https://www.anaamorim.art/practice daily 1.0 2025-09-30 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1582407913139-34HTF0W0WFSX0Y1XAD7K/Logo+Ana+Amorim+01.jpg Practice https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1753149922798-K3YX7XIK8S0EEOOIISQK/_MG_9368-copy.jpg Practice - Large Canvas 1990, 1990 acrylic, watercolor pencil, ballpoint pen and found objects on paper (set of 365 pieces, 32 x 47 cm each). This is the Large Canvas 2. Routine I counted seconds for one hour at the end of the day, drawing the map for the day and attaching a small flat element from my surroundings to the work. Collection of the Museum of Contemporary Art, University of São Paulo https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1753149649728-EQ26CB6X7KZF6S6CEY0Q/_MG_9286_1-copy.jpg Practice - Large Canvas 4, 1991 ballpoint pen and sewed cut out fabric on strip of cloth (set of 318, approx. 61 x 14 cm each) Routine: I drew a map on a fabric strip in 2 colors: black for everyday routes and red for new routes. Then, I stitched a piece of fabric that I cut from my clothes, towels, table cloth, labels or linen to the work, which I collected from my immediate surroundings. Lastly, I counted seconds for one hour, in my own time. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1595461936797-WBPB6UE18Q7LAY2AL4MV/1994+Book+UK+-+004+%282%29.jpg Practice - Counting Seconds Book - 1991 Counting Seconds Book used in performance/exhibition. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1753149502500-UYTOBW33FX4YUA9K4CKO/_MG_9334-copy.jpg Practice https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1736160922637-LAE4ZDNA20LPDRVMU607/230922-Millan-acervo-ph+Ana+Pigosso-046-AL.jpg Practice https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1719354002857-S3P9CCJAECUYQ7QH0AL0/image-asset.jpeg Practice - Final Map Format - 1987 Canvas that defined the map format for the “10 Year Performance Project”. 12 pieces, acrylic on canvas (Approx. 45x63.5cm each) Picture: Ana Pigosso © Copyright ANA AMORIM https://www.anaamorim.art/vermelho-26032022-6-744-281-65-01-2022 daily 0.75 2024-12-09 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210328840-KU7SE3ZGHAG90KX33X0V/_MG_9586-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649294603970-Z0ZA6WXURMBZTXBZMG78/_MG_9704-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 - Ana Amorim Title: 26032022-6.744-281-65-01/30042022-5.904-246-65-36 Galeria Vermelho Ana Amorim - Solo Exhibition - 26 March - 30 April 2022 Pictures: Filipe Berndt https://galeriavermelho.com.br/exposicoes/#26032022-6-744-281-65-01-30042022-5-904-246-65-36 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210072794-KKHGGES5LF4MVHYG5ACY/_MG_9589-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649209838369-9KTCCA2Y8SC37D4STL07/_MG_9376-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 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https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210099771-SPP42X16EDS61QBROU9D/_MG_9663-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210106360-MXGLLYRGG8XKD2F6IKXK/_MG_9664-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210111984-MRCPTR8ZHLSK2VTQ853C/_MG_9665-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210117984-8JGY4ADM2Z6PREH700QV/_MG_9666-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210130748-IJIWOO9IL2S851IHUGYS/_MG_9667-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1649210139087-TVDX1YGG6JZDA2DBLAKA/_MG_9671-copy.jpg Vermelho 26032022-6-744-281-65-01 2022 https://www.anaamorim.art/tempos-fraturados-mac-usp-2023-2028 daily 0.75 2024-12-09 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136540626-QVRICSZGXVI2S0L0VICO/_MG_2629-copy.jpg Tempos Fraturados MAC-USP 2023-2028 - Personal Color Spectrum - 1989 "This routine consisted in me looking for an object from my immediate surrounding, seeking to capture the color spectrum around me, as soon as I finished drawing my daily map. I stored the object inside a plastic sandwich bag and labeled it with the number of hours until the end of the year, number of days for the end of the year, my age and the number of the 'Large Canvas 2' map for the day." 365 pieces, label, various objects inside plastic sandwich bags (209x557cm in total). Installation on show at 'Tempos Fraturados' long term exhibition at MAC-USP (São Paulo, Brazil). Details on www.mac.usp.br. Pictures: Filipe Berndt https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136540626-QVRICSZGXVI2S0L0VICO/_MG_2629-copy.jpg Tempos Fraturados MAC-USP 2023-2028 - Personal Color Spectrum - 1989 "This routine consisted in me looking for an object from my immediate surrounding, seeking to capture the color spectrum around me, as soon as I finished drawing my daily map. I stored the object inside a plastic sandwich bag and labeled it with the number of hours until the end of the year, number of days for the end of the year, my age and the number of the 'Large Canvas 2' map for the day." 365 pieces, label, various objects inside plastic sandwich bags (209x557cm in total). Installation on show at 'Tempos Fraturados' long term exhibition at MAC-USP (São Paulo, Brazil). Details on www.mac.usp.br. Pictures: Filipe Berndt https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136535904-Y5CT48JK9KX4ARIUT99X/_MG_2629_1-copy.jpg Tempos Fraturados MAC-USP 2023-2028 - Personal Color Spectrum - 1989 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136554022-EBTJLUHG06TMJMESVQ94/_MG_2636-copy.jpg Tempos Fraturados MAC-USP 2023-2028 - Personal Color Spectrum - 1989 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136548392-WG8NZA8B634WT9FN6YGF/_MG_2636_1-copy.jpg Tempos Fraturados MAC-USP 2023-2028 - Personal Color Spectrum - 1989 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136564039-P2ZQZBELZTVDUQGLMYPE/_MG_2639-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136569599-KSY3QP527M68CQ4P1MPN/_MG_2641-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136468102-NCKXXKKTAE7NO9KGR5VH/_MG_2618-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136465290-5GWBIRHUM0WUCPZ9GUKQ/_MG_2619-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136479413-9Y92X8PORN44XFHLPVGR/_MG_2620-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136486882-R07M87KHRQUKBIK1DPLC/_MG_2622-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136499876-N5LLJ4BPDI3STZPZD6FM/_MG_2623-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136502084-V5XZCP6C8K33O4ND8FDY/_MG_2624-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136491608-HYS30JP8TPUW1ANOA0MV/_MG_2625-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136518328-ZY7GF4VEC39WAK4K2HJO/_MG_2626-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1680136526966-2FKJNIQM332ARP23F7NL/_MG_2627-copy.jpg Tempos Fraturados MAC-USP 2023-2028 https://www.anaamorim.art/art-basel-solo-feature-2023 daily 0.75 2024-12-09 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438953284-7EB9SK7Y33F023JL4HHS/20230613_114756.jpg Art Basel Solo Feature 2023 - Large Canvas 4 - 1991 By GABRIEL PÉREZ-BARREIRO The indissoluble relationship between art and life is at the heart of Ana Amorim’s practice. Since the 1980s, she has developed a body of work in which the movements of everyday life are recorded and registered with such rigor that there is no effective difference between being alive and making art. In this sense, she belongs within an artistic lineage that includes artists like Tehching Hsieh, On Kawara, Chris Burden, or Marina Abramovic. Ana Amorim developed her work in São Paulo, Brazil, the USA, UK, New Zealand, Australia, Spain, and other locations. Broadly speaking, her work consists of two distinct but related ongoing practices: Mental Maps in which she traces her daily movements from memory at the end of each day, and Passage of Time, in which she records each passing second with numbers and graphic marks. In 1988, Amorim drafted her first important text: “Conceptual Decisions”, a manifesto in which she set the very strict terms for the production for the following ten years, including statements such as, “I would use inexpensive materials” or “I would not sell the work”. In 2001 she elaborated these ideas into a contract reflecting her beliefs in how her art should be shown. The terms were intentionally so onerous (for example no sponsorship by companies that produced environmental or social damage) that she effectively self-isolated from the commercial and not-for-profit art world. These terms were in place for almost two decades, during which time she continued to produce her work daily, but it was unknown outside a very small group of friends and supporters. She also sold no works during this period. As a result of this decision, her body of work is almost completely intact. This solo presentation by Millan presents a single emblematic work: ”Large Canvas 4”, of 1991. This expansive and immersive work exemplifies her practice, bringing together the daily mental maps and also the counting of seconds to mark time. The work consists of 318 strips of cloth, in which she drew her daily trajectory, in black for everyday routes and red for new ones. Each strip also has a piece of fabric attached, cut from her immediate surroundings, while the bottom part shows her subjective registering of seconds for one hour. The work covers the walls of the booth, providing a powerful sense of her practice and its implications. Amorim’s work crosses two important traditions in contemporary art practice. On the one hand the idea of art produced by instructions and contract, which dates back to Moholy-Nagy’s works ordered by telephone from the 1920s, but which came to maturity in Seth Siegelaub’s Artist’s Contract of 1970 in which the artist takes control of the distribution and circulation of his or her work. The other tradition is that of breaking down the divisions between the art world and everyday life, which also has its roots in avant-garde practice, but which was revitalized by The Situationist International, Fluxus, and other groups. Amorim builds on these traditions, while also incorporating the element of embroidery and textile, adding a potential feminist reading to the work. By bringing together a strict conceptual practice with the ‘minor’ art of textile, she expands the traditional male field of conceptualist art into new areas. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438953284-7EB9SK7Y33F023JL4HHS/20230613_114756.jpg Art Basel Solo Feature 2023 - Large Canvas 4 - 1991 By GABRIEL PÉREZ-BARREIRO The indissoluble relationship between art and life is at the heart of Ana Amorim’s practice. Since the 1980s, she has developed a body of work in which the movements of everyday life are recorded and registered with such rigor that there is no effective difference between being alive and making art. In this sense, she belongs within an artistic lineage that includes artists like Tehching Hsieh, On Kawara, Chris Burden, or Marina Abramovic. Ana Amorim developed her work in São Paulo, Brazil, the USA, UK, New Zealand, Australia, Spain, and other locations. Broadly speaking, her work consists of two distinct but related ongoing practices: Mental Maps in which she traces her daily movements from memory at the end of each day, and Passage of Time, in which she records each passing second with numbers and graphic marks. In 1988, Amorim drafted her first important text: “Conceptual Decisions”, a manifesto in which she set the very strict terms for the production for the following ten years, including statements such as, “I would use inexpensive materials” or “I would not sell the work”. In 2001 she elaborated these ideas into a contract reflecting her beliefs in how her art should be shown. The terms were intentionally so onerous (for example no sponsorship by companies that produced environmental or social damage) that she effectively self-isolated from the commercial and not-for-profit art world. These terms were in place for almost two decades, during which time she continued to produce her work daily, but it was unknown outside a very small group of friends and supporters. She also sold no works during this period. As a result of this decision, her body of work is almost completely intact. This solo presentation by Millan presents a single emblematic work: ”Large Canvas 4”, of 1991. This expansive and immersive work exemplifies her practice, bringing together the daily mental maps and also the counting of seconds to mark time. The work consists of 318 strips of cloth, in which she drew her daily trajectory, in black for everyday routes and red for new ones. Each strip also has a piece of fabric attached, cut from her immediate surroundings, while the bottom part shows her subjective registering of seconds for one hour. The work covers the walls of the booth, providing a powerful sense of her practice and its implications. Amorim’s work crosses two important traditions in contemporary art practice. On the one hand the idea of art produced by instructions and contract, which dates back to Moholy-Nagy’s works ordered by telephone from the 1920s, but which came to maturity in Seth Siegelaub’s Artist’s Contract of 1970 in which the artist takes control of the distribution and circulation of his or her work. The other tradition is that of breaking down the divisions between the art world and everyday life, which also has its roots in avant-garde practice, but which was revitalized by The Situationist International, Fluxus, and other groups. Amorim builds on these traditions, while also incorporating the element of embroidery and textile, adding a potential feminist reading to the work. By bringing together a strict conceptual practice with the ‘minor’ art of textile, she expands the traditional male field of conceptualist art into new areas. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438933149-4KFGSHFVD2UJWVHKBJQO/20230611_112014.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439130472-8L3YLV0L9HKF23WWN882/20230618_150716.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438931233-TAR5WO4JCYW2DYMQSNKJ/20230612_152058.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438959116-EQ3MZ7OUPB5RKVRHXZOA/20230613_114923.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439055143-4TA0EOY30PTPEZPOBS43/20230615_134515.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439071016-PEGBUZXKKJJEPV35ARQE/20230617_120637.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439055585-0GJB1RI8EKUGX3GVLZ2S/20230616_173403.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439102418-C4GS63MXSNOG4KBY0XMT/20230617_122430.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439116525-MAV9KL8GJZ3GXDW2EZWS/20230617_130844.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684354810644-YRPJ1LS4CVUO7YWTF6V6/image-asset.jpeg Art Basel Solo Feature 2023 - ANA AMORIM LARGE CANVAS 4 [1991] The indissoluble relationship between art and life is at the heart of Ana Amorim’s practice. Since the 1980s, she has developed a body of work in which the movements of everyday life are recorded and registered with such rigor that there is no effective difference between being alive and making art. In this sense, she belongs within an artistic lineage that includes artists like Tehching Hsieh, On Kawara, Chris Burden, or Marina Abramovic. Ana Amorim developed her work in São Paulo, Brazil, the USA, UK, New Zealand, Australia, Spain, and other locations. Broadly speaking, her work consists of two distinct but related ongoing practices: Mental Maps in which she traces her daily movements from memory at the end of each day, and Passage of Time, in which she records each passing second with numbers and graphic marks. In 1988, Amorim drafted her first important text: “Conceptual Decisions”, a manifesto in which she set the very strict terms for the production for the following ten years, including statements such as, “I would use inexpensive materials” or “I would not sell the work”. In 2001 she elaborated these ideas into a contract reflecting her beliefs in how her art should be shown. The terms were intentionally so onerous (for example no sponsorship by companies that produced environmental or social damage) that she effectively self-isolated from the commercial and not-for-profit art world. These terms were in place for almost two decades, during which time she continued to produce her work daily, but it was unknown outside a very small group of friends and supporters. She also sold no works during this period. As a result of this decision, her body of work is almost completely intact. This solo presentation by Millan presents a single emblematic work: ”Large Canvas 4”, of 1991. This expansive and immersive work exemplifies her practice, bringing together the daily mental maps and also the counting of seconds to mark time. The work consists of 318 strips of cloth, in which she drew her daily trajectory, in black for everyday routes and red for new ones. Each strip also has a piece of fabric attached, cut from her immediate surroundings, while the bottom part shows her subjective registering of seconds for one hour. The work covers the walls of the booth, providing a powerful sense of her practice and its implications. Amorim’s work crosses two important traditions in contemporary art practice. On the one hand the idea of art produced by instructions and contract, which dates back to Moholy-Nagy’s works ordered by telephone from the 1920s, but which came to maturity in Seth Siegelaub’s Artist’s Contract of 1970 in which the artist takes control of the distribution and circulation of his or her work. The other tradition is that of breaking down the divisions between the art world and everyday life, which also has its roots in avant-garde practice, but which was revitalized by The Situationist International, Fluxus, and other groups. Amorim builds on these traditions, while also incorporating the element of embroidery and textile, adding a potential feminist reading to the work. By bringing together a strict conceptual practice with the ‘minor’ art of textile, she expands the traditional male field of conceptualist art into new areas. Gabriel Pérez-Barreiro https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439072017-GJVI0W69L56N87QY1C0Q/20230617_121041.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438981662-TWA5QT62LTHNSO53C9KH/20230613_114948.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693438988550-DPKYFGV5NGKS3XHEI0L9/20230613_150318.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439005500-DDF0C4BX4OCZIYTDJLG8/20230613_150322.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439012399-F9N1S2029RTCL0TNJ59D/20230613_150330.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439032550-SUEATP0Q16D6Y2GMX8HJ/20230613_150332.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693439036860-M30QIOCYSNODUFCP5SRR/20230613_150335.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684354893595-8KEU45G7V569M1CEJJPK/_MG_6754-copy.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684354902788-DTRV47SS1YSOIIBO5VX1/_MG_6757-copy.jpg Art Basel Solo Feature 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684354941308-86BSI590ZRF4T9ZJDKM3/2014+-+Ngaio+Fragment+.png Art Basel Solo Feature 2023 - Ngaio Fragment - 2014 6 day routine of daily maps made in Ngaio, Wellington, New Zealand. Archival ink fine liner pen on transparent tracing paper. Set of 6: 29.7 x 21.1 cm; 11 1/2 x 8 1/2 in (each). Overall size: 60.4 x 65.3 cm; 24 x 25 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355202995-CAIMIEG3L28H01I52FQV/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-020-lw.jpg Art Basel Solo Feature 2023 - Six Days in May - 2018 6 day mental map routine made between May 20th and 25th, 2018. White acrylic marker on black paper. Set of 6: 28 x 21.5 cm; 11 x 8 1/2 in (each). Overall size: 57 x 66.5 cm; 22 1/2 x 26 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355280238-0PSLGX0391WBJFRLHK90/2018+-+Passage+of+Time+Study.jpg Art Basel Solo Feature 2023 - Passage of TIme Study - 2018 Every night, during the month of October, I had the following routine: 1. I counted seconds for one hour 2. I registered a simplified map of the day 3. I registered a written map of the day 4. I registered the locator number for the day. Black archival ink gel pen on paper. Set of 31: 35.6 x 43.2 cm; 14 x 17 in (each). Overall size: 182 x 308.4 cm; 71 1/2 x 121 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355303616-6H93EH16L3DEQGCGQBR6/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-016-lw.jpg Art Basel Solo Feature 2023 - Map 01 - 2019 Map made on June 13th, 2019 in Valencia, Spain. Black gel pen on paper. 36 x 26 cm; 14 x 10 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355432747-DP9ZT5VANMQSXI5RH726/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-017-lw.jpg Art Basel Solo Feature 2023 - Map 03 - 2019 Map made on June 24th, 2019 in San Sebastian, Pamplona and Vitoria-Gasteiz, Spain. Black gel pen on paper. 36 x 26 cm; 14 x 10 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355441153-ZFYELACOWJNBD6QFO728/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-015-lw.jpg Art Basel Solo Feature 2023 - Map 05 - 2019 Map made on July 1st, 2019 in Picos de Europa, Spain. Black gel pen on paper. 36 x 26 cm; 14 x 10 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355448235-DD9MIDQ8EODGS0CJ1U6D/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-018-lw.jpg Art Basel Solo Feature 2023 - Map 06 - 2019 Map made on July 2nd, 2019 in Picos de Europa, Spain. Black gel pen on paper. 32 x 24 cm; 12 1/2 x 9 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355607916-NOQTFO7NXW9J3LYEOEH9/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-005-lw.jpg Art Basel Solo Feature 2023 - 06092019 - 2019 Map made on September 6th, 2019. White acrylic marker on black paper. 35.5 x 28 cm; 14 x 11 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355727438-9R9DHPAQDG67YOCUU6ZW/MAIN+SAMPLE+%28BROCHURE%29.png Art Basel Solo Feature 2023 - 365 Maps/Minutes - 2019 [DETAIL] Every day, I drew a small simplified map and counted seconds for 1 minute on small paper tags. Black archival ink gel pen on paper. Set of 730: 365 measuring 7 x 3 cm; 3 x 1 in; 365 measuring 9 x 3.4 cm; 3 1/2 x 1 1/2 in (each). Overall size: approx. 110 x 220 cm; 43 1/2 x 86 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355864625-29Y4P2ZM9AN1Y0IZYAQ2/Installation.png Art Basel Solo Feature 2023 - 14032020-7,032-293-63-1/11072020-4,176-174-63-120 - 2020 In this routine, I drew daily maps obsessively tracking Covid-19 pandemic numbers. As the pandemic evolved, I became more and more horrified with the lack of empathy of the president of Brazil and I reluctantly decided to include his grotesque words and actions, sourced from news articles, into the maps. Black archival ink gel pen on paper. Set of 120: 17.8 x 12.7 cm; 7 x 5 in (each). Overall size: 112 x 275 cm; 44 x 107 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684355879390-S5Y525TW13EGYYYLUKAT/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-006-lw.jpg Art Basel Solo Feature 2023 - 01042022-30052022 - 2022 60 day routine registering mental maps in São Paulo. Black archival ink gel pen on paper. Set of 60: 10.2 x 10.2 cm; 4 x 4 in (each). Overall size: 66.2 x 111 cm; 26 x 43 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684356036235-T0215UVF8I7B7LSD0KIP/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-001-lw.jpg Art Basel Solo Feature 2023 - Scraps - 2022 During 53 days, I drew mental maps on leftover pieces of cloth used on the “Large Canvas 4” (1991), which I had stored for 31 years. Black archival ink gel pen on aged white fabric. Set of 53: 14 x 11 cm; 5 1/2 x 4 1/2 in (approx. each). Overall size: 89 x 107 cm; 35 x 42 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684356318986-U0JKTWENQIOPZ1EIO1ND/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-009-lw.jpg Art Basel Solo Feature 2023 - 29092022/13102022 - 2022 Routine of 15 mental maps drawn on paper lace doilies. Black archival ink gel pen on paper. Set of 15: 15 x 15 cm; 6 x 6 in (each). Overall size: 63 x 63 cm; 25 x 25 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684356334560-8HKGOUP9SUZIHM3PREJO/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-003-lw.jpg Art Basel Solo Feature 2023 - Panegyric - 2022 16 day routine waiting for news from a sick friend. White archival ink gel pen on linen. Set of 16: 13 x 9.5 cm; 5 x 3 1/2 in (approx. each). Overall size: 41 x 62 cm; 16 x 24 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684356433090-R3S1SQLJ9M8SHSYFF8FQ/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-011-lw.jpg Art Basel Solo Feature 2023 - Two Stages 1 - 2022 12 day routine registering a full mental map on the upper half of the paper and a simplified map, drawn without removing the pen from the paper, on the bottom half. Black archival ink gel pen on paper. Set of 12: 35.6 x 28 cm; 14 x 11 in (each). Overall size: 108.8 x 115 cm; 43 x 45 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1684356439625-BMCVQ3XBED538JF6KPJY/230316-Millan-Ana+Amorim-ph+Ana+Pigosso-014-lw.jpg Art Basel Solo Feature 2023 - Two Stages 2 - 2022 7 day routine registering a locator number and a simplified mental map on the left side of the paper without removing the pen from the surface, and a full mental map on the right side of the work. Black archival ink gel pen on cotton paper. Set of 7: 26 x 36 cm; 10 x 14 in (each). Overall size: 26 x 258 cm; 10 x 101 1/2 in. Picture: Ana Pigosso © Copyright ANA AMORIM https://www.anaamorim.art/millan-26082023230920232023 daily 0.75 2025-01-06 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583509832-NKGD1QXEBBQGWNF2H7XV/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-011-web+%28Large%29.jpg Millan 26082023/23092023 2023 - THE BOOK IS THE MAIN WORK By JACOPO CRIVELLI VISCONTI Ana Amorim’s work is intensely personal. And intimate. And invisible. Invisible, because what we see, what she allows to be exhibited on the walls of a gallery or a museum, is a simulacrum. The real work is kept in books where, for more than three decades, at some point during the evening or late night, Ana draws from memory a map of all her movements throughout the day. It is from these books that her Large Canvases emerged. This is the name the artist gives to works that portray an entire year of her life. These are, in the majority of cases, installations comprising 365 or 366 elements, such as the one which opens this exhibition. Monumental works that take months to reach their conclusion, often more than the twelve months of the year that they refer to, and that require generous spaces in order to be shown and understood. Therefore, we may infer that this is the series that defines her as an artist. But it isn’t: “The book is the main work”, she says. These little notebooks or black books condense the artist’s thoughts, not only because they are a spontaneous, rapid and a direct portrait of her daily life, but also because they are, and always will be, kept away from circulation, without engaging in all of the effects of the art system. They will remain, in a certain way, in a state of eternal potency, without ever becoming tangible, visible, and, principally, sellable “works”. Ever since the beginning of her trajectory as an artist, Ana has been uncomfortable with the idea of producing a work in order for it to become a commodity, and with playing the role that the majority of artists, consciously or unconsciously, end up playing in the capitalist system. This discomfort led her to refuse to participate in any exhibition that was sponsored by private institutions or that had commercial aims, for over a decade, which resulted in keeping her work invisible, but also made her one of the very few Brazilian artists to enter the field of institutional critique. This is a field, however, which does not define her, because Ana returns, every day, to her books. It is in this daily practice of drawing for herself, in this silent habit of recording the movements of her day on a sheet that no one will see, that her work transcends the scope of institutional critique, since this, by its very nature, is directed at an audience and demands a debate. The works exhibited here are the side of her production in which Ana Amorim demonstrates total awareness of the urgent need for this debate. Works that stress the paradox of having to produce for a market in which she does not recognize herself, since she knows that it is this same market which objectively generates and nourishes the production, debate, circulation, and visibility of works and ideas. Even those ideas which, in the long term, have the potential to change the system. These are works that can be light, almost transparent, heavy, hard-fought, violent, or even of a fragile, poetic, moving beauty. Gigantic works alongside minuscule ones, but that condense in a few square centimeters the power of the time that passes. Because it is of time, ultimately, that all of these works speak of. They don’t intend to challenge it, nor seek eternity. On the contrary, the impression is that they themselves dream of being time: ethereal, aware of their transience and impermanence, like the maps drawn on the walls during each day of the installation and during the exhibition itself, one for each day, that will be erased when the exhibition closes. One coat of paint, or two, will be enough to erase everything, nothing will remain. Ana Amorim’s work is a memento mori. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583509832-NKGD1QXEBBQGWNF2H7XV/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-011-web+%28Large%29.jpg Millan 26082023/23092023 2023 - THE BOOK IS THE MAIN WORK By JACOPO CRIVELLI VISCONTI Ana Amorim’s work is intensely personal. And intimate. And invisible. Invisible, because what we see, what she allows to be exhibited on the walls of a gallery or a museum, is a simulacrum. The real work is kept in books where, for more than three decades, at some point during the evening or late night, Ana draws from memory a map of all her movements throughout the day. It is from these books that her Large Canvases emerged. This is the name the artist gives to works that portray an entire year of her life. These are, in the majority of cases, installations comprising 365 or 366 elements, such as the one which opens this exhibition. Monumental works that take months to reach their conclusion, often more than the twelve months of the year that they refer to, and that require generous spaces in order to be shown and understood. Therefore, we may infer that this is the series that defines her as an artist. But it isn’t: “The book is the main work”, she says. These little notebooks or black books condense the artist’s thoughts, not only because they are a spontaneous, rapid and a direct portrait of her daily life, but also because they are, and always will be, kept away from circulation, without engaging in all of the effects of the art system. They will remain, in a certain way, in a state of eternal potency, without ever becoming tangible, visible, and, principally, sellable “works”. Ever since the beginning of her trajectory as an artist, Ana has been uncomfortable with the idea of producing a work in order for it to become a commodity, and with playing the role that the majority of artists, consciously or unconsciously, end up playing in the capitalist system. This discomfort led her to refuse to participate in any exhibition that was sponsored by private institutions or that had commercial aims, for over a decade, which resulted in keeping her work invisible, but also made her one of the very few Brazilian artists to enter the field of institutional critique. This is a field, however, which does not define her, because Ana returns, every day, to her books. It is in this daily practice of drawing for herself, in this silent habit of recording the movements of her day on a sheet that no one will see, that her work transcends the scope of institutional critique, since this, by its very nature, is directed at an audience and demands a debate. The works exhibited here are the side of her production in which Ana Amorim demonstrates total awareness of the urgent need for this debate. Works that stress the paradox of having to produce for a market in which she does not recognize herself, since she knows that it is this same market which objectively generates and nourishes the production, debate, circulation, and visibility of works and ideas. Even those ideas which, in the long term, have the potential to change the system. These are works that can be light, almost transparent, heavy, hard-fought, violent, or even of a fragile, poetic, moving beauty. Gigantic works alongside minuscule ones, but that condense in a few square centimeters the power of the time that passes. Because it is of time, ultimately, that all of these works speak of. They don’t intend to challenge it, nor seek eternity. On the contrary, the impression is that they themselves dream of being time: ethereal, aware of their transience and impermanence, like the maps drawn on the walls during each day of the installation and during the exhibition itself, one for each day, that will be erased when the exhibition closes. One coat of paint, or two, will be enough to erase everything, nothing will remain. Ana Amorim’s work is a memento mori. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584785205-1PXX0RELFWVDA4GDHQN8/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-001-AL.jpg Millan 26082023/23092023 2023 - 26082023/23092023 Pictures: Ana Pigosso © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584807321-TP4LJ4GK47N2KXY06GLR/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-004-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584791544-F69FM7EHZGL3GNY3N5NG/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-002-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584823334-RXNL2LUXRJXNGKHXPTUR/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-006-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584829349-VXJ5RDUZCW62MK3ZDWXK/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-007-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584800557-X0PXA3UC5S8L6E2TMR6N/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-003-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584818210-38XYUX1MOHSWT7ECHML3/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-005-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584836236-6IGFNJLCW3LCTNQLICVW/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-008-AL.jpg Millan 26082023/23092023 2023 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329966881-PKM42XGU0M10BV87ZTCC/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-007-lw.jpg Millan 26082023/23092023 2023 - Map Book 2019 - 2019 “Every map in 2019, from January 1st to December 31st, was registered in the same book. This book is the starting point for all the subsequent works and it's a seminal piece in my practice.” Book (20.3 x 17.7 x 3.0 cm), ballpoint pen and collage on 365 page book. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329971273-IHB6CGZNMTCZPSZ32XKY/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-008-lw.jpg Millan 26082023/23092023 2023 - Map Book 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583509937-WPH0JY59JKIIHVUOIK1U/230830-Millan-Ana+Amorim-ph+Ana+Pigosso-025-web+%28Large%29.jpg Millan 26082023/23092023 2023 - 365 Hours - 2019 “Every night during the year 2019 I had the following routine: 1. I counted seconds for one hour; 2. I registered a written map of the day; 3. I registered a full map of the day; 4. I registered the locator number for the day; 5. I registered a simplified map of the day.” 365 pieces (31.9 x 44.0 cm, each piece), black ballpoint gel pen on white paper . Total installation: 6 x 10 m. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693330071856-JWS4G818XHFY5H9QRQGY/20230825_133645.jpg Millan 26082023/23092023 2023 - 365 Hours DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584850757-K9K0Q176ZFCNMZJBZPWF/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-010-AL.jpg Millan 26082023/23092023 2023 - Performance - 2023 30 days of mental maps drawn directly on the gallery walls. The process began during the installation and will end on the last day of the show. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584844074-NOX83ZU1N2WL87WE2Q0T/230825-Millan-Ana+Amorim-vistas-ph+Ana+Pigosso-009-AL.jpg Millan 26082023/23092023 2023 - Performance - 2023 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583589423-8HMKSCSR9WXH6C8C5O92/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-024-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Invitation - 1994 "Handmade invitation for my exhibition in London (1994) with details on one side and map on the other." Single piece (14.5 x 10.4cm), black ballpoint pen on light blue paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583630276-8GV68XR9SUGIQOHQBTFM/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-018-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Last Year of the 10 Year Performance Project - 1997 “Work on my reflection on the end of the 10 Year Performance Project” Single Piece, pen on paper (29.5 x 21 cm) © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583664100-BJ0YNIS9RV8FTIAK10PV/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-017-web+%28Large%29.jpg Millan 26082023/23092023 2023 - 1997-1999 - Post Ten-Year Performance Project Book with several works, between 1997 and 1999, after the end of the Ten-Year Performance Project (1988-1997). Single work, 30.9x42.2cm, book with drawings, collage, photographs etc. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583698162-ZNBWTH3HZJ5UF9JO1BOU/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-020-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Small Simplified Cutout - 2018 “For a full month I drew a continuous map of the day and trimmed the paper around the map.” 31 pieces, white gel pen on cutout black paper (various sizes cutout from 8.9 x 8.9 cm each) © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583813554-HZQ97454FVQZXYLXO2F7/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-019-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Small Simplified Cutout - 2018 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583771048-6F0MVW18C3PN5KWDDETN/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-021-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Number of Days Lived - 2019 “This project consists in registering the total number of days I have lived, for each day during 2019.” 365 pieces, black gel pen on small paper tag with red string (2 x 1 cm each). © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583735673-1YT0PPBA6CIRK90ZJ97S/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-023-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Number of Days Lived - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583732869-KHGR6J35WKDFQV1K7J3X/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-022-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Number of Days Lived - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693328698535-B6QEK2LCQK0TT3M5BCEV/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-036-lw.jpg Millan 26082023/23092023 2023 - Diálogo com o Amigo - 1991 [Dialogue with a Friend - 1991] “For 30 days (non-consecutive), in 1991, I registered an evidence of my being alive in the world.” Single Piece, collage, acrylic, pastel, paper and drawings on canvas (85.5 x 105.5 cm) © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693328727190-O8VJKEK6LMM79XVYOJIZ/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-038-lw.jpg Millan 26082023/23092023 2023 - Diálogo com o Amigo - 1991 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693328735309-5R27L8AOQXL2Z4MN33K0/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-039-lw.jpg Millan 26082023/23092023 2023 - Diálogo com o Amigo - 1991 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693328742264-5EH0I39QPHM78FDMV3R5/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-040-lw.jpg Millan 26082023/23092023 2023 - Diálogo com o Amigo - 1991 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329070004-AASR6M9N27FBYNG1Q88H/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-009-lw.jpg Millan 26082023/23092023 2023 - Cutout Study - 2000 “I drew a map and immediately cut around it.” Single work (33.9 x 25.5 cm), white acrylic on black cutout paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329074386-18QR0K3XHZBKKXDC05TC/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-010-lw.jpg Millan 26082023/23092023 2023 - Cutout Study - 2000 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583945876-TP2K9MTM1ZBOHTMJ69JJ/Contrato+de+Arte.png Millan 26082023/23092023 2023 - Contrato de Arte - 2001 [Art Contract - 2001] Conceptual work (text). “In this performance, I drafted an Art Contract and used it to mediate my interactions with art spaces interested in showing my work. The contract discussed the role art plays for large financial groups (Artwash). My dialogue with the Art System was mediated exclusively by the Art Contract.” The contract was used from 2001 to 2016. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583983763-6UOMOMBXFGU9J9GFDTZ3/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-013-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Images From My Life Study - 2007 Collection of media, artworks, photos and news during the years 2004, 2005 and 2006. Single work (136x51cm), collage on laminated cardboard. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583985147-VQ4YET1XUP1D6N5HYO51/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-014-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Images From My Life Study - 2007 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583983878-4QIY8OXSTOYNK2QW1NBU/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-016-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Images From My Life Study - 2007 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693583985587-IVG4YDO5GGXKWDBGRK53/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-015-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Images From My Life Study - 2007 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329086817-DH9CN30TJO57ZXVPIZ09/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-013-lw.jpg Millan 26082023/23092023 2023 - Mapa Grande - 2007 [Large Map - 2007] Map of a day in Sao Paulo, covered in white acrylic. Single piece (82.5 x 118.8), acrylic on paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329090662-7JK7MHKERIGHDR5KYWL1/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-014-lw.jpg Millan 26082023/23092023 2023 - Mapa Grande - 2007 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329102932-C0U335L8OL6JJ8XU6MLA/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-015-lw.jpg Millan 26082023/23092023 2023 - Large Cutout Map 1 - 2009 “I drew a map of a day and immediately after I cut out the paper around the lines very quickly.” Single piece (75 x 104 cm), acrylic on cut out paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329107013-Q0KHE46FOJ32935XD40I/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-016-lw.jpg Millan 26082023/23092023 2023 - Large Cutout Map 1 - 2009 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329134639-B5UPC6QKSMDA8WOCGJNL/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-005-lw.jpg Millan 26082023/23092023 2023 - Black Map - 2009 Mental map of 1/12/2009. Single piece (34 x 25.5 cm), white pen on black paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329577870-LHIQJFIRPWIEGDWTJK3O/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-006-lw.jpg Millan 26082023/23092023 2023 - Black Map - 2009 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329829163-Z7GKMFXJLO0WP13WN24F/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-017-lw.jpg Millan 26082023/23092023 2023 - Mapa Projeto 2004 - 2009 Vertical map extracted from the "MAPA" calendar year routine, from 2004. Single piece (207.5 x 34 cm), acrylic on paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329840030-VDNYN2I26W8HVSQ0JNV6/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-019-lw.jpg Millan 26082023/23092023 2023 - Mapa Projeto 2004 - 2009 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329848559-0V1Q7JPYAFSWJ1D270K2/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-020-lw.jpg Millan 26082023/23092023 2023 - Mapa Projeto 2004 - 2009 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329832843-I5ITTA78NJ9ABFSXCLUN/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-018-lw.jpg Millan 26082023/23092023 2023 - Mapa Projeto 2004 - 2009 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584103841-ZX7KM8NX45RQU5BH012W/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-001-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Day I Met The Tribes of Bay Of Plenty - 2011 “In 2011 I acted as the Transcommunicator for Sydney Possuelo in his meeting of the tribes of Bay of Plenty in New Zealand. I was really moved by the experience I had that day and when I returned home I decided to draw and later embroider the map and the impressions of the day.” Single piece (approx. 108 x 200 cm), embroidery, thread on cloth. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584105477-2AN4T8LBC9BOQM7B46M5/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-002-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Day I Met The Tribes of Bay Of Plenty - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584107120-4Z50OBNICQUC2VE8MZCQ/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-004-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Day I Met The Tribes of Bay Of Plenty - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584104004-U65YCV0Y2Y0TFDEDBHA4/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-005-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Day I Met The Tribes of Bay Of Plenty - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584106332-61LGG3NXVL1SAOUIQUP9/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-003-web+%28Large%29.jpg Millan 26082023/23092023 2023 - The Day I Met The Tribes of Bay Of Plenty - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584389593-VF8HABYIEEKYDX86D3SX/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-006-web.jpg Millan 26082023/23092023 2023 - Map From My Meaningful Journeys in 2010 - 2011 “In this map I did not register everyday movements, but meaningful experiences during the year 2010.” Single piece (approx. 183 x 232 cm), black mercerized cotton thread embroidered on white cotton cloth. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584437272-0K2NISWSE5XHP6D332CH/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-007-web.jpg Millan 26082023/23092023 2023 - Map From My Meaningful Journeys in 2010 - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584518752-ZFAZSVG1QJSJ1WB9ALCC/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-008-web.jpg Millan 26082023/23092023 2023 - Map From My Meaningful Journeys in 2010 - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584289391-KSZXXOLS7TWU0ZOZKT69/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-010-web.jpg Millan 26082023/23092023 2023 - Map From My Meaningful Journeys in 2010 - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329594655-PRUSZ2R8KSMUQS0SRBNZ/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-042-lw.jpg Millan 26082023/23092023 2023 - Passagem - 2011 “Map from an ordinary day.” Single Piece (200 x 164.5 cm), acrylic and white pencil on paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329609546-OEJG2V6U12NLMPIJXCE9/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-044-lw.jpg Millan 26082023/23092023 2023 - Passagem - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329614400-RZIJGNBWHA8HKA2OE7SC/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-045-lw.jpg Millan 26082023/23092023 2023 - Passagem - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329599213-RQCJDIMM2VZDZEGP4XDJ/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-043-lw.jpg Millan 26082023/23092023 2023 - Passagem - 2011 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329630331-6871FTFIJFM60ALPA58A/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-011-lw.jpg Millan 26082023/23092023 2023 - Small Canvas 02 - 2012 “Map of day I canceled my PhD in the Maori Visual Arts Department, at Massey University, New Zealand. My thesis would be archived at the university and that would violate my Art Contract.” Single piece (15 x 15 cm), pencil on canvas. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329636286-8RQ1PGM0JXOGW8OAP0RL/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-012-lw.jpg Millan 26082023/23092023 2023 - Small Canvas 02 - 2012 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329652190-ZVMN3OT5TMBR5R4J3O5O/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-032-lw.jpg Millan 26082023/23092023 2023 - Large Embroidery 02 - 2015 “Embroidery of my day in Sao Paulo, Brazil.” Embroidery (65,9 x 55,7 cm), black cotton thread on white cotton cloth. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329668186-9CHLMWN29IG1HLR8821B/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-034-lw.jpg Millan 26082023/23092023 2023 - Large Embroidery 02 - 2015 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329676036-1VGRDBWPH1CZIN6XPCF5/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-035-lw.jpg Millan 26082023/23092023 2023 - Large Embroidery 02 - 2015 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329660274-0FP8R8C1YN0XAS0BE76U/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-033-lw.jpg Millan 26082023/23092023 2023 - Large Embroidery 02 - 2015 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329735272-CY25QQTTOPW7424EDM4W/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-030-lw.jpg Millan 26082023/23092023 2023 - Grey Cutout Pair - 2019 “Study of 2 vertical cutout maps in Sao Paulo and New York City.” Two pieces (37 x 29.9 cm), black gel pen on gray cutout paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329727982-P5DI624IAWN8VY93016O/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-029-lw.jpg Millan 26082023/23092023 2023 - Grey Cutout Pair - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329722326-YV2PIHHJBMOPPNVX37K6/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-028-lw.jpg Millan 26082023/23092023 2023 - Grey Cutout Pair - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329740959-NVZ89VF3CCJ6DE8RWLBI/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-031-lw.jpg Millan 26082023/23092023 2023 - Grey Cutout Pair - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329755932-D9UVJ657ITJ4BT29QUV6/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-003-lw.jpg Millan 26082023/23092023 2023 - Layered Map Study - 2019 “Work done by overlapping 7 maps on each tag, covering each one with liquid white out - Sao Paulo, Brazil (19/08/2019 - 01/09/2019)” Two pieces (31 x 29 cm), pen, liquid white out and shipping tags. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329761950-BVYIV3N0MG7WBZABY1R5/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-004-lw.jpg Millan 26082023/23092023 2023 - Layered Map Study - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329775069-98PV2SPGFXF2JGEKBDJG/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-021-lw.jpg Millan 26082023/23092023 2023 - Homeless - 2019 “Map highlighting homelessness in Sao Paulo (30/10/2019).” Single piece (45.9 x 45.9 cm), black gel pen on white linen-cotton napkin. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329778890-E9SCG0JJ9ZBH546MHJPT/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-022-lw.jpg Millan 26082023/23092023 2023 - Homeless - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329785512-P4GFUAP2MCIEPRJPXA2O/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-023-lw.jpg Millan 26082023/23092023 2023 - Homeless - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329791188-PO7R62OF0AAJFIVCGWKJ/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-024-lw.jpg Millan 26082023/23092023 2023 - Homeless - 2019 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329804365-3PKFD56X8RQ664TLC97F/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-001-lw.jpg Millan 26082023/23092023 2023 - Local Knowledge - 2021 “Work with a reproduced article about the pervasive social and ecological consequences of the destruction and suppression of knowledge systems of indigenous peoples in local communities and my map for that day.” Source Text: https://www2.helsinki.fi/en/news/sustainability-news/scientists-warn-on-the-dangerous-implications-of-losing-indigenous-and-local-knowledge-systems Single work (41 x 48.4 cm), black gel pen on white paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329808844-FWAX80SGLWNM3TFYL1P2/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-002-lw.jpg Millan 26082023/23092023 2023 - Local Knowledge - 2021 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329864454-S5MRWFLA4UUQBO2I3I2V/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-025-lw.jpg Millan 26082023/23092023 2023 - Six Minutes - 2022 “Private Counting Seconds performance, counting 6 minutes per day, for 27 days (04/10/2022 - 30/10/2022).” Single work (36 x 42.1 cm), 27 pieces, black gel pen on gray paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329869491-K50FELV90C2IFDVBY9K4/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-026-lw.jpg Millan 26082023/23092023 2023 - Six Minutes - 2022 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693329875186-85ZLTI8GT3ESBMWS6QYU/230816-Millan-Ana+Amorim-ph+Ana+Pigosso-027-lw.jpg Millan 26082023/23092023 2023 - Six Minutes - 2022 DETAIL https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584696127-A5F19GBUG433UN8UGHRE/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-011-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Índio do Buraco - 2022 [Man of the Hole “Reproduced news article and mental map for the day (24/08/2022).” “The first time I heard about the Man of the Hole [Índio do Buraco] was in 2005, while I was working as Trancommunicator for the Director of the Department Isolated Indigenous Peoples of FUNAI. At that time I was completely involved with issues of art appropriation by major corporations and started to reflect on capitalism and its dominant system which seems to be the only alternative. During conversations at FUNAI, I learned that there were 114 records of isolated indigenous groups in Brazil. They are Indigenous Peoples who at some point came into contact with western society, mostly with negative consequences, and decided to run into the forest after every attempt of being contacted. What fascinates me is that no gifts or trinkets, such as machetes, mirrors, etc would entice contact and integration with our world. This is a radically different way of being in this world. The Man of the Hole resisted contact for years, hiding in holes in farms of the region, since his territory was taken by land grabbers and farmers. It is this life which we know nothing about that fascinates me. What was it that he knew, which is unknown to us, and was so precious that made him run away from our world? Since my life is art, everyone's life is art. What did the Man of the Hole know about living which we have lost? The Man of the Hole spoke a language which was unique and did not belong to any existing linguistic group in Brazil and therefore he was isolated and in silence until his death.” Single work (76 x 45.5 cm), black gel pen on Japanese paper. © Copyright ANA AMORIM https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1693584696541-8YTFNZG3M6FJTTW6YQ4J/230825-Millan-Ana+Amorim-ph+Ana+Pigosso-012-web+%28Large%29.jpg Millan 26082023/23092023 2023 - Índio do Buraco - 2022 DETAIL https://www.anaamorim.art/counting-routines-2024 daily 0.75 2024-12-20 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1730982277371-IRLLAHJQHTUIANPXRCU0/actividad-contar-rutinas.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525124566-V0WLZ6UZHFJGILGF8PR2/DSCF1502+%28Custom%29.jpg Counting Routines 2024 - Counting Routines. Ana Amorim. The exhibition project Counting Routines is composed of a selection of installations of Mental Maps, which the artist calls Large Canvases, and of the tallies of the passing of time made by the Brazilian artist Ana Amorim (São Paulo, 1956) from the 1980s up to the present day. As a result of the strict daily routines, both conceptual and performative, followed by Amorim, her artistic output has acquired monumental dimensions. Brought together here is a selection of 23 works in a variety of sizes, supports and formats, presenting her consistent artistic practice over the last four decades. The exhibition is based on two of the main activities of Ana Amorim’s life-practice: the daily routines with which she registers the drawn or embroidered Mental Maps, and her conceptual performances of Counting Seconds. These practices exemplify the commitment with which the artist applies herself to the recording of her life and to the narration – far removed from any aestheticism – of the reality around her, in the recurrences of which her career is deeply and dramatically involved. Pictures: Juan Barajas https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525108818-2L5J3H00RKHK8RLE53SW/DSCF1472+%28Custom%29.jpg Counting Routines 2024 - Curatorial Text Counting Routines Such is the adventure of counting time that we are not even sure when the first prototype of a modern clock was built, although it is beyond doubt that the mechanical clock had become a fact of daily life throughout most of Europe by 1300.[1] We know that, placed high on a tower, it changed the lives of peasants and merchants, citizens and administrators. We went from ‘natural’ time to the time of mechanical measurement. The daily routine could be counted – recounted – precisely and meticulously. Ana Amorim counts seconds and she does so with horizontal dashes in notebooks and on sheets of paper. This is not the poetic romance of the prisoner scoring lines on the cell wall—which, in any case, would have counted days. It is the politics of submitting to the rebellious routine of counting for the sake of counting, in defiance of an age that counts to produce. It is the rebellion of counting as a routine and of the routine of counting that Amorim also practices in her Mental Maps with the number 365/366 as a reference for what she must produce in a year, day by day. The maps of Africa are drawn with the colonial ruler and set square. The map of Palestine shrinks by the decade and by blood spilled. Ana Amorim’s maps are obstinately sinuous and routine and exorcise in each stroke the misuse that the West has made, and makes, of maps, and instead limit them to mere records of the everyday, of simple human things, rather than traces of great deeds. The books and the pages of Ana Amorim’s Counting Seconds benefit from the evolution of the codex and its rituals as well as from the whole torrent of changes that it has ‘suffered’ in the course of a history that was to lead to the notebook and the book and, of course, to the personal diary, of which she is a practitioner. The routine creation and silent copying of these codices should not be forgotten. The books and pages that concern us here are created routinely and with the author keeping silence, in a kind of ritual in which time is the theme, the protagonist and at the same time a veiled citation of the less than happy global reality that surrounds the counting. She does not count the minutes just anywhere; she frequently chooses places with a strong semantic and symbolic charge, where something significant is happening or has happened, or counts at home in a private routine. Voluntary routines have something of an escape from the horrible. Sydney Smith wrote to offer his beloved Georgiana a set of prescriptions to help lift her chronic depression. He begins his letter with ‘Nobody has suffered more from low spirits than I have done, so I feel for you’, and among many other recommendations tells her: ‘Don’t expect too much from human life – a sorry business at the best.’[2] In Ana Amorim’s work, and in conversations with her, that ‘sorry business’ often crops up, not in an existentialist way but in a sense inflected by the amount of information that brings us up to date with the sorry state of international affairs that engenders anger and a sense of impotence. This is confirmed by routines such as Not in My Name, 2020-3 and Narratives, in which the artist notes what makes her uncomfortable and can do nothing about. In these three routines she develops everything that she seems to escape from by counting time in her books so that, far from being meditative exercises, these are actions that point out what is weighty, what is inevitable. Umberto Eco proposed the following: ‘the other form of representation suggests infinity almost physically, because in fact it does not end, nor does it conclude in form. We shall call this representative mode the list, or catalogue.’[3] Eco also dedicated a section to visual lists and specifically – something far from obvious in this age of archive culture – refers to paintings of battles and still lifes, which always tend to extend virtually beyond the frame. Are Ana Amorim’s works maps, sheets and books, or are they lists? The two things are not mutually exclusive, but there is a temptation to think of her work as a routine composition of them, with their items in the form of pages of vertical lines and Mental Maps composed of fragments. It is difficult to frame Ana Amorim’s works precisely because they would extend beyond that framework, since above all they are endless accounts that, although they stop at a certain moment, tend to infinity. In the chapter dealing with these lists, Eco cites the principle of enumeration that can be found in other arts that are not painting: ‘Ravel’s “Bolero” with its obsessive rhythm suggests that it could continue infinitely […].’[4] Can the books in Counting Seconds be considered artist’s books? Definitely not. They are not consumable objects but the results of a performative activity with its own scenario. Mediators that are also taken to the wall or the display case. In the words of Diana Taylor, they are in the midst of the collaboration between the archive and the repertoire, between what is written and what the body accumulates through the repetition of its gestures. And that collaboration is indivisible. The artist’s maps inevitably remind us of maps from earlier times, yet they have been made in the era of oppressive hyperwriting. The Bedolina map found in the Valcamonica, which dates from around 2500 years ago, bears a very close resemblance to some of those drawn by Ana Amorim, though it comes to us without the complete context that the artist gives us in hers as a historian of herself and with different codes. We must not forget the video recordings of her performances of Counting Seconds, nor her evolution from the intimate or museographic space to a space in which two things occur: reality is in conflict and Ana Amorim counts seconds imperturbably. The story of the diarists has taken place in the intimacy of the lack of the right to express oneself. The ‘diaries’ we are talking about here are written in public (Counting Seconds) and their reading could easily be a monotonous scream. The smooth flow of Ana Amorim’s large canvases is split by cracks where ghosts sneak in, as can be seen in the agglomerating routine NOT IN MY NAME, large and full of negatives, which came out of a placard in the hands of the parents of a victim of the attack on the Twin Towers with the phrase ‘Not in our son’s name’, a slogan which subsequently spread in the form of ‘Not in our name’ to other cities after 9/11 in protest at the plan to attack Afghanistan. Ultimately, none of Ana Amorim’s agreeable works is free of stifled protests and subtle sobs, albeit concealed by her routine work which requires that we know how to read between the lines, except when, as in the routine just mentioned, the impotence erupts. Jorge Blasco Gallardo [1] Alfred Crosby, La medida de la realidad. Barcelona: Crítica, 1998, p. 73. [2] Quoted in Shaun Usher, Listas Memorables. Barcelona: Salamandra, 2016. [3] Umberto Eco and Alastair McEwen, The Infinity of Lists: An Illustrated Essay. New York: Random House, 2009, p. 17. [4] Ibid., p. 47. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525116917-8G3G48KAD84PC6DQYQYM/DSCF1480+%28Custom%29.jpg Counting Routines 2024 - Conceptual Decisions (1988) In 1988, I decided that my life was art. I understood art as a sequence of meaningful mental and emotional experiences deeply rooted in my surroundings and in the significant relations I established in my everyday life. That same year, I started the 10-Year Performance Project (1988-1997). This project consisted in registering daily mental maps in books, at the end of each day, for a period of 10 years. These maps would later be transferred to different supports called Large Canvases, consisting of large calendar year series of works. The guidelines for this project were: - The project would have a duration of 10 years, ending in 1997. - The maps would be produced every day, at the end of each day. - The maps produced would serve as raw material for the “Large Canvases”. - I would use as little time as possible in producing the maps. - I would reduce my production to the bare minimum. - I would use inexpensive materials. - I would only exhibit in free or public spaces, that would not charge for admission. - I would not sell the work. During the process, I realized that the element of "routine" had become central to my project. The 10-Year Performance Project has been extended since the year 2000 and is now my reality. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525098619-AK99RVGPEA0JQ4TSXURW/DSCF1484+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525109196-EBO1I1HFIQ1WLPAKR37T/DSCF1497+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525149794-AJV1GFY5H6MMIWB3IFL4/DSCF1512+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525184656-4UIPKST3MPQUPSYYRGU1/DSCF1425+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525169014-0CHCXLT3DQED0W4M3FUJ/DSCF1382+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525112317-OF0Z5W9D4M0477J60U5O/DSCF1409+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525195240-41Z8WJYA7EC4LQBKX43G/DSCF1413+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525211435-0WONQI2K5G1JTWO6ASWS/DSCF1337+%28Custom%29.jpg Counting Routines 2024 - Final Map Format (1987) 12 pieces Acrylic on canvas (approx. 45 x 63.5 cm, each piece / approx. 1.84 x 1.94 m, total) In 1987 I was looking for a way to register evidences of my being alive. I decided to draw daily Mental Maps of my routes during the day. In order to do that, I had to find a form for these maps. Initially I used color to register each map, but later concluded that since I was registering a finished experience, which were my movements during the day, I shouldn’t use color as it creates a present experience. This work is the final format I chose for my daily Mental Maps, which I have been drawing ever since. The work was originally a single canvas, which in 1989 I decided to cut into 12 pieces, transforming it from a painting into information. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525159306-EAOG38BIG4JK63R6Q906/DSCF1339+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525225128-OC822C0VP309GKRG0QKN/DSCF1340+%28Custom%29.jpg Counting Routines 2024 - 1113198910:33PM1176-49-33-11 (1989) Single piece Acrylic, pencil and white watercolor pencil on canvas (approx. 129.5 x 179 cm) Chart with the number of hours and minutes I lived on each day in 1989 plus 19 days in 1990. This is a conceptual piece that expands the Mental Map to include the number of hours and minutes I lived each day, as an evidence of my being alive. In itself it is an attempt to expand the idea of evidence gathering from my life. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734527295582-J7G7WOEZ7GMO1A6YDM7Y/DSCF1343+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525120781-LV56LYGGVP7L8VIQ2AGB/DSCF1348+%28Custom%29.jpg Counting Routines 2024 - Project 183 (2001) 183 pieces Watercolor white pencil on cut out black EVA sheets (approx. 20 x 14 cm, each piece). Context: These maps were produced in 2001 after a hiatus of 3 years in drawing maps. When I started the 10-Year Performance Project, I decided that I would draw Mental Maps for 10 years (1988-1997) and, at the end of the project, I would never draw Mental Maps again. I struggled for a few years, since it became quite difficult for me to live my life without this reflection of my day. Finally, in 2001, on the second day of July, I finally decided to abandon this conceptual decision and to expand this project until the end of my life. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525193763-0WNIY0QTRCV9DRH3RYWK/DSCF1349+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525120989-FZSPJYRLF7IEG8FTSKXU/DSCF1344+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525124819-TWLBRPIW4TDJUYOGJ0A8/DSCF1345+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525131635-UZQAPVDF3ZU8CYCS5Z2T/DSCF1346+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525165271-G09GMMOEZPI06P3NVCTI/DSCF1398+%28Custom%29.jpg Counting Routines 2024 - Not In My Name (2002) 365 pieces News media collage, text and drawings on labeled black cards (21.7 x 16.5 cm, each piece) Routine: I collected news daily from local, national and international press that did not represent me. After 9/11, and as a response to the US plan to attack Afghanistan, the parents of one of the victims of 9/11 came out on the streets with signs saying “Not in our son’s name”. Following that demonstration, there was a march in New York City where people carried the sign “Not in my Name” and later in London there were marches where people carried the sign “Not in our name”. This work expands on these demonstrations from my personal point of view. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525147093-3SGHPQPAS0LN8JYLPDF5/DSCF1400+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525209865-NVH3VO7CFFPWQSQ5FAGY/DSCF1401+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525095486-WBY6LKQQXR6CAA41EEIZ/DSCF1403+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525202051-OSLLU3CVOS34BR3A4J98/DSCF1410+%28Custom%29.jpg Counting Routines 2024 - Cinemateca Brasileira (2021) Video Length: 1 h 02 m 08 s (16:9) In this Counting Seconds Performance, I sat for one hour in front of the Cinemateca Brasileira, when it was shut down by the government, when there was a threat of fire. (São Paulo, Brazil). Context: It is with great shock and upset that the International Federation of Film Archives (FIAF) and its 172 Members and Associates around the world heard reports of a fire in one of the warehouses of the Cinemateca Brasileira in São Paulo on 29 July 2021. While we do not know yet the full extent of the damage, it is likely that this latest catastrophe will have once again caused the loss of significant quantities of films and other key cultural artifacts preserved by the Cinemateca Brasileira, one of the oldest and most respected members of our global network and an essential custodian of Brazil’s rich film heritage. It is impossible not to link the various disasters that have caused serious damage to the premises and collections of the Cinemateca Brasileira in the last few years to the glaring lack of financial and institutional support which the Cinemateca has experienced from the Brazilian government in the same period. Last September, the entire staff at the Cinemateca, after not being paid for their work for several months, were all dismissed, and the Cinemateca’s premises are currently closed. FIAF publicly expressed its deep concern at the time, and called on the Brazilian government to help resolve this shocking situation. Unfortunately, very little progress seems to have been made since. The future of the Cinemateca Brasileira remains more uncertain than ever, and each passing day puts its unique collections – already in a shameful state of neglect – increasingly at risk. We once again stand strongly with our colleagues in São Paulo, and urge Brazil’s government to intervene at once to ensure that the Cinemateca Brasileira can start operating again and carrying out its essential cultural missions, as it did so brilliantly for 70 years, before it is too late. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525102188-6T8IG326YNTI6N9ZBMF7/DSCF1461+%28Custom%29.jpg Counting Routines 2024 - Cinemateca (2021) Single piece Black archival ink gel pen on white paper (35,5 x 28 cm). Sheet used for the Counting Seconds Performance at the Cinemateca Brasileira on 17/08/2021. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525105679-5M5N8BK3C2RPPZ5ZSHB1/DSCF1392+%28Custom%29.jpg Counting Routines 2024 - Simplified Map (2005) 365 pieces Ballpoint pen on beige aged cardboard shipping labels (16.0 x 7.8 cm, each piece / 206 x 280 cm, total). Routine: These maps were registered, every night, on aged manila tags. I decided to draw the map in smaller segments, breaking up the routes I took from one private space to the next. In May 2005, my mother died and a week later I joined the Agrarian Reform March in Brazil, organized by the Landless Rural Workers Movement (MST) and for three weeks these maps covered 210 kilometers, from the city of Goiania to Brasilia. Fifteen thousand landless rural workers participated in the March, sharing these routes with me. I took these manila tags with me during the march and drew the map every night under the light of a torch. In that same year I also traveled to several countries as a Transcommunicator (an interpreter for social movements), as a part of a long term performance where I would be a “mouth and an ear” for others. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525222911-PDSB8LR6NGT6K941ZSX3/DSCF1393+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525117153-ZJMPFNOLAG4C88W3PUGX/DSCF1394+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525223911-LOFLBYOFH94PARGXZCJW/DSCF1395+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525197405-3NT096YY2VXPTBDV3ATS/DSCF1408+%28Custom%29.jpg Counting Routines 2024 - Second Embroidery (2016) Single piece 366 maps, white mercerized cotton thread hand embroidered on black cotton cloth (approx. 210 x 310 cm). Embroidery of the Continuous Map project from 2016, on a single large cloth. These maps were drawn daily in a small book and later transferred to this black cloth and then embroidered. It took me approximately 2 years to finish embroidering the work. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525195927-S9271JGQLWDG894IUFIY/DSCF1501+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525143109-IRTLFYBI1RE1TPA59H67/DSCF1428+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525185943-NDA99QCR05AVCZOA9MV0/DSCF1430+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525105512-N6Y4CPKTHDKK2XT02CTG/DSCF1404+%28Custom%29.jpg Counting Routines 2024 - Narratives (2022) 365 pieces Black ultra-fine rollerball archival ink gel pen on white paper (21 x 14.8 cm, each piece) Routine: Everyday, I drew a map and transcribed fragments of news into the work. I could no longer separate my Mental Maps and what happened in the world. Whenever there was something in my surroundings that was disturbing or concerning, I included a piece of news as part of the ‘fabric of my day’. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525164423-2VMKD9QCTIR8817LDG40/DSCF1464+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525154399-NBG85XJIURW2KM7OSRTZ/DSCF1465+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525200019-67O9NKCG6DZG7YQZBNEM/DSCF1521+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525200844-V650WES2BMDZ3ZICQGDX/DSCF1380+%28Custom%29.jpg Counting Routines 2024 - Contar Segundos MAC-USP (2021) Vídeo Length: 6 h 36 m 30 s (16:9) Counting Seconds Performance at the Museum of Contemporary Art of São Paulo (MAC-USP) for 7 days, 1 hour per day. I chose a different place in the museum to count seconds for each one of the 7 days. (São Paulo, Brazil). https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525128702-P7LV6GQ73ONWSFWVVNLT/DSCF1435+%28Custom%29.jpg Counting Routines 2024 - Contar Segundos MAC-USP 2021 (2021) Single work White book (21,4 x 26,8 cm), 14 pages, black archival ink gel pen on white paper. Book used during the performance at MAC-USP (Clareira) in August 2021. I counted seconds for one hour during seven consecutive days (1/8 - 7/8), at different locations at the museum. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525209301-6FQSAMRJ2U9P00469JCA/DSCF1379+%28Custom%29.jpg Counting Routines 2024 - Luta Pela Vida (2021) Video Length: 3 h 25 m 18 s (16:9) Counting Seconds Performance at the “Luta pela Vida” indigenous camp, for 7 hours; in different locations (Brasilia, Brazil). Context: The most central agenda of the Struggle for Life mobilization is related to the trial by the Brazilian Supreme Federal Court (STF), which is expected to be the most important process of the century for the lives of indigenous peoples. The Court will analyze the repossession action filed by the government of Santa Catarina against the Xokleng people, referring to the Ibirama-Laklãnõ Indigenous Land (TI), where the Guarani and Kaingang peoples also live. Under the status of “general repercussion”, the final decision made by the trial will serve as a guideline for the federal government and all instances of Brazilian justice system, as well as a reference to all processes, administrative procedures and legislative projects regarding the indigenous land demarcation procedures. Source: https://apiboficial.org/luta-pela-vida/ https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525194236-R1VCE058E6LEJ6V3M4KE/DSCF1441+%28Custom%29.jpg Counting Routines 2024 - Luta Pela Vida (2021) 7 pieces White and black archival ink gel pens on white and black paper (28 x 35, 32 x 32, 28, 7 x 42, 32 x 24, 28 x 35, 32 x 24, 24 x 32) Sheets used during the Luta pela Vida counting seconds performance in Brasilia, during the indigenous camp and protest against the “Marco Temporal” legal thesis. The performance was done on 7 instances and locations, with a different sheet each time where I counted seconds for 1 hour. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525144918-GMW68N0HQIZAL1SJKMT5/DSCF1449+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525173919-PGHLR7AHQEEMQKMXSENL/DSCF1445+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525151307-1UH128AZOB7FRYBLHJCL/DSCF1447+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525112609-8ZOFHPHXHIV0JRSOGP00/DSCF1446+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525169913-P5Q4N64U4NJS2VDXW94F/DSCF1448+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525101928-3XOZIYLHNGVK9KFY2DNE/DSCF1444+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525155533-KOK4G4O0OK8S10GRD9M0/DSCF1443+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734527029152-IDY99LGWIVWYVJZ68D0Z/DSCF1382B.jpg Counting Routines 2024 - Contar Segundos em Brumadinho (2022) Video Length: 59 m 28 s (16:9) Counting Seconds Performance by the Brumadinho mudslide mining disaster (Brumadinho, Brazil). Context: The Brumadinho dam disaster occurred on 25 January 2019 when a tailings dam at the Córrego do Feijão iron ore mine suffered a catastrophic failure. The dam, located 9 kilometers (5.6 mi) east of Brumadinho in Minas Gerais, Brazil, is owned by the mining company Vale, which was also involved in the Mariana dam disaster of 2015. The collapse of the dam released a mudflow that engulfed the mine’s headquarters, including a cafeteria during lunchtime, along with houses, farms, inns, and roads downstream. 270 people died as a result of the collapse, of whom 259 were officially confirmed dead, in January 2019, and 11 others were reported as missing. As of January 2022 there were still 6 missing. Source: Wikipedia contributors. (2024, 4th november). Brumadinho dam disaster. Wikipedia. https://en.wikipedia.org/wiki/%20Brumadinho_dam_disaster https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525175062-K7WUI7HTWOV9LMVRZFVJ/DSCF1452+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525140973-NOZ0EQDANLQEUKXQMY2I/DSCF1455+%28Custom%29.jpg Counting Routines 2024 - Contar Segundos com Abelhas sem Ferrão (2022) 2 pieces Black archival ink gel pen on papel (42 x 29,7 cm each) Work resulting from my Counting Second performance, during my visit to the Brumadinho disaster, and Mental Map of the day (16/04/2022). https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525204497-8EM543J1PUW60HKTBWDI/DSCF1458+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525180411-DFMBRD9HV3Z13BT5Q6BD/DSCF1454+%28Custom%29.jpg Counting Routines 2024 Brumadinho é um Vale de Lágrimas (2021) Single piece Black ballpoint archival ink gel pen and liquid white out on white Japanese paper (33,3 x 24,4 cm). Work reproducing an article about the disaster in Brumadinho, MG, and my map of that day (25/01/2021). Fomos Expulsos de Nossas Casas (2021) Single piece Black ballpoint archival ink gel pen and liquid white out on white Japanese paper (33,3 x 24,4 cm). Work reproducing an article about the disaster in Mariana, MG, and my map of that day (28/02/2021). https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525221464-BY1JQDQ2CHCTE77A5G8S/DSCF1418+%28Custom%29.jpg Counting Routines 2024 - 2020-3 (2020) 12 pieces Black archival ink gel pen on white linen/cotton tablecloths (approx. 140 x 235 cm, each piece). Routine: For the whole year of 2020, at the end of the day I drew my Mental Map for the day on a white tablecloth divided in 32 rectangles, using in total 12 tablecloths (one for each month of the year). After drawing the map, somedays, I would include disturbing news from my surroundings about the difficulties people were facing to live their lives during the Bolsonaro presidency. Context: The situation in Brazil throughout 2020, with the pandemic caused by Covid-19 and the authoritarian politics of Jair Bolsonaro, was one of maximum tension. Disinformation campaigns and fake news were a widespread global practice that became normalized during the presidency of Donald Trump in the USA and extended to wide sections of Western countries. The rise of far-right parties was a direct consequence of authoritarian attitudes that question democratic laws and historically achieved social consensus. In this twelve-panel piece, Ana Amorim picks up on this historical moment through the information published in newspapers, together with her daily routines, like shopping, going to the cinema, strolling or eating in a restaurant. The appearance of the panels is, in the artist’s own words, “fairly feminine and benign”. Each panel, one per each month of the year, is divided into 32 rectangles with its own Mental Map drawn, as usual, at the end of each day. The use of white linen-cotton tablecloths and the fine outline of the maps and the texts offer a subtle, apparently neutral appearance. However, the information included, especially anything referring to political news from Brazil, turns the piece into a report on a dark time that must be remembered. The contrast between the elegant appearance of the forms and the explicit content included in them turns this piece into a delicate political balance between the domestic and the public. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525098867-KW48AP4DLAUSP3Q7HD96/DSCF1363_12+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525095527-J5E2NYP2NALCO2VWOKUY/DSCF1364_11+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525202808-JH6TO03FHGO3SHR6NNJE/DSCF1374_02+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525205045-O437A3N5MKTR1NC4K2H4/DSCF1373_03+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525206883-6EUILERRPW8AC0JW1F74/DSCF1366_09+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525207467-CX61JWH08QXS3Y1ZMM6R/DSCF1365_10+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525212183-ROB2YX17ZTKGQ5CNZFRI/DSCF1370_05+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525213669-1KH3V4OWEIIRT5A3WERC/DSCF1375_01+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525214456-5CGJZTP6NZF7Y42QV8WY/DSCF1371_04+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525216798-MS9Z4E0EZRRPXMIGQ3IF/DSCF1369_06+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525219136-VTYCD2BHN36UHEBPZGBK/DSCF1368_07+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525220483-ZMNKN73OKTX6NMUN4IPU/DSCF1367_08+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525160673-P81MI3OP6IVZA8V4B9CA/DSCF1474+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525128278-GAUHW6Y71W0BCJJCRUIA/DSCF1479+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525135658-I7IGE357NEOV328AH54S/DSCF1476+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525132371-OMVKFFL28X6FOJC9ZBPA/DSCF1478+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525199070-8450O3MQYGDTSCHA9AA6/DSCF1359+%28Custom%29.jpg Counting Routines 2024 - Fourth Embroidery (2021) Single piece 365 maps, white mercerized cotton thread hand embroidered on gray linen-cotton tablecloth (approx. 145 x 325 cm total) Routine: In 2021, I decided to embroider my daily Mental Maps on a large gray tablecloth. I drew my maps daily on the tablecloth and began embroidering it. The embroidery work took me almost 3 years to finish. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525179183-I4PHF0JMXF5K6UGCAU1S/DSCF1421+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525216075-SPUWYYA9J6KTPV758RIU/DSCF1353+%28Custom%29.jpg Counting Routines 2024 - 1980's Video Documentation Counting Time Out Loud (1988) Video Length: 10 m 22 s (4:3) This is an early performance of me attempting to find a way to track time. I counted time out loud, by saying each second of each minute, using a digital clock as a reference of the real time. (Ohio, USA). Writing Seconds (1988) Video Length: 29 m 33 s (4:3) This is another early performance of me attempting to find a way to track time. I counted time by writing down the seconds of each minute on a notebook, as they passed, using a digital clock as a reference of the real time. (Ohio, USA). Counting Seconds (1989) Video Length: 14 m 14 s (4:3) In this performance, I defined the format for tracking time, while being present in time, by drawing small dashes for each second that passed. After each minute (60 seconds), I would write down the total number of minutes I had lived until that minute. (Ohio, USA). https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525196677-40D79F67WBIK87KCDB4J/DSCF1356+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525217966-E5FGAVCE2OL46J148829/DSCF1531+%28Custom%29.jpg Counting Routines 2024 - 20112024-1.008-42-68-1/02122024-720-30-68-13 (2024) Single work White book (21,4 x 26,8 cm). 13 pages, black archival ink gel pen on paper. The fundamental element of my work is that “I live today”. These Mental Maps were registered for 13 days in Cerezales del Condado, Spain. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525136459-2PPUVLHU4AFFBUSXHJM7/DSCF1417+%28Custom%29.jpg Counting Routines 2024 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734525198221-G17KTVXUOJ6KEJC4LO06/DSCF1533+%28Custom%29.jpg Counting Routines 2024 https://www.anaamorim.art/fullgs-visual-arts-and-the-1980s-in-brazil-2024/25 daily 0.75 2024-12-19 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734447619940-5S9OQF14N371K1DYX19X/01.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 - Centro Cultural Banco do Brasil 2024/2025 Color Map - 1987 Ana Amorim (Sao Paulo, 1956) “This work is the departure from my use of color in my mental map routines. Ever since, I work almost exclusively in black and white. The piece was done in 1987 and later, in 1989, it was cut into 12 parts when I also incorporated the locator numbers of when the work was cut (white number that can be seen across each individual piece). The locator number represents the day, month, year, time, number of hours for the end of the year, number of days for the end of the year, my age and the corresponding map number for the year's large canvas.” Color Map - 1987 Ana Amorim (São Paulo, 1956) “Este trabalho representa o abandono do uso de cor em minhas rotinas de mapas mentais. Desde então, eu trabalho quase que exclusivamente em preto e branco. A obra foi feita em 1987. Em 1989, foi cortada em 12 partes e eu adicionei os números localizadores de quando o trabalho foi cortado (o número em branco que pode ser visto em cada uma das partes). O número localizador representa o dia, mês, ano, hora, número de horas que falta para o final do ano, número de dias que falta para o final do ano, minha idade e o número do mapa correspondente da Grande Tela daquele ano”. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734447619940-5S9OQF14N371K1DYX19X/01.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 - Centro Cultural Banco do Brasil 2024/2025 Color Map - 1987 Ana Amorim (Sao Paulo, 1956) “This work is the departure from my use of color in my mental map routines. Ever since, I work almost exclusively in black and white. The piece was done in 1987 and later, in 1989, it was cut into 12 parts when I also incorporated the locator numbers of when the work was cut (white number that can be seen across each individual piece). The locator number represents the day, month, year, time, number of hours for the end of the year, number of days for the end of the year, my age and the corresponding map number for the year's large canvas.” Color Map - 1987 Ana Amorim (São Paulo, 1956) “Este trabalho representa o abandono do uso de cor em minhas rotinas de mapas mentais. Desde então, eu trabalho quase que exclusivamente em preto e branco. A obra foi feita em 1987. Em 1989, foi cortada em 12 partes e eu adicionei os números localizadores de quando o trabalho foi cortado (o número em branco que pode ser visto em cada uma das partes). O número localizador representa o dia, mês, ano, hora, número de horas que falta para o final do ano, número de dias que falta para o final do ano, minha idade e o número do mapa correspondente da Grande Tela daquele ano”. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734447632530-36BMO0IHO0NF4U17SPHT/02.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734439376293-GEX5D9C8JJZ5JQ1F3654/CCBB_Fullgas_58.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734439286534-DUIKW45DLCY1RRQPEKXC/CCBB_Fullgas_68.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1734439287562-2IJVHIJ41BRA44ERGCPT/000+Poster.jpg Fullgás – Visual Arts and the 1980s in Brazil 2024/25 https://www.anaamorim.art/29032025-6672-278-68-24052025-5328-222-68-2025 daily 0.75 2025-04-26 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367657407-38ZFHR6YAZKJE5RS8JCI/Superficie_Ana+Amorim_27032025-6.720-280-68_+24052025-5.328-222-68_MAR2025_Convite_Feed13.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367657407-38ZFHR6YAZKJE5RS8JCI/Superficie_Ana+Amorim_27032025-6.720-280-68_+24052025-5.328-222-68_MAR2025_Convite_Feed13.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680919766-DYUD67SN97DV9KECR4M2/Exhibition+11.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 - 29032025-6.672-278-68 - 24052025-5.328-222-68 Gabriel Pérez-Barreiro The Impossible Artist Contemporary artists in general face a very real and potentially crushing dilemma: the artist makes works that are intended to say something important, to make a difference, to create an affective, intellectual or emotional bond with a viewer. But once the work leaves the studio, it tends to dissolve into a world of ‘stuff’, of an intolerable surplus of similar objects in the world. As if that wasn’t enough, the art system then creates systems that require them to compete in galleries, fairs, collections, and museums, in a fast-paced marketplace of financial, intellectual and reputational speculation. For an artist with political convictions, these contradictions can become even more acute. Can and should the artist turn a blind eye to everything that happens once the work circulates in the art market? Is it OK to make objects of desire for a system with which you have strong ethical disagreements? Are good political intentions enough to isolate an artwork from the context in which it circulates? These questions have plagued artists throughout the 20th and 21st century. Many artists have realized that the well-intentioned contents of an artwork alone do not provide any real guarantee that it won’t become another trophy possession on someone’s wall. Others have looked beyond their individual artworks to create systems that generate resistance to or friction with a broader art system that they understand to be incompatible with their artistic and political intentions. Ana Amorim’s work is a beacon within this latter tradition; by committing herself to strict and binding conditions around the production of her work, she has been able to avoid many of the contradictions around ‘political’ art and live a life of remarkable artistic and ethical consistency. Amorim’s art is framed by two key texts: Conceptual Decisions which set the terms for a decade of daily artistic practice (1988–1997) and The Art Contract which shaped the conditions under which her art could circulate from 2001–2017. This second text was signed “The Impossible Artist”, acknowledging the draconian and unfeasible terms she had set for herself (such as refusal to exhibit in any space that included corporate logos). In both texts she laid down very systematic and predictable rules for how her art would be made and, crucially, how it would be displayed. These two texts cover some three decades of intense production, marked for the first decade by the commitment to make maps at the end of every day which would accumulate to make large-scale calendar-like works, each year following a slightly different process. This map-making became its own discipline, finding multiple formal solutions, several of which are represented in this exhibition. The idea of making art based on rules is not new in art, we can think of Lazlo Moholy-Nagy’s aspiration to make works over the telephone, On Kawara’s visual recording of the day’s date, Tehching Hsieh’s one-year performances, or Roman Opalka’s number counting. In all these cases, the following of a set routine creates a kind of ‘ground zero’ in which the artwork will materialize only through the actual labor involved in its making. The redundancy of the proposal is self-fulfilling, leaving little or no space for inspiration, moments of genius, or similar romantic ideas often associated with art making. What we are left with is a type of physical evidence of a real time that has passed, and the relentless commitment to an artistic project that could not have been realized in any other way. Amorim’s texts point in two apparently opposite, but complementary, directions. On the one hand they point to a refusal to participate in systems she disapproves of, a turning away that recalls Herman Meville’s fictional character Bartelby and his catchphrase, “I would prefer not to.”1 On the other, unlike Bartelby, they lay out a deep commitment to undertake a very labor-intensive process within strict and transparent parameters, using language that recalls a legal contract. The contract is the basis of our legal system, and its origin from the Latin means to ‘draw together’ (con-trahere), to create a bond or connection.2 What Amorim’s contracts express is a strong desire to be tethered to her commitment to art making, to make public her wish to integrate art and life. This formal commitment to art making makes explicit the difference between producing art (for its own sake) and being an art producer (for a system that demands it). Her refusal, her ‘I prefer not to’ gains special poignancy precisely because it coexists alongside such an impressive labor-intensive commitment to art processes. The refusal is not one of grandstanding and standing by to pass moral judgement, but instead a conscious decision taken as a consequence of the work itself. We know how much labor is involved in the work — it’s in the contract — but we also know that the labor resists being transformed into someone else’s value. In this case the contract serves not to maximize the value of a transaction and labor, but to constrain it within the ethical framework of the artist. Amorim doesn’t just denounce a system of capitalism she disagrees with, or even worse, simply illustrate its abuses (as so much ‘political’ art does), she instead uses the very building block of Capitalism, the legal contract, to set the terms of the production and the consumption of her labor. In this, her proposal is not only radical, but also subversive, logical, and not without humor. The question of labor is central to Amorim’s work. Karl Marx famously struggled with artists, as their work did not follow the industrial logic of alienation of the worker to create excess value for the owner.3 Artistic labor is, in theory, self-fulfilling and non-alienated, and while it does have an associated market economy, it is not one based on efficiency or the mechanization of human work. Marx himself compared Milton writing Paradise Lost to a silkworm making silk: led by compulsion, not financial reward.4 By structuring her labor through a contract, and de-mystifying the process completely, Amorim creates a deliberate tension between the conditions of her labor, and its subsequent exploitation. If art labor is still a refuge of genuine human (non-alienated) activity, then it should not be allowed to circulate in venues that could compromise its dignity. By going to the question of labor, and its ‘regulation’ through contract, Amorim has hit at the heart of the contemporary art system and proposed a system that, while ultimately unworkable, stands as a thoughtful form of resistance while avoiding any sense of victimhood. Amorim let her Art Contract expire in 2017, and since then has let her works circulate more widely. While this was perhaps an inevitable consequence of the Quixotic nature of her extreme position, it did serve to protect the production of her work from any kind of market pressure. She was able to work in a glorious isolation that is visible in the evidence of the maps themselves. The day-to-day we see in these maps largely consists of grocery stores, childcare, walks, cafés, but also the support work she carried out on behalf of indigenous communities and the MST. What it notably has less of are gallery openings, art fairs, biennials, panel discussions, and all the events that constitute the ‘art world’ with its codes, consensuses and competition. We see that the contract was perhaps less an ideological statement on art and its circulation and more a form of protection, a personal code of conduct to make sure her art connected with the world, her world, and not just the art world. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680914900-I0PTDY67NO3U3EGPBFKD/Exhibition+04.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680914455-ZBCG91X9XLHRXIVUFGZV/Exhibition+03.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680913461-6BGA6XTVO3IT717KXVIR/Exhibition+01.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680913053-5PDZH1Q8FLA8MHNP1CYP/Exhibition+02.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680918392-L25TY1HSZ4JFXBG0N32A/Exhibition+09.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680916336-ANS26CUXGZCA0BXPZ3KQ/Exhibition+06.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680915743-BO1HB8Z8VCYTDHL5KSHX/Exhibition+05.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680919118-S834OFSQEWB8D1QPJ4MP/Exhibition+010.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680917523-R2K9A9IHBLC734HP7PSZ/Exhibition+08.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1745680917075-G4BQ936MANKFG4W47HF8/Exhibition+07.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367442680-N7OCBNAD7FWCTWGWQTNC/_MG_7608-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367493832-YK52IFB6D50ICBY1K36W/_MG_7614-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367492278-DKZ9EDU7O5ODC0X9AXDH/_MG_7619-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367506881-JXV93BCLPFLDWNY2VR46/_MG_7623-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367509530-Q3U6GA197ZL4OGR0VKMV/_MG_7624-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367521615-L89VY3JVUZFIAT44VG1C/_MG_7625-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367524836-SC1FD3RT6SQW6FYTY2FV/_MG_7626-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367924739-BLCN3ARYQ4GVJTO2A3PR/_MG_9663-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367551890-ZPRUIHC1NYVZDEH9FH2R/_MG_7632-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367542447-T7XP9JX4X6BKZ5Z6CJ3M/_MG_7658-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367556800-6ZFR55PC0JJL35ZUQHMX/_MG_7843-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367625189-DYTIFHM5ROJL63EAV7K3/_MG_7844-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367649324-UGIYR8ONIFFDFN8GAGOF/_MG_7846-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367665045-XF3FCIV1O8IGCPYM1YEC/_MG_7847-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367669874-9PFA3IYDOGIY3FLOVH2M/_MG_7848-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367680247-4ZWWPMJKITIE490XTALC/_MG_7849-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1743367691345-KIG3I4GKDWEVH9I7MRFR/_MG_7852-copy.jpg 29032025-6.672-278-68 - 24052025-5.328-222-68 2025 https://www.anaamorim.art/ana-amorim-mental-maps-2025 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751238256132-068HSPR9OXI9NEHJDSWX/image-asset.jpeg Ana Amorim | Mental Maps 2025 - Ana Amorim | Mental Maps de 05 de julho a 05 de outubro de 2025 | from July 5th to October 5th, 2025 realização | presented by museu de arte contemporânea da universidade de são paulo — MAC USP curadoria | curated by jacopo crivelli visconti assistência | assisted by gabriela gotoda curadoria institucional | institutional curator ana gonçalves magalhães produção executiva e coordenação | executive production and coordination by 365 art — wagner khouri https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751238256132-068HSPR9OXI9NEHJDSWX/image-asset.jpeg Ana Amorim | Mental Maps 2025 - Ana Amorim | Mental Maps de 05 de julho a 05 de outubro de 2025 | from July 5th to October 5th, 2025 realização | presented by museu de arte contemporânea da universidade de são paulo — MAC USP curadoria | curated by jacopo crivelli visconti assistência | assisted by gabriela gotoda curadoria institucional | institutional curator ana gonçalves magalhães produção executiva e coordenação | executive production and coordination by 365 art — wagner khouri https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896631677-VQ9JP6QKXOO45W5W7SHJ/_MG_9368-copy.jpg Ana Amorim | Mental Maps 2025 - Ana Amorim | Mental Maps With the exception of the museum's direct expenses, no public resources were used in the production, assembly, and maintenance of this exhibition. Everyone who worked on the exhibition was either compensated with works by the artist or paid with funds from the sale of her works. The decision to reveal this strategy does not have to do (only) with the desire to question the mechanisms of cultural funding in the country, but with the fact that, for almost forty years, Ana Amorim's artistic practice and the (in)visibility of her production have been inseparable from her ethical and political stance. Until a few years ago, firmly believing that a work of art does not belong to anyone, cannot be appropriated, and should not be phagocytized by the capitalist system, she refused to exhibit in commercial venues, to sell her works, and to take part in exhibitions sponsored by private companies. If her work is still relatively little known, even among professionals in the field, it is because over the decades she chose, time and time again, to follow only the paths that seemed right to her, even though she knew that this would limit the scope that the work could have, or even completely exclude the possibility of its circulation. In the artist's conception and universe, her production and herself are inseparable. Her life is art. Her art is not a representation of life, it is life itself. If she is alive, she is producing something. She calls this something art, but it is also, or mainly, a trace of her passage through the world, and of the passage of time over her. The time that passes for the artist is the same time that passes for each one of us. Her work is deeply personal, depicting in simple maps her movements throughout a day, every day of her life. But these movements, and the seconds that she has also been silently counting for decades, are the same movements that we make, the same identical seconds that we live. There is no difference, there are no hierarchies, the artist's time is no more or less important than the time of each one of us. Ana Amorim's work is deeply democratic, collective, and inclusive, even when the subject seems to be just a square representing the house she did not leave that day. She spent the day embroidering, or perhaps organizing her notebooks, each page with its map and its date. She may have also cooked something, done some laundry, or read the newspapers to be stunned, once again, by the absurdities of the world. A day like so many others. Her entire body of work is a portrait of that day. Jacopo Crivelli Visconti Curator p.s. In Ana Amorim's universe, there are more words in English than in Portuguese. This does not represent a passive acceptance of English as the official language of power, money, and decision-making, and even less an attempt to leverage a hypothetical international career by using words in English. She has, in fact, no interest in that. She has simply lived outside of Brazil longer than she has lived here. https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896597438-O6OSFBPUBGE7P3SARA24/_MG_9365-copy.jpg Ana Amorim | Mental Maps 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896576688-I0IWAY4YPMNVNZAYOFZ8/_MG_9362_1-copy.jpg Ana Amorim | Mental Maps 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896608643-9FTZP7Z6GD7ZN1J7A6JO/_MG_9366-copy.jpg Ana Amorim | Mental Maps 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896626962-ZQ03FWKDMJCTFDNX7O12/_MG_9367-copy.jpg Ana Amorim | Mental Maps 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896673067-258HQOB3CKV0RN441PMP/_MG_9371-copy.jpg Ana Amorim | Mental Maps 2025 https://images.squarespace-cdn.com/content/v1/5db61982bbc4a8619c501a1e/1751896733109-JT0425QIJO07Q53LHNT2/_MG_2898-copy.jpg Ana Amorim | Mental Maps 2025 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