I’m interested in work processes.
Giving value to all those states that generate doubt, uncertainty, unease. Clearly, the pushing of boundaries.
In particular, I have a lot of consideration for all that is considered a failure. I’m interested in fighting what is proposed as truth and the power that creates this situation.
I consider my practice as a tool that evidences what is urgent and irreducible, all that oscillates between which is invisible and which is psychologically dense; the desperate word and the impotence; discretion and exhibition of taboo; impetus and resignation; minimal materiality and extreme human situations. I reflect on the precariousness as a situation imposed upon the marginal, the old, the sick, the lonely, the attacked.
Art is a potent tool that allows me to give visibility to all these arrogant everyday situations that confront us, day by day, and I’m interested in taking up the role that, therefore, it fills, socially, as an educator, as a connector, as a container and a witness. I relish in collective work I grew up believing that art and artists should change the world.
I think that art and artists have an obligation with the sense of this world and, definitely, of this life. We are witnesses.
And from the place each of us is installed in, and chooses to reflect and work in, we collaborate for certain things so that, maybe one day, they change.
BORN IN 1958 IN ROSARIO, SANTA FE, ARGENTINA
LIVES AND WORKS IN MEXICO CITY
Ana Gallardo is a self-taught artist born in Rosario, Argentina. She currently resides in Mexico City. Her incessant search as an artist coexists with the uncertainty of her private life, with the result that her life and work each act on the shortages and losses of the other. Her openly feminist work is a proposal to exercise art as a place of consideration and transformation; she uses it to address complex social issues, such as the many faces of violence and, in particular, violence against women or the violence of aging to which she has shifted her focus in the last few years.
She has created independent spaces in Buenos Aires, aimed at promoting local art, giving visibility to practices outside commercial or institutional circuits, and linking artists of different generations, such as Espacio Forest (2013) and La Verdi, Mexico (2017). Recently working in La Verdi Mexico (2017/2019) and Imán (2019) Mexico.
She participated in the 13a Havana Biennale, La construcción de lo posible (2019), section of videos of Latin American women, Fading Memories in Art Paris, France (2019), 56 Venice Biennale (2015), the 1st Frestas: Art Triennial in Brazil (2014), the 29th São Paulo Biennial (2010) and the 7th Mercosur Biennial in Porto Alegre (2009), among others.
Noteworthy among her most recent solo exhibitions are Dibujos Textuales II [Textual Drawings] in Ruth Benzacar Gallery, Buenos Aires (2018), Escuela de Envejecer [School of Aging], in Machete Galería, Mexico City (2018) and the Es Baluard Museum in Spain, a solo show in Zona Maco 2018, Mexico City,Un lugar para vivir cuando seamos viejos [A place to live when we are old] in the Modern Art Museum of Buenos Aires (2015) and in the Museum of Contemporary Art in Mar Del Plata (2016), Pencas [Fronds] in Galería Oliva Arauna (2014), Madrid, and Sicaria [Hitwoman] in Galería Ignacio Liprandi, Buenos Aires (2012).
Her most recent group exhibitions include: Los artistas y los viajes, curated by Graciela Sarti in Fundación Klemm, Buenos Aires (2019), Passat Continu, curated by Nekane Aramburu, EACC Espai d’art Contemporani de Castelló, Spain (2019). Podría ser (una flecha) [It could be (an arrow)] in Museo Jumex, Mexico City (2018); Another World, curated by Tracey Emin and her studio thanks to The Deutsche Bank, in Frieze London and Frieze Masters (2018) and Reverberaciones, arte y sonido en las colecciones del MUAC [Reverberations, art and sound in the collections of MUAC], University Museum of Contemporary Art, Mexico City (2017). She also participated in the Ad Minoliti project Modelo para una institución colectiva [A model for a collective institution] in the Siqueiros Public Art Hall, Mexico City (2018).
She was a resident artist at SOMA, Mexico City (2017). Her works are part of national and international collections.