoboros" (devouring meat). Cerberia, on the other hand, devours pixels and takes the role of the guide to the Virtual Realm of the Dead Avatars, where each pixel incarnation still lives and will live on the endless expanses of the Internet's memory.

A digital life of adventure reduced to a line of archived code. A warrior buried in a forgotten server of a dying game. An identity created by a young boy’s imagination, but owned by a soulless commercial entity. A prisoner of a corporate limbo on life support of monthly subscription.

The self and the world can only be understood in fragments. Subjective perception can only reveal a fraction of the whole.

The object "Blizzard" from the series "Mirror Totems", (de)assembled in a performative intervention through a video installation in the room, visualizing this fragmented perception.

Performative installation of the sculpture. Scan, reflection and deconstruction within a video installation. The videos are provided through "System" by Markus Liszt and "Structure" by Miss.bubblebliss

How can we create intimate encounters in the digital realm and how do they differ from interactions in the physical world?

Algorithms and data structures have been called the heart of computer science over decades and the line between digital entities and humans blurs as the passing day. Imagine the GPU as the mind and soul of the virtual world, performing all the computational tasks, calculations and data processing inside the computer.

Two statues greet you on your way to the world of DIONYS. They stand mightily in front of you, sublimely looking into the distance, yet their arms are inviting you. The way is clear for everyone who dares to have a look.

The work Dominanz questions advertising and the status it occupies in public space. At which point does advertising dominate public space? Does advertising make sense or has the constant awakening of needs become an end in itself?

The Artifact is made out of an image from my analogue art series "Open exposures”. "Open exposures" is a manifestation of time in form of old photographic techniques, old photo paper, layers and symbols. The original image is two-dimensional artwork, a silk paper photogram elaborated in the darkroom and created on 20 year old photographic paper.

Erythra is the avatar and the artifact of an organism evolving from a bacteria living on martian surface in the future. Like Wolbachia bacteria on Earth, it is able to transform DNA. It restructures matter and transforms the living. After humans failed to build an atmosphere on Mars, Erythra arises and takes over the transformation of Mars. All matter, living and non-living, decomposes and gets recomposed to a new form of life, detached from social constructs and hierarchies.

Sharks have evolved on Earth hundreds of millions of years ago. Fossil records suggest they have existed even before trees. The first signs of shark’s ancestors are a few scales dating to 450 million years ago and the earliest shark-like teeth archeologists have come across are 410 million years ago, from the Doliodus problematicus.

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

reflected isolated voices of the brave new world.

really close.

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.

~queer coding ~monstrosity ~mythology ~fictioning ~

Hejkal is the first interactive character from a series dedicated to queer joy and imagination. Hejkal is a woodland spirit from slavic mythology. They announce their presence with warning shreaks and although they are quite peaceful, their anger can be pretty deadly.

Share a space with me, share an experience with me, share your fears with me.

There is only the whole world watching.

Wanting to be with people, wanting to be left alone. after all this time inside I felt like I was slowly turning into goo.

'Liquid Face' reacts to the multichannel reflections of our real identity in the digital world and the growing trend of enhancing ourselves in virtual space.

Hr. Litto is a fake character created by an AI and a dataset of the male portrait drawing of Mr. Horsky Michael.

Das ehemalige HGM feiert seine umfassende Wiederauferstehung unter dem neuem Namen HTM (Histotainment-Museum), mit neuem Schein, alter Direktion und vollem Programm!

Erstmals präsentiert das HTM seine Werbekampagne im öffentlichen Raum.

The Hypercube, also called Tesseract, is a transfer of the three-dimensional cube to four dimensions. Thus, the tesseract relates to the cube as a cube to the square. The aim of the Hypercube XR is an illustration of the real built light object HYPERCUBE by Tobias Schermann, which will be presented in 2021 in the course of Blockheide Leuchtet for the first time materially to the public. The concept of the light installation HYPERCUBE consists on the one hand of the idea of non-Euclidean spaces, which are to simulate by means of mirrors the Droste effect approximately, which is implemented in the real with a cube and semipermeable mirrors. In the center of the HYPERCUBE there will be a light installation. Hypercube XR is not only a virtual representation of the installation and its phsyical properties, but also tries to take advantage of the rendering engines to create new effects. Particularly challenging for HYPERCUBE XR was the restriction that the object must not exceed 10MB in total, but this also encouraged new artistic effects.

Ferdinand Doblhammer & Patryk Senwicki leben und arbeiten als Künstlerduo in Wien. Sie beschäftigen sich seit 2020 multidisziplinär mit den Arbeitsbereichen Mixed Reality, simulated environments und live performances.

In ihren Arbeiten sind Themen wie die Digitalisierung und Überwachung der Privatsphäre als auch der politische Diskurs in neuen Medien von zentraler Bedeutung.

You can see an object in the forest, which tries to make contact with the viewers in spoken language. The object feels lost in an unknown environment. Can it be heaven, for instance? "Is this heaven?" it, therefore, asks again and again in a desperate voice to find answers to the hopeless situation.

However, there is no response, as the viewers are unable to establish contact with the object.

Die Sprache stört beim Abhängen.

Jopa Jotakin verlegt sein inneres Wohnzimmer als virtuelle Couch in den öffentlichen Raum und will dort eigentlich nur ein bisschen abhängen. Leider zerfällt es zusehends.

Und dann knallt auch noch die Sprache rein!

Die Audioaufnahme stammt aus dem Jahr 2011. Es handelt sich um Ausschnitte von Aufzeichnungen der Performances und Kompositionen mit Texten des Dramatikers Heiner Müller des Kollektivs KJDT.

Die Audioaufnahme stammt aus dem Jahr 2011. Es handelt sich um Ausschnitte von Aufzeichnungen der Performances und Kompositionen mit Texten des Dramatikers Heiner Müller des Kollektivs KJDT.

Die Audioaufnahme stammt aus dem Jahr 2011. Es handelt sich um Ausschnitte von Aufzeichnungen der Performances und Kompositionen mit Texten des Dramatikers Heiner Müller des Kollektivs KJDT.

'Leerraum' (vacant space) is a series of performances, documented using spatial video. The artist conquers empty spaces and scans the room with a head mounted display, a mirroring mask on the artist's face.

The mirror's reflections create a new perception of time and space, the performer becomes the observer, the space turns into an actor.

'Leerraum' (vacant space) is a series of performances, documented using spatial video. The artist conquers empty spaces and scans the room with a head mounted display, a mirroring mask on the artist's face.

The mirror's reflections create a new perception of time and space, the performer becomes the observer, the space turns into an actor.

Der 10-Meter-Sprungturm – eine moderne Stahlbetonkonstruktion – war das Wahrzeichen des 1928 errichteten Kongressbads. Im Zuge eines Umbaus 1981 wurde er abgerissen und die Sprunggrube mit dem Abbruchmaterial aufgefüllt. Die Betontrümmer befinden sich heute noch unter dem Schwimmbecken. Adina Camhy hat den Sprungturm rekonstruiert und als 100 m hohe, funktionslose, brutalistische Skulptur erweitert. Das virtuelle Monument ist in eine Klangkulisse aus verfremdeten Platschgeräuschen eingebettet.

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

This 3d model is a metaphor for the mentally and physically not accessible idea of an angel.

If Homo sapiens would be able to empathize with all kinds of entities (something angels supposedly do), the phenomenon of making war would never have existed.

At our electro-esotheric Séance I want to try to contact Ryu, my long lost childhood friend. Therefore I am tuning in to the frequencies of songs by Joe Meek, who was known for being in touch with occult powers. Via the famous satellite Telstar – and Joe Meek´s song about it with the same name - I hope to be able to transfer Ryu´s message from the digital beyond into the audible realm of today. If he happens to be a fan of this music, it just might work.

The metamorphosis as the optimum? A comparison of technology and nature, people and vermin.

As a living fossil, the centipede represents evolutionary perfection and various stages of development. It enters into dialogue with the human organ of movement.

The grid as the venue for the posthuman discourse symbolizes a metaverse and questions how far optimization can go without turning into a toxic parasite.

Our traditional house produces the finest meat and sausage products according to old family recipes. We only process meat from rare wild animal species.

In Japanese folklore Mujinas trick unsuspecting villagers, by shapeshifting into humans. Avatars are our own personal Mujina that take on the persona we give them. They can be identified with by anyone. Are we more willing to work on our negative aspects, if we experienced ideal avatars as role models?

Ein schepperndes Radio auf dem Tresen des Buffets führt uns an den Nicht-Ort eines Eiskastens, eines Backrohres, der Fritteuse und des Ausschanks. Im kristallinen und bröseligen Komplex dieser im Dunkeln liegenden Klanglandschaft reflektiert Lale Rodgarkia-Dara ihr post-humanes Ich und liest von den Symptomen der COVID-Isolation.

In diesem situated game ist ein „Neuromatic mindobject“ ein nicht-humaner Aktant, der sich aus humanen Daten speist. Die Form des aus 300.000 Datenpunkten immer wieder neu generierten organisch anmutenden Objekts wird über Code direkt gespeist. Die Daten kommen vom Hirnscan eines „players“, him/her/they, aufgenommen mit einem der aktuellsten Mind Reading Devices, einem professionellem 32 Kanal EEG im Rahmen des Forschungsprojektes Neuromatic Game Art.

Das wie eine Pflanze wachsende Objekt platzieren die in der App Mitspielenden im Wiener „Narrenturm", einem historisch relevanten Ort im historischen Spital, der Neurowissenschaft und Psychiatrie, der Observation und Kontrolle von „WILDEM DENKEN“. Zur Zeit seiner Entstehung galt der Narrenturm als eines der fortschrittlichsten „Devices“ – eine architektonische Maschine zur Gedanken-Für-Sorge (S/care/Behandlung/).

In der App entwickelt sich der Mindworm durch die gedankliche Interaktion innerhalb der symbolisch aus 5x28 Zellen aufgebauten und zentral um ein Kontrollzentrum angeordneten Architektur des Narrenturms. Der virtuelle Spiegel des realen Baus beginnt sich im Spiel zu verändern, aufzulösen. Der Kopf des zwie-gespaltenen (schizophrenen?) Mindworms aus brain-data basierten „splines“ liest laut die ersten 100 Datenpunkte von 300.000 des Hirnscans, aus dem das Objekt selbst generiert wurde. Wie in einem Mantra kommen sich die Stimmen der zwanghaft Zahlen lesenden zwei Enden des Datenwurms immer näher und synchronisieren sich eventuell – abhängig von der jeweils individuellen Positionierung des Startpunkts des virtuellen Objekts durch die Spielerin vor Ort. Schrittweise und mit jedem Zusammentreffen mit einer Zelle wird die Architektur aufgelöst, die Zellen des Objekts, die die Zellen des Narrenturms repräsentieren, verschwinden mit den expandierenden Mindsets der Spielenden....

The "Notgalerie", one of Reinhold Zisser's central projects over the past six years, is a meta installation in the tradition of social sculpture. In their function as a tool for autonomous artist practice it is a radical alternative to institutionalized art institutions.

“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

In the exhibition PITCH CONTROL (in German "pitch control") the artist negotiates the keynote / concert pitch "A". The new works are inspired by Gothic architecture of the Dominican Church in Krems and the relationship between the body and space. The center of the artistic installation is the work A - a Three Body Problem.

The physical work consists of three parts: An instrument in the form of a sculpture, a choir as a video work and the inscription itself as a picture.

A virtual intervention based on collected screenshots from the HGM online museum. The images were manipulated by artists and remixed with additional information. The reworked images are automatically forwarded between the artists' websites.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

Dieses Artefakt wurde im Rahmen des Graetzelrauschens 2022, organisiert durch die echoræume, erarbeitet.

Maximilian Prag besuchte gemeinsam mit der Parkbetreuung die Parks der Umgebung und erschuf diesen Avatar basierend auf den Stofftieren von Kindern.

My Avatar is a little relict from the early times of social media. The first time I used such a platform was Myspace. I forgot when I joined, but probably in the early, mid 00ies? The appeal of the new was strong back then. One thing that struck out, was a small image, top left of each page. It was your face within the space, the most immediate thing that would connect you with other users. This was probably the first time I uploaded an image to such a platform, my first own avatar. Not overthinking and finding it more fun to use a random image instead of my own, I used an animated GIF of a little pony running around. I liked, and still like the idea of the internet being a space allowing to experiment with identities and images in a playful way.

The project looks at the relationship between mankind and nature. How is it possible to protect and preserve all those areas with high biodiversity? Resources given to us by nature are taken for granted and consumed in the same way. Human perception has to change so that future generations can still enjoy the diversity of our environment.

'Leerraum' (vacant space) is a series of performances, documented using spatial video. The artist conquers empty spaces and scans the room with a head mounted display, a mirroring mask on the artist's face.

The mirror's reflections create a new perception of time and space, the performer becomes the observer, the space turns into an actor.

'Leerraum' (vacant space) is a series of performances, documented using spatial video. The artist conquers empty spaces and scans the room with a head mounted display, a mirroring mask on the artist's face.

The mirror's reflections create a new perception of time and space, the performer becomes the observer, the space turns into an actor.

'Leerraum' (vacant space) is a series of performances, documented using spatial video. The artist conquers empty spaces and scans the room with a head mounted display, a mirroring mask on the artist's face.

The mirror's reflections create a new perception of time and space, the performer becomes the observer, the space turns into an actor.

With the "room tour", influencers have created a new trend in which they make their premises accessible to everyone on the Internet. In the work Roomtour AR, as much data as possible is extracted from several of these videos, these rooms, and made visible. In doing so, 3D objects are calculated from the camera movements and these are transferred to another room in augmented reality and made tangible. Both a second and third data stream result from the recognition of objects in the original images, as well as from speech-to-text recognition of the audio track. In a society that always makes private space available as a public setting via streaming, video conferences and online videos, the work “Room Tour AR” reflects about the accessibility of our data and our attached privacy.

A march is an organized, directed and at the same time intentional movement of a military or civilian group.

In some cases both.

The march can serve as a logistical tool, or as a ceremonial expression. If a march intends to kill its participants, it’s called a death march.

With the death marches of 1944 and 1945, the Nazis pursued the goal of removing evidence of their crimes in the concentration and extermination camps by eliminating the victims in the final phase of the Second World War.

Who accompanied my grandfather on the death march to Bergen Belsen?

“A line of 3000 people was led by 30 Germans. And in the morning there were 20 and then 10. They realized that that was the end of the war and that they would be caught. Everyone wanted to flee. And we walked like cattle.”

How is a collective body shaped through community practices such as cycling? What drives the sound of your city?

Spot, the cute robot dog, gets promoted as humanity’s new helping hand, allowing us to “automate routine inspection tasks and data capture safely, accurately, and frequently.” At the same time, the French Army is already testing the robot in military combat scenarios. This sparks the question who will really benefit from these technologies in the near future.

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

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?

The search for symmetry in a linear system, finds itself in the area! The focus is on the rhythm and balance of natural numbers, which, by shifting the usual perspective, make new connections apparent.

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.

A teratoma (from the Greek teras "terrifying image, monster" and the suffix - om, here in the sense of "similar", hence "monstrosity"), is a rare type of tumor that can contain tissues such as hair or teeth.

Replica made of ceramics, human hair, teeth.

Madi’s filmmaking practice centres the materiality of analog film, as well as the optical machinery used for the production and projection of images. She often experiments within this medium as she translates her work into the digital realm.

The work was inspired by Madi’s curiosity for marbles aswel as mushrooms. The (Other) Cat’s Eye Marble consists of a spherical marble form and a morel fungus encased in gold. These two shapes reference the dichotomy between the power struggles amongst humans, their cultural geographies, and their use of natural resources.

As these objects collide, the preciousness of a gem is formed. Do we forget ethical consumption when faced with aesthetic beauty?

Madi’s filmmaking practice centres the materiality of analog film, as well as the optical machinery used for the production and projection of images. She often experiments within this medium as she translates her work into the digital realm.

The work was inspired by Madi’s curiosity for marbles aswel as mushrooms. The (Other) Cat’s Eye Marble consists of a spherical marble form and a morel fungus encased in gold. These two shapes reference the dichotomy between the power struggles amongst humans, their cultural geographies, and their use of natural resources.

As these objects collide, the preciousness of a gem is formed. Do we forget ethical consumption when faced with aesthetic beauty?

Ein lebendiger und klingender Turm aus den Überbleibseln heutiger trivialer Gelüste verbindet die Lebhaftigkeit des Kongreßbads mit Hieronymus Boschs fantastischer Vision vom Garten der irdischen Freuden. Milenas interaktive Skulptur ist weniger eine Ode an den Überfluss als vielmehr ein ironischer Kommentar auf die exzessive Abfallproduktion unserer üppigen Konsumkultur.

A wormhole into the future.

An echo in the empty space.

A shrine to meditate over what's left,

after the anthropocene.

cultivating heritage computing for the kids of the future.

Während Maschine-Learning-Algorithmen heutzutage wie moderne Sklaven behandelt werden, von denen erwartet wird, dass sie rund um die Uhr lernen und arbeiten, gewährt ihnen das Künstler*innenkollektiv TE-R im Kongreßbad etwas Freizeit und Erholung. So amüsiert sich ihre künstliche Intelligenz (KI) hier und lässt so richtig die Sau raus. Ja, die neue maschinelle Arbeiter*innen-Klasse hat eine Stimme und singt vor sich hin.

The space in Offerus' paintings is to be understood as a space in constant change and communication with the protagonists. Decoupled from time, it should not reflect the present, but rather suggest a timeless environment - sometimes dissolving up to the abstract representation and fusion with body parts. A kind of coagulation of time, bodies and levels of content. The bodies themselves can be a projection surface and expand to encompass space, just as space itself can expand.

The dichotomy of the lost paradise - A paradise that knows no progress and overcomes the disillusionment of modernity - drives the dream of the creative machine and makes it seem seductive, because this is where first and second nature meet. More than that, the dream points beyond itself and evolves. Because it is about art, about the realm of signs and symbols, it develops into a grand narrative that builds on the fact that man and machine are no longer pacified. In the long run, the principle of opposites as such also disappears. Just as creativity as a guiding social value blurs the distinctions between above and below, marginality and significance, original and copy, the creative machine pushes toward a third instance of reality in which any clear boundary would be overcome.

The dichotomy of the lost paradise - a paradise that knows no progress and overcomes the disillusionment of modernity - drives the dream of the creative machine and makes it seem seductive. For this is where first and second nature meet. Even more: the dream points beyond itself and develops further. Because it is about art, about the realm of signs and symbols, it develops into a grand narrative that builds on the fact that man and machine are no longer pacified.

„Information is power“ leitet das vom Programmierer Aaron Swartz 2008 verfasste Guerilla Open Access Manifesto ein, in dem sich der Hacktivist für den freien Zugang von Information aussprach. Als Wunderkind verblüffte er mit seinen eleganten Codes und als Aktivist prägte er ausschlaggebend die Open Access Bewegung, mit seinem Weitblick für eine gemeinsame bessere Zukunft für alle Menschen. Das Schubert Theater widmet ihm in seinem 10. Todesjahr eine Installation, für die die bildende Künstlerin Annemarie Arzberger einen Puppenkopf gebaut hat.

Das Schubert Theater Wien ist eines der innovativsten Off-Theater Österreichs und widmet sich seit vielen Jahren dem Puppentheater für Erwachsene. Gerade bei biografischen Werken kann durch den Einsatz von Puppen eine Ebene zwischen Kunst und Publikum entstehen, auf der eine sehr ehrliche und intensive Darstellung einer Person, einer Biografie möglich ist.

The work “trophy of the ravenous hunter” tells the dystopian story of a hunter in the wasteland. The fragment of an oddly shaped bone is tied to an old canteen. The hunting trophy of a survivor on the devastated earth.

The temporal units of the painting process have been documented digitally and manifest themselves as virtual 3d sculptures.

The work is both success and failure, the motive halfway discarded. It is a living act consisting of frustration and pleasure.

By documenting and storing the intermediate steps of the painting, the time component becomes a crucial part of this work series.

Lined up snapshots become narrative, actors emerge, become carriers of the whole story, just to leave their position again and again until they fade away.

The temporal units of the painting process have been documented digitally and manifest themselves as virtual 3d sculptures.

The work is both success and failure, the motive halfway discarded. It is a living act consisting of frustration and pleasure.

By documenting and storing the intermediate steps of the painting, the time component becomes a crucial part of this work series.

Lined up snapshots become narrative, actors emerge, become carriers of the whole story, just to leave their position again and again until they fade away.

The temporal units of the painting process have been documented digitally and manifest themselves as virtual 3d sculptures.

The work is both success and failure, the motive halfway discarded. It is a living act consisting of frustration and pleasure.

By documenting and storing the intermediate steps of the painting, the time component becomes a crucial part of this work series.

Lined up snapshots become narrative, actors emerge, become carriers of the whole story, just to leave their position again and again until they fade away.

The temporal units of the painting process have been documented digitally and manifest themselves as virtual 3d sculptures.

The work is both success and failure, the motive halfway discarded. It is a living act consisting of frustration and pleasure.

By documenting and storing the intermediate steps of the painting, the time component becomes a crucial part of this work series.

Lined up snapshots become narrative, actors emerge, become carriers of the whole story, just to leave their position again and again until they fade away.

The WEFA Room is a place where the interior and exterior merges into one and blurs the line of observing and being observed by Mother Nature.

Der Spiegel zeigt die Vergangenheit, welche immer noch Gegenwart ist, und sie war schon damals nicht lustig.

On a bicycle and pedalling, the rigid figure is nevertheless in motion. She has a sheet over her head and the breeze shapes the white fabrics. This cover is a moment of turning inward. It is a moment of pausing and resting. It is a moment of pulling the blanket over one's head and hiding while perception and distraction undergo a transformation. Covering is also a change of form, visibility and awareness to see and feel what might not be possible without it.

"no water, no life.no blue, no green.”

– silvia earle

this manta ray is part of a multimedia project for the master’s degree in digital design. it is dedicated to the forever mesmerizing life of the ocean.

Auch die Zukunft braucht Revision. Der Think-tank der experimentellen Militär- und Technikforschung präsentiert im Zukunftsministerium, mit Sitz im ehemaligen Heeresgeschichtlichen Museum Wien, seine neuen Strategien. Das Verhältnis zwischen Mensch, Militär, Natur und Maschine muss nach der fortschreitenden Verwüstung der Welt völlig neu gedacht werden.

Figures, rendered as wireframes. In their center a 3d scanned piano.

The figures walk towards it, but can not reach this symbol, representing the unbelievability of this utopia that came true.

An invisible wall revealing itself.

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?

This virtual pond invites you to explore its leavings and encourages you to try to decipher your future. Messages crystallize out of its mystical toxic water, all held together by the power of your mobile device. It allows you to conjure its being and fuel it with energy. The screen acts as a portal between you and its surroundings. The pond is showing itself for the first time - conjurable at Stadtpark in Vienna

A virtual space in a simulated world. Artificially created characters in a reality that we encounter every day. This reality created by a simulation of our self. The self in a virtual space of a simulated world.

A teaser for a work in progress virtual reality experience. Zenit is a dark fantasy world and challenges the visitor to find out the whys, whats and hows of the world, with a strong focus on environmental storytelling and worldbuilding.