Hannah Neckel, based online as @cybervoid69, is a Transmedia Artist reimagining the future by merging online and offline worlds in aesthetic bliss ✨
Their multimedia exxxperiences seduce users into a dreamy hyper-space where the digital sphere of the internet and the physical world merge.
The internet serves as a utopian place of longing, a fountain source for the desire for liberation and community that manifests itself in their works, generated by an interplay of online and offline footage.
The real space becomes an extended virtual reality, a place of refuge that confronts visitors with their own emotionality, creating a sense of hope for endless possibilities beyond the limitations of the physical world.
The internet serves as a utopian place of longing, a fountain source for the desire for liberation and community that manifests itself in their works, generated by an interplay of online and offline footage.
The real space becomes an extended virtual reality, a place of refuge that confronts visitors with their own emotionality, creating a sense of hope for endless possibilities beyond the limitations of the physical world.
The aesthetics of the internet spill into the space as if from a glass, overflowing and overlapping, merging with the surrounding like the layers of a Photoshop file.
Creating an immersive experience playing into all senses of the users, transporting them to a vision of a utopian internet where boundaries are transgressed and the self is constructed and reconstructed.
Hannah Neckel studies Transmedia Art at the University of Applied Arts in the class Brigitte Kowanz / Jakob Lena Knebl,
based forever online <3
They are a member of the interdisciplinary artist-led collective room69 developing new and progressive exhibition formats, new media arts and installation
Creating an immersive experience playing into all senses of the users, transporting them to a vision of a utopian internet where boundaries are transgressed and the self is constructed and reconstructed.
Hannah Neckel studies Transmedia Art at the University of Applied Arts in the class Brigitte Kowanz / Jakob Lena Knebl,
based forever online <3
They are a member of the interdisciplinary artist-led collective room69 developing new and progressive exhibition formats, new media arts and installation
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
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.
We are grateful for all the people who have actively contributed their knowledge and skills to the process of installation. In unison with our community, we envision a future of empowerment and liberation through a collaborative collective process of working.
The knowledge and skills of our collaborators are a visible part of our practice, uniting people to create a multifaceted experience.
cris anutoiu - video + 3d
neptunia monna anarchus - sound
alice klarwein - inflatable sculptures
max halstead + josepha edbauer - hard sculptures
lilly miklautz - soft sculptures + styling
paola lesslhumer - photography
julian lee harather - photography
revirtualizing
drowning in reality
exhibited at:
Vienna (AT): Parallel 2022
supported by Kulturland Burgenland
Based on the cyber-aesthetic of hyper-femme online spaces and their users, this immersive installation reflects the extravagant opulence of utopian visions of the future. A fountain as a sculptural focal point is surrounded by accompanying besties and bathed in luminous pink light, which is reflected in and scattered throughout the sculpture's iridescent material.
Merging the virtual into the physical, this installation offers an emotional XXXperience as a call to possible utopian visions of the future and shows Space as a community-creating impetus. Revirtualizing - drowning in reality translates the phenomenon of digitalization and the quest forbalance between real and virtual spaces into an Emotional Experience.
Merging the virtual into the physical, this installation offers an emotional XXXperience as a call to possible utopian visions of the future and shows Space as a community-creating impetus. Revirtualizing - drowning in reality translates the phenomenon of digitalization and the quest forbalance between real and virtual spaces into an Emotional Experience.
The formal language of the work corresponds to the digital aesthetics of the Internet and highlights its hyper-femme opulent aspects. The dialogue about digital future design is often exclusively male - in contrast, a fem-queer positions generated, leading online as well as offline reality towards a feminist future. Marginalised groups often use online spaces as a retreat and meeting place for their communities.
revirtualizing - drowning in reality aims to give visibility to these communities, and offer the possibility to translate these online spaces into a physical place in which offline coming together and connecting becomes possible. The eternal flow of water in the fountain mirrors the seemingly perpetual flow of the internet. The state of time is completely dissolved and the illusion of a fixed reality is broken. The current actual state is replaced by a positivistic internet utopia.
revirtualizing - drowning in reality aims to give visibility to these communities, and offer the possibility to translate these online spaces into a physical place in which offline coming together and connecting becomes possible. The eternal flow of water in the fountain mirrors the seemingly perpetual flow of the internet. The state of time is completely dissolved and the illusion of a fixed reality is broken. The current actual state is replaced by a positivistic internet utopia.
#cyber-rituals @hyper-self
exhibited at:
Vienna (AT): Kargl Permanent
curated by Martina Menegon & Brooklyn J. Pakathi
The exhibition “TRANS.. #cyber-rituals @hyper-self” transforms the offline gallery space into an experience of simulated identities and rituals of self-representation. It creates a window into the constructing and reconstructive nature of the self and of the internet while establishing rituals, conceptions and unrepressed basis for the performance of the self.
The contemporary experience of the digital has inevitably changed our perception and conception of reality, enhancing the concept of performance in relation to the self and the body. Since its early days, the internet has been a space for construction and reconstruction of the self, an environment free from physical limits that allows an unprecedented play with past and new identities.
Online, the self becomes de-centred and multiplies without restrictions and in which social media has transformed into a virtual stage, where the diversity of new approaches to performance investigates and reshapes, mainly, the relation between reality and simulation, but also code and body and the very perception of the self through its digital double(s).
The contemporary experience of the digital has inevitably changed our perception and conception of reality, enhancing the concept of performance in relation to the self and the body. Since its early days, the internet has been a space for construction and reconstruction of the self, an environment free from physical limits that allows an unprecedented play with past and new identities.
Online, the self becomes de-centred and multiplies without restrictions and in which social media has transformed into a virtual stage, where the diversity of new approaches to performance investigates and reshapes, mainly, the relation between reality and simulation, but also code and body and the very perception of the self through its digital double(s).
Hannah Neckel’s multimedia “XXXperiences” seduce viewers into a hyper-space, merging net-first visual cultures with the physical. Her use of symbols, text, 3D renderings and an arsenal of other tools and references propose a utopian internet, where the self is constructed, reconstructed and then open to a further unpacking by viewers of her work. The range of hand-crafted inflatables mediates between various states of reality, abstracting aesthetics as a means to perceive lived experiences both online and away from the keyboard. For “TRANS.. #cyber-rituals @hyper-self”, Neckel also augments form and material by extending into the virtual and altering the public offline space nearby.
Text by Martina Menegon & Brooklyn J. Pakathi
Photos by Maria Belova
Text by Martina Menegon & Brooklyn J. Pakathi
Photos by Maria Belova
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iwish you were not here
⛓💖💎𝔞𝔲𝔯𝔱𝔞𝔱𝔦𝔠 𝔣𝔩𝔬𝔴 💎💖⛓
auratic flow is a digital room installation featuring 3 sculptures, a heart, a tribal and one graffiti found in the 3d scanned room, superimposed by a text sculpture reading "i don't want reality".
Pink water flows from the translucent sculptures, frozen in time creating a fluid auratic experience. Space and Time melt together through the voyager to embrace the aura of the work. The objects in itself become auratized only by human influence.
Transformed by the reproduction of the digital space, the unique becomes a mass phenomenon.
Pink water flows from the translucent sculptures, frozen in time creating a fluid auratic experience. Space and Time melt together through the voyager to embrace the aura of the work. The objects in itself become auratized only by human influence.
Transformed by the reproduction of the digital space, the unique becomes a mass phenomenon.
They replace the involuntary memory with the familiarity of the images, at the same time remove any distance from the work and it's embedding in tradition.
Because of the digital availability, the work no longer belongs to the past, but is always present, admittedly in an empty time.
In the context of the accumulation of data and the massification of information, the heart becomes a device of our self. And within this device the aesthetic is also social - an element of cultural hegemony. By connecting to the device we stand for the central cultural quality of global consciousness
Because of the digital availability, the work no longer belongs to the past, but is always present, admittedly in an empty time.
In the context of the accumulation of data and the massification of information, the heart becomes a device of our self. And within this device the aesthetic is also social - an element of cultural hegemony. By connecting to the device we stand for the central cultural quality of global consciousness
Bless'ed Curse is a massively multiplayer, decentralized project organized by @greedy_rigor and @rhizomeparkinggarage.
Unfolding across the sprawling grounds + interior of a fantasy complex, 23 international artists and artist projects come together to co-create a liminal space that hovers just outside of reality. The result is a polyvocal chorus punctuated by both sullen and sublime intensities - ranging from performances to installations and digital work ❦
Unfolding across the sprawling grounds + interior of a fantasy complex, 23 international artists and artist projects come together to co-create a liminal space that hovers just outside of reality. The result is a polyvocal chorus punctuated by both sullen and sublime intensities - ranging from performances to installations and digital work ❦
In their latest installment of exhibitions, the artist collective @r00m69 is pleased to present 𝖎 𝖜𝖎𝖘𝖍 𝖞𝖔𝖚 𝖜𝖊𝖗𝖊 𝖓𝖔𝖙 𝖍𝖊𝖗𝖊, a Google Street View based hybrid intervention and virtual experience. Topologies of virtual space that mirror real-world locales have evolved into a new architectural arena for the creation, exhibition, distribution and experiencing of art. These virtual landscapes, however uncontrolled, uncurated, unmanaged, pull on the atmosphere of the physical areas in which they are anchored, toying at protest and deconstruction, and push beyond the appearance of “the real.”
