Evelyn Loschy
Visual artist, sculptor, video
Location: Vienna (Austria)
When looking at the three basic development phases of the plastic form in the twentieth century – from the classical sculpture to an object to be acted upon – metamorphoses are often spoken of. It was as early as at the beginning of the twentieth century that the classical form of sculpture, defined by a limited range of materials, was significantly expanded by Duchamp’s ‘ready-mades’. From that moment onwards, the industrially manufactured object, displayed in an institutional space, became a work of art. The object depends on the artistic act – on the artist’s intention to declare it a piece of art. Thus, a work of art comes into being as a result of action and the contextualisation that comes with it.
Realm of sculpture.
Evelyn Loschy belongs to a generation of artists who consider this process 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.
Zero hour.
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.
Website→ https://evelynloschy.com/
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