About
Contact ↓
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Biography ↓
Ferdinand Doblhammer, born 1996, works in the fields of media art, music and design. His works deal with data security in an environment of constantly growing virtualization, the thereby provoked borders and border crossings. He tries to point out problems regarding media policies in our nowadays world through the usage of augmented reality, video and installation. Since 2021 he is realizing interdisciplinary performances together with the dancer and choreographer Lea Karnutsch, situated between dance and media art and co-founded the collective „Flip the Coin. Ferdinand Doblhammer took part in several exhibitions, for example at Gallerie Krinzinger, Criatech Festival Aveiro (PT), at Parallel Vienna 2020, the series Ok&Jetzt at the 12-14contemporary Gallery Vienna and at the Medienwerkstatt Wien. In 2019 he worked with Chico MacMurtrie on the „border crosser performances, which were shown in New York, Munich and Vienna. He studied at the class of digital arts at the University of Applied Arts Vienna led by Ruth Schnell and finished with his diploma work "Sibling Inference". As a musician he performed i.E. in Leicester, Budapest and Berlin and released music on various labels in UK and the US.
Artist Statement ↓
In my work, I critically reflect the impact that modern technology has on societal structures. There, I set my focus especially on how war- and large scale technologies influence the machines that surround us in our daily lives. I address topics regarding data privacy and security in civilian technologies. Additionally I'm exploring the emotional aspects that are transported through digital processes and are often not clearly visible at first. I believe that there is a certain disconnection between humans and new technologies, that is potentially dangerous if not talked about.
To transport my ideas, I mainly but not only work with reactive installations, performance, augmented reality and video. I (mis)use machines and technologies against themselves to show normally hidden processes, thus revealing media-political situations and named emotional aspects that they come inherent with.
