A Gentil Carioca is pleased to present Anotações sobre a prática e outras considerações. Ana Linnemann's first solo show at the gallery.
The show concludes a trilogy protagonized by the artist's internal production relations. In it’s first moment, with “Exposição de galeria”, Ana examines formats common to the universe of galleries. They are paintings and drawings, but in a condition of dissidence: paintings, but not that much, and drawings, but not that much. Sculptures in which the material is painting, and objects in which the material is drawing. In “Exposição de galeria + Anotações sobre a prática”, the artist deepens her research with an analysis of the daily work in an art studio, observing the world around her in a constant exercise of freedom.
Click below to read the exhibition text, by the art critic and curator Michelle Sommer.
“Ana Linnemann creates situations that disturb the conventions about the mobile nature of some things and the inertness of others, affecting the sensory coordinates that are shared by many, serving as beacons for locating and moving one's self in the most different places; it opens fissures, therefore, in the existing consensus on how the world operates.”
– Moacir dos Anjos, De como as coisas são e de como elas podem ser outras coisas, 2012
Ana Linnemann is a Brazilian artist who lives and works in Rio de Janeiro, Brazil. She produces three-dimensional works, using various techniques from embroidery to motorized banal objects. Invisibility is one of the frontiers of the visuality that Ana investigates in her production, although, in fact, this frontier does not exist by itself. This invisible quality of the artist's work is alluded to either by the sudden change in the state of the objects in an exhibition or public space, or by the exposure of the interior space of the object. According to the contemporary art critic Moacir dos Anjos, Ana Linnemann's work “is informed by a desire to carefully intercept over many such things that inhabit the world, considering what is clearest about them and, simultaneously, what it is that hides behind them (…) Things that awaken or confirm in the artist an intense attraction towards life's commonplace, leading her to examine them as closely as possible in an attempt to understand their wordly, banal nature, as if she was seeing them for the first time.”