Jelena
Viskovic

Act III: Open world city view onto Nirgendheim
Act III: Open world city view onto Nirgendheim
The notion of Nirgendheim highlights a peculiar ambiguity by conjugating the semantic fields of nowhere and (un)homeliness.
The notion of Nirgendheim highlights a peculiar ambiguity by conjugating the semantic fields of nowhere and (un)homeliness.
Act II: Event in an interior scene. "The reconstruction of the security fence was successful"
Act II: Event in an interior scene. "The reconstruction of the security fence was successful"
You need to remember your ID.
You need to remember your ID.
Act III: The View (from the top of the Shard)
Act III: The View (from the top of the Shard)
Act III: Nirgendheim is both a place and non-place, where the shadows of architecture as the last grandiose utopian attempt are constantly haunting all of our endeavours.
Act III: Nirgendheim is both a place and non-place, where the shadows of architecture as the last grandiose utopian attempt are constantly haunting all of our endeavours.
Act I: Learning how to control the game.
Act I: Learning how to control the game.
Act I: Learning how the game controls you.
Act I: Learning how the game controls you.

My work is personally driven. I create fictional worlds based on found documents. Video games and world building technologies are my primary area of interest. I want to use the medium to reconstruct lived experience in a  fictional way in order to observe and depict the paradoxes between being a consumer and being consumed by information and technology. My aim with this project is to use game mechanics and storytelling to expand the exploration of spaces of ideological and political tension using science fiction narratives and game engines. Nirgendheim uses mythological ‘magic quest’ trope, estrangement and magical elements in the search for meaning, and combines these together with a documentary approach.