Lucia Elena Průša
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A Coney Island of the Mind, Riverside, Switzerland
with Erin Dunn, Gritli Faulhaber, Chantal Kaufmann, Corinna Münster, Lucia Elena Průša, Andreas Walser, Andrew Norman Wilson
21.05 – 24.06.2017



Gefühlschaos (Feeling Wheel)
, 2017
different woods, dispersion paint, UV printing on PVC
1.74 m x 6.70 m x 4.2 m, diameter 3.15 m

 

 

To figure it out, Galerie Sophie Tappeiner, Vienna, Austria
with Anna-Sophie Berger, Spencer Chalk-Levy, Gina Folly, Kiki Kogelnik, Angelika Loderer, Lucia Elena Průša, Liesl Raff, Sophie Reinhold, Sophie Thun, Jala Wahid and Vally Wieselthier. Curated by Barbara Rüdiger.
20 May – 29 July 2017


feeling collection (well-timed), 2017
laser print on paper, paint, clock-face, glass
21.5 x 33,3 cm

feeling collection (kochend vor Wut), 2017
laser print on paper, paint, clock-face, glass
21,2 x 23,8 cm

feeling collection (unimportant), 2017
laser print on paper, paint, clock-face, glass
21,2 x 27,1 cm

 

Decolonizing Tridimensionality, AMOR, Tlapan, México City, México
with Wendy Cabrera Rubio, Paloma Contreras, Carla Lamoyi, Irak Morales, Lucia Elena Průša, Madeline Jiménez, Lucia Vidales, Diego Salvador Rios, Marek Wolfryd, Pamela Zeferino

blood in blood out, 2017
cotton, leather, glass, wood
74 x 94 x 5 cm



Antibody, 2017
bronze cast
1 x 1,5 x 0,5 cm

 

ANTIBODY, Travesia Cuatro Galeria, Guadalajara, México (solo show)
PRESS RELEASE TEXT




ANTIBODY rejects the body as the only scenario for emotional activity. Feelings have been understood as bodily-contained energy, in the form of fluids in ancient times, and nowadays as neuropsychic reactions. In this conception moods are treated as perfectly distinguishable regions and function within predictable patterns, this enables the clinical understanding of the human emotional behavior.

In this exhibition Lucia Elena Prusa takes alternative and peripheral routes to approach human emotions, arguing that they can subsist outside the human body as conditions. Feelings can be spatialized and be shared as a collective field. In this perspective feelings become less distinguishable and behave as unstable phenomena, they can persist throughout a whole epoch or last for a few seconds. Urban environments can host an infinite amount of emotional locations; some of them can be inhabited by a small group of people or be shared by entire populations. The German phenomenologist Hermann Schmitz argues that there is an intrinsic relationship between emotional atmospheres and the felt body, this proposes a non- mentalistic conception of feelings, and accepts the possibility that interpersonal interaction can manifest itself materially, clinging to objects and as sensitive experience.

With ANTIBODY Lucia Elena Prusa follows this non-mentalistic detour and engages with a speculative and poetic sociology. The artist book Basic Feelings contains an alphabetic classification system of the different emotional conditions that Prusa collected in Mexico City, so called “found feelings”. The book is a compilation of photos of gestures, body postures, facial expressions, moments of physical contact, daily needs, gazes that suggest the existence of a sensitive common ground that has been revealed in the form of brief glimpses. This work is opposed to the sculpture titled Feeling Wheel, which includes the standard classification of emotions used by modern psychology; emotions here are bounded by a simple dialectical relationship (positive–negative / simple-complex). Feelings cannot be treated as immutable trajectories or pre-established paths of experience, they are subjected to constant change and displace freely between the realms of subjectivity and objectivity. As Schmitz affirms “all affective involvement is Janus-faced.”

Prusa constructs precarious bodies with a group of sculptural assemblages made with found objects; human form is only referenced through the functionality of the objects. Pipes and metal tubes support different garments that have been altered; all the joints of the human body are emphasized with a series of circular cutouts, providing the sculptures with a set of possible movements and gestures. Prusa displays the felt body as an outlined presence, instead of approaching the realm of subjectivity she resorts to the material narrative of objects nourished by human sensations. In an almost comical twist a set of small-scale bronze sculptures called Antibodies are included in the exhibition, they represent miniature bodies in classical postures; the body language is immediately recognizable, and resonates with the athletic and beauty ideals portrayed in Greco- Roman sculpture. The only direct and formal depiction of the human body in the exhibition is almost unnoticeable; these Antibodies remain as icons or avatars of something that can only be attained as fragmented experience.

 



Antibody
, 2017
bronze cast
1 x 1,5 x 0,5 cm

Hypocrit, 2017
steel, polyester
42 x 65 x 25 cm

Madre, 2017
cotton shirt
60 x 37 cm

 



Feeling Wheel, 2017
steel, screen print on rubber
92 x 92 x 214 cm



BASIC FEELINGS, 2017
artist publication, digital print, 156 pages
23,5 x 32 cm
printed and made in Mexico

Basic Feelings is a collection of found feelings. A-Z. They have been collected according to the criteria of a democratizing poetry.
Basic Feelings
creates a conceptual possibility for establishing a vocabulary of sensations. It has no language.
Photos were taken in the public transportation system of Mexico City. In the women-only train sometimes.
Images are the result of casual encounters and are a documental approach that seeks to respect the specific context of this space.
A view is always thrown back.

Basic Feelings es una colección de sentimientos encontrados. A-Z. Han sido recopilados según los criterios de una poesía democratizadora.
Basic Feelings crea la posibilidad conceptual de establecer un vocabulario de sensaciones. No tiene lenguaje.
Las fotos fueron tomadas en el sistema de transporte público de la Ciudad de México. En ocasiones en el tren exclusivo para mujeres.
Las imágenes son el resultado de encuentros casuales y son un enfoque documental que busca respetar el contexto específico de este espacio.
Una vista siempre se refleja.

BASIC FEELINGS PDF HERE !



Newcomer, 2017
stainless steel, leather
68 x 16 x 8 cm




Loner, 2017
aluminum cast
16 x 13 x 9 cm

 



Uniform (E room), 2017
10 aluminum rings
Size 5, Size 6, Size 7, Size 8, Size 9, Size 10

Roy Da Prince, FUTURA Centre for Contemporary Art, Prague, Czech Republic
with Quentin Euverte, Agnieszka Grodzinska, Kernel, Irina Lotarevich, Lucia Elena Prusa, Shanta Rao, Viktor Timofeev, Andrew Norman Wilson, Pedro Wirz, Dec 10th, 2016 – Feb 12th, 2017

 



non-union (Bi-pol)
, 2016
etching, paper, aluminum, glass
(27,7 x 40,5 x 3,5 cm)

union (Solo), 2016
etching, paper, aluminum, glass
(27,7 x 40,5 x 3,5 cm)

At the Cliffs of River Rhine, Oslo10, Switzerland
with Ana Andra, Lorenzo Bernet, Alexandra Bircken, Kaucyila Brooke, Heidi Bucher, Feminist Land Art Retreat, Luca Francesconi,
Elisabeth Greinecker, Christine und Irene Hohenbüchler, Stuart Middleton, Jonathan Penca, Lucia Elena Průša

 

Uniform (on pipe), 2016
10 aluminum rings
Size 5, Size 6, Size 7, Size 8, Size 9, Size 10

SORT presents Merlin, Vienna, Austria
with Ulrike Buck, Frieda Toranzo Jeager, Debora Delmar Corp, Lucia Elena Průša, Manuel Solano
curated by Myles Starr

 

Pandora read by Melanie Ohnemus at Skulpturinstitut, Vienna

 

Pandora
by Anna-Sophie Berger and Lucia Elena Průša
Paperback, 94 pages, 2016
order here

Maybe this is about a woman in her mid-40s, she is still struggling with the problems she had when she was 27/30. She is a slacker. Her thoughts are clever,
but she prefers acting slow. She is fine with stains. Romanticism is something to keep in bay. Maybe no other person shows up. Just in her thoughts.
It’s just about explaining her in every little detail we can imagine. She is not in a crisis. Probably something is happening to her. I really like the idea of a natural disaster.
Like something comes in that mixes the genres. And also bringing in nature and elemental forces. The smallest volcano is probably still important.

I LOVE PANDORA!

How would it be if there were comments from outside the story? Like breaking the cinema inside the reader’s mind? Then it becomes maybe like a movie.
But not to comment on what she is doing, just to bring in a first-person perspective, which can be from anyone.

(I feel like we cannot do worse as annalists.)

 

Dead Letter Office, JTT, New York
with Anna-Sophie Berger, Christophe Charon, Feminist Land Art Retreat, Matthew Linde, Lucia Elena Průša and Min Yoon

 

Window 2, 2016
pigments, graphite, paper, aluminum, glass
60 x 40 x 4 cm

Window 3, 2016
pigments, graphite, paper, aluminum, glass
60 x 40 x 4 cm

 


Window 1, 2016
pigments, graphite, paper, aluminum, glass
60 x 40 x 4 cm

 

 

Uniform, 2016
10 aluminum rings
Size 5, Size 6, Size 7, Size 8, Size 9, Size 10

 



Chaoten, 2016
Series for The National Opera of Munich, Max Joseph Magazine III, 2016

The series Chaoten contains sujets various sources of Lucia Elena Průša´s work: manipulated calendar systems, a depiction of the sundial sculpture 012 315 621 921,
ruins of body-worn items for measuring units such as time and finger size, a detail of the object KENI Cycle and a photograph of a locked house.
Numerical classifications and profane moments that determine daily life were transmitted in different order, a semiotic version or a numerological combination.

 

NOW/HERE, FRANZ JOSEF KAI 3, Vienna
with Andy Boot, Marilia Furman, Flora Hauser, Raphael Hefti, Alicja Kwade, Lisa Oppenheim, Sarah Pichlkostner, Lucia Elena Průša, Fred Sandback, Max Schaffer, Sarah Schönfeld, Daniel Steegmann Mangrané and Iris Touliatou

 

 


012 315 621 921, 2016
aluminium, plaster, silver necklaces, graphite
64 x 130 x 290 cm

 


Scenes with Flat Objects, TRAVESIA CUATRO, Guadalajara, México
with Elena Bajo, Debora Delmar Corp., Donna Huanca, Tania Pérez Córdova, Lucia Elena Průša and Elena del Rivero

 



Untitled L, 2016
latex glove, leather glove, plaster
9 x 13 x 22 cm

 



FANTODS with Anna-Sophie Berger, Galerie Kunstbuero, Vienna



VI I II IX IV V XII VII VIII III X XI, 2015
metal, aluminium, plaster, graphite
approx. 40 x 57 x 200 cm

 


KENI Cycle, 2051
artificial leather, laser print on paper, metal
64 x 78 cm

Untitled (Brixton), 2015
neoprene, leather jacket, necklaces, metal
approx. 40 x 40 x 150 cm

Untitled (Tyrolia), 2015
blackout fabric, gaiter, PVC
approx. 25 x 25 x 130 cm

 

 

 



Untitled, 2014
cardboard, loose graphite
50 x 70 cm



Untitled
, 2014
cardboard, paper, loose graphite
diffrent dimensions



XII I II III VI V VI VII VIII IX X XI (11.33 Uhr)
, 2015
c-print, aluminium
25 x 17 cm

at New Needs, Haus Wittmann, Etsdorf am Kamp with Daphne Ahlers, Minda Andrén, Nadja Athanassowa, Anna-Sophie Berger, Juliette Bonneviot, Dora Budor, Adrian Buschmann, Tatjana Danneberg, Verena Dengler, Aleksandra Domanović, Flaka Haliti, HHDM with Lucia Stamati + Cathrin Ulikowski, Kathi Hofer, Nora Kapfer, Adriana Lara, Lonely Boys, Sarah Ortmeyer, Ivan Pérard, Lucia Elena Prusa, Hanna Putz, Jon Rafman, Rosa Rendl, Martyn Reynolds, Halvor Rønning, Signe Rose, Lennart Schweder, Lilli Thiessen, Dena Yago, Min Yoon, Marcin Zarzeka
Curated by: Rosa Rendl and Isabella Ritter. Pavilion curated by HHDM.

 



parcours beige (lazy for evol)‘, Ve.Sch, Vienna

 



faul
, 2014
metal, tape, cable, wood stick
approx. 180 cm