Ana Linnemann
Ana Linnemann creates–or rather, violates–sculptural objects through careful slicing and cutting. In The World as an Orange (2003) Linnemann's sliced object such as shoes, a lamp, a phone, rugs, clocks, a table, and umbrellas are rendered functionless and are arranged to suggest an unraveled domestic space. When the work was exhibited at SculptureCenter in New York the drama of the scene was accentuated by her cuts through the gallery wall and her incorporation of the architectural components of the site. Similarly reimagining mundane objects, The Invisibles is an ongoing series where everyday items perform discrete actions at short intervals, such as an orange that leaps from a fruit bowl or a bottle of Coca-Cola on top of a horizontal pile of books sliding from left to right. Describing her intentions for this series, the artist has said that “once perceived, the unexpectedness of their movement should put those viewers in state of alert, intensifying the space around them, as visual hunters in need of maximizing their observation skills.
Linnemann’s works have been presented at major institutions such as SculptureCenter in New York, Centro Cultural Maria Antonia in Sao Paulo, Kunstforening Oslo, Imperial Museum of Petrópolis in Rio de Janeiro, Rio …
Ana Linnemann creates–or rather, violates–sculptural objects through careful slicing and cutting. In The World as an Orange (2003) Linnemann's sliced object such as shoes, a lamp, a phone, rugs, clocks, a table, and umbrellas are rendered functionless and are arranged to suggest an unraveled domestic space. When the work was exhibited at SculptureCenter in New York the drama of the scene was accentuated by her cuts through the gallery wall and her incorporation of the architectural components of the site. Similarly reimagining mundane objects, The Invisibles is an ongoing series where everyday items perform discrete actions at short intervals, such as an orange that leaps from a fruit bowl or a bottle of Coca-Cola on top of a horizontal pile of books sliding from left to right. Describing her intentions for this series, the artist has said that “once perceived, the unexpectedness of their movement should put those viewers in state of alert, intensifying the space around them, as visual hunters in need of maximizing their observation skills.
Linnemann’s works have been presented at major institutions such as SculptureCenter in New York, Centro Cultural Maria Antonia in Sao Paulo, Kunstforening Oslo, Imperial Museum of Petrópolis in Rio de Janeiro, Rio de Janeiro’s Museum of Modern Art, Museo del Barrio in New York, MALBA in Buenos Aires. In 2004, she received the Vitae Bags Award and Pollock-Krasner Award. In 2011, she received one of the Pro Visual Arts awards the Department of Culture of the city of Rio de Janeiro for the production of a book focused in the last 15 years of work.
Courtesy of the artist and SculptureCenter
