on Luisa Kasalicky at Galerie Nächst St. Stephan Rosemarie Schwarzwälder

Installation view / Login

Installation view / Magazin

A work that Luisa Kasalicky refers to as a unique painting, but what may also be designated an installation, is presently on view at the Galerie Nächst St. Stephan Rosemarie Schwarzwälder’s Login room.  Provoking a reflection on refinement and spatial armature Kasalicky uses the gallery’s so to speak street level vitrine to distinguish her architecturally sensitive practice.  Kasalicky affects aesthetics suggestive of minimalist design, constructivist drawing and a practice of appropriation.

In the Login, Kasalicky responds to the support, here the shut-in exhibition room.  There are quadrilateral slabs of deep red ocher dry wall with tightly wrapped edges.   Two significant cross shapes made of wood facing away from one another painted green and dark grey sit flat and angle off the wall.  There is a suspended sheet of reflective metal colored plastic.  On which, only a fuzzy glow of light shining through windows may be seen.  Above are two identical purple painted metal three ringed fixtures.  Two brass drapery rods hang vertically just under the height of the ceiling.

Kasalicky’s work at the Login is one of a series, the second of which was presented in her concurrent installation at the Magazin.  In the installation there, the formation of the work is in a nearly symmetrical system.  With elements the same as the piece in the Login, included at Magazin, are cutout drawings made in roofing material depicting chainmail and the design of a manhole cover.  Both works present Kasalicky’s style to mix and often reverse prop with ornament.

That the artist is influenced by Baroque decoration and weapon displays is made clear particularly in the wooden cross works.  Likewise, the three-ringed hook readymades perhaps reference Dada works such as the Hat Rack by Marcel Duchamp.  Though such symbolism is the lead into Kasalicky’s work, her clean approach functions today, as every staple, nail and brush of enamel is knowingly precise.  Each element augments the partly rough matt and partly glam sheen sceen.  It is there, where things cojoin and fragment, titled exclusive, that Kasalicky tells a silent narrative.

Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Grünangergasse 1, 1010 Vienna

18.9.2010 – 23.10.2010

– Ezara Spangl

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