Georg Eckmayr
OVERVIEW ︎︎︎
ARTWORK ++
digitally signed ︎︎︎ Surfaces ︎︎︎
Networked Sculptures
Machine Languages︎︎︎
Digital experimental & algorithm based
- interframe allegations
- UNTITLED ME
- a generic landscape
- HOMEOSTASIS
- they are mine!
- THE BUG
- Geometrie der Dauer, timebased bodies
Installations, films, sculpture, …
- Untitled Space
- THE QUANTS
- The Abilitiy to Perceive (No Man’s Land)
- RESCUE
- Maschinenpfade
- Boat Trip without Passengers
- Relics from the Internet
- Estimated net-worth, over
- Human / Material
- #Super User
- Iconic Landscapes
- Impressions
- white cube 3000 watt
- Blacken my digital CV
- Don´t be modest
- Desire Lines
- Hand Job for K.
- SAFE / Incubator
- Landscapes
- surface / intimacy
- Anima Materia / The Suit
- Bleed
THEORY ++
COLLABORATION ++
Info / CV ++
- The Viennese Georg Eckmayr is an artist, researcher and lecturer.
He studied digital art at the class of Peter Weibel under whose supervision he also completed and defended his doctoral thesis on digital images.
- Please contact me via one of these platforms below or the email on the CV page.
THE BUG
(Requiem
for a Bug)
Robotic Performance Installation, Drawing Machine, Paper Sheets, Video, HD / 2015
>> A Robots is drawing endlessly original moments of a dying bug.
A robot tirelessly copies stills from a video, repeatedly drawing the same bug, over and over, causing this installation to expand continuously. It becomes a graphical requiem for a (dying) bug.
Emotion and Category: What distinguishes an active response from a lifeless reflex? Where is the line between original creation and compulsive repetition? How do art and cultural techniques separate themselves from mere automation?
A work by Georg Eckmayr and Hannes Koecher
«There is no cruelty in nature»
by Markus ZöchmeisterThe complete transfer of movements into digital forms, reproduced by the robot and the generated image of unpredictability is completely predictable. And exactly this predictability catches the eye.
Automation (Aristotle) describes a mechanism in nature, a reflexing machine or a muscle that continues to work even when the living form it is attached to is dead. The Bug shows this automation without any living aspect: of course the beetle is dead but what lives on is the machine of nature. The automation is subcon- scious; one could say that the beetle knows nothing about it. It knows nothing of its own dysfunctionality; it is the complete programme. The beetle does not know that half of him is missing. He knows nothing of his own death.
The automatic machine functions beyond the pleasure principle and beyond life, with only the compulsion to repeat (Freud). If one can say that something eerie touches us, touches the viewer, then it is the pure compulsion to repeat, still practiced by the now non-living being, an idea which Freud developed as beyond the pleasure principle and which he termed death-drive.
This working of the machine on the life of the beetle touches us in as much as it shows us a level of nature that even we know nothing about. The Bug is no mistake, rather the triumph of the machine over life.