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!
TERESE KASALICKY
MULTIMEDIA ARTIST
#MATERIAL #CERAMICS #SCULPTURE #MULTIMEDIA #DRAWING
BIO. Terese Kasalicky (*1988), lives and works in Vienna. She studied at the Academy of Fine Arts Vienna (diploma 2017). Kasalicky works at the intersection of sculpture, drawing and
painting, as well as art historical research. Her work has been presented at Vienna Contemporary, Parallel, and Galerie 3/flux 23, among others. Kasalicky has had solo exhibitions at Kubus EXPORT, the artist-run space New Jörg and at Xposit, among others. Her works are part of the collection of the Artothek des Bundes, the collection of the City of Vienna, the sculpture park Artlodge and the Kupferstichkabinett. Together with Heti Prack she is the initiator of the traveling exhibition project "Tombola".
Photos: © Simon Goritschnig
Piled (2017)
Sculpture
Like a modular construction kit system, these stele-like sculptures consist of nothing but individual parts. The forms of these parts have as their source various literature on the subject of ornaments. In the course of my years of research, I have found a number of basic forms that I use and expand again and again.
Like a word or a sentence, these forms can be rearranged or assembled and thus change their syntax. These archetypical forms often look different, because they are made from a wild mix of materials (plaster, ceramics, concrete, wood, textile, glass ...), usually have different size relations and also differ in colour. It is my intention to rearrange them like a mix tape and thus to take them out of their context.
Photos: #1
© Joana Pianka
#2 #3 © Terese Kasalicky
#4 © Antonia Mayer
#2 #3 © Terese Kasalicky
#4 © Antonia Mayer
Ornaments (2015 - ongoing)
Drawings, reliefs and floor sculptures
Like a modular construction kit system, these stele-like sculptures consist of nothing but individual parts. The forms of these parts have as their source various literature on the subject of ornaments. In the course of my years of research, I have found a number of basic forms that I use and expand again and again.
Like a word or a sentence, these forms can be rearranged or assembled and thus change their syntax. These archetypical forms often look different, because they are made from a wild mix of materials (plaster, ceramics, concrete, wood, textile, glass ...), usually have different size relations and also differ in colour. It is my intention to rearrange them like a mix tape and thus to take them out of their context.
Tassel Archive - On the fetish of representation of posaments (2014 - ongoing)
Mixed Media
A tassel is a larger number of threads of equal length gathered at the upper end, attached to a string and hanging down from it.
The abundant presence of the tassel in cultural history fascinate me so much that I have now been working with this element for years. Through research, visits to various archives, excursions and numerous conversations the tassel became more and more important, the discussions richer in perspectives and hypotheses up to the development of an obsession for the tassel.
The contents of the archive include an image archive (consisting of self-taken images, images sent by third parties, and images found in the course of research), an exhibit archive (consisting of self-made, found, and donated objects), several Youtube tutorials knowingly made for this purpose, an outdoor sculpture, and various research documents.
In the course of exhibitions, the viewer can browse through the collection in a participatory moment and dive into the individual story of each exhibit.