ANA DE ALMEIDA
“Ficou
a ver
passar
navios.”
#ARTS-BASED RESEARCH #ARCHITECTURE #COMMONS #INSTALLATION #SPACE #MULTIMEDIA #IDENTITY #PERFORMANCE
#NEO-COLONIAL #VIDEO #GENDER
BIO. Ana de Almeida (b.1987) is an artist and author from Lisbon, currently based in Vienna. She is a member of the artists’
collective dienstag abendof
of VBKÖ and of the Interndinner collective against precarization of work in the cultural field. Her artistic practice addresses memory and remembering processes, narrative constructions that connect space and subject, and plurispatial and multilayered narratives in general.
Ana de Almeida is currently a Ph.D. candidate at the Academy of Fine Arts of Vienna, pursuing a doctoral thesis about the production of images in the 1974—1989 inter-revolutionary space between the Carnation and the Velvet Revolutions.
Ana de Almeida is currently a Ph.D. candidate at the Academy of Fine Arts of Vienna, pursuing a doctoral thesis about the production of images in the 1974—1989 inter-revolutionary space between the Carnation and the Velvet Revolutions.
Ana de Almeida, Alicja Rogalskaand & Vanja Smiljanic
NOVA. Future thoughts on surviving together (2020 AT)
Live Action Role Play
In the future, gender inequality was erased. Nova is a multitude of newly born, radically inclusive and self-managed communities. Heterogeneous in their forms of commoning and social organization, Nova share a vow to never let oppression in any form rise again. Nova. Future thoughts on surviving together is a feminist futurist LARP - Live Action Role Play by Ana de Almeida, Alicja Rogalska and Vanja Smiljanić; directed towards feminist and queer-feminist activists based in Vienna. NOVA is a day of speculative gaming aimed at sharing survival strategies, exercising solidarity and intersectionality, creating solidarity networks and forming new alliances between different emancipatory movements. Together, we created a piece of feminist political fiction - a work in progress and a world free of patriarchal oppression in the making.
With: VBKÖ, Saloon Wien, Kunst & Kind, Latinxs Unidxs, Kültür Gemma, Cine Collective, Mala Sirena, female:pressure.
A Casa / The House The flat / Die Fläche (2018 PT)
MDF, stucco-lustro, stereo sound 42'5'' looped
Likewise a sculpture, A Casa (The House) shares the aesthetic and architectonic language of the House Wittgenstein in Vienna. The two volumes are a transposition and folding down of two of its architectonic elements: a window and the vestibule door. They serve as display for documental material such as letters and photos and incorporate an audio piece with interviews led by the artist. The surface is covered by stucco-lustro, a coating technique proliferating in Vienna on the turn to the 20th century, similar to how could the original coating of the walls of the House Wittgenstein have looked like before they were painted white after World War II. The highlighting of the stucco-lustro architectonic detail points out to a fundamental discovery for the understanding of the house as aesthetic experiment in which the house interiors, composed by materials which evoke extreme hardness, seem to dematerialize through the highly reflecting properties of the stucco walls.
Photos: © Ana de Almeida & Stephanie Misa
Untitled (Yellow) (2017 PT)
Wall, yellow paint, memorabilia, diashow, stereo sound
A cooperation between Ana de Almeida (PT/AT) and Stephanie Misa (PH/AT) . This is a project about landscape as formal and informal disposition of elements. Coordinates. An arrangement, a hierarchy: borders and de-limitations, transpositions and transgressions, frames and their inside-outside, margins, and of course landscape — of the geographical, political, personal, and emotional nature. Edouard Glissant’s Traité du Tout-Monde. (Poétique IV), calls it archipelagic thinking, a group of islands that lends its topography to an alternative imaginary: a reassessment of the insularity of bound cultures, of nation-states, and the heaviness of “continental thought”. The archipelago is an alternative imaginary, one that posits that identity could be as a conglomeration of islands (composed of many, yet is one). Identity formation, embodiment, complex colonial histories, evolution, interconnectedness, diaspora and change — Oh to dispell the oppressive idea of nationalistic wholeness!
CLAUDIA SANDOVAL ROMERO
“As I write,
I become the
narrator
and writer
of
my own reality
(...)
I become the absolute opposition
of what the colonial project has
predetermined”
Grada Kilomba
#ARTS-BASED RESEARCH #COMMONS #FABULATION #INSTALLATION #GENDER #NEO-COLONIAL
BIO.
I am claudia sandoval romero*, an Austrian-Colombian journalist and artist in search of her* collective identity.
My artistic position has developed through the use of media such as photography, text and video, combining sociological methods with collective creation.
The core of my proposal is a reflection on institutional critique, feminism* and diaspora, from a decolonial perspective.
My approach to art is nurtured by the driving force of creating of pedagogical spaces where horizontal exchange can take place, as well as contributing to debates about loss, mourning and restitution of women* having been denied a position in the art field.
I am currently writing my dissertation at the Academy of Fine Arts in Vienna, supported by a DOC Fellowship of the Austrian Academy of Sciences.
Photos: © Claudia Sandoval Romero
Strategies of Visibilization (2021)
Installation
“Strategies of Visibilization” is a spatial installation that consists of the complete listing of artists who participated in exhibitions at the Museum moderner Kunst Stiftung Ludwig Wien-mumok between 1998 and 2018.
The analysis carried out compares proportions of participation by gender and geopolitical origin.
Alain Quemin(2006) describes the center of the art field as compound by the United States and Europe, or more precisely by a few western European countries with Germany at the core, followed by UK, France and Italy and sometimes Switzerland; countries that are among the world’s richest nations.
The proposal aims to participate in the discussion of positioning, privilege, power relations and representation in the museological context.
In words of Hito Steyerl(2011): “why shouldn’t the cultural institution be at least as representative as parliamentary democracy? Why shouldn’t it include, for example, women in its canon, if women were at least in theory accepted in parliament?” This installation adds, "Why should the cultural institution not include women from the 'global south' in its canon?
Images: © Claudia Sandoval Romero
Motherhood in the Art World (2015)
Video / Book
"Motherhood in the Art World" consists of a two-part exercise: on the one hand, the book deals with pioneering positions on motherhood that emerged between 1960 and 1970, from the perspective of mother artists.
Through the presentation of works of around 30 artists, the subject of “Motherhood in the Art World” is connected to the politics of representation, voicing and the gaze, as well as migration and capitalism.
The investigation addresses the role of mother artists in art history, reflecting on both the contemporary positions of migrant artists and particular aesthetics that emerged from these perspectives.
On the other hand, the video consists of interviews with artists and a curator who discuss precarious living conditions of the art world, and the complexity of finding a balance between life and work in the art field.
The artists interviewed are Renate Bertlmann, Regina José Galindo, Christine Hohenbüchler, Stephanie Misa, Tanja Ostojic and Signe Rose, as well as the curator and art historian Vanessa Joan-Müller.
Photos: © Claudia Sandoval Romero
Intervention to Vienna (2021)
Installation/Print
In “Intervention to Vienna” large-format prints of landscapes from Colombia and Brazil are placed as temporary additions to the site.
The graphic result reinscribes the landscape in the context of creating intimate fictions. It also seeks to draw attention to the diasporic component in the exercise of identity building.
The gaze and forced migration are addressed here, aiming to create a dialog with Fernando Pessoa’s poem “O Guardador de Rebanhos”, “The Herd Keeper”:
“(…)What a pity I feel for him. He was a peasant
Who was a prisoner in liberty in the city.
But the way he looked at the houses,
And the way he looked at the streets,
And the way he was interested in things,
Is that of one who looks at the trees
And of one who lowers his eyes down the street where he goes
And walks observing the flowers that are in the fields”