About / CV
The Joy of Marketing (1)
The Joy of Marketing (2)
Interior Design: Machine Gun Fairies
Interior Design: NYE 2021/22
Tiny and Plastic
Intuitive Physics for Soft-Body Locomotion
The Squares Have Taken Over
nielsgercama [at] gmail.com
Niels Gercama is a new media artist and author between Amsterdam and Berlin. His work investigates fluidity and mutability as insurgent strategies for narrative building and artistic practice. The function of paradox is embraced to generate cultural objects which reject modern frameworks of reason and control. He uses a mix of simulated methods and textual media to create a nuanced emotional and creative sensitivity, in the form of 3D rendered imagery, audiovisual pieces and virtual / interactive narratives. In his work, people and overheard conversations are translated into landscapes of skin, plastic and gelatinous materials. Themes of labour, sexuality and algorithmic control are investigated, mixed and destroy-destroyed.
Niels was born June 1997 in the swamps near Amsterdam, and spent nearly all his life in small-time places: forest towns, shopping malls, the techno-natural and constructed landscape of Holland. His formative years were spent travelling the space between a trailer park and flatland country side. As part of the the no thing collective in Amsterdam he participated in numerous exhibitions and wrote/directed the short film Onomy Onome.
His formal education is in artificial intelligence, mathematics, literature and liberal arts. This combination of disciplines allows him to criticize the hyper-modern data driven tools of control in a visual and artistic manner. Currently, he works as a chatbot for online entertainment services and writes.
2019-2021 MSc Artificial Intelligence, University of Amsterdam, Amsterdam, NL
2018-2019 Undergrad Hispanic Literature and Film, Universidad de Granada, Granada, S
2015-2018 Undergrad Liberal Arts and Sciences, Amsterdam University College, Amsterdam, NL
2022 Selected group exhibit: Anomalie Art Club, "Apelbaum03", curated by J. Apelbaum, Berlin, DE
2022 Virtual Launch: "Wet Dreams", curated by Stichting Simulacrum, Amsterdam, NL
2022 Art direction: NYE 2021/22, commisioned by Interior Design, Amsterdam, NL
2021 Art direction: "Machine Gun Fairies", commisioned by Interior Design, Amsterdam, NL
2021 Selected group exhibit: Anomalie Art Club, "Apelbaum02", curated by J. Apelbaum, Berlin, DE
2021 Virtual Launch: "Wet Dreams", Amsterdam, NL
2021 Exhibition: Undisclosed, "Onomy Onome", Amsterdam, NL
2020 Exhibition: De Vondelbunker, "The Squares Have Taken Over", Amsterdam, NL
2019 Exhibition: Hoogte Kadijk, "Iconograph Ana", Amsterdam, NL
2019 Head editor: "Las Ocho de PASQUET", Granada, S
2022 Arts Of The Working Class, "Aspirin"
2022 Stichting Simulacrum, "The Joy of Marketing: Ibuprofen"
2022 Yes The Void, "The Joy of Marketing: Ibuprofen"
2021 University of Amsterdam Library, "Intuitive Physics for Soft-Body Locomotion"
2020 "Snippets of The First Quartile Blues (I)", text by F. S. J. van der Wulp
2019 "Las Ocho de PASQUET", editorial column and design
2018 Scriptus Magazine, cover design
Animation Unreal Engine | Unity | 3dsMax | Maya | MudBox | ZBrush | Substance3D | PremierePro | AfterEffects | Photoshop
Programming languages Python | C++ | C# | HTML/CSS/JS | Java | Visual Scripting | Lua | Apple Swift
AI Python tools TensorFlow | PyTorch | Pandas | Keras
(Moving) Image Photogrammetry | Stereoscopic reproduction | Holography | Cinematography | Photography
Sound OpenSoundControl | MIDI/Ableton Interfacing
Part of the Apelbaum02 Open Call
Art Club Anomalie, Berlin (2021)
The Joy of Marketing (1) is a ~7 min. animated loop, using the latest of virtual human technology to explore the body and its relationship to marketing strategies. The title references Deleuze in his ‘Postscript on The Societies of Control’, where he posits the notion of the ‘dividual’: the condition of human fragementation into its body and its code. Our code is the gathered into the Metaverse as the labeled identifier of a hidden body of data. The split part of our dividual is used to maintain and control us. Corporations exploit the latent space between these codes to find new frontiers for late capitalism. Rather than produce items to meet consumer demand, marketing departments confabulate experiences, characters and ultimately people to fit the product of their supply chain. The Joy of Marketing (1) lays bare this process simulated demand and reconciles the dividual with itself. It takes the form of a marketed experience, when silently imposed on consumers scrolling social media, shopping in malls or waiting for public transport.
The Joy of Marketing (1) was made in collaboration with Giuliano Bolivar, who designed the tattoos coded upon the animated bodies.
(Old) event link
Yes The Void (2021),
Simulacrum Magazine (2022)
and Arts Of The Working Class (2022)
The Joy of Marketing (2): Ibuprofen is the first of a series of illustrated texts, combining digital media, storytelling and art research.
Each story in the series describes a character from the Boven 't Y shopping street in Amsterdam Noord and their relationship to a consumer product from said mall. It is no secret that in our time people are shaped by consumerism, advertisement and marketing as much as they shape those phenomena within themselves. The Joy of Marketing investigates the 'photo-reality' which arises from this parasitic feedback loop – a world where life twists and bends to fit into data-generated categories, a reality which has shifted into the infamous valley of the uncanny. Not quite real, but almost: 'photo-real'. The marketing boardrooms analyse swaths of surveyed data, creating banks of latent and distributed information; these banks contain in their rawest form the stories of our time. Each short in The Joy of Marketing is the result of sampling a life and a moment from those latent distributions. In the way of consumerism, this moment is fragile and prone to collapse, at which point a 'photo-real' image is all that remains of that collapsed and condensed life. Using 3D animated media I capture the collapse of each story in the series, in a way which shows the twisted nature of this generated character.
Excerpt from The Joy of Marketing (2): Ibuprofen
[...] "It's a real job, Mencke, at an internet corporation, with Joe-ann."
Mencke snorts in disbelief. She's bent over the sachet again, burning her fingers on the packet's grease, tearing at it, scratching the sides, jealous. She's always been jealous of Rubie. Hairy Rubie, who was a little older, who showed her things, embarrassed her. "You got no business reading that stuff, Mencke." She scoffs. She grunts, gropes the packet and attempts to drive a nail through the rubbery material, ultimately failing. She needs the plastic to tear, for it to give way to her frustration, for it to cover her pores and cavities with its smooth stringy threads. Exasperated, she drops the packet to the ground. "It's no different than talking to them in there," says Rosie confidently while pointing her thumb at [Bar] Sofia.
"Just chatting online. Joe-ann does admin. I just chat."
"That woman is no good," whispers Mencke at the edge of tears, jealous. [...]
Wet dreams: It is no secret that the pandemic has been used to shift the consumer class into a digitized sector. This shift allows for an instant conversion of the individual to price signals in an increasingly latent market structure, controlled by intricate codes and data mappings. How is it that while bodies are subject to more rigidly imposed boundaries in this control apparatus, notions of fluidity seem to emerge from the same noisy swirl of information. We talk about a generation of dissociation, political versatility, machine subconsciousness, etc. Simultaneously, counter-cultural movements seem to exist at a limit experience – a bubble where this fluidity meets itself on the flip side of the same coin. A resistance using counter-intuitively similar tactics: the abolition of the binary, be it in gender or truth, the desire to live those spaces where the other fluidity does not leak into. A soapy, wet dance between two immiscible liquids. In the foam bubbles a certain violence takes hold. This is the space of Wet Dreams. A vibrating string upon which moments contract and processes overlap, giving rise to a languishing yet fleeting creation. The audience can navigate the \'limit-bubbles\' and take part in their imaginative, rhizomatic creation. Wet Dreams is a collection of virtual, personal and post-pornographic experiences, which echo the crashing of these opposing fluid waves.
The Wet Dreams environment is available at:
Machine Gun Fairies: Art direction and teaser video for Interior Design, an experimental music outfit from Amsterdam.
Full video available here.
NYE 2021/22: Art direction and rave visuals for the Interior Design NYE 2021/22 event.
Tiny and Plastic is an experimental novel digging fictional tunnels between J. Staal's New World Summit  for illegal parliaments and the Israeli Defence Force's deployment of "Deleuzian tactics of war".
Tiny and Plastic investigates hope as the result of discarding aluminum foil wrapping paper from the landscape of our comfort and shame. It is written as a collection of morphing and fluid interactions between shopping-mall customers, a dysphoric elevator, an IDF deserter and nomadic war machine, wet paper and Helga-Agathe Kazan.
I wanted to write a novel that has a digestible complexity. Neoliberal, plastic, tender humans who survive by dissociating and live in diseased GMO luxury. I developed a literary strategy of fluid description, a sort-of interpolation between one scene and the next, which creates a plasmic flow which in turn generates imagery — imagery generated by taking objects, smells, textures and looking at what's between them. Drawing spectrum everywhere! Or rather, acknowledging that language has been used as a means for control and categorization and using it against itself. Therein lies a paradox: language produced to categorize gives itself the tools to speak outside and in between its categories. [...]
Excerpt from Tiny and Plastic
Back in the mall, nr. 367, at the supermarket on the 21st of May, two-ten on the clock, Eyal realizes the commence of her terminal expiration. It can't be more than three minutes before they've caught me after all. She sinks to one knee under an enormous pressure, feeling G. P. Ammann's calculation string her together and suck her onto the tiles between the mustard jars and the vacuum-sealed sausages. Cold death nears for Eyal as the ISL recovery team finally succeeds in leaching her symbolic plasma, bombarding her from inside out to spallated fragments in the supermarket aisle. Two-eleven on the clock. I've got to think of something. I'm not going out like this. Not to the whistle of those ISL goons. The debilitating pressure thickens and the lines of calculation cut the fabric of her skin, cleaving flesh from bone, cold niggled lint entering her porous body. Eyal's death goes black and white: the TL lamps blow gray light across the supermarket articles, the bitter smell of iron zings through the air. The bits flip on two- twelve. With a minute to spare, this may be a good moment to consider why it is that Eyal does not detonate one her trusty tactical explosives, travel out of this compromising plot line and simply escape. Exactly, why not? As Bishop Ludwig D. Hagblatt, PhD. will postulate in the periodical Destroy, Destroy (ed. 45), Sgt. Booker's ultimate demise will arrive at the hand of divine providence, an infallible calculation administered by the righteous 'cavalry, so to speak', of the ISL recovery team. According to Hagblatt's essay, their success in defenestrating the image of Sgt. Booker from the face of history are the living proof that
Gercama / Tiny and Plastic / 106
narrative, power and creation lay safe in the hands of the military clergy. The generative paradoxical effect, as stipulated in earlier editions of Destroy, Destroy, will no longer have a place in the world. What's more, it cannot be allowed for paradox to create! What is created, must inversely also be destroyed, return to ashes and fall back on itself in an all round satisfying manner. Thus will speak Major L. D. Hagblatt, PhD. With Eyal dead, there is no longer any threat to the established order of things, to the clergy, the military nor to the shadow academy. Her history will return to their home at the archives, forever blank and left unseen. So the Hagblatts will preach, with the nefarious support of such prominent figures like Mencken and Kokhavi, important and hidden in plain sight. But it still does not explain Eyal's sudden disappearance, her failing to deploy another narrative tunnel in the nick of time. With the clock on two-thirteen, why does she not simply escape? Has her training completely abandoned the fictional paratrooper at this precise moment of extreme pressure? Exactly that will determine Eyal's unlikely fate, exactly the incompleteness of training scenarios, the moment that her military instinct fails. Seconds before the ISL recovery team gets to her, seconds before the symbolic leeches mine her porous body entirely, Eyal side- steps into a desperate and wholly off-the-books evasive maneuver. At the complete limit of experience, under the intense calculated pressure, she exits into dissociation, spreading herself across the aisle, the produce, the jerky bar, the yogurt jar, the toiletries, the pastry, the TL lamps, the mall, Helga, Worker no. 2, the green river, the dam, G. P. Ammann. Across everything, in short. Her porous body stretches and slings thick, wet, strings around the supermarket and its world, a near flat wave, a thin and invisible plastic sheet. In that moment, when Patrice and the ISL team realize her exact position, Eyal's dissociation forms the
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vacuum sealed sausages, the insect, the elevator, the soda bottles, mumbling Karl, the child on its pile of red bricks. At two-thirteen, Worker no. 1 and 2 enter the supermarket on their lunch break. At two-thirteen, Helga contemplates the jar of yogurt in the shelves. At two- thirteen, the storm draws to a close. At two-thirteen, Sgt. Eyal Booker dies.
MSc Artificial Intelligence Thesis. Published in the University of Amsterdam library.
Abstract: Artificial intelligence has become a widely applied heuristic for the control of fluid and malleable structures, in an effort to reconcile intricate systems with similarly complex forms of control. In the vein of this new appreciation of softness and variability, a search of its accurate representation and training in digital format has gained traction. The intention of this thesis project is to construct a specific relation between this field of computer graphics and artificial intelligence. More specifically, this thesis project offers a novel approach to physically modelling soft-bodied objects and applies geometric artificial intelligence networks to control their motion for chosen locomotive tasks. It is situated at the intersection of two recent areas of research in artificial intelligence: intuitive physics and machine learning for geometric modelling. A pipeline is determined which tackles problematic issues when physical simulation and machine learning are combined. In doing so, it is possible to train end-to-end for locomotive tasks, without having to rely on differentiable physics engines or reinforcement learning. Its applications range from modelling for the construction of (soft) robots, advances in soft-body representation in computer graphics, animation and physical research. Ultimately, the project will show promise for intuitive physics while training for control over physically simulated environments, although the obtained results need to be improved to compare favorably with other soft-body locomotion models.
The thesis is available for download as a PDF document at:
The Squares Have Taken Over was an exhibition under the the no thing collective at the well known autonomous cultural center De Vondelbunker.
I exhibited a number of large paintings, AI -generated imagery, a holographic video and a sculpture.
(Old) event link: radar.squat
In Company is a three part series of 3D interior scenography, focussing on corporate themes of bonding, relaxation and essentiality. Images display an eternity, copied into the company.Untitled . Digital Scene Welcome to the firm . Digital Scene Fluid exchange at the company picknick . Digital Scene detail: Fluid exchange at the company picknick . Digital Scene detail: Fluid exchange at the company picknick . Digital Scene
Upcoming screening at Apelbaum03
Art Club Anomalie, Berlin (2022)
Onomy Onome is a ~40 min. film shot in 2021. Based on personal experience, Onomy Onome relays the abstracted events leading up to the rape of main character MICHELLE. I wrote, directed and made the animations for Onomy Onome.
This part animated, part live action film was conducted under the the no thing collective to be featured on a large scale UV-Crystalized display as a holographic image. Photos (3) and (4) were taken during a screening of Onomy Onome, capturing the effect of the holographic projection.
I have made a selection of footage from the film available on YouTube for the purpose of this portfolio. It can be accessed here:
Sample footage link
Ana is a digitally worked photo-series, projecting virtual folds of organic material onto the environment of the Hoogte Kadijk social projects in Amsterdam.Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series Ana . Digitally worked photo-series
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