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P74 Gallery

Evelyn Loschy & Lilo Nein: Layers of Seeing and Seeing through Layering

19 November – 10 December 2020

online view:
https://www.facebook.com/P74Gallery

P74 Gallery is pleased to present the Evelyn Loschy & Lilo Nein exhibition entitled Layers of Seeing and Seeing through Layering. There will be no official opening; the exhibition will be on view from 19 November to 10 December 2020 upon individual arrangement, online and on social media channels.
– As soon as government measures will be changed,  the 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.

The 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.
Images 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.


Lilo Nein, Wir sehnen uns, 2018/2020, mixed media, 60 x 30 cm

Lilo Nein’s 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.”


Evelyn Loschy, Into the Blue, 2017, performance/stone, no.12, 26 x 24 x 11 cm

Destruction and self-destruction play a central role in Evelyn Loschy`s 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: “These 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.“ 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.

Lilo Nein
Lilo 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 Niederösterreich (2012). Her works were shown at Austria Cultural Forum New York, Museum of Modern Art Salzburg,Salzburger Kunstverein, Künstlerhaus 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 León.
Lilo Nein is a visual artist and lives in Vienna. Her artistic interest pivots around media translation, whereby the performative always takes center stage. 
Nein’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.
The 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.
The 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.

Evelyn Loschy
Evelyn Loschy, born 1980 in Graz, Austria studied „Transmedia Art“ in the class of Brigitte Kowanz at the University of Applied Arts Vienna and graduation in 2013, she studied „Audio-visual Art“ at the Gerrit Rietveld Academie Amsterdam as well as „Constructive, Multimedia-based Sculpture“ and „Media Art“ at the University of Arts in Berlin. She is the co-founder of „Lafin C’estmerde“ (society for interdisciplinary art production and reception) and the drummer in the art band „Perlen für die Säue“ („Pearls for Swine“). Besides various exhibitions within Austria as well as abroad (Biennale Krasnoyarsk, Neue Galerie Graz, MOCAK Krakau, Kunsthaus Graz, Künstlerhaus Wien, Ferdinandeum), she was awarded in 2013 with the „Atelier scholarship“ of the city of Vienna and in 2014/2015 from the federal state Styria. 2015 she received the „Arts promotion award“ 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.

Michaela Stock (www.galerie-stock.net)
Michaela 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 Marković 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.

more details here.
cooperation with Galerie Michaela Stock, Vienna