Works

Work

Game, stereoscopic real-time installation

Role

Game (TE-R)

With

Posthuman Social Club

Shown

WE ARE FOUNDING A CITY #2, Zukunftshof Rothneusiedl, Vienna, 2026

Work

Live music with two-channel video in a domed space, ca. 27′

Role

Video (TE-R)

With

Jorge Sánchez-Chiong, Brigitte Wilfing / andother stage

Shown

UCHRONIA – was wäre wann, Musiktheatertage Wien, Stephansdom, Vienna, 2026

Images

Nick Mangafas

TE-R’s video renders ter­rain from real satel­lite elev­a­tion and ocean-depth data, in which the sea repeatedly breaks through and the image oscil­lates between water and land. Tex­tures move between water, earth, gold and oil. Struc­tured in mod­u­lar events (day and night, nav­ig­a­tion routes, speed, script, scans of tech­nical ana­lyses), the work evokes voy­ages and colo­nial car­to­graph­ies along­side Sánchez-Chiong’s live com­pos­i­tion.

Work

Web-based constellation of interlinked works

Shown

asmellofpetroleumprevailsthroughout.xyz

A grow­ing net­work of inter­con­nec­ted web pieces that share one visual lan­guage: the house glyph ⌂, void black and phos­phor green. Its nodes include an ASCII ren­der­ing of a bed, a house arranger, a road map of houses, cos­mo­lo­gical sim­u­la­tions and a par­ti­cip­at­ory voting install­a­tion that steers a real-time scene.

Work

Playable environment with a game-controller sound lounger

Role

The Psycholudic Research Group

With

Margarete Jahrmann

Shown

Science/Fiction – A Non-History of Plants, FOTO ARSENAL WIEN, 2025–26, with MEP Paris

A gen­er­at­ive, play­able envir­on­ment that bundles the arte­facts, data streams and noises of the Psycho-Ludic research into one archive, visu­al­iser and spec­u­la­tion machine. Played lying down from a con­trol­ler-equipped sound loun­ger, it keeps open­ing new, adapt­ively linked win­dows. Shrink­ing, grow­ing and the loss of a hori­zon chal­lenge a single, hege­monic per­spect­ive on human and non-human worlds.

Work

EEG head installation

Role

TE-R, with Louise Linsenbolz

With

Margarete Jahrmann / Psycho-Ludic Approach, Talos Kedl (sculpture)

Shown

Monkeys, Machines, and Multi-perspectivities, AIL, Vienna, 2025

Three heads become avatars of the co-play­ers in the Psycho-Ludic exper­i­ments, anim­ated by brain-scan data recor­ded from three play­ers at once. Fitted with elec­tro­en­ceph­al­o­graphy elec­trodes, they come to life in the open­ing per­form­ance. The triad refers to the pro­ject’s cent­ral game situ­ation, in which three play­ers repeatedly choose with whom to cooper­ate.

Work

Live visuals

Role

Visuals (TE-R)

With

HUUUM: Omid Darvish, Rojin Sharafi, Álvaro Collao León

Shown

Donaufestival, Krems, 2024

Visu­als for HUUUM’s “folk music from the future”, which joins vocals from sev­eral regions of Iran with free jazz, elec­tron­ics and the­at­rical masks and cos­tumes, explor­ing the space between tra­di­tion and mod­ern­ity.

Work

Live audiovisual set

Role

Visuals (TE-R)

With

Rojin Sharafi (music)

Shown

Civa 2024 coded manoeuvres, Belvedere 21, Vienna, 2024

A live audi­ovisual set join­ing Rojin Shar­afi’s genre-cross­ing digital music (noise, folk, ambi­ent, metal and con­tem­por­ary music) with TE-R’s visual prac­tice, which moves between image, game and code.

Work

Event series

Role

3D films and video (TE-R)

With

Brigitte Wilfing, Jorge Sánchez-Chiong / andother stage

Shown

Posthuman Social Club #2, Studio Molière, Vienna, 2024WE ARE FOUNDING A CITY #2, Zukunftshof, Vienna, 2026

An event series by andother stage that joins cho­reo­graphy, com­pos­i­tion, club cul­ture, philo­sophy, eco­logy and media art to spec­u­late on a posthu­man social. TE-R con­trib­uted the 3D films Hyper­dust and WSF – The Land­ing and the video for pájaros errantes.

Work

Two-screen video installation, interactive virtual depot

Shown

offline_online. Arbeiten mit und ohne Papier, museumkrems, Krems, 2023

Images

Pamela Schmatz

Work­ing from the depot of the museumkrems and its hold­ings of prints by the Baroque painter Martin Johann Schmidt, Wagensommerer trained a machine-learn­ing model on Schmidt’s graphic work. The install­a­tion shows the stages of learn­ing rather than fin­ished res­ults, just as the prints them­selves were pre­lim­in­ary stages of larger altarpieces. Oppos­ite, vis­it­ors walk through an anim­ated ver­sion of the depot and appear in it as fig­ures via webcam. The work raises ques­tions of ori­gin­al­ity, author­ship and who con­trols access to data.

Work

Audiovisual live performance

Role

TE-R

With

Jorge Sánchez-Chiong, Schallfeld Ensemble

Shown

Vienna Shorts, METRO Kinokulturhaus, Vienna, 2023

The Schall­feld ensemble, com­poser and elec­tronic musi­cian Jorge Sánchez-Chiong and TE-R rein­ter­pret a media space as a cinema con­cert, join­ing live ensemble play­ing, turntables and elec­tron­ics with moving images.

Work

Sculptural video object, 60′

Shown

Wintermute and Neuromancer, FLUSS, Wolkersdorf, 2025

In the 2016 match between Lee Sedol and Deep­Mind’s AlphaGo, there are a few seconds in which Sedol reacts to move 37, a move out­side the game’s entire cul­tural his­tory, with a rare ambi­val­ence between fas­cin­a­tion and aver­sion. Machine-learn­ing frame inter­pol­a­tion stretches this moment of recog­ni­tion to sixty minutes. The thou­sands of syn­thes­ised in-between frames expose the gaps and arte­facts of the trans­ition itself.

Work

Generative projection on architecture

Shown

Lichtfest Krems, Steinertor, 2021

A gen­er­at­ive pro­jec­tion on the medi­eval city gate of Krems in which the image keeps trans­form­ing itself. Start­ing from struc­tures of the human body, cut and trans­formed com­pu­ta­tion­ally, the work briefly fuses archi­tec­ture and body, treat­ing urban space as a trans­lu­cent skin.

Work

Choreographic assemblage

Role

Sound; finissage concert

With

cattravelsnotalone / Sabina Holzer, Jack Hauser, Elisabeth Schäfer, Brigitte Wilfing

Shown

Volkskundemuseum Wien, May 2021

A week-long cho­reo­graphic assemblage of human and non-human actors around alu­minium, a mater­ial that is both every­day and eco­lo­gic­ally destruct­ive. Through dance, text, sound, film, light and lec­tures, and with mater­i­als brought in by vis­it­ors, the work traces alu­minium’s mater­ial, geo­lo­gical, ana­tom­ical and pop-cul­tural entan­gle­ments, draw­ing on new mater­i­al­ism and cri­tiques of the Anthro­po­cene. Wagensommerer cre­ated the sound and closed the week with a con­cert.

Work

Multi-platform game with EEG

Shown

CIVA Festival, Vienna, 2021

Work

Generative real-time radio installation, 365 days

Shown

CTM Festival 2020, BerlinÖ1 Kunstradio, 2020Deutschlandfunk Kultur, 2020Online stream, 2020–21

A five-second sample, the word “now” from Céline Dion’s It’s All Coming Back to Me Now, is stretched into a year-long audio stream of 31,556,952 seconds by a net­work of small, mutu­ally feed­ing applic­a­tions. The present becomes a con­tinuum in which shift­ing micro-timbres sur­face, and every use of #NOW on Twit­ter makes the com­pu­ta­tional labour of the machine aud­ible. The first work of the Kontinuum series by Deutsch­land­funk Kultur, Ö1 Kun­stra­dio and CTM Fest­ival.

Work

3D computer animation, 5′05″; live AV performance

Role

Video

With

Irradiation (music)

Shown

STREAM Festival, Stadtpfarrkirche Urfahr, Linz, 2018Release: Irradiation, Xeelee, TEMP~ Records, 2020Wintermute and Neuromancer, FLUSS, Wolkersdorf, 2025

Irra­di­ation’s album Xeelee trans­lates cos­mo­logy and quantum phys­ics into elec­tronic music, draw­ing on Stephen Baxter’s hard sci­ence fic­tion Xeelee Sequence. Wagensommerer’s anim­a­tion renders the vast­ness and deep time of a uni­verse shaped by an unknow­able, ancient intel­li­gence.

Work

Choreographic composition, 80′

Role

Electronics and 3D video environment, performance (TE-R)

With

Brigitte Wilfing, Jorge Sánchez-Chiong / andother stage

Shown

World premiere, Wien Modern, Reaktor, Vienna, 2019Screenings: Connected, Patchlab Festival, online, 2020 (film, 18′29″)

Taking Edwin A. Abbott’s 1884 novel Flat­land, a two-dimen­sional world whose social order is expressed in geo­metry, as its point of depar­ture, the piece expands that uni­verse play­fully into many dimen­sions. The per­formers inhabit the bound­ar­ies between media, sus­pend­ing their rules and invent­ing new ways of play­ing and kin­ship, not to escape the world but to exper­i­ence it from another per­spect­ive.

Work

Interactive multimedia performance

Role

Performance simulator and concept (TE-R)

With

Jorge Sánchez-Chiong, œnm – österreichisches ensemble für neue musik

Shown

World premiere, ARGEkultur Salzburg, 2019

Images

Markus Sepperer

The title refers to a neo­clas­sical villa hous­ing one of the Carib­bean’s oldest retire­ment homes, above a derel­ict dis­trict of Havana; from it unfolds an unstable nar­rat­ive of day­dreams and senile twi­light. Wagensommerer, as TE-R, pro­grammed a per­form­ance sim­u­lator, a game that drives the pro­jec­tion, its vir­tual char­ac­ters, elec­troacous­tic sound sculp­tures and the musi­cians’ score in real time, while itself react­ing to the play­ers and the DJ. The feed­back loop turns the stage into a walk-in border zone between the phys­ical and the vir­tual.

Work

Ensemble, electronics, turntables and video, ca. 49′

Role

Concept and video (TE-R)

With

Jorge Sánchez-Chiong, PHACE

Shown

Open lab, PHACE studio, Vienna, 2018World premiere, Wiener Konzerthaus, Berio-Saal, 2019Broadcast Ö1 Zeit-Ton, 2019

A piece about anti­cip­a­tion and prom­ise. Teas­ers, trail­ers, advert­ising frag­ments, scraps of video and particles of sound are set into a poetic, non-linear nar­ra­tion, an idio­syn­cratic dia­logue between stage, film and music. Expect­a­tion is ques­tioned by making expect­a­tion itself the sub­ject.

Work

Real-time performance, 60′

Role

Real-time animation, sound

With

Jorge Sánchez-Chiong, Brigitte Wilfing, David Christopher Panzl, Louise Linsenbolz

A one-hour per­form­ance of sound, gen­er­at­ive and inter­act­ive real-time anim­a­tion, bodies, light, objects and space. Its skel­eton is built from sonic trans­form­a­tions of foot­ball fans singing “You’ll Never Walk Alone”. On this found­a­tion the par­ti­cip­at­ing artists answer from their own prac­tices, and human inter­ac­tion becomes an intense, shared sen­sa­tion.

Work

Media operas

Role

Physical installation and game programming (2016); graphics and consulting (2019)

With

Thomas J. Jelinek / NOMAD.theatre, Jorge Sánchez-Chiong

Shown

OPERA of ENTROPY, Musiktheatertage Wien, 2016OPERA of TIME, Musiktheatertage Wien, WUK, 2019

Images

Nick Mangafas, Ulli Koch

Two media operas by Thomas J. Jelinek and Jorge Sánchez-Chiong. OPERA of ENTROPY is a post­dra­matic “present-time opera” about the global crisis of dis­in­teg­ra­tion, built on the accounts of real people, with an inter­act­ive install­a­tion that turns the hall into a shared musical and com­mu­nic­at­ive space. Its sequel, OPERA of TIME, dis­solves the border between stage and audi­ence into a New Year’s Eve ball and asks how digit­al­isa­tion changes the way we exper­i­ence time.

Work

Artist-run space for sound and process art

Role

Co-founder and co-artistic director

With

Karl Salzmann, Paul Gründorfer

Shown

Neulerchenfelder Straße 52, Vienna, 2016–2019

Zen­t­rale was a site for net­work­ing and dis­trib­ut­ing art, with room for pro­cesses, present­a­tions and per­form­at­ive inter­ven­tions at the mar­gins of artistic devel­op­ment and research in sound, sculp­ture and pro­cess. Its pro­gramme of exhib­i­tions, con­certs, per­form­ances and work­shops was com­ple­men­ted by dis­course and an archive of sound car­ri­ers and artists’ pub­lic­a­tions.

Work

Real-time application and performance

With

ÖNB Labs, Austrian National Library

Together with ÖNB Labs, Wagensommerer built a feed­back system that trans­lates the metadata of more than one mil­lion scans of his­toric news­pa­pers into sound and image. Only two para­met­ers of each scan are used: its width and its height. Everything that is rep­res­en­ted is dis­carded. The res­ult­ing sequence of res­ol­u­tions, exact rep­res­ent­a­tion without its con­tent, reflects on how his­tory is per­ceived, inter­preted and pro­duced.

Work

EEG neurogame

Role

Lead game designer

With

Margarete Jahrmann

Shown

Neurospace, Computerspielemuseum Berlin, 2017Rotes Rathaus, Berlin, 2017–18A MAZE. Playful Media Festival, Berlin, 2018

Neur­o­flow turns brain­wave ana­lysis and med­it­at­ive states into the mech­an­ics of play. Play­ers steer the game through their own meas­ured atten­tion and relax­a­tion, making the neuroint­er­face itself the object of reflec­tion: game art as a prac­tical neuro­philo­sophy.

Work

Real-time installation, concealed speakers

Shown

sonic objections #2, Bildraum Bodensee, Bregenz, 2018

Images

Petra Rainer

The install­a­tion hides from its audi­ence: it exists only as code and as sound from speak­ers con­cealed in the exhib­i­tion space. Whenever someone, any­where, tweets the hashtag #silence, a record­ing of silence made in the quiet exhib­i­tion space is played back. The tweet’s length sets the amp­li­fic­a­tion: a tweet using every avail­able char­ac­ter is barely aud­ible, while a bare #silence turns the alleged silence into unbear­able noise.

Work

Choreographic performance

Role

Video (TE-R)

With

Brigitte Wilfing / Copypaste, Jorge Sánchez-Chiong, Sabina Holzer, Thomas J. Jelinek

Shown

WERK X-Petersplatz, Vienna, 2017

A ges­tural plea for a plural Europe. Through a You­Tube chan­nel, people of any origin con­trib­uted one ges­ture for how they cur­rently feel about Europe and one as a wish; the per­form­ance traces pas­sages between these ges­tures, turn­ing appro­pri­ation and trans­form­a­tion into a phys­ical prac­tice of demo­cratic dis­sent.

Work

Game for CLEX, electric guitar, turntables, amplified orchestra and projection

Role

Composition with Jorge Sánchez-Chiong; video and room design (TE-R)

With

Ernesto Molinari (CLEX), Martin Siewert, Basel Sinfonietta, Duncan Ward

Shown

Wiener Konzerthaus, Mozart-Saal, Vienna, 2016Darmstädter Ferienkurse, Clarinet Extended, Darmstadt, 2016

A game for CLEX, the sensor-driven con­tra­bass cla­ri­net developed on Ern­esto Molin­ari’s ini­ti­at­ive, with elec­tric guitar, turntables, amp­li­fied orches­tra and pro­jec­tion. Writ­ten by Jorge Sánchez-Chiong and TE-R as a solo con­certo for the instru­ment’s first pro­to­type, which reads the player’s finger pos­i­tions and opens the instru­ment to mul­ti­me­dia applic­a­tions; TE-R cre­ated the video and the design of the room.

Work

Game-like real-time performance and installation

Shown

World premiere, Patchlab Festival, Manggha Museum, Kraków, 2016WRO Media Art Biennale, Wrocław, 2017

An immers­ive audi­ovisual per­form­ance that ques­tions the aes­thet­ics of games and takes up the online phe­nomenon of the Let’s Play. The player becomes the per­former, an inter­me­di­ary between the vir­tual real­ity of the game and the phys­ical real­ity of the per­form­ance. The soft­ware is freely avail­able under copyleft.

Work

Eight-channel audiovisual concert, 20′10″

Role

Video (TE-R)

With

Electric Indigo (music)

Shown

World premiere, Wien Modern, Vienna, 2015Athens Digital Arts Festival, 2016

Built entirely from the audi­ovisual decon­struc­tion of iconic pop hits of 2014 and 2015. The smal­lest pos­sible grains turn sig­na­ture sounds of con­tem­por­ary pop into an expans­ive sound­scape in a pop-song struc­ture stretched to twenty minutes. The video mir­rors this with extremely short shots, often only a few frames, that served as filler in the ori­ginal music videos, exag­ger­at­ing the ste­reo­types of body rep­res­ent­a­tion, viol­ence and gendered power rela­tions that would oth­er­wise slip past.

Work

Immersive concert

Role

Video and spatial design (TE-R)

With

Nadar Ensemble, Jorge Sánchez-Chiong

Shown

Wien Modern, Vienna, 2015Kunstraum Walcheturm, Zurich, 2016

The first even­ing co-cur­ated by the Bel­gian Nadar Ensemble and com­poser-turn­tab­list Jorge Sánchez-Chiong, join­ing data visu­al­isa­tion, noise, pop appro­pri­ation and com­puter games with con­tem­por­ary ensemble and elec­tronic per­form­ance into one immers­ive con­cert.

Work

Interactive sound installation

Shown

Diploma, TransArts, University of Applied Arts Vienna, 2015

Six­teen sequen­tially pre­pared near-field wire­less routers span six­teen net­works, named “z” to “zzzzzzzzzzzzzzzz”, each dif­fer­ing in range and there­fore in its mag­netic field. Every field is picked up by a tele­phone bug, a cheap low-tech sur­veil­lance device, and turned into sound, so that each net­work has its own rhythm and timbre. Vis­it­ors can log into a net­work and thereby subtly shift the install­a­tion’s over­all sonic arrange­ment.

Work

Interactive real-time application, site-specific projection

Shown

Editions of Light vol. II, Lunchmeat Festival, Prague, 2015

A game-engine-based, inter­act­ive pro­jec­tion made for the former baths of the Prague Elec­tric Com­pany. In an intense, strobo­scopic audi­ovisual sur­round­ing, the player wanders across a model of a 3D-print­able, func­tional AK-47 obtained from the deep web; move­ment and chosen per­spect­ive con­tinu­ously dis­tort the envir­on­ment. There is no chal­lenge, goal or ending, except when the player, like a bullet, leaves the rifle and forces the applic­a­tion to restart. The applic­a­tion is freely avail­able under copyleft.

Work

Interactive real-time installation

3D self-scan­ning extends the selfie into a new form of self-por­trayal, and the wish for pri­vacy seems as out of place as before. On the way to the per­fect per­sonal sim­u­la­tion, count­less failed attempts are pro­duced, mostly labelled simply “me” and left to decay in vir­tual space. Assembled into a game-like envir­on­ment, these objects form a cemetery of imper­fect iden­tit­ies that vis­it­ors access, explore and stim­u­late in an immers­ive, audi­ovisual and macabre way.

Work

Audiovisual multichannel concert

Role

Visuals

With

Electric Indigo (music)

Shown

CTM Festival, HAU2, Berlin, 2015Unsafe & Sounds, Vienna, 2014TodaysArt, The Hague, 2015Lunchmeat Festival, Prague, 2015Content Award, Vienna Business Agency, 2014

Every sound derives from a nine-second record­ing of a sen­tence by Sadie Plant at CTM 2014: “To let noise into the system is a kind of fine art.” For the visual layer, Wagensommerer mod­elled each char­ac­ter of the quote as a 3D object and recom­posed the let­ters as a gran­u­lar micro­cosm. The work stages the cyber­netic art of con­trol against the res­ist­ance of noise.

Work

Video

A speech-recog­ni­tion algorithm searches online video and audio for the word “word”. The phrases around it are extrac­ted, and the word itself is erased with the 1 kHz sine bleep of broad­cast cen­sor­ship. The res­ult­ing rhythm is tied to a poem on private cen­sor­ship, which the artist screams with a micro­scope forced into his mouth. In the final part, all gathered sig­nals and data merge into a Uni­code rep­res­ent­a­tion of visual and sonic events.

Work

Vinyl tape, microcontroller, display

A poetic mono­logue of someone des­per­ately trying to reach a loved one is fed into a gen­er­at­ive applic­a­tion that recom­bines its phrases and words into new sen­tences on a small dis­play; their erratic struc­ture makes the out­come neither fore­see­able nor recog­nis­able. The vinyl-tape pat­tern around the dis­play charts the com­pos­i­tion of the mono­logue through quant­it­at­ive text ana­lysis: word count, read­ing speed, typing speed, fre­quency.

Work

Sculptural sonic object: laser-engraved transparent vinyl, turntable, generative application

A motion-detec­tion algorithm is applied to ten seconds of video recor­ded in near-total dark­ness. Forced to find motion where there is none, it reads the drift of noise arte­facts as a moving object. This erratic, frame-by-frame move­ment is laser-engraved into a trans­par­ent record hold­ing ten minutes of white noise. Whenever the needle meets the engrav­ing, the noise breaks, and a gen­er­at­ive applic­a­tion stretches the last state before the break into amp­li­fied moments of trans­ition: a sonic image of the move­ment one believes to see in the dark.

Work

Generative real-time installation

A gen­er­at­ive real-time install­a­tion that pries open the Aris­totelian unit­ies of time, space and action. Con­ceived as an object-based theatre play on death in the forms of sui­cide, fatal acci­dent and exe­cu­tion, it takes its mater­ial from the soundtracks of expli­cit online videos on these sub­jects. Depend­ing on its cur­rent state, the system out­puts these sounds in real-time trans­form­a­tion and dis­plays the com­ments posted under each clip.

Work

Book object and performance

Nine hand­writ­ten texts describ­ing sol­ipsistic struc­tures over time are abstrac­ted by visu­ally amp­li­fy­ing their semi­otic rep­res­ent­a­tion; the digital source begins to pro­duce unfore­seen shapes and tex­tures, and this con­cealed inner archi­tec­ture is bound as a book. In the per­form­ance, the artist writes a pro­gram in front of the audi­ence that scans the book page by page, assembles its con­tent and finally out­puts its sonic rep­res­ent­a­tion, ten to twenty seconds long.

Work

Sculptural sonic object

An object that works on the topo­logy of silence. Wherever it is exhib­ited, one minute of silence is recor­ded and ana­lysed byte by byte, and the unpre­dict­able sequence that res­ults mod­u­lates the live stream of sound and noise at the object’s loc­a­tion. Its archi­tec­ture makes it a sequen­tial amp­li­fier, pro­du­cing a con­tinu­ous, altern­at­ing stream of sound in both digital and phys­ical form.

Work

Generative application on SD card

Once launched, the applic­a­tion links itself to the BBC news stream and turns the incom­ing data into abstract sonic and visual struc­tures that grow through­out its run-time. By design, the stream gradu­ally exhausts the host system and ends in a crash. Just before, the applic­a­tion saves its last frame to disk; a readme on the SD card asks the user to send it to the artist for his col­lec­tion.

Work

Augmented reality in public space

Shown

Artificial Museum, Kongressbad, Vienna