Layers of Seeing and Seeing through Layering.<\/em>\u00a0There will be no official opening; the exhibition will be on view from\u00a019 November to 10 December 2020 upon individual arrangement, online and on social media channels.<\/strong>
\n– As soon as government measures will be changed, \u00a0the usual opening hours of the Gallery (Monday to Friday, 12.00 to 18.00) will be in place. The exhibition is curated by Michaela Stock.<\/p>\nThe exhibition Layers of Seeing and Seeing through Layering comprises works by two young Austrian artists and shows an artistic, different conceptual approach by both of them. Lilo Nein and Evelyn Loschy use in their performative working methods unfold layers. The exhibited works including sculpture, performance and photography rely on a continuous process of creation and erasure, or the adding of new layers while retaining traces of what has gone before. They use different techniques of layering to create something entirely new through repetition, superimposition or removal.
\nImages with abstractions and texts are created on a multi-layered background and decomposing local and global deformations into different perceptual layers. Both artists try to show and illuminate the imprint of the human being through the material surface and combine the layering of materials with layers of personal meaning.<\/p>\n
![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2020\/11\/2_LiloNein_2020_WortVirusKrankheit.jpg\")
\nLilo Nein, Wir sehnen uns, 2018\/2020, mixed media, 60 x 30 cm<\/span><\/p>\nLilo Nein\u2019s<\/strong> artistic practice operates in the spaces produced by and through writing and is concerned with its repetition, with overlapping and different layering of meaning. Under the title “Sketch for an Exhibition – The Word, the Disease and the Virus”, Nein shows current works that move between poetry and pun and between sculpture and image. In addition to the examination of language itself, the themes of life, liveliness, love and illness are addressed as they have acquired current relevance in the situation of Covid19. The art historian and curator Felicitas Thun-Hohenstein describes the working method of Lilo Nein as follows: “The photographic works presented here usually contain both analog and digital processes. However, the artist developed an image technique which uses negatives she produced herself to translate the digital image into an analog. This allows viewers to retrace vestiges of the analog and digital processes in equal measure. Layer by layer, Lilo Nein juxtaposes the way relation(ship)s are created with, among, and contrary to one another from a media archaeological perspective.\u201d<\/p>\n![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2020\/11\/6_EvelynLoschy_Nr-12_stone_InsBlaue_1.jpg\")
\nEvelyn Loschy, Into the Blue, 2017, performance\/stone, no.12, 26 x 24 x 11 cm<\/span><\/p>\nDestruction and self-destruction play a central role in Evelyn Loschy`s<\/strong> oeuvre. The (self-)destruction becomes, for her, a constructive element that introduces a transformation process. In the photo series “lost memories” Evelyn Loschy creates slow and patient revelations of complicated and sensitive surfaces. Derek Horton says as follows: \u201cThese are reminiscent of abstract paintings, but their surfaces are uncovered rather than applied; sculpted drawings made by revealing hidden depths and colours through a shallow excavation of layers of paint and plaster.\u201c In the other exhibited series “Into the Blue” an explosion is used as an artistic element to destroy surfaces and is not just interpreted as an explosion of a rock formation, but as a multi-layered compaction of diverse levels of content, methods and materials. As a result, the work admittedly consists of a blasted rock with blue paint residues, but the process itself, the video and photographic documentation, are also defined as elements of equal value. In other words, a network of meanings and materials is created, which functions as a piece of art in the contextual interplay. The element of destruction loses its significance as an end in itself. In this case, destruction is a constructive element, which initiates the process of transformation.
\n—<\/p>\nLilo Nein<\/strong>
\nLilo Nein studied Fine Arts in Vienna and Hamburg and obtained her doctoral degree at Leiden University in the Netherlands. She works with and research on performance and its relation to texts, sculptural installation and other media. She received the Start Stipend (2010), the State Stipend (2013) for Fine Arts by the Austrian Federal Chancellery and the Performance Award H13 of Kunstraum Nieder\u00f6sterreich (2012). Her works were shown at Austria Cultural Forum New York, Museum of Modern Art Salzburg,Salzburger Kunstverein, K\u00fcnstlerhaus Wien, Vienna Art Week, MA*GA Art Museum Gallarte Italy, MASS MoCA Massachusetts Museum of Contemporary Art, Index – The Swedish Contemporary Art Foundation, MUSA Museo de Arte Contemporaneo de Castilla y Le\u00f3n.
\nLilo Nein is a visual artist and lives in Vienna. Her artistic interest pivots around media translation, whereby the performative always takes center stage. \u2028Nein’s works usually take their starting point in language, then materialize as image, song, performance and sculptural setting. In these medial forms, the works take place in time, take their place in space.\u2028The artist tries to privilege neither the object character nor the moment of reception of her works. Rather, these are two parameters whose relationship must be constantly renegotiated in the presentation of the works.\u2028The medial translation is examined in particular from the perspectives of text – performance, image – music and in the photographic process digital – analog, whereby performances and musical works by Lilo Nein are realized in collaborative work with performers and musicians. In Nein’s artistic practice, translation is meant as collaboration.<\/p>\nEvelyn Loschy<\/strong>
\nEvelyn Loschy, born 1980 in Graz, Austria studied \u201eTransmedia Art\u201c in the class of Brigitte Kowanz at the University of Applied Arts Vienna and graduation in 2013, she studied \u201eAudio-visual Art\u201c at the Gerrit Rietveld Academie Amsterdam as well as \u201eConstructive, Multimedia-based Sculpture\u201c and \u201eMedia Art\u201c at the University of Arts in Berlin. She is the co-founder of \u201eLafin C’estmerde\u201c (society for interdisciplinary art production and reception) and the drummer in the art band \u201ePerlen f\u00fcr die S\u00e4ue\u201c (\u201ePearls for Swine\u201c). Besides various exhibitions within Austria as well as abroad (Biennale Krasnoyarsk, Neue Galerie Graz, MOCAK Krakau, Kunsthaus Graz, K\u00fcnstlerhaus Wien, Ferdinandeum), she was awarded in 2013 with the \u201eAtelier scholarship\u201c of the city of Vienna and in 2014\/2015 from the federal state Styria. 2015 she received the \u201eArts promotion award\u201c of the city of Graz and 2019 a working studio of the Federal Goverment of Austria in Vienna. Loschy works with a large variety of materials and methods, reaching from video, photography, land art and site-specific interventions to kinetic sculptures which have become the focus of her work over the last years. The focus lies on the human being and the tension between societal aspiration and individual (physical as well as mental) possibilities.<\/p>\nMichaela Stock (www.galerie-stock.net)<\/strong>
\nMichaela Stock lives and works in Vienna and studied art history. She is a curator, is chairwoman of the association Schleife 18 and since 2007 has been managing the gallery michaela stock with a focus on concept and performance art. The goal of the gallery program is to promote the interrelationships between artistic practice as well as research and innovative models that promote cultural exchange and networking. Michaela Stock and Marko Markovi\u0107 founded (2015\/18) DOPUST VIENNA, an international performance festival in Vienna. In 2019 Michaela Stock started a performative exhibition project called CPF \/ Performance Focus. During the time of COVID19 Michaela Stock introduced a new gallery concept: SALON REAL \/ VIRTUAL. The focus is on a new perception of the exhibition space and the exhibited artworks, a networking of the real and virtual world.
\n—<\/p>\nmore details here<\/a>.
\ncooperation with Galerie Michaela Stock, Vienna<\/p>\n","protected":false},"excerpt":{"rendered":"19 November \u2013 10 December 2020
\n![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2020\/11\/6_EvelynLoschy_Nr-12_stone_InsBlaue_1-150x150.jpg\")
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