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!
JANINE SCHRANZ
MULTIMEDIA ARTIS
To see, to glimpse,
to look, to consider;
it is indeed a matter of framing. Consequently
the frame offers
mediation
between the interior
and the exterior,
the public
and private,
the
manifest
and hidden.“
![]()
Georges Teyssot
#ARCHITECTURE #BODY #LANGUAGE #INSTALLATION #PHOTOGRAPHY #SPACE
BIO. Janine Schranz (*1985, Switzerland) is a visual artist and photographer currently living in Vienna (AT). She studied photography (Zurich University of the Arts, Switzerland) and transdisciplinary arts (University of Applied Arts, Vienna). Janine Schranz is working at the intersection of photography and architecture – questioning techniques of inclusion and
exclusion within a given architecture or within the image field. Labor conditions, recording processes and the exhibition context play equal roles as working materials. In its essence, she understands photography as a time-based medium and puts bodily-spatial experiences in relation to visual perception.
migrating waves from different centers (as on the surface of a pond) can pass
through one another without conflict, adding themselves to one another as they pass (2022)
Ceramic pigments screen printed on glass, ø 48 cm
The exhibition “Blend Together” by Janine Schranz and Daniela Zeilinger, presented at Mz* Baltazar’s Laboratory as part of Foto Wien 2022, follows on thematically from the joint exhibition “Passepartout”, on view at hoast in Vienna in 2021. Whereas last year’s attention was focused on processes of selecting, cropping and fading out, thistime the focus is on situations of transparency and blending. While at hoast the focus was on techniques of inclusion and exclusion within a given architecture or within the
image field, the exhibition at Mz* Baltazar’s examines possibilities of communication between inside and outside, from artwork to artwork, and between real space and image space.
Photos: ©Janine Schranz
And it is there, halfway through the interior, that the woman appears in the screen (2021)
Photoemulsion coated on glass, framed, 28,5 x 19 cm
The sentences that can be read in Janine Schranz‘s „And it is there, halfway through the interior, that the woman appears in the screen“, are taken from a text by architectural theorist Beatriz Colomina on the politics of the gaze in Adolf Loos and Le Corbusier. The passage Schranz selected is about the film L‘Architecture d‘aujourd‘hui (1929, directed by Pierre Chenal with Le Corbusier). In it, Colomina describes how the camera follows a woman moving through Le Corbusier‘s Villa Savoye. Her body is always seen fragmented, from behind – framed not only by the frame of the camera, but also by the
architecture of the house itself. Schranz does not simply extract a continuous passage from the textual fabric. She cuts out individual parts, isolates them from one another, and photographs them individually on specially coated glass plates. By framing the works, an additional boundary is drawn in, which has an effect both outwardly and inwardly.
Photos: ©Janine Schranz
Video: © Stephan Blumenschein (edit), Arthur Summereder (camera)
Moving across and through, evening gaze (2020)
Exhibition space, platform,
preprogrammed motors, darkening foil, C-Print with passepartout, framed
“Moving across and through, evening gaze” – an exhibition by Stephan Blumenschein and Janine Schranz, extended with an artistic position by Maike Hemmers points to the architectural openings of the exhibition space as meaningful operators. Referring to Albrecht Dürer‘s Thürlein, an instrument Dürer used to determine the (central) perspective in his paintings, this installation indicates how the
architecture of any space also functions as a framing device. The work however remains in a perpetual state of coming into being. The space as an apparatus that determines perception fluctuates, because the doors and the lighting stay in constant motion. By shifting the set-up of its architectural details - the doors, the lighting, the steps to enter – the parameters this room is composed of are disorientated. Thealterations then (de-) construct the perception of the exhibition space to an unfixed sequence of images.