ANA VICENTE artist-researcher-educator



WORK


2024 DRAWING AS EXPANDED PRACTICE ~ teaching, practice-research
2024 JOINING ~ participatory, installation, instructional piece
2024 HOW DOES A COLLECTIVE BODY MOVE... ~ practice-research, writing, collective
2023 24H ON EARTH PUBLICATION ~ curation, proj. management
2023 THERE IS A STONE IN ME THAT KNOWS STONE ~ installation, performance
2022 STEVIE SMITH ~ art producer
2022 LOVE LETTERS ~  research-creation, pedagogy, collaboration
2022 (K)NOT CROCHET AT 24H ON EARTH ~ expermental pedagogy, collaboration
2022 GROUND WORK CATALOGUE ~ graphic design, art direction
2022 CUT-UP-CHOREO-GRAPHIES ~ collage
2021 DOMESTIC CHOREOGRAPHY 2 ~ video
2021 BEING-WITH-CHOREO-GRAPHIES ~ installation, video
2021 THE SOUNDSCAPE POETRY PROJECT ~ book design, artwork
2020 GROUND WORK  RESIDENCY ~ photography, mixed media
2020 BEING-WITH-CHOREO-GRAPHIES ~ website, practice-research
2020 FEELING THE GAPS WALKING ~ toolkit, practice-research, collaboration
2020 STUDIO 4 ~ installation, practice-research
2019 DINNER ~ performance
2019 BY THE WAY CATALOGUE ~ graphic design, art direction
2019 LIVETYPE ARCHIVE ~ graphic design, publication
2018 LIVETYPE ~ Performance, collaboration
2018 T2 ~ performance, collaboration
2018 MALPAS ROAD ~  performance, collaboration
2017 W(IN)DOW ~ performance
2017 NUMBER STATIONS ~ performance, collaboration
2016-2005 WOTADOT ~ self-publishing
2015 SPACE IN BETWEEN THE WORDS ~ artist book
2015 WHAT IS LEFT OF PEREC ~ text
2015 ENSEMBLE  (DOMESTIC IMPROVISATION) ~ video, assemblage
2015 KITCHEN ~ mixed  media
2015 THINGS THAT ARE THERE  CATALOGUE AND FLYER ~ graphic design
2011 TABLE SERIES II ~ etchings
2011 UNTITLED_PILE ~ artist book
2011 FOUND ~ drawing, etchings
2010 TREE DANCE ~ photography
2010 THE FALL ~ artist book
2010 TABLE SERIES I ~ drawing, mixed media
2009 COSMOS ~ artist book
2004 DAQUI PARA ALI E VOLTAR ~ installation


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© Ana Vicente 2004-2024





STUDIO 4


We sleep through our lives in a dreamless sleep. But where is our life? Where is our body? Where is our space? (Perec, 2008, p.210)

From the mute distance of things a sign must come, a summons, a wink: one thing detaches itself from the other things with the intention of signifying something…What? Itself, a thing is happy to be looked at by other things only when it is convinced that it signifies itself and nothing else, amid things that signify themselves and nothing else. (Calvino, 2007,p.102)


A practice-research presentation as installation that invited an audience to follow and find their way with/ in the space.
 

Studio 4, 2020
Installation with objects, portable AV projector and slide viewer




Instructions to audience





Research video



Views of the installation with audience


Views of the installation


A new studio space in room 4 at 288 New Cross Road posed as a laboratory for experimenting, presenting itself at once as a physical space to be (in with) and at the same time a frame to look through at the world; both literally, through the window and metaphorically, as telescope. In this space the possibilities of making and learning have emerged in a poetic conversation between myself, others, objects, the space inside and outside and the things I have made. The searching for the visible in the invisible, the extraordinary in the ordinary, gently and quietly, looking, listening, researching, wandering, nudging, conducting, composing and directing.  I used play and open-ended improvisatory modes of exploring materials, processes and ideas through writing, movement, working with clay, darkroom photography, sound and film to experientially investigate the studio as a site, working with what was found in there. 

The dialogue with the space found its way into life outside, for example how the hag stones I found while mud larking on the Thames foreshore, when captured through photograms in the darkroom in studio 4, its shape resembled the traces of white tack on the wall I had contoured in pencil some days before. How the negative of my black and white film ‘corrupted’ by chemicals accidentally left in the developing container created a dotted-like pattern on the film. Which when viewed against a light source, these dots became a pattern, pockets of light resembling the pattern of contoured traces on the walls of the studio. Allowing meaning to emerge from apparent nothingness.

The neologisms endotic (Perec, 2008) and infrathin (Duchamp, 1980) provided tools to situate my practice and interrogate the liminal ‘blurred’ space in-between art and life. Perec uses endotic to describe the liminality of the everyday, neither ordinary or extraordinary, neither banal nor exotic. In L’Infra-ordinaire (1989) George Perec questions the reader on how to take account of what happens and recurs every day, ‘the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual’ (2008, p.210). Duchamp’s infrathin (L’Inframince) although deemed undefinable by Duchamp, it refers to something that is imperceptible yet perceived. A state of in-betweenness of our gestures that even minimal will resonate and make a difference.

~
Calvino, I. (2007) Mr Palomar. Translated by W. Weaver. London: Vintage Books.
Duchamp, M. (1980) Notes / préface Pontus Hulten. Paris]: Centre national d’art et de culture George Pompidou.
Perec, G. (2008) Species of spaces and other pieces. Edited and translated by J. Sturrock. London: Penguin Books (Penguin classics).