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!
MARY MAGGIC
“We’re all living in an
Estroworld…
Purity
is not
an option!”
#ACTIVISM
#ARTS-BASED RESEARCH #BIO #ELECTRONICS #GENDER #INTERACTIVE #SCIENCE #VIDEO
BIO.
Mary Maggic (b. Los Angeles, '91) is a nonbinary artist working at the intersection of hormones, body and gender politics, and ecological alienations. Maggic frequently uses “biohacking” as a xeno-feminist practice of care that holds the potential to demystify invisible systems of molecular biopower. Completing their Masters in the Design Fiction group at MIT Media Lab, they received the Prix Ars Electronica Honorary Mention in Hybrid Arts (2017) for the project “Open Source Estrogen” and a 10-month Fulbright research award in Yogyakarta, Indonesia (2019). Maggic is a current member of the global network Hackteria - Open Source Biological Art, the tactical theater collective Aliens in Green, the Asian feminist association Mai Ling Vienna, as well as a contributor to the radical syllabus project Pirate Care and to the online Cyberfeminism Index.
Mary Maggic (b. Los Angeles, '91) is a nonbinary artist working at the intersection of hormones, body and gender politics, and ecological alienations. Maggic frequently uses “biohacking” as a xeno-feminist practice of care that holds the potential to demystify invisible systems of molecular biopower. Completing their Masters in the Design Fiction group at MIT Media Lab, they received the Prix Ars Electronica Honorary Mention in Hybrid Arts (2017) for the project “Open Source Estrogen” and a 10-month Fulbright research award in Yogyakarta, Indonesia (2019). Maggic is a current member of the global network Hackteria - Open Source Biological Art, the tactical theater collective Aliens in Green, the Asian feminist association Mai Ling Vienna, as well as a contributor to the radical syllabus project Pirate Care and to the online Cyberfeminism Index.
Housewives Making Drugs (2017)
Video, 10:12
What if it were possible to synthesize hormones in the kitchen? Imagine if this was as easy and simple as cooking a meal. “Housewives Making Drugs” is a fictional cooking show where the trans-femme stars, Maria and Maria teach the audience at home step-by-step how to cook their own hormones. They perform a simple “urine-hormone extraction recipe” while amusing the audience with their witty back-and-forth banter about body and gender politics, institutional access to hormones, and everything problematic with heteronormativity. Choosing the kitchen as the appropriate battleground for tackling body/gender politics and institutional access, the cooking show aims to challenge/subvert patriarchal society and speculate on a world with greater body sovereignty for all.
Photos: © Laura Wagner
Estrofem! Lab (Open Source Estrogen) (2016 - ongoing)
Mobile Labs
This research-based project is dedicated to the development of an "estrogen hack lab"-- a set of tools, protocols, and wetware for low-cost, accessible, participatory estrogen hacking + workshopology, necessitated by its genesis project, Open Source Estrogen (2015), the biopolitics of estrogen colonization and microperformativity. Regarded sometimes as hobo science, freak science, and public amateurism, the Estrofem Lab and its workshopologies aim to detect and extract estrogen from "sources with meaning," providing the contextual framework for why we hack estrogen, and why we perform science as citizens and (hack)activists. This ongoing artistic investigation has led to creation of yeast estrogen sensors (YES-HER yeast) containing human estrogen receptor for detection, vacuum pump solid phase extraction (SPE) using cigarette filters and smashed silica gel, reverse phase column chromatography using broken glass bottles and methanol, and fungal bioremediation.
Photo: © Matthias Bildstein
Milik Bersama Rekombinan (2019)
Latex, plastic, bamboo, fungi, agar, projection
At first glance, River Code ("cho-deh") in Yogyakarta, Indonesia is a surreal landscape colonized by plastic, with its citizens believing their water is clean enough for daily use. While water is the medium that connects us all, it is also the primary carrier of the industrial molecules, simultaneously queering both the river and the bodies of its inhabitants. Can the citizens of River Code care for the health of the river as if it were their own bodies? Can mutation and shape-shifting be acknowledged as legitimate strategies for survival? The installation includes a rotating mandala projection composed of trash found in the river, symbolizing the constant recombination of plastic particles inside our own bodies. Next there is a bamboo sculpture of River Code filled with blue agar that invites microbial contamination juxtaposed against contained samples of bioremediating fungi. Lastly, the river is flanked by a set of two latex sculptures embodying the porosity of skin as it is embedded with trash from the river