Charger and Pine Gadget, 2024, Tube, Epoxy, Sand, Graphite, Champagne Chalk , Steel, Tin, Shelf Legs, Variable Dimensions, Zirka Space Munich (DE), A Little Bit of Solidarity Goes a Long Way

NREM Mat, 2023, Silicone, Graphite, 80 x 200 x 0.7 cm, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

NREM Mat, 2023, Silicone, Graphite, 80 x 200 x 0.7 cm, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

L.O.D, 2023, Steel, Aluminum, Silicone, Plaster, PLA, Epoxy, Lacquer, Metal Powder, Industrial Grease, Wire, Tin, Flashlights, Variable Dimensions, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

L.O.D, 2023, Steel, Aluminum, Silicone, Plaster, PLA, Epoxy, Lacquer, Metal Powder, Industrial Grease, Wire, Tin, Flashlights, Variable Dimensions, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

Untitled (Cards), 2023, PLA, Metal Powder, 6,6 x 11 cm, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

L.O.D, 2023, Steel, Aluminum, Silicone, Plaster, PLA, Epoxy, Lacquer, Metal Powder, Industrial Grease, Wire, Tin, Flashlights, Variable Dimensions, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

L.O.D, 2023, Steel, Aluminum, Silicone, Plaster, PLA, Epoxy, Lacquer, Metal Powder, Industrial Grease, Wire, Tin, Flashlights, Variable Dimensions, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

L.O.D, 2023, Steel, Aluminum, Silicone, Plaster, PLA, Epoxy, Lacquer, Metal Powder, Industrial Grease, Wire, Tin, Flashlights, Variable Dimensions, Gedunkelfloxx Obsidian / Steirischer Herbst – Humans and Demons 2023

Another bite, dreams, chopped into pieces, Epoxy Resin, Sand, Champagne Chalk, Artificial Teeth, 2023

Rac Vex, Silicone, 2023

Kornfeld, 2022, 29 x 21 x 27 cm, Wheat Ears, Paint

Gaining a sense of getting well 1, 2022, 219 x 96 x 18 cm, Shower Curtain, Stainless Steel Ball, Paint, Aluminium, Solder, Laser, Engravings

Markus Sworcik & René Stiegler, Spillover, 2022, Variable Dimensions, Steel, Stainless Steel Arrow Broadheads, Steel Nuts, PLA

Markus Sworcik & René Stiegler, Spillover, 2022, Variable Dimensions, Steel, Stainless Steel Arrow Broadheads, Steel Nuts, PLA

Heavy Metal Song 1, 2022 , Unreal Engine, Text-to-Image Photography, Sound, ca. 6:38 min

Heavy Metal Song 1, 2022 , Unreal Engine, Text-to-Image Photography, Sound, ca. 6:38 min

Gaining a sense of getting well 1, 2022, 219 x 96 x 18 cm, Shower Curtain, Stainless Steel Ball, Paint, Aluminium, Solder, Laser Engravings

Gaining a sense of getting well 1, 2022, 219 x 96 x 18 cm, Shower Curtain, Stainless Steel Ball, Paint, Aluminium, Solder, Laser Engravings

Kornfeld, 2022, 29 x 21 x 27 cm, Wheat Ears, Paint

Voting for the axe, 2022, 107 x 24 x 8 cm, Resin, Steel, Polymer Clay

Voting for the axe, 2022, 107 x 24 x 8 cm, Resin, Steel, Polymer Clay

Voting for the axe, 2022, 107 x 24 x 8 cm, Resin, Steel, Polymer Clay

Markus Sworcik & René Stiegler, Spillover, 2022, Variable Dimensions, Steel, Stainless Steel Arrow Broadheads, Steel Nuts, PLA

Pile of Claws, 2022, 25 x 24 x 6 cm, Resin, Stainless Steel Screws

Markus Sworcik & René Stiegler, Untitled (y), 2022, 51,5 x 16 x 7 cm, Dried Flower, Latex, Waterslide Decal Foil

Vexing/Spike 1, 2022, 103 x 68 x 0,4 cm, Silicone

Vexing/Spike 1, 2022, 103 x 68 x 0,4 cm, Silicone

AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire

AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire

Flashlight Quest, 2022, 21 x 7 x 5 cm, Flashlight, Polymer Clay, Aluminum, Simcard Holder, Resin, Paint

Flashlight Quest, 2022, 21 x 7 x 5 cm, Flashlight, Polymer Clay, Aluminum, Simcard Holder, Resin, Paint

Flashlight Quest, 2022, 21 x 7 x 5 cm, Flashlight, Polymer Clay, Aluminum, Simcard Holder, Resin, Paint

Maybe it Raptures, 2021, Various Dimensions, @Büro für Pessimismus

Maybe it Raptures, 2021, Various Dimensions, @Büro für Pessimismus

Maybe it Raptures, 2021, Various Dimensions, @Büro für Pessimismus

And Again, all these Corners and Folds are Pretty Grey, 2020, Various Dimensions, @Atelier im Schwimmbad

And Again, all these Corners and Folds are Pretty Grey, 2020, Various Dimensions, @Atelier im Schwimmbad

And Again, all these Corners and Folds are Pretty Grey, 2020, Various Dimensions, @Atelier im Schwimmbad

And Again, all these Corners and Folds are Pretty Grey, 2020, Various Dimensions, @Atelier im Schwimmbad

SELECTED SHOWS: 20 02 2024 Group Show: A Little Bit of Solidarity Goes a Long Way @zirka.space, Munich (DE), 01 12 — 09 12 2023 Group Show: Klasse Bircken/Vogel @Kunstarkaden, Munich (DE), 21 09 — 15 10 2023 Steirischer Herbst — Humans and Demons, /w René Stiegler, Graz (AT) 13 05 2023 Group Show: Mechanisms of Occupant Ejection @Postgarage, Graz (AT) 05 08 — 24 09 2022 Duo Show: A terrible doorstop - /w René Stiegler @ KEIL Gallery Graz (AT), 17 09 — 28 11 2020 Group Show: In Suspense / Albeit Unintentionally – Rather Acrobatic @ ROTOR – Association for Comtemporary Art, Graz (AT) 27 09 2020 Group Show: Context Cocktail @ Lager 2 / Waagner-Biro Straße 117, Graz (AT), 14 09 — 09 10 2020 Residency @ Atelier im Schwimmbad, Wies (AT) 05 05 2019 (Various Dates) Screening: Basically, they are just Separated ('Old Images') via theoneminutes.org (Curated by Tao Hui) @ East China Normal University, Shanghai (CN) @ 65th International Film Festival Oberhausen (DE) @ Betty Jane, Amsterdam (NL) @ Dortmunder U (DE) @ Mu, Eindhoven (NL) @ Museum Hilversum (NL) @ Sandberg Instituut, Amsterdam (NL) @ De School, Amsterdam (NL) 02 02 — 18 04 2019 Group Show: Hate Speech — Aggression and Intimacy, @ HALLE FÜR KUNST Steiermark / Künstlerhaus  — Halle für Kunst & Medien (Curated by Sandro Droschl) — https://www.km-k.at/de/exhibition/hate-speech/ Graz (AT) 08 01 — 11 01 2019 Group Show: Residue Posing Ortwein Stipendium 2018, @ Schaumbad Freies Atelier, Graz (AT) https://schaumbad.mur.at 08 03 2018 Group Show: Art on Prescription — Art sur Ordonnance, Paris, @ Musée du quai Branly 37, Paris (FR) 09 02 — 11 02 2018 Group Show: Something Goes Wrong Wenn ich Schlafe with Hannes Schauer, @ Volke 4, Graz (AT) 09 10 — 31 10 17 Solo Show: RETAW, RETAW Falls, @ Popup Gallery Füll die Lück, Graz (AT) 13 05 — 26 11 2017 Group Show: Art on Prescription, Offspace Project during the Venice Biennale 2017, @ La Biennale di Venezia 2017 (Venice, IT) 05 05 — 07 05 2017 Group Show Galerientage Graz, @ Artepari, Graz (AT) 09 01 — 12 01 2017 Group Show, @ Cuntra la Cultra, Graz (AT) 07 12 — 12 12 2016 Group Show: MHD, @ Schmiede36, Graz (AT) 02 05 — 07 05 2016 Group Show, @ Lendwirbel, Kunsthaus Graz (Innenhof), Graz (AT) 17 06 2015 Live-Performance / Group Show The Third War (Roter Keil)@ Designhalle Graz (AT) 08 02 2014 Performance TTMMM with Hella Comet, @ Volt, Graz (AT) 12 05 2007 — Sound Performance Sonntags Abstrakt with Wouter Jaspers (NL), @ Postgarage, Graz (AT)

General request and whole portfolio:
Contact: markus.sworcik@ichno.com

GEDUNKELFLOXX OBSIDIAN > 
Cooperation with RENÈ STIEGLER comissioned by STEIRISCHER HERBST 2023 > HUMANS AND DEMONS in GRAZ, AUSTRIA from 21.9.24 until 15.10.24

Uncertainty is killing me - though I read as much as I am willing to at this given moment, still I turn myself in the dark. I don’t know enough, I tell myself (Ref. Freud, Das Unheimliche) — asking foreign aids for relieving answers. Still going, going around in circles, reaching the same places day after day in search of a witch. I feel like I am my own sculptor and spectator, rendering not in clay or marble, but in the intangible substance of reverie I create.

I am so glad you’re happy and laughing, careless as ever, even though you lost a leg in these recurring fights in the past. This won’t last, I promise. If it does, believe me, it would feel glitchy… after all that’s what I’ve read. Because syntax is better for eternal love and forgiveness, though I am pleading for procrastination and denial. That's why I am levitating in supposedly heimelig surroundings all night. I see myself lying in bed, looking down, tapping triangulars while having the tv on, playing a movie about a murderdoll. Me almost like a disruptive entity — Not really grasping, more converging.

𝒢𝑒𝒹𝓊𝓃𝓀𝑒𝓁𝒻𝓁𝑜𝓍𝓍 𝒪𝒷𝓈𝒾𝒹𝒾𝒶𝓃 manifests as a dissonant echo in the structure of familiar yet paradoxically comforting realms, in the everyday. It embodies an enigma, a cryptic sensation that delineates a clash of fleeting forces. This phenomenon subtly infiltrates known landscapes – those pathways we tread in contemplation, or the mesmerizing venues that ensnare our senses – only to introduce a disquieting anomaly, an amorphous spirit condensing a nebulous darkness. Despite its ominous presence, it contains a deceptive allure, its shine a paradoxical siren call reminding of its presence even when not visible.

Yet, why does this entity manifest? It stands as a symbol, a sign of numerous unwelcome and unsettling realities, asserting itself with an unapologetic assertiveness. This entity possesses the serenity of natural havens: a grassy glade alive with a flock of insects in sunlight, a nocturnal forest draped in lunar serenity, or even the mundane normalcy of a residential driveway. What lingers in the psyche of the beholder are fragmented visions, ephemeral reminders of an unsettling occurrence that has scarred the landscape of consciousness time and time again.

𝕽𝕾𝕸𝕾
The 𝔏.𝔒.𝔇 or Level Of Detail (degree of completion or geometric level of detail and level of information) defines the necessary information content and level of detail of digital building models and components.

What is a Late-Onset Disease (𝔏.𝔒.𝔇)? Definition. Pathological conditions (Disorder, SYNDROME, or DISEASE) whose SIGNS AND SYMPTOMS manifest late in the life of an individual. 

Linked Open Data (𝔏.𝔒.𝔇) refers to freely available data. Open networked data are all datasets that are made freely accessible without any restrictions for free use, redistribution and reuse in the interests of the general public.

Photos by Markus Sworcik, René Stiegler, Steirischer Herbst.

Mechanisms of Occupant Ejection

Groupshow — 13.05.2023
Postgarage Graz (Lotus Eclat S1), Graz, Austria
Curated by Markus Sworcik and René Stiegler

Photography: Manuel Schaffernak

I can't take my eyes off you, anymore than I could stand still in front of a ticket scalper holding a two-way mirror. Your eyes aren't actually you, they stem from another dimension where everything is endlessly vivid, exciting…safe. If your eyes could, for some reason, be infused with colors of some organic matter that you drank, like the rings of Saturn in your mouth, it would probably look like that.

I don't know how long, but it would be fast. Fast like a catnip drip or an auto chase, like driving off the two-lane highway at the speed of the wind. Fast like taking the middle turn off that freeway where I wish we'd crash into each other (1), but now the freeway splits right before us into two, we're driving on the wrong lane, in the middle of the night, just letting the speed of thoughts take us where we'd go, and because we can.

The charging seatlessness through 5 seconds of sailing, stopping, retuning, and into the tunnel — all in a seemingly lucid, serene movement, in a trance. No shame in going back and forth in thoughts... what is done is done. Such delight. Again. Its gestures interrupted this ruthless system. You can’t stand still for too long.

(1) Crash, David Cronenberg

A TERRIBLE DOORSTOP … piles of supposedly litter describing a reality which we all felt would come, subliminally, subconsciously… but refuse to acknowledge.

Stepping into a wasteland between the preposterous (1). An intrinsic mess, so terrible you are hardly willing to enter, but at the same time crave for. Rough Skins. The calm before the actual event, a wait for change. Simply stuck inside a story. Suddenly, I saw all these rearranged objects in this uncomfortable situation, from underneath my desk, under piles of shit, cut themselves into ribbons. Some encounters, visible as blinking phones (ready to Be answered). Peasants of tech, buried in litter, mostly charred, weathered, seemingly scarred. Some of them are untested verified objects and material stemming from a peculiar crisis. All those rituals, screaming with wet lungs fanning smoke and haze. Even the sun's rotation is off by unknown degrees. But what do you expect? Endless crippling scenes of us running around in the dark. Holding candles trying to keep them alive in the arising wind (2), just some with flashlights. Reoccurring tools appear– boots to kick ass. And then, as predicted, a cold stormy climate upheaval takes place which dooms everyone. But look, there is still hope, which can be filled with thoughtlessness, fake colors and foremost possibilities. In the future we adore creatures with subtle, rough genitals and small limbs. Species of amnesia. 

(1) an ordered wasteland, being content with failure, future and past, old and new…
(2) Candle scene, NOSTALGHIA (1983), Tarkovsky

The duo exhibition "A terrible doorstop" by Markus Sworcik and René Stiegler attempts to sketch a non-functional state and at times suggests a dilemma, a state of limbo. The exhibition juggles intrinsic states of mind, materiality that embodies these impressions, and a penchant for the improvisational. Both artists' interest comes from the scenic, getting lost in atmospheres, creating a sense of space and object. A space that feels different, strange. The intended emotional worlds touch anomalies, fears, inner frictions, dystopias or also fast growing influence by technology. The tipping states addressed are also found in society, and everyday life. Likewise, the objects and works in this exhibition, constructed both individually and collectively, carry emotional threshold states.