ana perez-quiroga
BIO
Ana Pérez-Quiroga
Born in 1960, in Coimbra, Portugal. Lives and works in Lisbon. Visual artist and performer. Graduated in Sculpture from the Universidade de Lisboa’s School of Fine Arts (FBAUL); completed the Advanced Course in Visual Arts at Ar.Co; holds a Master’s Degree in Intermedia Visual Arts from the Universidade de Évora and a Doctorate in Contemporary Art from the Universidade de Coimbra’s College of the Arts. Grant holder from Fundação para a Ciência e Tecnologia.
She is a researcher at CHAIA - Center for History of Art and Artistic Research at the University of Évora.
Her work focuses essentially on installation, objects, photography and performance art, while her subjects range from everyday life and its mapping in the construction of the self-portrait to the importance of common objects and gender issues.
Exhibits regularly since 1999; some of her most important solo shows took place at National Museum of Contemporary Art (Lisbon, PT); National Museum of Ancient Art (Lisbon, PT), Museum of Folk Art (Lisbon, PT)); Museu Nogueira da Silva (Braga, PT); Museu do Neo-Realismo, (Vila Franca de Xira, PT); Convent of Christ (Tomar, PT); Municipal Photographic Archive (Lisbon, PT); Quartel of Contemporary Art (Abrantes); MAAT-Museum of Art Architecture and Technology (Lisbon, PT).
She took part in group exhibitions held at such institutions as Culturgest (Lisbon, PT); National Museum of Contemporary Art; (Lisbon, PT); Palace of the Dukes of Braganza, (Guimarães, PT); Salamanca Art Center (Salamanca, SP); Falconer Gallery (Grinnell, Iowa, USA); China World Art Museum (Beijing, CN); Villa Savoye - Le Corbusier (Poissy, FR).
Her work is featured in several collections, namely: National Museum of Ancient Art; Ar.Co; Costa Rodrigues Collection; Figueiredo Ribeiro Collection; António Cachola Collection; Vieira de Almeida Collection; Lisbon City Hall; Culturgest; EDP Foundation; PT Foundation; PLMJ Collection.
She has attended international residency programs, with grants from Calouste Gulbenkian Foundation; Oriente Foundation; French Institute of Portugal - International City of Arts; Porto City Hall. Scholar of Foundation for Science and Technology.
She has an atelier supported by the Lisbon City Hall.
Winner of the 2014 Best Visual Arts Exhibition Prize from Portuguese Authors Society.
Ana Pérez-Quiroga
Born in 1960, in Coimbra, Portugal. Lives and works in Lisbon. Visual artist and performer. Graduated in Sculpture from the Universidade de Lisboa’s School of Fine Arts (FBAUL); completed the Advanced Course in Visual Arts at Ar.Co; holds a Master’s Degree in Intermedia Visual Arts from the Universidade de Évora and a Doctorate in Contemporary Art from the Universidade de Coimbra’s College of the Arts. Grant holder from Fundação para a Ciência e Tecnologia.
She is a researcher at CHAIA - Center for History of Art and Artistic Research at the University of Évora.
Her work focuses essentially on installation, objects, photography and performance art, while her subjects range from everyday life and its mapping in the construction of the self-portrait to the importance of common objects and gender issues.
Exhibits regularly since 1999; some of her most important solo shows took place at National Museum of Contemporary Art (Lisbon, PT); National Museum of Ancient Art (Lisbon, PT), Museum of Folk Art (Lisbon, PT)); Museu Nogueira da Silva (Braga, PT); Museu do Neo-Realismo, (Vila Franca de Xira, PT); Convent of Christ (Tomar, PT); Municipal Photographic Archive (Lisbon, PT); Quartel of Contemporary Art (Abrantes); MAAT-Museum of Art Architecture and Technology (Lisbon, PT).
She took part in group exhibitions held at such institutions as Culturgest (Lisbon, PT); National Museum of Contemporary Art; (Lisbon, PT); Palace of the Dukes of Braganza, (Guimarães, PT); Salamanca Art Center (Salamanca, SP); Falconer Gallery (Grinnell, Iowa, USA); China World Art Museum (Beijing, CN); Villa Savoye - Le Corbusier (Poissy, FR).
Her work is featured in several collections, namely: National Museum of Ancient Art; Ar.Co; Costa Rodrigues Collection; Figueiredo Ribeiro Collection; António Cachola Collection; Vieira de Almeida Collection; Lisbon City Hall; Culturgest; EDP Foundation; PT Foundation; PLMJ Collection.
She has attended international residency programs, with grants from Calouste Gulbenkian Foundation; Oriente Foundation; French Institute of Portugal - International City of Arts; Porto City Hall. Scholar of Foundation for Science and Technology.
She has an atelier supported by the Lisbon City Hall.
Winner of the 2014 Best Visual Arts Exhibition Prize from Portuguese Authors Society.
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Thesis Chapters by ana perez-quiroga
¡NO PASARÁN! is a trench made up of 30 burlap sacks, each
with a political slogan painted on it. The number 30, the
materiality of the bags and the chosen political slogans are
decisive for the concept of this piece.
In order to explain the function of the State, Plato
metaphorically compared social equilibrium to a weaving¹.
The threads of the web (State) and of the weft (citizens) have
to be of different qualities so as to constitute themselves as a
diverse but unified social fabric.
An Installation that consisted in 225 strips of pure silk in 75 different colors, sold individually, making the buyers/spectators active participants in the construction of the work, making them co-authors and investors, contributing to the funding of the work, concluded with the publication of this book.
With this future publication in mind, each buyer is asked, ate the time of purchase: "Why did you choose this color?"
The objects my mother brought along with her on her return to Spain, I organized them into a visual archive. The subtitles were written by my mother in Russian and the objects were drawn by me. On the passe-partouts, screened printed verses of Alexander Pushkin from the book Eugene Onegin appear below the drawing.
I made an archive with pictures of the objects my mother brought along on her return to Spain. The subtitles were written by my mother in Russian, and the objects were drawn by me.
The decision of presenting these sections of Pushkin’s Eugene Onegin poem shows my mother’s most desired feature: knowing from memory her favorite books. Recently, I could state her ability during a phone call, as I questioned her about particular information regarding this work, and spontaneously she began reciting it.
This is an installation built with the resort to my mother’s personal
objects, as well as documents and photographs collected during my trips to Russia and Ukraine. ¿De qué casa eres? contains an autobiographical ethos, even though it is an appropriation of my mother’s memories and experiences.
Pretendo dar visibilidade às problemáticas: feminismo, género e espaço doméstico e reivindicar a casa, como espaço global e economicamente viável para as mulheres, a partir das plataformas digitais.
A coexistência destas temáticas traduz uma fusão entre arte e vida, que tem como resultado a obra total que é a instalação Breviário do Quotidiano #8 – Os regimes acumulativos dos objetos e as suas determinantes, que implica a imersão do vivenciador neste decorado.
The materialization of the total work of art is conjugated in this thesis, plastic and theoretically. Aiming at the dialogue and reflection with the contemporary artistic practices in the field of installation and performance, having my home and its objects while an installation as the star- ting point, I address questions such as: daily life, banality and legitimation, which go through my entire artistic discourse and build a manifesto that intends to put all this in common.
I want to give visibility to the issues: feminism, gender and domestic space and to claim the house, as a global space, with economic viability for women, having digital platforms as basis. The coexistence of these themes translates the fusion between art and life, which results in the total work that is the An Archive of daily life #8 – The accumulative schemes of objects and their determinants installation, implying the immersion of the experiencer in this set.
Ana de Gonta Colaço, 1903-1954 – Sculptress
Ana de Gonta Colaço serves as paradigm to illustrate the general situation of the Portuguese sociologic and cultural environment and the contribution of the Portuguese woman's in the beginning of the sec. XIX, till middles of the sec. XX.
Her work, in spite of not being very extensive, she left us a modernist legacy. Personal work and autonomous, created an own language inside of this style. The themes mirror their values and concerns, constituting a mark of freshness and daring for the aesthetic patterns of the time. For example, her religious statuary that is in the antipodes of the work in that time.
She was invited to participate in the Exposição do Mundo Português, which translates the recognition and the value of her work.
We also remembered her intervention play with the literary work - that was target of censorship from Salazar - and where her critical vision and rejection to the machismo of the Portuguese society.
Books by ana perez-quiroga
Exposição das suas obras no Museu Terras de Besteiros em Tondela com curadoria de Ana Pérez-Quiroga.
Ana de Gonta Colaço, sculptor, 1903-1954, Portugal
Exhibition of her works in Terras de Besteiros Museum in Tondela curated by Ana Pérez-Quiroga
¡NO PASARÁN! is a trench made up of 30 burlap sacks, each
with a political slogan painted on it. The number 30, the
materiality of the bags and the chosen political slogans are
decisive for the concept of this piece.
In order to explain the function of the State, Plato
metaphorically compared social equilibrium to a weaving¹.
The threads of the web (State) and of the weft (citizens) have
to be of different qualities so as to constitute themselves as a
diverse but unified social fabric.
An Installation that consisted in 225 strips of pure silk in 75 different colors, sold individually, making the buyers/spectators active participants in the construction of the work, making them co-authors and investors, contributing to the funding of the work, concluded with the publication of this book.
With this future publication in mind, each buyer is asked, ate the time of purchase: "Why did you choose this color?"
The objects my mother brought along with her on her return to Spain, I organized them into a visual archive. The subtitles were written by my mother in Russian and the objects were drawn by me. On the passe-partouts, screened printed verses of Alexander Pushkin from the book Eugene Onegin appear below the drawing.
I made an archive with pictures of the objects my mother brought along on her return to Spain. The subtitles were written by my mother in Russian, and the objects were drawn by me.
The decision of presenting these sections of Pushkin’s Eugene Onegin poem shows my mother’s most desired feature: knowing from memory her favorite books. Recently, I could state her ability during a phone call, as I questioned her about particular information regarding this work, and spontaneously she began reciting it.
This is an installation built with the resort to my mother’s personal
objects, as well as documents and photographs collected during my trips to Russia and Ukraine. ¿De qué casa eres? contains an autobiographical ethos, even though it is an appropriation of my mother’s memories and experiences.
Pretendo dar visibilidade às problemáticas: feminismo, género e espaço doméstico e reivindicar a casa, como espaço global e economicamente viável para as mulheres, a partir das plataformas digitais.
A coexistência destas temáticas traduz uma fusão entre arte e vida, que tem como resultado a obra total que é a instalação Breviário do Quotidiano #8 – Os regimes acumulativos dos objetos e as suas determinantes, que implica a imersão do vivenciador neste decorado.
The materialization of the total work of art is conjugated in this thesis, plastic and theoretically. Aiming at the dialogue and reflection with the contemporary artistic practices in the field of installation and performance, having my home and its objects while an installation as the star- ting point, I address questions such as: daily life, banality and legitimation, which go through my entire artistic discourse and build a manifesto that intends to put all this in common.
I want to give visibility to the issues: feminism, gender and domestic space and to claim the house, as a global space, with economic viability for women, having digital platforms as basis. The coexistence of these themes translates the fusion between art and life, which results in the total work that is the An Archive of daily life #8 – The accumulative schemes of objects and their determinants installation, implying the immersion of the experiencer in this set.
Ana de Gonta Colaço, 1903-1954 – Sculptress
Ana de Gonta Colaço serves as paradigm to illustrate the general situation of the Portuguese sociologic and cultural environment and the contribution of the Portuguese woman's in the beginning of the sec. XIX, till middles of the sec. XX.
Her work, in spite of not being very extensive, she left us a modernist legacy. Personal work and autonomous, created an own language inside of this style. The themes mirror their values and concerns, constituting a mark of freshness and daring for the aesthetic patterns of the time. For example, her religious statuary that is in the antipodes of the work in that time.
She was invited to participate in the Exposição do Mundo Português, which translates the recognition and the value of her work.
We also remembered her intervention play with the literary work - that was target of censorship from Salazar - and where her critical vision and rejection to the machismo of the Portuguese society.
Exposição das suas obras no Museu Terras de Besteiros em Tondela com curadoria de Ana Pérez-Quiroga.
Ana de Gonta Colaço, sculptor, 1903-1954, Portugal
Exhibition of her works in Terras de Besteiros Museum in Tondela curated by Ana Pérez-Quiroga