Ana Navas July, 2020 - Webflow
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Ana Navas July, 2020
Ana Navas July, 2020 Ecuador, 1984 Lives and wors in Amsterdam Working in different media like sculpture, video, painting and performance Ana Navas deals with processes as translation, assimilation and ap- propriation. She thinks very often of her praxis as going behind the traces of an object’s genealogical tree. What are its possible ancestors, influ- ences or new contexts in which it might reappear? Sometimes this approach can be real, historical, and other times, those connections are rather fictional ones. During her work process, the metaphor of a non-stop domino effect, where things and contents are constantly moving each other, is recurrent. Navas tries to stay far away of the idea of a zero point of creation, thus she questions terms strong related to art making as revolution, creativity or authorship. For her, art is a dialogue with strangers, but this dialogue does not only resonate to the direct participants of the artistic experience, but creates also a wider echo. One of the main questions in her work is how art is perceived and transformed outside the art context and what are the meeting points between different disciplines as ethnology / art / design / decoration and the relation between high and popular culture. She is interested in moments where these encounters, transformation, absorption and imitation are especially present. This is how in her work a wide variety of themes such as adolescence, forgery, amateur art, song covers or costumes become examples around the idea of willing to copy and to possess. Ana Navas often works in several series in parallel, which then connect in an installation situation unfolding the conceptual relations those se- ries have to each other. Aiming to be consequent on her focus on transformation, she understands the exhibition situation as an ‘essay’ moment and not a definite one. This means, the works are understood as modules, which can be reused for new pieces, reappear in another constellations, turn from piece to display or adopt a different meaning each time they are shown.
Ana Navas Project selection July, 2020 Rarely True “Power dressing” describes an 80’s fashion trend that focused in supporting the executive woman aiming to “break through the glass ceiling”. Vari- ous best seller books of the time offered advice on how to dress appropriately to blend in companies sectors dominated by the opposite gender. This project reinterprets this advice in a series of assemblages, each containing a central element: either a key component from these fashion con- sultancies (as, for example, the pussy bow) or a fictional accessory – nonexistent in the market but aligned with this trend’s negotiation (as, for ex- ample, foam’s shapes to hide the waist or “sideburns” jewelry to be attached to the ear) -. These central elements are placed on two-dimensional col- lage-like surfaces, where Navas experiments with textiles, patterns, domestic objects and other significant references for her research.
Ana Navas Project selection July, 2020
Rarely true, 2019
Exhibition view
Kunstruimte De Nederlandsche Bank,
Netherlands
Ana Navas Project selection July, 2020
Rarely true, 2019
Exhibition view
Kunstruimte De Nederlandsche Bank,
Netherlands
Ana Navas Project selection July, 2020
Rarely true, 2019
Exhibition view
Kunstruimte De Nederlandsche Bank,
Netherlands
Ana Navas Project selection July, 2020
Waistpads (after Moore), 2018
PVC, acrylic, textile, plastic
140 x 100 cm
Ana Navas Project selection July, 2020
Patilleras, 2018
Carpets, cardboard, textile, leather, silver
130 x 104 cm
Ana Navas Project selection July, 2020
Iron, 2018
PVC, acrylic, metal, textile, ceramics
195 x 62 cm
Ana Navas Project selection July, 2020
United, 2018
Mat, plaster, textile, paper, metal, bullet-
proof vest, piercing
193 x 65 cmAna Navas Project selection July, 2020
Pyramid, 2018
Fabric, hair, silk paint, bread, epoxy
145 x 155 cmAna Navas Project selection July, 2020
Nuez de Adan, 2018
Fabric, silicone, plastic, silver
147 x 82 cmAna Navas Project selection July, 2020
Muy agradecida, 2018
Fabric, a.o fabric used for seats in busses
272 x 295 cmAna Navas Project selection July, 2020 I had to think of you I had to think of you is a solo exhibition, in which Navas organizes recent and past work according to trends for food franchising image design. The entrance at the Stadtgalerie Sindelfingen’s works as an introduction into the subjects she approaches across the show, such as ethnography, decora- tion, and gastronomy. Inside the museum’s central spaces she recreates different atmospheres according to image design trends categorized as Mod- ern, Minimal, Urban & Nature. The remaining two spaces merge a series of large paintings of noodles, different music styles and a video projection. In the projection, Navas pre- pares noodle dough on a Verner Panton’s style children’s chair while an audio piece plays short extracts from diverse versions (bachata, techno, among others) of a single song: Unchained Melody. Bringing back through the melody the memory of a well-known Hollywood scene - Demi Moore making pottery in the 90’s romantic fantasy thriller Ghost - the process of preparing noodle’s dough showed in her video can be read as a sculptural moment.
Ana Navas Project selection July, 2020
I had to think of you, 2017
Exhibition view
Stadtgalerie Sindelfingen, GermanyAna Navas Project selection July, 2020
Noodles, 2017
Glazed ceramic, papier-mache, steel, wood
83 x 140 x 70 cmAna Navas Project selection July, 2020
I had to think of you, 2017
Exhibition view
Stadtgalerie Sindelfingen, GermanyAna Navas Project selection July, 2020
I had to think of you, 2017
Exhibition view
Stadtgalerie Sindelfingen, GermanyAna Navas Project selection July, 2020
I had to think of you, 2017
Exhibition view
Stadtgalerie Sindelfingen, GermanyAna Navas Project selection July, 2020 To cut one’s hair by the moon Sculpture based on abandoned monuments of the Soviet Yugoslavia, the materials with which it is built respond to a logic of temporality related to the material (durable materials vs. perishable) as explained by Robert Smithson in his essay Entropy and the New Monuments. The structure is treated with typical actions of vandalism and iconoclasm creating a violent and violated portrait of a monument.
Ana Navas Project selection July, 2020
To cut one’s hair by the moon, 2018
Exhibition view
Staatliche Kunsthalle Baden-Baden 45
cbm, GermanyAna Navas Project selection July, 2020
Presidents, 2018 - ongoing
Ink on rice grains, children’ clothes, plinth
Variable dimensionsAna Navas Project selection July, 2020
To cut one’s hair by the moon, 2018
Staatliche Kunsthalle Baden-Baden 45
cbm, GermanyAna Navas Project selection July, 2020 Placing a mirror at the entry area is a gracious way to welcome wealth in Placing a mirror at the entry area is a gracious way to welcome wealth in is an installation composed by different bodies of work. The central one corresponds to a series on forges titled A fake crocodile can make you cry real tears. Departing from different platforms (such as online forums), which provide keys to distinguish fake products from original ones, Navas creates an archive of inaccuracies. Then, she uses these “mistakes” - for example “patterns do not continue aligned in the textile’s seam” or “molding flash remains visible in the final positive form” - as instructions to produce sculptural elements. A publication (designed with Santiago da Silva) reveals the collection of errors from which the works originally took their shape.
Ana Navas Project selection July, 2020
Placing a mirror at the entry area is a gra-
cious way to welcome wealth in, 2016
Exhibition view
P/////AKT Amsterdam, NetherlandsAna Navas Project selection July, 2020
Placing a mirror at the entry area is a gra-
cious way to welcome wealth in, 2016
Exhibition view
P/////AKT Amsterdam, NetherlandsAna Navas Project selection July, 2020
Placing a mirror at the entry area is a gra-
cious way to welcome wealth in, 2016
Exhibition view
P/////AKT Amsterdam, NetherlandsAna Navas Project selection July, 2020 Excuses Ana Nava’s artistic practice often focuses on an object’s genealogy, as that object transits different usages and stages of interest through different disciplines, such as art and design. Considering everyday objects that are close to me, such as the luggage trolley, the easel, and domestic items like the ironing board, she creates a collection of textile costumes specifically designed for them. She uses some of those costumes to explore a particu- lar artist’s oeuvre that might have influenced the object’s design, or which have addressed an art historical movement or realm, such as public art. Beyond these original associative references, the costume collection that results from this process aims to create a variety of characters embodying notions related to taste.
Ana Navas Project selection July, 2020
Sumas y restas, 2019
Exhibition view
lnstituto Cultural de Leon, Guanajuato,
MexicoAna Navas Project selection July, 2020
Sumas y restas, 2019
Exhibition view
lnstituto Cultural de Leon, Guanajuato,
MexicoAna Navas Project selection July, 2020
Budhas en nanas, 2019
Jug stand, vynil, fabric, imitation jewellery,
sponges
62 x 37 x 125 cmAna Navas Project selection July, 2020
Peceras, 2019
Cloth rack, fabric, plastic and acrylic paint
42 x 80 x 169 cmAna Navas Project selection July, 2020
Hi Donalds, 2019
Suitcase, fabric, napkin holders, imitation
jewellery, acrylic paint
25 x 39 x 98 cmAna Navas Project selection July, 2020
Excusas (Meret y Henry), 2019
Ironing board, fabric, acrylic paint
42 x 123 x 82 cmAna Navas Project selection July, 2020 I don’t care if this has been standing here for centuries, it’s ruining my zen garden Departing from the question: how would the mental image of the word “sculpture” look like? Navas reviews sculptures’ depictions such as props for theater, amateur books on learning to sculpt or publicity for sculptors’ supplies. By creating groups through their formal similarities she formed different archetypes, which then she sculpts using paper maché and Styrofoam. The series Yet far more often than these text based pieces, one would play pure melodies on the mouth organ II, in which Navas recreates objects based purely on their audio guides’ descriptions from ethnographic museums, and a grill covered in paper maché are often placed alongside the sculptures in the space. These two external elements elicit associations of the archetypes, not only with sculptural, but also with “primitive” as well as with design language.
Ana Navas Project selection July, 2020
Offspring, 2014
Exhibition view
De Ateliers Amsterdam, NetherlandsAna Navas Project selection July, 2020
Nespresso, 2014
Styrofoam and Papier Mache
120 x 150 x 80 cmAna Navas Project selection July, 2020
Object for backdrop, 2014
Styrofoam and Papier Mache
90 x 150 x 60 cm, 2014Ana Navas Project selection July, 2020
Elegance (Sarah-Jane), 2014
Styrofoam and Papier Mache
150 x 165 x 115 cmAna Navas Project selection July, 2020
Yin-Yang, 2014
Styrofoam and Papier Mache
Variable measuresAna Navas CV July, 2020
Ana Navas len, The Netherlands Netherlands Stuttgart, Stuttgart, Germany
Quito, 1984
2018 I Don’t Careif This Has Been Standing Here Primitivo fallido, Los 14, Mexico City, Mexico
STUDIES Medias de repuesto en gaveta de escritorio, For Centuries, It’s Ruining My Zen Garden,
Master’s degree in Fine Arts, Academy of Fine Ladrón, Mexico City, Mexico Kunststiftung Baden-Württemberg, Stuttgart, 2017
Arts Karlsruhe, 2010 - 2011, Karlsruhe, Ger- Germany 15 / Love, De School, Amsterdam, The Neth-
many To Cut One’s Hair by the Mooon, Sta- erlands
atliche Kunsthalle Baden-Baden 45cb-
Bachelor in Fine Arts (Diploma), Academy of m,Baden-Baden,Germany GROUP SHOWS (selection) Humble, Garage, Rotterdam, The Netherlands
Fine Arts Karlsruhe, 2004 - 2010, Karlsruhe, 2019
Germany 2017 Sumas y restas (in collaboration with Kiko Espejo negro, elefante blanco, El cuarto de
I Had to Think of You, Galerie der Stadt Sin- Pérez), Instituto Culturalde León, Leon, Mex- máquinas, Mexico City, Mexico
SOLO SHOWS (selection) delfingen, Sindelfingen, Germany ico
2020 Correspondencias de Ultramar#4, Sala Mendo-
Upcoming 2016 El Nudo, Carreras Mugica, Bilbao, SpainYoga za, Caracas, Venezuela
Sagrada Mercancía, Santiago de Chile, Chile Placing aMirror at the Entry Area Is aGracious to Go, Die Putte, Ulm, Germany
Way to Welcome Wealth In, P/////AKT, Plat- Amethyst Babyccino(in collaboration with Dan-
2019 formfor contemporary art, Amsterdam, The 2018 iela Baldelli), Rinomina, Paris, France
El barro, la culebra y sus principios, Crisis, Netherlands TJusto x Bueno, Binario, Bogota, Colombia
Lima, Peru Puras cosas nuevas, Pantalla Blanca, Mexico
2015 NAP II (in collaboration with Nadia Naveau), City, MexicoBreve, Abra Caracas, Caracas,
To Roll (One’s) Sleeves Up, Tegenboschvavre- Sometimes, When I Am Alone, I Use Comic Tegenboschvavreden, Amsterdam, The Nether- Venezuela
den, Amsterdam, The Netherlands Sans, Tegenboschvavreden, Amsterdam, The lands
Netherlands 2016
Ich traute mich, sie zurückzugeben, weil sie nich Kiosko, Fundación Alumnos 47, Mexico City, Early Spring, Gallery Tegenboschvavreden,
bissfest waren, Sperling, Munich, Germany Ornament (?), Made of Feathers, String, Stride Mexico Amsterdam, The Netherlands
On Projects, Karlsruhe, Germany
Rarely True, De Nederlandsche Bank, Amster- Callar la protesta, La Fortaleza, Mexico City, Apartment Group Show, Apartment_19, Karl-
dam, The Netherlands 2014 Mexico sruhe,GermanyRompeflasche, Centro de Arte
Contemporáneo, Quito, Ecuador
13 Is a Lucky Number, SCHUNCK*, Heer- Offspring 2014, De Ateliers, Amsterdam, The Still Water. Politiken des Wassers, HospitalhofCristóbal Gracia CV June, 2020
15 años de intercambio, ENPEG La Esmeral- den, Amsterdam, The Netherlands Granero –CHARCO, Leon, Mexico, 2019
da, Mexico City, Mexico EMPAC –Rensselaer Polytechnic Institute
Easily Broken, Gallery Tegenboschvavreden, (research residency), New York, USA, 2019
St:rung, Akku, Stuttgart, German Amsterdam, The Netherlands
SCHUNCK (with the supportMondriaan
2015 GRANTS Fonds), Heerlen, The Netherlands
Objects Foods Rooms, Galería Proyecto Parale- NN Art Award, NN Group, The Netherlands
lo, Mexico City, Mexico Escuela Flora Arts Natura (with the support-
KalinowskiGrant, Stiftung Kunstfonds, Ger- Mondriaan Fonds), Bogota, Colombia, 2018
Velada de Santa Lucía Remix, Hamburg, Ger- many
many Cité International des Arts, Paris, France,
Salón de Jóvenes con FIA XVIII (Honorable 2017
Salón de Jóvenes con FIA XVIII, Centro de Mention), Caracas, Venezuela
Arte Los Galpones, Caracas, Venezuela Goethe Institut, Salvador de Bahía, Brazil,
Stipend of the Dutch Ministry of Education, 2016
Tofu Absorbs Flavor (a project by Daniel Jacoby Culture and Science, Denmark
and Gerard Ortín), Gallery Sabot, Cluj-Na- Secretaría de Relaciones Exteriores, Mexico
poca, Romania Stipend of the Kunststiftung Baden-Württem- City, Mexico, 2015
berg, Stuttgart, Germany
New Harmony (in collaboration with Sara CEAAC (CentreEuropéen d’Actions Artis-
Wahl), Im Hinterzimmer, Karlsruhe, Germa- Stipend of the Landesgraduiertenförderung tiques Contemporaines), Strasbourg, France,
ny Baden-Württemberg, Stuttgart, Germany 2015
2014 Fondo Nacional para la Cultura y las Artes, De Ateliers, Amsterdam, The Netherlands,
Eau de Cologne, Kunstverein Amsterdam, Oaxaca, Mexico 2012
Amsterdam, The Netherlands
Forumkunst, Regional Council’s Art Grant,
The Hidden Picture, Cobra Museum Am- RESIDENCIES Karlsruhe, Germany, 2012
stelveen, Amstelveen, The Netherlands Upcoming, Fondation Fiminco, Romainville,
France
Summer In the City, Gallery Tegenboschvavre-You can also read
