Hannah Neckel is a Vienna-based transmedia artist and worldbuilder, exploring queer futurity by melting the utopian promise of the internet into reality. Her practice operates through a modality of continuous downloading and uploading; archiving, saving and preserving in tension with creating, sharing and contributing.
⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙♡•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙
⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙♡•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙
Hannah Neckel
based in Vienna / Online
studied Transmedia Art
at the University of Applied Arts in the class of Brigitte Kowanz / Jakob Lena Knebl and graduated with Honors Master of Fine Art in 2025
She is a member of the interdisciplinary artist-led collective room69
⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙♡•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙
Working under the networked persona @cybervoid69, she mobilizes this cyclical process as a method of worldbuilding, integrating research, archiving, rendering, sculptural fabrication, and installation into a fluid praxis that collapses consumption and production, reception and transmission.
This recursive logic situates the archive not as a static repository but as a dynamic ecology of queer persistence, wherein the acts of downloading, cataloguing, and preserving are inseparable from the acts of making visible, exchanging, and circulating.
To be chronically online is reclaimed as a generative condition: a mode of resistance against erasure, in which accumulation and circulation converge as strategies of survival and speculative construction.
This recursive logic situates the archive not as a static repository but as a dynamic ecology of queer persistence, wherein the acts of downloading, cataloguing, and preserving are inseparable from the acts of making visible, exchanging, and circulating.
To be chronically online is reclaimed as a generative condition: a mode of resistance against erasure, in which accumulation and circulation converge as strategies of survival and speculative construction.
Within this expanded ecology, the figure of water emerges as both metaphor and operative material. Water embodies the logic of circulation and flow: emotional, affective, and networked; functioning as an analogue for the internet’s liquidity while simultaneously destabilizing categorical boundaries. In Neckel’s installations, digital forms spill outward into sculptural and sensory space, enacting an aqueous ontology in which the lesbian gaze is reconfigured through processes of leakage, overflow, and exchange.
Through this sustained practice of downloading and uploading, Neckel’s work articulates a utopian potential enacted in the present, rather than deferred into futurity. Worldbuilding becomes a lived infrastructure of preservation and sharing, inhabiting the interplane of digital and physical, archival and generative, where queer worlds emerge towards speculative environments that render utopia not as projection but as lived immediacy
Through this sustained practice of downloading and uploading, Neckel’s work articulates a utopian potential enacted in the present, rather than deferred into futurity. Worldbuilding becomes a lived infrastructure of preservation and sharing, inhabiting the interplane of digital and physical, archival and generative, where queer worlds emerge towards speculative environments that render utopia not as projection but as lived immediacy
⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙♡•̩̩͙*˚⁺‧͙⁺˚*•̩̩͙✩•̩̩͙*˚⁺‧͙
contact
instagram @cybervoid69
studio@hannahneckel.com
full portfolio & cv more information
on request
for business inquires please send a message via email
studio@hannahneckel.com
Unless otherwise noted, all photographs are by Hannah Neckel
Copyright of all Texts and Photos lies with Hannah Neckel
instagram @cybervoid69
studio@hannahneckel.com
full portfolio & cv more information
on request
for business inquires please send a message via email
studio@hannahneckel.com
Unless otherwise noted, all photographs are by Hannah Neckel
Copyright of all Texts and Photos lies with Hannah Neckel
✮*•̩̩͙✧•̩̩͙*˚✧*˚ 𝒇𝒍𝒐𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒓𝒆𝒂𝒍𝒊𝒕𝒚 ˚*✧˚*•̩̩͙✧•̩̩͙*˚✮
2024
full room installation
in collaboration with
Lea Neckel
commissioned by Kulturbetriebe Burgenland
and exhibited at
Landesgalerie Burgenland
“✮*•̩̩͙✧•̩̩͙*˚✧*˚ floating through reality ˚*✧˚*•̩̩͙✧•̩̩͙*˚✮”
Landesgalerie Burgenland
Eisenstadt, AT
press
full room installation
in collaboration with
Lea Neckel
commissioned by Kulturbetriebe Burgenland
and exhibited at
Landesgalerie Burgenland
“✮*•̩̩͙✧•̩̩͙*˚✧*˚ floating through reality ˚*✧˚*•̩̩͙✧•̩̩͙*˚✮”
Landesgalerie Burgenland
Eisenstadt, AT
press
Since its creation, Eisenstadt Castle Park has combined nature and technical progress as a mirror to the world in a paradisiacal form. The Herzerlteich pond, romantically hidden in the park, is at the center of the exhibition ✮*-̩̩͙✧-̩̩͙*˚✧*˚ floating through reality ˚*✧˚*-̩̩͙✧-̩̩͙*˚✮, as a symbol of the symbiosis of technology and nature, man and progress.
The water of the future flows through the changing installation. In this way, Hannah and Lea Neckel create a space that makes it possible to dream present-day utopias and generate new realities.
Through the lens of hydrofeminism, they show how water connects people as a universal element, reflecting the role of the internet as a modern parallel of this force.
Through the lens of hydrofeminism, they show how water connects people as a universal element, reflecting the role of the internet as a modern parallel of this force.
𝒅𝒊𝒗𝒆 𝒊𝒏𝒕𝒐 𝒎𝒆
2025
sculptures , gif on screen, sound
graduation project for MFA
“transmodular”
Neuer Kunstverein Wien, AT
https://aaa.dieangewandte.at/abschlussarbeiten
https://nkw.network/transmodular/
https://transmedialekunst.com/news/2025-06-23-transmodular/
sculptures , gif on screen, sound
graduation project for MFA
“transmodular”
Neuer Kunstverein Wien, AT
https://aaa.dieangewandte.at/abschlussarbeiten
https://nkw.network/transmodular/
https://transmedialekunst.com/news/2025-06-23-transmodular/
dim operates as a portal of lesbian futurity, a transmedia installation where sculpture, video, and sound merge into a field of sensual attention, suspended between the real and the ideal. She invites an encounter of reciprocity; a heart-to-heart intimacy that dissolves the boundaries between subject and object, self and other.
The work engages devotional technologies of attention, sustained acts of looking, reading, and touching that blur the line between research and romance. Drawing from digital queer archives, feminist poetics, and networked girlhood, dim transforms the scholarly impulse into an affective practice: theory becomes touch, reading becomes devotion, and every act of looking becomes an offering toward a shared lesbian utopia.
Rooted in a feminist politics of attention, the installation expands upon the decentralized epistemologies of girl theory, propagated across blogs, Substack essays, and digital archives. Within this ecology, scrolling, saving, and sharing emerge as gestures of resistance and care; queer desire functioning as both methodology and connective tissue, binding research, intimacy, and worldbuilding.
Anchored in an aqueous ontology, water operates as metaphor and medium for the circulation of desire, data, and intimacy. The screen leaks into the room; images liquefy into sculpture. You are asked to meet her with your whole being; to let the moment spill over, to merge. In uncertain times, to imagine a future becomes an act of resistance. dim channels desire as a mechanism for hope, transforming longing into a living infrastructure of queer relationality and utopian potential, realized in the now.
₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩✧·.̩₊̣.̩₊̣.̩✧*̣̩˚̣̣⁺̣‧.₊̣̇.‧⁺̣˚̣̣*̣̩⋆·̩̩.̩̥·̩̩⋆*̣̩˚̣̣⁺̣‧.₊
please have a look through my entire masters diploma thesis here....
𝓲 𝓸𝓷𝓵𝔂 𝔀𝓪𝓷𝓽 𝓲𝓽 𝔀𝓱𝓮𝓷 𝓲𝓽 𝓯𝓮𝓮𝓵𝓼 𝓵𝓲𝓴𝓮 𝓽𝓱𝓲𝓼
2024
sculptures , 1-3 videos, sound
“Passage”
Sammlung Falckenberg, Deichtorhallen
Hamburg, DE
“all the feels”
curated by Nora Mayr
Kunstraum Niederösterreich
Vienna, AT
sculptures , 1-3 videos, sound
“Passage”
Sammlung Falckenberg, Deichtorhallen
Hamburg, DE
“all the feels”
curated by Nora Mayr
Kunstraum Niederösterreich
Vienna, AT
We need to be able to imagine - to make it real.
In online queer spaces, imagination runs free, directly from the source, where marginalized identities find refuge, exploring and connecting underneath the waves. Taking on avatars, the personal becomes abstracted in the virtual. Liberated from fears of repercussion and stigmatisation, exploration flows freely, uncovering what is hidden behind the surface. I reach out my hand towards you, breaking the tension, as the water rushes over us, uniting our bodies, just like our hearts have been united online <3
In online queer spaces, imagination runs free, directly from the source, where marginalized identities find refuge, exploring and connecting underneath the waves. Taking on avatars, the personal becomes abstracted in the virtual. Liberated from fears of repercussion and stigmatisation, exploration flows freely, uncovering what is hidden behind the surface. I reach out my hand towards you, breaking the tension, as the water rushes over us, uniting our bodies, just like our hearts have been united online <3
The feeling is too big,
the video is f
l
o
w
i
n
g
out of the screen, it can not be contained anymore,
my words are floating on the stream towards
you .｡.:*♡
eroding whatever stands in our way, the boundaries have melted away, its our reality.....˚ *•̩̩͙ ✩.
the video is f
l
o
w
i
n
g
out of the screen, it can not be contained anymore,
my words are floating on the stream towards
you .｡.:*♡
eroding whatever stands in our way, the boundaries have melted away, its our reality.....˚ *•̩̩͙ ✩.
𝒃𝒆𝒚𝒐𝒏𝒅 𝒕𝒉𝒆 𝒘𝒂𝒕𝒆𝒓𝒇𝒂𝒍𝒍
𝒍𝒐𝒔𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒔𝒕𝒓𝒆𝒂𝒎 𝒐𝒇 𝒄𝒐𝒏𝒄𝒊𝒐𝒖𝒔𝒏𝒆𝒔𝒔
exhibited at and commissioned by OOEK
Linz (AT): OK Linz Center for Contemporary Art
solo position in collaboration with Lea Neckel
curated by Maria Venzl & Alfred Weidinger
Linz (AT): OK Linz Center for Contemporary Art
solo position in collaboration with Lea Neckel
curated by Maria Venzl & Alfred Weidinger
Based on the longing for liberation and community, they develop emotional exxxperiences based on the utopian potential of the internet.
In their work "˚₊‧。☆･ﾟ: *𓆩♡𓆪･ﾟ:* beyond the waterfall *:ﾟ𓆩♡𓆪 *:ﾟ･☆。‧₊˚lost in the stream of consciousness" the concept of fluidity is explored to the fore and break through the conventional notions of binary. The installation symbolizes binary in two spaces, connected and dissolved by the waterfall. The focus is on emphasizing community at all levels and using the potential of technology to transcend physical limitations and generate a new vision of the future in the collective consciousness.
In their work "˚₊‧。☆･ﾟ: *𓆩♡𓆪･ﾟ:* beyond the waterfall *:ﾟ𓆩♡𓆪 *:ﾟ･☆。‧₊˚lost in the stream of consciousness" the concept of fluidity is explored to the fore and break through the conventional notions of binary. The installation symbolizes binary in two spaces, connected and dissolved by the waterfall. The focus is on emphasizing community at all levels and using the potential of technology to transcend physical limitations and generate a new vision of the future in the collective consciousness.
Utilizing femme and queer signifiers and referring to Haraway's cyborg manifesto, the internet is rematerialized and presented as a refuge for marginalized groups, especially the queer community. By deconstructing the boundaries between human and machine, gender binaries, self and other, liberation cannot be confined to the patriarchal framework of gender. Complex humanity and gender are intangible and multifaceted, and technological advances continue to transcend traditional gender boundaries.
To truly transcend these limitations in our thinking and discourse, we must open ourselves to new ways of conceptualizing and understanding the physical space of gender.
The rooms of the OK become an extended virtual reality, immersed in the aesthetics of the digital subculture, it spills into the room as if it has sprung from a source, overflows and overlaps, merging with the environment like the layers of a Photoshop file.
The rooms of the OK become an extended virtual reality, immersed in the aesthetics of the digital subculture, it spills into the room as if it has sprung from a source, overflows and overlaps, merging with the environment like the layers of a Photoshop file.
