Ana

Navas

Quito, 1984

Working in various media like sculpture, video, painting and performance, Ana Navas deals with processeses such as translation, assimilation and appropriation. She often thinks of her praxis as trailing the traces of an object's genealogical tree. What are its possible ancestors, influences or new contexts in which it might reappear? Sometimes this approach can be real, historical, and other times, those connections are rather fictional.

Bio

Working in various media like sculpture, video, painting and performance, Ana Navas deals with processeses such as translation, assimilation and appropriation. She often thinks of her praxis as trailing the traces of an object's genealogical tree. What are its possible ancestors, influences or new contexts in which it might reappear? Sometimes this approach can be real, historical, and other times, those connections are rather fictional.

Lives and works in Amsterdam.

In 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 away of the idea of a zero point of creation, thus she questions terms strongly 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.

Navas often works in several series in parallel, which then connect in an installation situation unfolding the conceptual relations those series 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 other constellations, turn from artwork to display, or adopt a different meaning each time they are shown.

Ana Navas attended the Staatliche Akademie der Bildenden Künste in Karlsruhe, where she graduated as a Meisterschülerin (MA) with Franz Ackermann.

She then was a resident at De Ateliers Amsterdam and has done many residency programs including Vila Sul-Goethe Institute, Salvador de Bahia; FLORA Ars+Natura (through a Mondriaan Fonds grant), Bogota; Charco-Granero (edition curated by Manuela Moscoso), León, Guanajuato; Foundation Fiminco, Romainville-Paris.

In 2020 she received the NN Group Art Award, in the Netherlands and in 2018 the Kunstfonds Germany and the Kunstakademie Karlsruhe awarded her with the Kalinowski Prize. She has received the fellowships of Kunststiftung Baden-Württemberg and the Landesgraduiertenförderung Baden-Württemberg.

Her work has been widely exhibited in Latin America and Europe, in places such as: Staatliche Kunsthalle Baden-Baden; Galerie der Stadt, Sindelfingen; P/////AKT, Platform for contemporary Art, Amsterdam; El cuarto de máquinas, México City; Cobra Museum, Amstelveen among others and upcoming in Nest, The Hague.

Her work has been published in the books: I had to think of you / Ich musste an dich denken and A fake crocodile can make you cry real tears.

Selection of Works

Budhas en nanas
Jug Stand, Vynil, Fabric, Imitiation Jewellery and Sponges
24½ x 14½ x 49¼ inches
2019
7
Budhas en nanas
Jug Stand, Vynil, Fabric, Imitation Jewellery and Sponges
24½ x 14½ x 49¼ inches
2019
8
Etui
Faux Leather and Fabric
59 x 86½ inches
2014
2
Etui
Bronze Sculpture, Faux Leather and Fabric
59 x 86½ inches
2014
1
Etui
Faux Leather and Fabric
59 x 82½ inches
2014
3
Etui
Faux Leather and Fabric
59 x 86½ inches
2014
4
Excusas (Meret y Henry)
Ironing Board, Fabric and Acrylic Paint
16½ x 48½ x 32¼ inches
2019
14
Excusas (Meret y Henry)
Ironing Board, Fabric and Acrylic Paint
16½ x 48½ x 32¼ inches
2019
13
Hi Donald
Suitcase, Fabric, Napkin Holders, Imitation Jewellery and Acrylic Paint
9¾ x 11½ x 38½ inches
2019
11
Hi Donald
Suitcase, Fabric, Napkin Holders, Imitation Jewellery and Acrylic Paint
9¾ x 11½ x 38½ inches
2019
12
I don't care if this has been standing here for centuries, it's ruining my Zen garden
Site-specific Installation
Variable Dimensions
2014
23
I Had to Think of You
Site-specific Installation
Variable Dimensions
2014
28
I Had to Think of You
Site-specific Installation
Variable Dimensions
2017
26
I Had to Think of You
Site-specific Installation
Variable Dimensions
2017
25
I Had to Think of You
Site-specific Installation
Variable Dimensions
2017
24
I Had to Think of You
Site-specific Installation
Variable Dimensions
2014
27
Noodles
Acrylic Paint on Denim
Variable Dimensions
2017
20
Noodles
Acrylic Paint on Denim
Variable Dimensions
2017
19
Noodles
Acrylic Paint on Denim
Variable Dimensions
2017
21
Noodles
Acrylic Paint on Denim
Variable Dimensions
2017
22
Noodles
Acrylic Paint on Denim
Variable Dimensions
2017
18
Oficinista
Baby Bathtub, Fabric and Flase Eyelashes
20½ x 10¼ x 8¼ inches
2019
17
Pulpo con caballete
Easel, Vynil, Acrylic Paint, Plastic Dishes, Rubber Rug and Imitation Jewellery
30 x 23½ x 60 inches
2019
16
Pecera
Cloth Rack, Fabric, Plastic and Acrylic Paint
16½ x 31½ x 66½ inches
2019
10
Pecera
Cloth Rack, Fabric, Plastic and Acrylic Paint
16½ x 31½ x 66½ inches
2019
9
Pulpo con caballete
Easel, Vynil, Acrylic Paint, Plastic Dishes, Rubber Rug and Imitation Jewellery
30 x 23½ x 60 inches
2019
15
To Cut One’s Hair by the Moon
Site-specific Installation
Variable Dimensions
2018
5
To Cut One’s Hair by the Moon
Site-specific Installation
Variable Dimensions
2018
6

Shows at Pequod