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!
KRISTIN WEISSENBERGER
“Ich muss meine Sinne
wie meine
Gedanken
ziehen lassen, und
meine Augen sehen,
ohne zu
blicken.
(..) gehenicht zum
Gegenstand;
lass ihn zu
dir kommen.“
Thoreau
#ARTS-BASED RESEARCH #BIO #BODY #CERAMICS #ECOLOGY #INSTALLATION #MATERIAL #SCULPTURE #SCIENCE #PERFORMANCE
BIO. Kristin Weißenberger (* 1982), is a visual artist based in Vienna. In her work she tries to
fathom the relationship of so-called natural processes or materials with, technology- or
craftmanship – based, man-made objects. In her installations, sculptures and performances
she often uses ceramics in combination with biological matter. She studied Art History and
African Studies at the University of Vienna and Stage & Film Design at the University of
applied Arts. Weissenberger is part of the Art & Science Club pavillon_35.
Pyro Bodies (2019)
Sculpture, installation
The sculptural series Pyro Bodies has been inspired by findings of pyroplastic pebbles on a beach in Milos, Greece, in 2019. Plastiglomerates or pyroplastics are amalgams of natural debris and burnt plastic waste, of human origin. Eroded by the elements pyroplastics get a stone like appearance, like something geological. This process of formation brings up questions about authorship and agency. Agency cannot be reduced to single entities, no matter if human or non-human, but it can be interpreted through networked interactions of human and non-human actors and actants.In analogy to the formation of pyroplastics stoneware, earthenware, glass, stones or metal are melted together into material-semiotic composites. The mycelium objects, preserved by heat after processes of nurturing and growth, explore the same questions concerning authorship and agency and ask in what way material-semiotic interactions influence our morality, ethics and politics, since mycelium is seen as a sustainable substitute for plastics. Pyro Bodies is also a speculation about what could possibly be found on future beaches.
Photos: © Günter Seyfried
Fluidic Remembrane (2020)
Performative action and installation
Fluidic Remembrane was an action and spatial installation based on the olfactory and sculptural mapping of the meadow and social space surrounding the Notgalerie. A sensual field of situative, vibrant matter and an additional part of an open series which aims to fathom the agency of objects and material. Fluidic Remembrane included the extraction of a smellable fluidic supplement to boost remembrance and reused and reshaped bacterial cellulose-elements of the happening L’esprit micro, which took place at the Notgalerie in 2017.
Azimuth (2017)
Sculpture, object
Azimuth is a temporary sculptural object, consisting of a metal rotary plate and a living yeast culture on a lab-growing-medium. The silk screen printed yeast shows the Nazca Lines, a group of very large geoglyphs formed by depressions or shallow incisions made in the soil of the Nazca Desert in southern Peru. They were created between 500 BC and 500 AD. Their purpose is still not determined. As the yeast culture is a non-stable biological matter, the print started to grow further and decompose during the course of the exhibition. The work was created in collaboration with Günter Seyfried.