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EVELYN LOSCHY & MARKO ZINK | viennacontemporary
22. - 25.9.2016
WHERE: Marx Halle Vienna, ZONE 1 | G27

Galerie Michaela Stock presents

While this phrase can basically describe the ethos of "Under Destruction", the exhibition raises the stakes normally linked with such a deleterious theme. Not only does it explore the various modes of destruction in art, but, more importantly, it also addresses to what ends it is implemented. Auto-destructive art is a term invented by the artist Gustav Metzger in the early 1960s to describe radical artworks, in which destruction was part of the process of creating the work and the victim becomes the piece of art itself.

The exhibition for viennacontemporary –Zone 1 has undertaken the task to highlight this phenomenon displaying works like kinetic sculptures and performances (video and photography). Evelyn Loschy works with identity and thematically intersect to sharpen one's view of the complex processes of the human being, the focus lying on its existence, both torn between (social) standards, (physical-emotional) possibilities and artistic strategies and refers to the modern history and circumstances conditioned by political structures and economical changes. She tells a story of resistance, inner conflicts and the struggle for power and subjection. The gaze is trained on traces left behind by the image creation process in mental, virtual and haptic spaces

Evelyn Loschy's kinetic sculptures untitled [kinetic sculpture #4] and IS IT ME represents a substantial part of the booth. The two auto-destructive sculptures are contrasted by the stop-motion video ENTKOPPELUNG (DECOUPLING) and the performance documentation lost memories. In contrast to her sculptural work which tends to rely on a mechanics of destruction, these two other works , the video and the wall pieces explore a more subtle and sensitive relationship between action and material.


[...] Evelyn Loschy belongs to a generation of artists who regard those processes as part of history and who have already internalised the processes of transformation in the realm of sculpture. Fundamental liberation through art – taken for granted as late as the 1960s – is no longer her primary objective. Hence, her confrontation with destruction as a central force behind her artistic activity is free of "tabula rasa thinking", which continued to characterise the avant-garde movements of the 1960s. She does not regard destruction as a complete or partial dissolution of an organic or inorganic unit through diverse processes and actions. Nor is the significance of objects that have been destroyed, found or discarded by society central to her reflections. Rather, the young artist benefits from the "zero hour" of the avant-garde movements, which unleashed the very pluralism of style, concepts of culture and painting techniques that since then have been labelled as the burden of the modern era.
However, it may well be – and this is something that the present shares with the past – that the destructive tendencies in the visual art should be understood, as it were, to be an echo of a general upheaval in the history of civilisation, or that frequently they should be interpreted symbolically, with regard to the artist's own mental and social condition.

[...] In the experimental arrangement "untitled (kinetic sculpture #4)", a hand is stroking a face; both of which are made of plaster. The hand is coupled with an appliance that sets it in motion. The rod moves the hand over the cheek of the head, causing partial erosion of the material in the process. Plaster comes loose in the form of dust and falls to the ground. The bottom layer of the objects (the hand and the head) becomes visible. The fundamentally positive gesture of stroking is reversed. The constant friction causes destruction. The motion and decomposition of material allow us to talk of a self-destroying structure; yet at the same time it seems imperative to notice that this is not the primary subject of "untitled (kinetic sculpture #4)". In this case, the process of destruction is one of creation rather than annihilation. From the moment it is switched on, the sculpture behaves like an independent cosmos. The machine's movement patterns become a performance, a mechanical theatre. One can observe a compaction of processes and meanings, wayfaring from one medium to another. What remains at the end is the abraded hands and heads – which can always be replaced by new ones – as well as the documentation of the process.
In "is it me" we see an inflatable figure, connected by tubes with a pair of bellows, sitting on a rocking chair. A wiper motor rocks the chair, in the process causing the air pumped by the bellows to inflate the figure. Here, beginning and ending seem impressively connected in a perpetual motion. Once again, the peace that emanates from the movement of the rocking chair itself – the epitome of relaxation – is reversed. An excruciating mill of constant repetition comes into being. Rather than a commercially available product, a 'ready-made' rocking chair, the artist uses a metallic structure in the shape of a rocking chair. As a consequence, conditions are changed fundamentally; after all, a certain distance to the original context of that piece of furniture is indeed created. The harmless motion of rocking, having a pleasant and relaxing effect on the human body, becomes a gruesome mechanism of inescapability.

[...] The above works, presented as examples, set the tone for the artistic practice of Evelyn Loschy. They reveal how sculpture comes into being nowadays. The relevant levels of meaning manifest themselves clearly once the processes that have been briefly outlined at the beginning are internalised. The object and the image have been interchanged. As has been shown, the three-dimensionality or the idea of a sculpture can operate in various media. There's no doubt that Evelyn Loschy creates sculptural works. However, contextual shifts yield an immense density of meanings which, to a very large extent, can be experienced as a narrative. Art no longer has its being within its boundaries, which is the case in traditional sculpture. A swing hitting against the wall, a self-activated rocking chair, a stroking plaster hand, or a blasted rock formation – all of them provoke additional levels of reflection on part of the audience. Depending on one's sensitivity, there's a content-related amplification in one direction or the other. At any rate, however, those productions constitute highly memorable images. At the same time, the three-dimensional elements are pawns in a performative process that determines content and the visual impression. With the exception of the inflatable figure in the rocking chair and the plaster hand and head, direct bodily references are seemingly missing completely. However, they remain tangible in their absence. As it were, the appliances intercommunicate with the bodily realm. The various contents are interwoven with the work by the spectator's natural picture consciousness, even up to the point of completing it in the process. You do not have to see a child on a swing; it may also be a creature tormented in a continuously repeated cycle, or delinquents tortured by the machine.
Destruction and self-destruction as topoi in the development of art in recent decades play a central role in the work of Evelyn Loschy. Through her work, she analyses the transformation process of these methods. Her works are qualified to help us understand the way described at the beginning from the sculpture to an object of action. In this manner, new perspectives emerge, both with regard to the three-dimensional realm, as well as with regard to the image.

Excerpt | Evelyn Loschy - Die Skulptur als Bild | Günther Holler-Schuster | 2016

PRESSRELEASE | EVELYN LOSCHY | Günther Holler-Schuster

more about > Evelyn Loschy

for the Cinema program curated by Olaf Stüber
| fred&freda und OLYMPIA, 5,59 min

series fred&freda, 2010, video, traktor fahren, 1:24 min

series OLYMPIA, video, 2013/2014: Heidi, 2013, 29 sec., hunting high and low, 2013, video, 2:55 min, much ado about nothing, 2014, video, 1:13 min, when will I be famous, 2014, video, 38 sec

Our position in our world and age is defined by our body; our ideas and concepts of "the body" are usually shaped by the times we live in. Our body is our cover, the protection of our innermost self, holding together it all together, both the purely physical and the metaphysical concepts such as the soul.
In the five short movies out of the series OLYMPIA and fred&freda Marko Zink presents these double standards and disturbances in his two series, in a way that is more undisguised and feisty than ever. In front of a seemingly idyllic, naturalistic scenery, something happens that is only funny and amusing at first glance; for very soon, all the narration's irony and tragedy pours to the surface.
more about > Marko Zink

more about > viennacontemporary

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