amp templates

Excerpts from works 

series not named

65x118 cm, Acrylic colour on packaging cardboard, framed in strecher frame


series 3 figures

Even the title of the individual picture refers to a certain indeterminacy with a "maybe". Is it really the figure depicted, as the title would like to suggest? The picture leaves the viewer in this uncertainty and indefiniteness. Who else could it be? It eludes a more precise definition. And thus makes it possible to identify with the figure. Haven't I already been in a comparable situation? What have I done and felt?

It is no coincidence that the pictures are painted on original packaging cardboard. The packaging tapes become as much a part of the composition as the flaps with which the sides of the packaging are inserted into each other. The primed painting ground usual in an artistic context has given way to a reused object of daily use that usually ends up in the waste paper collection. Can a painting on such a ground claim to be art at all, to hang in a collection of high-priced works? Here, too, a more precise determination is not possible. Again, the statement remains vague and the viewer is thrown back on assumptions and conjectures.

from left to right: (1) maybe a Covid protester in Germany (2) maybe a fruit picker in Spain (3) maybe a white person in the United States

44x88 cm, Acrylic colour on packaging cardboard, framed in strecher frame


Schau mir in die Augen, Kleiner! Wir erkennen einander.  1 bis 3

Starke Männer wie Donald Trump, Wladimir Putin oder Viktor Orbán umgeben sich gerne mit ihresgleichen. Das macht ihre Welt wohl ein klein wenig einfacher. Oder wird ihnen gar bange ums Herz bei dem Gedanken, dass es zu komplex und divers werden könnte?

Look into my eyes, little kiddo! We recognise each other. 1 to 3

Strong men like Donald Trump, Vladimir Putin or Viktor Orbán like to surround themselves with their own kind. That makes their world a little easier. Or does the thought that it could become too complex and diverse sends shivers of frightful fear down their spines?

acrylic color on fabric

71x105 cm


video borderlands - journeying non-binary land



Mum and Dad promised me that I would be better off than they were. They betrayed me. 1 to 3

acrylic color on jeans fabric, photo snippets, objets trouvés

140x140 cm


the act of penetration I to III

The contact of a body with other bodies creates specific affective-emotional qualities and movement patterns. These can have a positive, supportive character or a hurtful and violent character and refer to social power and domination structures. The act of penetration is an exemplary moment of this exercise of power. The verb penetrate contains a suggestion of a driving force or coercive power, implying a more or less violent act (Merriam Webster online dictionary).
Bodies, beings and groups penetrate the self-determination of other bodies, beings and groups. This happens often uninvited, leading to superiority and subordination, not to eye level and unbiased perception and recognition of mutual needs. Through ritualization and constant repetition of specific patterns of movement, the violent character of penetrating contact becomes part of our body consciousness, anchors itself in the canon of human behaviour and thereby cements social, economic and political power and domination structures.

Diptych, acrylic colour on unprimed silk, packaging film, sewing thread, 70x125 cm + 70x125 cm
Triptych, acrylic color on re-used wooden panels and unprimed fabric, 73x103cm + 56x113cm + 73x103cm
Acrylic color on plastic panel (found object), fabric, aluminium tape, 50x60cm


not named

acrylic color on packaging cardboard
45x74 cm, 101 x 90 cm, 48x105cm


city scapes

acrylic color on packaging cardboard, packaging film
64x84 cm


inphallus series

This series of four paintings originates in an artistic research to queer the image/symbol of the phallus as a way to challenge heteronormativity and argue against normalization. This queering relates to the thought experiment of inverting the image/symbol of the phallus. The goal is to create an alternative image of the phallus. The following questions guide: What would happen if I would invert the phallus and turn it inside out? What picture would emerge? Which qualities would this inversion reveal?
The starting point was a deconstruction of the image of the phallus in a public experimental performance that took place in Vienna at the 18th of December 2019 and lasted for 72 minutes. Such a deconstruction is a procedure that potentially disarranges the discursive regime of heterocentric and androcentric normalization with its categories of thought. In the performance I built delicate and fragile phalli-towers out of small, unshaped pieces of wood. Some phalli-towers appeared stable and grew upwards, giving the impression of stability before they collapsed again, other phalli-towers collapsed quickly. From time to time I recorded my affective-emotional states.
As bricoleur I picked up certain elements of the deconstruction. These elements were (1) the how of constructing small phallus/penis towers out of small pieces of wood and (2) the reference to key aspects of certain affective and emotional tones recorded through the experimental performance. These descriptions were then transferred into semantic fields and laid the foundation for a re-composition of the image of the phallus, which culminated in a series of paintings. I term this alternative image of the phallus an inphallus.

acrylic color on unprimed fabric, packaging tape, fabric
85x140 cm


diagram series

50x90 cm, acrylic on unprimed jute, tape


two series: fields and desires

all appr. 40x40 cm
acrylic and tape on packaging cardboard

Ten wounded souls

wall objects, 10 pieces
ten women who have accused donald trump of groping or ogling them meet 10 animal or plant species on the brink of extinction.

various objets trouvés, materials and sizes


auflösungen - dissolutions

photo series, 12 photos

The series Dissolutions was shot during one night in May 2018 in Dubai, which is in itself a symbol of neo-capitalist fantasies of growth and power. In large parts built on the backs of modern work slaves as a show of power for a male-patriarchal elite. The photos were taken from a room on the 23rd floor of the Hotel Dubai Fairmont, overlooking the Al Jaffiliya district, Sheikh Zayed Road and one of the city's newest landmarks, the Dubai Frame. Different exposure times and camera movements lead to different perspectives of one motive, from the clearly visible motif to the chaotic appearance of dots and lines. The different photos were later superimposed and interlaced for the final photo. This results in complex and multi-layered images that defy fast and clear recognition and identification. One needs to come closer to possibly understand. The pictures describe the dissolution from the clear picture, the meaning-making form, to the chaos of the dissolution, the indeterminacy. The photo series thus reflects on the chaos that mankind inflicts in the cycles and ecosystems of the Earth, through careless treatment and use of the Earth's resources while pursuing neo-capitalist fantasies of growth and power. These reflections are translated into emotional images. Emotions like incomprehension, anger, fear, or helplessness of being at the mercy of the functioning of impersonal political, economical and societal processes can crystallize in the photos and become sensible and pronounceable. What is otherwise suppressed into the unconsciousness finds a form of expression that raises awareness and brings relief.


fausse liberté

séries de photos, 12 pièces, 2018

La liberté est une chose précieuse. D'une part, l'humanité a une compréhension claire de ce qu'elle fait ou pourrait signifier. La Déclaration universelle des droits de l'homme ou la Convention européenne de sauvegarde des droits de l'homme et des libertés fondamentales en sont des exemples audacieux.
D'une part, cela pourrait servir de fondement aux sociétés humaines. Au moins une vision de la façon dont les êtres humains pourraient interagir les uns avec les autres est fournie.
D'un autre côté cependant ces fondations sont grossièrement négligées et non respectées. L'ampleur de ce manque de respect semble croître de façon constante. Au lieu de mener la véritable mise en œuvre de ce à quoi l'humanité s'est elle-même engagée, les dirigeants politiques et économiques poursuivent pour la plupart une sorte de fausse liberté. Ils promettent la liberté économique par la machinerie de la croissance illimitée néolibérale et de la productivité. Ils propagent la liberté de communication et d'échange dans les réseaux sociaux du www. Ils égalent la liberté d'égalité avec la rhétorique et le comportement populistes «nous sommes nous».
Ils s'efforcent de nous faire croire que ce qu'ils ont à offrir est la «vraie» chose, même s'ils ne vendent que de fausses libertés. Que peut-on faire d'autre que de résister? Pour couper à ce qui est réel. Pour mettre en question ce que les dirigeants politiques et économiques proposent comme liberté. Pour couper à ce qui peut être considéré comme une liberté honnête.
Les photos de la série abordent les luttes personnelles et sociétales dans la quête de la liberté. Dans la technique du collage, ils utilisent du texte, des graffitis de rue trouvés, des instantanés et des champs de couleur solide pour générer des atmosphères perturbantes et troublantes mais poétiques.

Toutes les photos Impression Fine Art sur toile tendue.


lou liska


+43 (0)660 685 86 95


info at


© copyright 2022 lou liska - all rights reserved
built with mobirise