'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Born 1974 in Prague, Czech Republic, lives and works in Vienna, Austria
Kasalicky studied at the Glasfachschule (Glass Art Academy) Kramsach, Tyrol, Austria, from 1996 to 1998 and painting at the Akademie der bildenden Künste (Academy of Fine Arts) Vienna with Gunter Damisch 1998–2004.
Luisa Kasalicky creates works that are located at the intersection of installation, painting, and sculpture and combine constructivist stylistic elements with baroque fixtures. Her narrative arrangements of simple forms are reminiscent of theatre stage sets and can be understood as reactions to the media homogenisation of visual image production in photography and film today. Kasalicky strives to do justice to the everyday raw materials and building stuffs–like plastic foam, bitumen panels, wood, tiles, and synthetic carpets–that she uses. On the one hand, these materials relate to her childhood and are cultural and anthropological relics from the 1970s and ’80s. On the other hand, they stress tactile qualities and possess a painterly value based on their particular colour, texture, and materiality. Her motifs, some of which are expansive, express a strong desire for a clear language of form that upholds a baroque tendency toward the sublime, despite the heaviness of the materials used. Kasalicky also integrates the creative potential and artisanal value of ornaments into her working world.Kasalicky’s installations playfully indulge in narration, staging painting as baroque theatrical backdrops and reflecting on the sensual immediacy of conscious perception. Like her installation pieces, her traditional tempera panel paintings created in her studio also narratively weave together the individual motifs in the pictorial space. (Anja Werkl)
Kasalicky has had solo exhibitions at venues such as the Lentos Museum, Linz, Austria; Kunstraum Burgkapelle -Museum Moderner Kunst Kärnten, Klagenfurt, Austria; House of Arts - Galerie G99, Brno, Czech Republic; and BAWAG Contemporary, Vienna, Austria.
Kasalicky was awarded the Otto Mauer Prize in 2013.
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