Franziska Kabisch

Franziska Kabisch lives and works. After studying fine arts in Hamburg and Paris, she studied Critical Studies in Vienna. More or less choreographed, she moves in circles between visual art, film, theory, Germany and Austria, institutions and activist contexts.

2019 Master of Arts in Critical Studies at Academy of Fine Arts Vienna

2016 qualification as Basisbildung trainer for German as second language and alphabetization with adults, AlfaZentrum VHS Wien

2014 Bachelor of Fine Arts at Hochschule für bildende Künste Hamburg 

2012 studies of Fine Arts at Ecole Nationale Supérieure des Beaux Arts Paris 

• Filmografie (Selection until 2014):
• 2012 Ein Film
• 2012 One Or Many (mit Laura Nitsch)
• 2013 Ich sage, sie spricht
• 2014 1999 (mit Laura Nitsch)
• 2014 Podium

More about: http://franziskabisch.net/cv/

http://franziskabisch.net

Nachtrag June 2021

Franzis Kabisch receives the Cathrin Pichler Prize!

A presentation of her work will take place as part of the Akademierundgang in January 2022.

Her artistic research and film project Between Images addresses the depiction of abortions in films and series. How were and are they shown, represented or tabooed, made visible or assigned to the invisible? Which stereotypes or clichés can be identified and how can a space be generated between these images that eludes the binary logic of showing or not showing, of the supposed visibility or invisibility? Like other works by Franzis Kabisch, this experimental film project asks about the peripheries of the image where the visible and the invisible can merge, the relationships between the concept and the understanding of something to become out of balance and questionable, to open up to the possibility of being experienced anew. This also applies to the cinematic image itself, which Kabisch wants to localize in her two-channel installation between visual and haptic qualities.

With this research project, Franzis Kabisch, who completed the Master Critical Studies program at the Academy of Fine Arts Vienna in 2019, continues the experimental practice associated with Cathrin Pichler at the interface of scientific and artistic methods as well as the critical examination of archives and the necessity of this from a queer-feminist perspective.