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!
SASKIA TE NICKLIN
“There is a lot of talk about going
back to
Nature.
Respecting and
being at one
![]()
with
it.
But once you are
'there';
do you know
what you are looking at?”
#BODY #COLLAGE #DRAWING #ECOLOGY #INSTALLATION #FABULATION #MATERIAL #PAINTING #GENDER
BIO. Saskia Te Niclkin (b. 1979, Cpoenhagen, DK) is a visual artist based in Vienna (AT). Her practice comprises of collage, painting, drawing, and installation, often working with themes such as sex, death, nature and human clumsiness and violence. She studied at the Akademie der Bildenden Künste, Wien (2009) and holds a MFA from the Royal Academy of Fine Arts, Copenhagen in 2010. Latest shows include WUK, VINVIN, Biquini Wax, Mz* Bathazar’s Lab., Galerie Stadt Schwaz, Nächst St Stephan LOGIN, VeSch, Kluckyland, Kunstraum Niederösterreich, YEARS, Gallery Diana Lambert a.o. She is currently the assitant at the Art & Photography Class (akbild) under prof. Martin Guttman.
Ham-fisted Garden Party, installation view (2018)
Aluminum, wood, glue, ink, marker pen, plastics
The show was held at Francis Ruyters studio in Vienna, invited by gallery VinVin. Around 20 aluminum panels created a mirroring effect and thus also including the onlooker into the work. The glue-bodies would be of different humanoid creatures showing different postures and
emotions. There would be depictions of fear and anxiety, death and violence. Scenes looking like lovers enjoying themselves suddenly could look like a full blown rape amidst pretty flowers and bees and garbage.
So Fresh On Top, So Rotten Below, Installation view (2019)
Aluminum, wood, glue, ink, marker pen, plastics
The installation shot is part of a bigger collection of work from the show So Fresh On Top So Rotten, which was shown at gallery VinVin in 2019. Again aluminum panels would cover the white walls of the gallery space, there would be art pieces satnding on the floor intead of hanging. Scraps of broken glue bodies and bits of plastic wrapping would drop to the floor thus giving the whole show a sense of a fresh studio situation still to be installed. There were images of elbow bones and razor blades, flowers vomiting flowers, compost piles, garbage cats and a portrait picking its nose out of boredom. The image shown depicts a skeleton with a dildo, bees humping bees, giant plastic flowers and a picnic blanket with an arse and food on top.
Crying Class (2020) Ink and aquarelle on pastel paper
The work derives from an on-going series where I portray different situations on a background of comfy pillows and blankets. first glance presents a homey and cosy situation, but the amass of pillows and covers also seem asphyxiating. The works in the series have titles often including the word Class, where I want to point out the double meaning of it; either an education class or a socio-political class.