Ana Negro. Argentina

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Born in Buenos Aires, Argentina where she lives and works. Her works are in private collections in United States, Mexico, Spain, Italy, France, Belgium, Australia, Tunisia, China, Chile and Argentina.

The journey provides delight.
From her first paintings we find this particular process with the bodies: perhaps one might think that in adding some shadows to the light, to the original white color of the prepared canvas (here: an evident simile of Genesis), most painters trade energy for substance: before the light they place an imitation of their own flesh. Indeed, the own discourse, the effort in figuring out History, or - on a lower scale - the shaping of every persona, all this implies an eagerness to impose the abstract, every world, unto the real: with each try at explaining a phenomenon we find ourselves farther from reality.

As for Ana, the process by which communication finds a true development, i.e. the way her Art works, points to an opposite direction: devastation, deprivation, layer by layer, of an image, violation of a symbol, in order to reach perhaps the hidden, indecipherable sign though a more intelligible one, due to its fundamental nexus to the primeval language.

To reduce the thickness of the frontier man himself creates and recreates on his struggle for a full comprehension; to take a chance, indeed, on a simple but deeper understanding (between artist and spectator, but even beyond that, reaching also those who instead of a self-recognition, surprise themselves for a variable familiarity) that would give place to a exchange of impressions, putting apart all pre-established discourses, and even further, leading to a sort of eloquent silence.

This silence questions insofar as it commits an acceptation of reality and the abandoning of the most sophisticated (and now superseded) explanations, all kind of rational causality (which we employ finally in order to be able to anticipate, dominate, avoid fear, to defend ourselves). Ergo - silence as redemption.

The impression, the punch-like insight, becomes a reliable evidence of the fitness of the path traced by Ana, of the effectiveness of her artwork. Complex. Questioning.

In these and in other ways this is an exceptional ensemble.

We should note that the artist makes use of three fundamental elements for producing an emotional injure (the last one has been the object of the greatest transformation in last years, so in this most recent exposition it's the one that marks a difference): First, the bodies; second, the scene, that denotes the clear influence of representative art; and, finally, the background, unveiled by means of the break of the representation’s narrative time.

Let me clarify the issue.
Human figures represent men. It’s appropriate to underline the term figures: it’s very particular the way their conception (in the beginning) and their final setting (in consequence) are far from hyperrealism, but at the same time are pointing to a consistency of features and textures, within a barely deformed image - image is valid -, by a special lens, in a direct relationship with the role of each character, or of their whole – in each scene. These are always set-ups destined to be disjointed.

Here is the basis for the scenes. The determining factor in Ana’s questioning is time. Its - multiple - implications.

Far from being compositions based on poses, the bodies in these paintings find themselves, or are revealed, in the full-fledged representation, each one fulfilling a role, either in an allegory (which marks a certain time) or strictly speaking in the development of a story. The situation anyway entails the proposal of a narrative, the eagerness to establish a measure of time, of ages: to impose will against death (even by killing if necessary). And here, the denunciation of violence.

As a consequence of the devastation of the clear light, layer by layer, we find ourselves before a forceful nudity: fit to the idea of human representation as product of a conscious, artificial abstraction, that nonetheless reveals an effort for purity, elevation.

The achievement is masterful in its multiple shades. They emphasize the fragile constitution of the assembly; and nothing of this prevents the impact of a last revelation: man exposed to a fragility for which neither ritual, nor culture in general has prepared him, but perhaps only shielded him (as in fact language, employed to explain reality, sets us apart from it).

The characters in the paintings of this last exhibition, mainly due to the color palette, because of the texture developed on the surface (with those lumps that seem to detach themselves persistently from the skin, that later mutate in components of the space between them and us, the realm of dreams, the very substance of fiction) do suffer, live. And it’s indeed their proper life: our painter keeps from fixing any element in a clearly defined color: they’re protected from any intent of imposing them a temperament, a nature (something that will establish an order, a measure). In this way the author erases herself, puts herself at the service of the artwork.

The man of clay, Adam, the myth, is surprised by the light to which he offers his dance, he discovers on his own body the smell of pure pain that confirms his real existence, that he’s alive, apart from Scripture, from all tradition.
We’re prone to recognize in the artist’s affirmations that which is not there, but we also pursue…

In every painting: the interpreter encounters himself precisely in performing his action, because he perceives himself there in a false position: something more than a mere idea bursts in, very far from a logical proposition; it’s rather a certainty - one that questions.
Critic is ferocious, it seems also to devastate and to take along - in tatters, in the astonishment projected as new memory of the contemplation - every allegation of immortality, and to win, by means of the artwork, the possibility of a new longer life, but far from the individual in loneliness, and rather in the communication of that painful, fundamental astonishment.
The creation in which oneself, as a phenomenon, as a means, constitutes temporarily - the limit.

And here is as well the end: to extinguish oneself in order to give full life to the artwork. To be able to contaminate as less as possible this offering with that which can hardly be avoided: to preserve from the so-called “death drive” that which is alive in ourselves.
Even further: to offer a sacrifice in place of our surrender. (Juan Pablo Torres Muñiz, Arequipa. Peru. 2017 | English translation by Roberto Zeballos Rebaza)

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Solo and collective exhibitions (selection):
Cathedral Cultural Center . Buenos Aires 1992.
F.E.M.E.C.A. Salon .Buenos Aires 1992.
Celebrities Gallery. Buenos Aires 1993.
National Congress 1994.
Buenos Aires Stock Exchange 1995.
1st. Salon of Paintings of the River of La Plata .Uruguay. 1996.
Ramon Carrillo Salon of the Ministry of Health and Social Action of the Nation. Buenos Aires. Argentina. 1996.
Organization of American States. Autumn Salon. Buenos Aires. Argentina 1996.
Buenos Aires Stock Exchange 1997.
Federal Health Coverage 1997.
House of the Culture of the Government of the City of Buenos Aires. La Prensa Building. 1997.
Arternativo Gallery. Buenos Aires 1998.
PALAIS DE GLACE. Buenos Aires 1999.
ARTEBA – Buenos Aires. Argentina 2001.
VYP Gallery Fine Art. Buenos Aires 2002.
Cultural Center of the Artists. Roberto Perez Celis Salon 2002.
Amador de los Ríos Gallery Fine Art. Madrid. Spain. 2003.
4ta Biennale Internazionale Dell`Arte Contemporanea. 6-14 Dicembre 2003. Firenze. Italy.
Classical Art. Palacio San Miguel. Art Fair. Buenos Aires. 2004.
Studio Rich Gallery Nights. Buenos Aires. 2004.
Galleria D`Arte Il Saggiatore. Roma. Italy. 2005-2006.
Segnali Bianchi Nella Notte. Studio S Arte Contemporanea. Roma. Italy. 2005.
Venite Adoremus. III Mostra Internazionale D´Arte Sacra Contemporanea. Basilica di Santa Maria in Montesanto. Chiesa degli Artisti. Roma. Italy . 2005.
Stelle Di Natale. Galleria D´Arte Il Saggiatore. Roma. Italy. 2006.
Venite Adoremus. IV Mostra Internazionale D´Arte Sacra Contemporanea. Omaggio alla Divina Comedia. Basilica di Santa Maria in Montesanto. Chiesa degli Artisti. Roma. Italy . 2006.
ARTEXPO NEW YORK. 2007.
Atmosfere Lunari insieme dela Notte Bianca. Galleria D´Arte Il Saggiatore. Roma. Italy. 2007.
Dal Segno alla Materia. Sculture e Graphiche Contemporanei. Galleria D´Arte Il Saggiatore. 2007.
Pianeta Donna. Galleria D´Arte Il Saggiatore. Roma. Italy. 2008.
XVI Edizione Primaverile A.R.G.A.M. ( Associazione Romana Gallerie Arte Moderna). Prendere Posizione. Roma. 2008.
Bienal de Arte Contemporaneo de Chapingo. Mexico. 2008.
Galleria D´Arte Il Saggiatore. Roma. Italy. 2009.
RED DOT ART FAIR. March 4-7. NEW YORK. 2010.
Three Argentine Painters in Brussels. Espace Gallery. Belgium. 2010.
Argentine Art in Luxembourg. Cultural Center Cienfuegos. Luxembourg. 2010.
ETNIA. Latin American Art Fair. Brussels. 2010.
Artists At Home & Abroad. Broadway Gallery. New York. 2010.
Argentine Art. Capital Gold Galerie. Düsseldorf. Germany. 04 / 02- 25/02/2011.
Art Argentin à Bruxelles. Maison de l´Amérique Latine. Bruxelles. Belgique. Exposition collective. 23/06/2011 al 07/07/2011.
Atelier Arcane. Exposition Collective. Bruxelles. Belgique.19/05-02/06/2011.
Argentinische Kunst in Berlin. STARKE FOUNDATION. Berlin. Germany.04/04- 30/04/2011.
Gran Bazar di Artisti Contemporanei. Mostra collettiva internazionale. Galleria d`Arte Il Saggiatore. Roma. Italy. 12/12/11- 12/01/12.
EXPO- ARTE Palacio San Miguel . Art Fair 2nd. Edition. Buenos Aires. 2013
ARTEXPO NEW YORK. 2014.
Buenos Aires Stock Exchange. 2014.
RAICES ARGENTINAS II. Collective Exhibition. Argentine Consulate in Barcelona. 2014.
ARDI. Contemporary Art Fair and Design. Hipódromo de Palermo. Buenos Aires. 2014.
160TH Anniversary Salon of Buenos Aires Stock Exchange. Buenos Aires. 2014.
Distal Art. Collective Exhibition. Buenos Aires. 2014.
CALEIDOSCOPIO. Collective Exhibition. Ateneo Grand Splendid.2015.
ARTEXPO NEW YORK.2015.
RAICES ARGENTINAS III. Collective Exhibition. Argentine Consulate in Barcelona. 2015.
ARTEXPO NEW YORK. 2016
CALEIDOSCOPIO II. Collective Exhibition. Ateneo Grand Splendid.2016.
Buenos Aires Stock Exchange. 2016.
RAICES ARGENTINAS III. Collective Exhibition. Argentine Consulate in Barcelona. 2016.
ART-SHOPPING. CARROUSEL DU LOUVRE. Paris. France.2016.
ARTEXPO NEW YORK. 2017
3rd GLOBAL PRINT . Douro.Portugal.2017
ARGENTINA MOSAICO DE CULTURAS. Collective Exhibition. Argentine Consulate in Barcelona. 2017.
9th DOURO PRINTMAKING BIENNIAL 2018 Douro.Portugal.

Publications:
OLEO Y MARMOL. Magazine. Buenos Aires.1999
LA NACION. Journal. Buenos Aires. 1999 - 2002.
BUENOS AIRES HERALD. Journal. Buenos Aires. 2002.
DIARIO RIO NEGRO. Journal. Río Negro. Argentine.2003.
LA RAZÓN. Journal. Spain. 2003.
IL TEMPO .Journal. Italy. 2004.
LIBRO ARTE IBEROAMERICANO CONTEMPORANEO. AT CULTURA
CORDOBA. Book. Argentine.2005.
CORUS. BIMESTRALE DI ARTE E CULTURA.NO 5.Magazine Italy. 2005.
VENITE ADOREMUS. MOSTRA D`ARTE SACRA. II EDIZIONE .Italy.2005.
HOY ARTE HOY.Magazine.Buenos Aires.2006 - 2009.
ILLUSTRATIONS OF THE CD: “ MONÓLOGO DE LOS CUERPOS.CUADRANTE SUR”.Buenos Aires. Argentine. 2007.
VENITE ADOREMUS. OMAGGIO ALLA DIVINA COMEDIA. IV EDIZIONE. Italy.2007.
BIENAL DE ARTE CONTEMPORANEO.MEXICO 2008.
NY ARTS MAGAZINE VOL 16 WINTER 2011.
ILLUSTRATIONS OF THE BOOK “ARTE Y CORPOREIDAD”. ED. MAGISTERIO RIO DE LA PLATA. Buenos Aires.2012.
VENITE ADOREMUS. OMAGGIO ALLA DIVINA COMEDIA. IV EDIZIONE. Italy.2007. EXPO- ARTE. Buenos Aires. 2013.
ARTE AL LIMITE Journal No 106. Chile. July 2014.
ARDI BUENOS AIRES. ARTE + DISEÑO. 2014.
ARTE AL LIMITE REVISTA BIMESTRAL No 73. Magazine of Fine Art. Chile. May 2015.
ARTE AL LIMITE PERIODICO. Journal No 118. Chile.August. 2015.
FIBRAS LATINOAMERICANAS. Book. AAL. CHILE. 2018 ( In Press).
Hes works are in private collections from the USA, Mexico, Spain, Italy, France, Belgium,Australia, Tunisia,Chile and Argentina.